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" "We understand that if the child were to give in to the overpowering character of reality and experience he would not be able to act with the kind of equanimity we need in our non-instinctive world. So one of the first things a child has to do is to learn to “abandon ecstasy,” to do without awe, to leave fear and trembling behind. Only then can he act with a certain oblivious self-confidence, when he has naturalized his world. We say “naturalized” but we mean unnaturalized, falsified, with the truth obscured, the despair of the human condition hidden, a despair that the child glimpses in his night terrors and daytime phobias and neuroses. This despair he avoids by building defenses; and these defenses allow him to feel a basic sense of self-worth, of meaningfulness, of power. They allow him to feel that he controls his life and his death, that he really does live and act as a willful and free individual, that he has a unique and self-fashioned identity, that he is somebody—not just a trembling accident germinated on a hothouse planet that Carlyle for all time called a “hall of doom.” We called one’s life style a vital lie, and now we can understand better why we said it was vital: it is a necessary and basic dishonesty about oneself and one’s whole situation. This revelation is what the Freudian revolution in thought really ends up in and is the basic reason that we still strain against Freud. We don’t want to admit that we are fundamentally dishonest about reality, that we do not really control our own lives. We don’t want to admit that we do not stand alone, that we always rely on something that transcends us, some system of ideas and powers in which we are embedded and which support us. This power is not always obvious. It need not be overtly a god or openly a stronger person, but it can be the power of an all-absorbing activity, a passion, a dedication to a game, a way of life, that like a comfortable web keeps a person buoyed up and ignorant of himself, of the fact that he does not rest on his own center. All of us are driven to be supported in a self-forgetful way, ignorant of what energies we really draw on, of the kind of lie we have fashioned in order to live securely and serenely. Augustine was a master analyst of this, as were Kierkegaard, Scheler, and Tillich in our day. They saw that man could strut and boast all he wanted, but that he really drew his “courage to be” from a god, a string of sexual conquests, a Big Brother, a flag, the proletariat, and the fetish of money and the size of a bank balance.
Ernest Becker (27 September 1924 – 6 March 1974) was an American cultural anthropologist and interdisciplinary thinker, noted for his 1974 Pulitzer Prize-winning book, The Denial of Death.
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In man a working level of narcissism is inseparable from self-esteem, from a basic sense of self-worth. We have learned, mostly from Alfred Adler, that what man needs most is to feel secure in his self-esteem. But man is not just a blind glob of idling protoplasm, but a creature with a name who lives in a world of symbols and dreams and not merely matter. His sense of self-worth is constituted symbolically, his cherished narcissism feeds on symbols, on an abstract idea of his own worth, an idea composed of sounds, words, and images, in the air, in the mind, on paper. And this means that man’s natural yearning for organismic activity, the pleasures of incorporation and expansion, can be fed limitlessly in the domain of symbols and so into immortality. The single organism can expand into dimensions of worlds and times without moving a physical limb; it can take eternity into itself even as it gaspingly dies.
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At first the child is amused by his anus and feces, and gaily inserts his finger into the orifice, smelling it, smearing feces on the walls, playing games of touching objects with his anus, and the like. This is a universal form of play that does the serious work of all play: it reflects the discovery and exercise of natural bodily functions; it masters an area of strangeness; it establishes power and control over the deterministic laws of the natural world; and it does all this with symbols and fancy. With anal play the child is already becoming a philosopher of the human condition. But like all philosophers he is still bound by it, and his main task in life becomes the denial of what the anus represents: that in fact, he is nothing but body so far as nature is concerned. Nature’s values are bodily values, human values are mental values, and though they take the loftiest flights they are built upon excrement, impossible without it, always brought back to it. As Montaigne put it, on the highest throne in the world man sits on his arse. Usually this epigram makes people laugh because it seems to reclaim the world from artificial pride and snobbery and to bring things back to egalitarian values. But if we push the observation even further and say men sit not only on their arse, but over a warm and fuming pile of their own excrement—the joke is no longer funny. The tragedy of man’s dualism, his ludicrous situation, becomes too real. The anus and its incomprehensible, repulsive product represents not only physical determinism and boundness, but the fate as well of all that is physical: decay and death.