Book 6 Alien Versus Alien: Allegories and Metaphors of Absurdist Faith
Gini Koch’s Aliens series references William Faulkner’s masterpiece Absalom, Absolom! In its themes; a novel which chronicles the fall of the Confederacy in terms of the Biblical Fall of Man and a family history which references the tragedies of Sophocles and the Oresteia of Aeschylus.
Though much of this backstory is alluded to or told parenthetically as a prequel to the royal family civil war and religious schism which resulted in the exile to Earth of her heroes, a multiplicity of clues are left like Ariadne’s Thread for alert readers to assemble the puzzle of both the origin story of the Exile and of the faith which she deftly evades describing but which is a prime driver of her storyline.
These sources and historical models include the aforementioned classical and Biblical sources, but also Shakespeare’s reimagination of these sources; especially the Orestia in MacBeth, Sartre’s The Flies, and Eugene O'Neill’s Mourning Becomes Electra, and in parallel lines of transmission Antigone in Othello, and its reimagination by Jean Anouilh in his play Antigone, and the inescapable Oedipus Rex in Hamlet, Sigmund Freud’s The Interpretation of Dreams, and D.M. Thomas’ engagement with Freud in his trilogy The White Hotel, Pictures at an Exhibition, and Eating Pavlova.
Anais Nin wrote the definitive study of his works, D. H. Lawrence: An Unprofessional Study, and to a degree Anais Nin wrote her novels as D.H. Lawrence fanfiction, much as Angela Carter wrote her foundational work The Sadeian Woman and her novels as de Sade fanfiction; parallel figures, Anais Nin and her successor Angela Carter.
I have at times wondered if Gini Koch is a scholar of Shakespearean theatre and its echoes and reflections before all else; but this is a subject for a later essay.
In her Aliens series Gini Koch charts the topologies of becoming human as a grand cinematic heroic quest embodied in the figure of Kitty as an avatar through which we can negotiate this labyrinth as a rite of passage, a figure referential to that of Cervantes’ Don Quixote and his shadow, Shakespeare’s Hamlet.
A figure of heroic individualism, of the nobility and beauty of a vision which embraces the Ideal behind the illusion of its outward mask and refuses to surrender this exaltation and rapture to any Authority or force of otherness, Don Quixote is a self-created man, free to forge what meaning and value he can imagine in a universe bereft of any. He is a Promethean figure, a hero of Romantic Idealism but also Existentialist and Humanist in his person, yet affirming an Idealism formed from within, invented rather than discovered, Absurdist in the most modern way.
To believe because we have so chosen, because it is ours, rather than to know because the facts so compel; is this not a definition of faith?
Or was that madness? Shakespeare's Hamlet is a parallel figure, struggling for his humanity and self-ownership as does Don Quixote in a world where reality and truth are equivocal and subjective, a negotiated boundary between self and others. Both authors conceptualize identity as a performance, question and challenge authority and seek redress against asymmetries of power, especially the idea of sin and the doctrine of the depravity of man which is the basis of our law, employ satire and historical revision to these ends, interrogate themes of truth and illusion, and celebrate faith as a chosen madness and Absurdism.
And so we have in Don Quixote a complex, nuanced, conditional, and extremely human hero, who challenges us to be better than we are, as a primary model of Gini Koch’s hero Kitty.
Of her direct model in Surrealism and the literature of madness as revolutionary struggle William Faulkner, whose great themes and signature narrative devices and poetics include madness and the nature of evil, grotesques, stream of consciousness, Rashomon-like multiple perspectives; William Faulkner employed the methods of James Joyce, Gertrude Stein, and Ryunosuke Akutagawa in a grand subversion of realism throughout an enormous series of Surrealist alternate reality novels in a brilliantly imagined American South.
Drawing on Shakespearean and Greek tragedies as his sources, as well as a narrative aesthetics and idea of character from Hugo, Zola, and Dickens, he championed vernacular language and the relentless and diverse humanity of ordinary people. And his characters are enmeshed in historical forces beyond their reckoning; class, race, and gender are explored in complex and nuanced prose. His works echo with Nietzschean iconoclasm, the revolutionary poetics of Blake, and the bizarre transgression of de Sade.
William Faulkner was a revolutionary who sought to radically transform his society, a South crippled by the legacy of slavery, by inventing a mythic nightmare South, an imaginal realm in a hobgoblin’s mirror which reveals distortions and flaws in our humanity, thereby robbing them of their power and freeing us. His works are an act of magic, or psychotherapy, which maps the structural maladies we must liberate ourselves from, describing by their negative spaces a new American humanity, free of history and self-creating.
Here is the gateway to the Absurdist faith of Gini Koch, a master key to the code of her novels as therapy journals which put America on the couch to interrogate the subversion of democracy though the internal contradictions of our system and our civilizational collapse in the recent era of the Fourth Reich as failures of our values and as endemic forces of patriarchy, racism, capitalism, and authoritarianism; of fascisms of blood, faith, and soil as madness and as a civilizational crisis of faith.
This authorial intention is best seen in the iconic play which is one of her primary intertexts which she deploys like Margaret Atwood in the composition of her themes, Edward Albee’s Who's Afraid of Virginia Woolf?
With a title taken from the song Who's Afraid of the Big Bad Wolf? in the 1933 Disney short film Three Little Pigs, where two of the pigs are convinced they're safe from the wolf in their straw and twig houses, you know that threatening truths will undo the house of illusions George and Martha, emblematic founders of America, have built around themselves.
In Who's Afraid of Virginia Woolf, Edward Albee has given us the Great American Play, a mirror in which we see ourselves as we are rather than the illusions we have spun around and through ourselves as a defensive mask. It is about the historical and political consequences of a lie we told at our founding about freedom and equality in a government designed to leave structural power asymmetries of wealth, race, and gender untouched; about the human cost of dysfunctional relationships, and about the implications for meaning and being when the personal and political realms of action collide and change each other.
Here also Gini Koch holds up a mirror to America; and it is a funhouse mirror of distorted images, both comical and grotesque, images which capture and reflect, assimilating or robbing us of our uniqueness in infinite regress to steal our souls, which through her magic of seeing our true selves becomes a Hobgoblin’s Broken Mirror as in in Anderson’s The Snow Queen, fragmented images which multiply our possibilities of becoming human.
In Alien Versus Alien, book six of her Proustian series, these themes include trust and loyalty through the subplot of sexual blackmail by doctored pics, and a secondary themes of refusal to submit to authority and falsification through control of information in the subplot of gaslighting and a mysteriously revoked security clearance used to isolate her from needed information.
There is much shared ground in Surrealism with Absurdism, though Absurdism does not always posit an Infinite Being to whom we are trying to reunite with, especially in its Nihilist form with Samuel Beckett, Thomas Ligotti, and Kobo Abe, but it can as the Pauline Absurdism in Flannery O'Connor's Thomism or in Nicholas of Cusa, precursor of Kurt Gödel’s from whom I derive my epistemology of the Conservation of Ignorance.
Grotesqueries, paradoxes, alarums and terrifying visions, suffering and redemption, the frightening of the horses; Flannery O'Connor, a self-described Thomist, is among the greatest authors the world has ever produced, and possibly the best religious writer of the modern age.
The Violent Bear It Away explores the redemptive power of Love in a world where to live is to suffer; it is a Great Book but not an easy one. Herein Flannery O’Conner offers a definition of Sin, but what is wonderful is the way in which she does so.
Like Coleridge, she used the rich historical symbolism of her faith to describe her insights into the human condition- The Rhyme of the Ancient Mariner could even be read as a coda for her work, and The Violent Bear It Away as a direct reply to the Rhyme, so closely aligned and intertwined are they.
Flannery O’Connor has crafted labyrinthine narratives as Stations of the Cross through which her readers may progress toward a Pauline Absurdist faith, with all of the fascinans et tremendum, wonder and terror, that implies.
Flannery O'Connor maps a faith which has transformative powers, can exalt suffering into compassion, in which the faithful can be sublimed by the torment of our mortal condition and wherein the beauty of our humanity is not in our strengths but in our frailties, for we bear the wounds of our humanity which open us to the pain of others and the suffering of the world.
The line of transmission of Absurdist elements in literature as humor and an Absurdism originates with Fyodor Dostoevsky, Lewis Carroll, Nikolai Gogol, and Franz Kafka, develops and diverges from the limits of Humanistic faith with Antonin Artaud, Eugene Ionesco, Witold Gombrowicz, and Albert Camus, and continues today in Haruki Murakami, Kurt Vonnegut, Elif Shafak, and Gini Koch.
As a member of a tradition of Absurdist-Existentialist faith, the works of Gini Koch reference that of Fyodor Dostoevsky, Søren Kierkegaard, Martin Buber, Flannery O’Connor, and Iris Murdoch, whose exegesis of Platonic philosophy in The Black Prince, a reply to Hamlet, its extension in The Good Apprentice, in which the play of Illusion and Reality, madness and actuality, love, art, all her great themes complicate an inquiry into the nature of the Good, and in her reimagination of Dostoevsky's Crime and Punishment in The Philosopher’s Pupil illuminate and exalt us in answer to the terror of our nothingness.
“I believe because it is Absurd”, a phrase coined by Voltaire reinterpreting Tertullian’s paradox of credo quia absurdum in De Carne Christi, and referential to Augustine’s City of God 22.5, “Si autem res incredibilis credita est, etiam hoc utique incredibile est, sic creditum esse quod incredibile est”, a phrase wrestled with great eloquence by John Locke and beloved by Sigmund Freud, Ernst Cassirer, and Max Weber, summarizes the Absurdist faith of Gini Koch and of the historical tradition which she bears onward.