Not bad.
I was slow to pick up this book for two reasons. One, the cover is butt-ugly. Two, Jesse Walker is associated with that wretched hive of villainy and scum, Reason magazine.
Walker should feel good about writing the book. It was interesting. Overly long, theoretically flabby, confusingly organized, poorly laid out, and ultimately serving a political agenda, but worth a look-see.
Walker begins where he has to: with Richard Hofstadter's "The Paranoid Style in American Politics." On the surface, Walker wants to argue with Hofstadter that paranoia is not a minor trend in American cultural history, but part of the mainstream. More subtly, he wants to pick a fight over who is the most paranoid.
One his first point, he does well. Paranoia--and conspiracy thinking--is rife in American history. Walker divides conspiracy thinking into five types: conspiracies by outsiders, by insiders, by those above, by those above, and, finally, benevolent conspiracies. This division is interesting but doesn't quite rise to the level of "primary myths," as he calls them. The division is schematic and doesn't really shed a whole lot of light on conspiracies generally. Indeed, Walker spends too much time classifying the various conspiracies as either belonging to one or the other class (even as he acknowledges that they do overlap in real life). Thus the Molly Maguires were a paranoid vision of conspiracy from below--the poor Irish--and not from outside--no one thought that the conspiracy was based in Ireland.
The fussing over the categories reveals a reificatory imagination: there are types of conspiracies. There are red scares and brown scares. There is left and right. There are the 70s, the 80s, the 90s. And there is something known as 'folklore,' which is supposed to be a unique form of discourse, but the idea is never really developed. walker missed an opportunity here, given the way that folklorists have recently struggled with the definition of their own field, and the subject that they study, to expand his ideas and make them something more than a taxonomy.
After the introductory matter, Walker devotes one chapter each to his different conspiracy types. He is careful to note that belief in conspiracies--paranoia--did not necessarily mean those conspiracies actually existed--just that the ideas were prominent and drove, at least partially, social life. In each chapter, he traces different examples of his types from the country's beginning to current times.
There are some nuggets here, and I suppose each person who comes to the book will find his or her own favorite. Me, I liked his (brief) discussion of how the definition of a criminal conspiracy was influenced by fears of slave uprisings. There are lots of stories here, and Walker clearly did a lot of research. Mostly, these are handled judiciously.
The problem, such as it is: there is too much stuff. Walker piles example upon example upon example until we acquiesce to his main thesis: paranoia about conspiracies is a central feature of American society. Sometimes, too, he can overreach, so that every thing starts to look like a conspiracy--when he takes up the McMartin Preschool Case of the 1980s, his definition of conspiracy starts to become indistinguishable from any sort of moral panic.
His prose, too, is uneven, varying from scholarly, or almost scholarly, to jaunty and bloggish.
Having covered his five types, he then moves on to a second part of the book--and it is not entirely clear why this second part needs to exist at all, or be so large. He says these are modern examples, but his earlier chapters already brought the book up to date, or nearly so. It's confusing, and seemingly done just so Walker could expand on a few favorite stories. But I don't want to be churlish: the two best chapters are here, numbers 8 and 9, the first on a character named John Todd and the second on Operation Mindfuck. Another chapter is devoted to the conspiracy theories motivating the various Rambo stories, and another is on Watergate, which Walker seems to want to pose as some kind of watershed moment (pun unfortunate)--although he offers no good reason why. He implies that the mainstream media started taking 'conspiracies from above' seriously afterwards, at least for a short time, but that doesn't seem especially significant. The weight of his book would suggest otherwise: there have been plenty of conspiracies, real and imagined, so that Americans should be used to the genre by now. Perhaps it is because it is so close to our own time that it seems central.
Walker builds on the work--only lightly acknowledged--of political scientist Michael Barkun here in arguing that recent conspiracy theories have become a mixed bag--no longer from distinct traditions, but a melange, left and right, black and white borrowing from each other. Surprisingly, he does not cite Michael Saler, who has also noticed the turn toward the ironic imagination, nor Susan Faludi, who, before him, noted the way Indian Capture stories structured a lot of America's response to 9-11. [I was wrong: he does cite both Saler and Faludi.]
This section is not so satisfying. First, one wonders if the reason these recent conspiracy theories seem heterogenous is because he was so tidy early in the book classifying them into distinct taxa. Robert Anton Wilson is great, and I love the way his Operation Mindfuck is described, using the abundance of conspiracy theories against the conspiracists themselves. But the blending of these kind of ideas predate him by quite a wide margin--the occultists of the late nineteenth and early twentieth century were happy to blend various conspiracies, too.
Second, I am not sure what the point is here, why this section is distinct.
Third, his political thesis, mostly subrosa to this point, comes to the fore and messes with the evidence. Walker disagrees with Hofstadter that conspiracy theories are mostly a phenomenon of the right: he wants to show that leftists are just as prone. And maybe that's the case, but--to start numbering again--the thesis fails on two points.
First, to get the balance he wants, Walker has to ignore some of the most recent conspiracy-mongering. He's only a few years older than me, and should have remembered it easily.
Walker says that the 1990s were another great time for conspiracy theories, comparable tot he 1970s, except that they came in the back door. Um, no. They came through the Wall Street Journal! The massive and unending amounts of conspiracy theories about the Clintons get only a short mention--short especially compared to an entire chapter on Rambo. Similarly, the conspiracy thinking that motivated the Bush administration to invent an "Axis of Evil" is dispatched in a footnote. Instead, the 1990s are marked (only) by paranoid (and incorrect) fears about right-wing militia--which were really a fairly ecumenical response to the government's overreach, Walker argues.
Showing that we are all conspiracists hints at the importance of libertarianism--Walker's chosen creed--although he never spells it out exactly. Still, he repeatedly makes the point that conspiracists, left and right, hate the government: a secret longing, then, for a more libertarian approach.
The second problem with Walker's thesis is that his cultural analysis is unwedded to a consideration of political power. So, he wants to make McCarthy's Red Scare equivalent to the Brown Scare (fear of Fascists). But one was conducted by the state, the other not so much (somewhat--but not nearly so much). Or, he compares Mildred Edie Brady's articles about Willhelm Reich--which accused of him being at the center of a cult--with her being fired from her government job for supposedly being associated with communists. On the one hand, two articles, from the New Republic and Harpers, on the other, actual firing. These things are not equivalent.
Again, I am not trying to say there are not conspiracy theories on the left. But we cannot compare them to those on the right from the evidence in this book.
Finally, the pictures are often just black blobs which seem to have been dropped into the text. Sometimes they are related, sometimes they are not. There are no captions, and they are not set off, giving the book an amateurish feel.