That pattern holds good for a lot of societies, among them the ancient Maya and the Sumerians of what is now southern Iraq. There are many other examples, including smaller-scale societies such as Easter Island. The very things that cause societies to prosper in the short run, especially new ways to exploit the environment such as the invention of irrigation, lead to disaster in the long run because of unforeseen complications. This is what Ronald Wright in "A Short History of Progress" calls the "progress trap." We have set in motion an industrial machine of such complexity and such dependence on expansion, Wright notes, that we do not know how to make do with less or move to a steady state in terms of our demands on nature.
And as the collapse becomes palpable, if human history is any guide, we, like past societies in distress, will retreat into what anthropologists call "crisis cults." The powerlessness we will feel in the face of ecological and economic chaos will unleash further collective delusions, such as fundamentalist beliefs in a god or gods who will come back to earth and save us. The Christian right provides a haven for this escapism. These cults perform absurd rituals to make it all go away, giving rise to a religiosity that peddles collective self-delusion and magical thinking. Crisis cults spread rapidly among Native American societies in the later part of the 19th century as the buffalo herds and the last remaining tribes were slaughtered. The Ghost Dance held out the hope that all the horrors of white civilization -- the railroads, the murderous cavalry units, the timber merchants, the mine speculators, the hated tribal agencies, the barbed wire, the machine guns, even the white man himself -- would disappear. And our psychological hard wiring is no different.
In our decline, hatred becomes our primary lust, our highest form of patriotism. We deploy vast resources to hunt down jihadists and terrorists, real and phantom. We destroy our civil society in the name of a war on terror. We persecute those, from Julian Assange to [Chelsea] Manning to Edward Snowden, who expose the dark machinations of power. We believe, because we have externalized evil, that we can purify the earth. And we are blind to the evil within us.
Melville's description of Ahab is a description of the bankers, corporate boards, politicians, television personalities and generals who through the power of propaganda fill our heads with seductive images of glory and lust for wealth and power. We are consumed with self-induced obsessions that spur us toward self-annihilation.
"All my means are sane," Ahab says, "my motive and my object mad."
Ahab, as the historian Richard Slotkin points out in his book "Regeneration Through Violence," is "the true American hero, worthy to be captain of a ship whose 'wood could only be American.'" Melville offers us a vision, one that D.H. Lawrence later understood, of the inevitable fatality of white civilization brought about by our ceaseless lust for material progress, imperial expansion, white supremacy and exploitation of nature.
Melville, who had been a sailor on clipper ships and whalers, was keenly aware that the wealth of industrialized societies was stolen by force from the wretched of the earth. All the authority figures on the ship are white men--Ahab, Starbuck, Flask and Stubb. The hard, dirty work, from harpooning to gutting the carcasses of the whales, is the task of the poor, mostly men of color. Melville saw how European plundering of indigenous cultures from the 16th to the 19th centuries, coupled with the use of African slaves as a workforce to replace the natives, was the engine that enriched Europe and the United States. The Spaniards' easy seizure of the Aztec and Inca gold following the massive die-off from smallpox and [other diseases] among native populations set in motion five centuries of unchecked economic and environmental plunder. Karl Marx and Adam Smith pointed to the huge influx of wealth from the Americas as having made possible the Industrial Revolution and modern capitalism. The Industrial Revolution also equipped the industrialized state with technologically advanced weapons systems, turning us into the most efficient killers on the planet.
Ahab, when he first appears on the quarterdeck after being in his cabin for the first few days of the voyage, holds up a doubloon, an extravagant gold coin, and promises it to the crew member who first spots the white whale. He knows that "the permanent constitutional condition of the manufactured man ... is sordidness." And he plays to this sordidness. The whale becomes like everything in the capitalist world a commodity, a source of personal profit. A murderous greed, one that Starbuck, Ahab's first mate, denounces as "blasphemous," grips the crew. Ahab's obsession infects the ship.
"I see in [Moby Dick] outrageous strength, with an inscrutable malice sinewing it," Ahab tells Starbuck. "That inscrutable thing is chiefly what I hate; and be the white whale agent, or be the white whale principal, I will wreak that hate upon him. Talk not to me of blasphemy, man; I'd strike the sun if it insulted me."
Ahab conducts a dark Mass, a Eucharist of violence and blood, on the deck with the crew. He orders the men to circle around him. He makes them drink from a flagon that is passed from man to man, filled with draughts "hot as Satan's hoof." Ahab tells the harpooners to cross their lances before him. The captain grasps the harpoons and anoints the ships' harpooners -- Queequeg, Tashtego and Daggoo -- his "three pagan kinsmen." He orders them to detach the iron sections of their harpoons and fills the sockets "with the fiery waters from the pewter." "Drink, ye harpooneers! Drink and swear, ye men that man the deathful whaleboat's bow -- Death to Moby Dick! God hunt us all, if we do not hunt Moby Dick to his death!" And with the crew bonded to him in his infernal quest he knows that Starbuck is helpless "amid the general hurricane." "Starbuck now is mine," Ahab says, "cannot oppose me now, without rebellion." "The honest eye of Starbuck," Melville writes, "fell downright."
The ship, described as a hearse, was painted black. It was adorned with gruesome trophies of the hunt, festooned with the huge teeth and bones of sperm whales. It was, Melville writes, a "cannibal of a craft, tricking herself forth in the chased bones of her enemies." The fires used to melt the whale blubber at night turned the Pequod into a "red hell."
Our own raging fires, leaping up from our oil refineries and the explosions of our ordinance across the Middle East, bespeak our Stygian heart. And in our mad pursuit we ignore the suffering of others, just as Ahab does when he refuses to help the captain of a passing ship who is frantically searching for his son, who has fallen overboard.
Ahab has not only the heated rhetoric of persuasion; he is master of a terrifying internal security force on the ship, the five "dusky phantoms that seemed fresh formed out of air." Ahab's secret, private whale boat crew, who emerge from the bowels of the ship well into the voyage, keeps the rest of the ship in abject submission. The art of propaganda and the use of brutal coercion, the mark of tyranny, define our lives just as they mark those on Melville's ship. The novel is the chronicle of the last days of any civilization.
And yet Ahab is no simple tyrant. Melville toward the end of the novel gives us two glimpses into the internal battle between Ahab's maniacal hubris and his humanity. Ahab, too, has a yearning for love. He harbors regrets over his deformed life. The black cabin boy Pip is the only crew member who evokes any tenderness in the captain. Ahab is aware of this tenderness. He fears its power. Pip functions as the Fool did in Shakespeare's "King Lear." Ahab warns Pip of Ahab. "Lad, lad," says Ahab, "I tell thee thou must not follow Ahab now. The hour is coming when Ahab would not scare thee from him, yet would not have thee by him. There is that in thee, poor lad, which I feel too curing to my malady. Like cures like; and for this hunt, my malady becomes my most desired health. ... If thou speakest thus to me much more, Ahab's purpose keels up in him. I tell thee no; it cannot be."
A few pages later, "untottering Ahab stood forth in the clearness of the morn; lifting his splintered helmet of a brow to the fair girl's forehead of heaven. ... From beneath his slouched hat Ahab dropped a tear into the sea; nor did all the Pacific contain such wealth as that one wee drop." Starbuck approaches him. Ahab, for the only time in the book, is vulnerable. He speaks to Starbuck of his "forty years on the pitiless sea! ... the desolation of solitude it has been. ... Why this strife of the chase? why weary, and palsy the arm at the oar, and the iron, and the lance? How the richer or better is Ahab now?" He thinks of his young wife -- "I widowed that poor girl when I married her, Starbuck" -- and of his little boy: "About this time -- yes, it is his noon nap now -- the boy vivaciously wakes; sits up in bed; and his mother tells him of me, of cannibal old me; how I am abroad upon the deep, but will yet come back to dance him again."
Ahab's thirst for dominance, vengeance and destruction, however, overpowers these faint regrets of lost love and thwarted compassion. Hatred wins. "What is it," Ahab finally asks, "what nameless, inscrutable, unearthly thing is it; what cozening, hidden lord and master, and cruel, remorseless emperor commands me; that against all natural lovings and longings, I so keep pushing, and crowding, and jamming myself on all the time. ..."
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