627
© Springer Nature Switzerland AG 2021
M. C. Tobias, J. G. Morrison, On the Nature of Ecological Paradox,
https://doi.org/10.1007/978-3-030-64526-7_67
Chapter 67
True Narcissism
67.1 Unto a World War III
There are two particularly compelling literatures endemic to the human twenty-first
century: epistolary revelations—hours, minutes even seconds prior to suicide; and
the owning up at every ground zero that encompasses the toxic chemistry of collective infliction. Economists have long sensed “the possibility that subjects suspect
deception” and that this represents “a potential impediment to inducing even the
simplest distribution.”
1
Predictive science is a function of density, laws of irreconcilability, and absolute separation, and how these products of the imagination impact
a person in her/his private-most moments. A case in point: Franz Marc having “virtually prophesied in his art the holocaust that was to follow”; and the similarities of
his 1913 painting “Fate of the Animals” with his own death at Verdun; his embodying of “the pathetic fallacy from the domain of botany to the domain of zoology”
2
(Fig. 67.1).
Some 4 years after the ending of the World War II, Samuel Beckett’s Waiting for
Godot seemed clearly to summit the first half of the twentieth century. As Anthony
Cronin has analyzed in his biography of Beckett’s darkest, most penetrating work,
jettisoned there amid a mere tree and country road one wandered at length upon “a
holiday atmosphere” and “funny jokes about the genuinely worst aspects of human
existence,” a tradition of final summing up that included the likes of “Laurel and
Hardy” but also “the master and man situation which has a centuries-old history in
European literature, from Roman times through Cervantes and Le Sage to Tolstoy
and Goncharov.”
3
1 See Experimental Economics, by Douglas D. Davis and Charles A. Holt, Princeton University
Press, Princeton, New Jersey, 1993, p. 71.
2 See Modern Painting and the Northern Romantic Tradition – Friedrich To Rothko, by Robert
Rosenblum, Icon Editions, Harper & Row, Publishers, New York 1975, pp. 141–142.
3 Anthony Cronin, Samuel Beckett – The Last Modernist, HarperCollins Publishers, New York,
1997, p. 391.
© Springer Nature Switzerland AG 2021
M. C. Tobias, J. G. Morrison, On the Nature of Ecological Paradox,
https://doi.org/10.1007/978-3-030-64526-7_67
Chapter 67
True Narcissism
67.1 Unto a World War III
There are two particularly compelling literatures endemic to the human twenty-first
century: epistolary revelations—hours, minutes even seconds prior to suicide; and
the owning up at every ground zero that encompasses the toxic chemistry of collective infliction. Economists have long sensed “the possibility that subjects suspect
deception” and that this represents “a potential impediment to inducing even the
simplest distribution.”
1
Predictive science is a function of density, laws of irreconcilability, and absolute separation, and how these products of the imagination impact
a person in her/his private-most moments. A case in point: Franz Marc having “virtually prophesied in his art the holocaust that was to follow”; and the similarities of
his 1913 painting “Fate of the Animals” with his own death at Verdun; his embodying of “the pathetic fallacy from the domain of botany to the domain of zoology”
2
(Fig. 67.1).
Some 4 years after the ending of the World War II, Samuel Beckett’s Waiting for
Godot seemed clearly to summit the first half of the twentieth century. As Anthony
Cronin has analyzed in his biography of Beckett’s darkest, most penetrating work,
jettisoned there amid a mere tree and country road one wandered at length upon “a
holiday atmosphere” and “funny jokes about the genuinely worst aspects of human
existence,” a tradition of final summing up that included the likes of “Laurel and
Hardy” but also “the master and man situation which has a centuries-old history in
European literature, from Roman times through Cervantes and Le Sage to Tolstoy
and Goncharov.”
3
1 See Experimental Economics, by Douglas D. Davis and Charles A. Holt, Princeton University
Press, Princeton, New Jersey, 1993, p. 71.
2 See Modern Painting and the Northern Romantic Tradition – Friedrich To Rothko, by Robert
Rosenblum, Icon Editions, Harper & Row, Publishers, New York 1975, pp. 141–142.
3 Anthony Cronin, Samuel Beckett – The Last Modernist, HarperCollins Publishers, New York,
1997, p. 391.