Amusing Ourselves to Death (17 page)

But there is a subtler point to be made here. Many of the President’s “misstatements” fall in the category of contradictions—mutually exclusive assertions that cannot possibly both, in the same context, be true. “In the same context” is the key phrase here, for it is context that defines contradiction. There is no problem in someone’s remarking that he prefers oranges to apples, and also remarking that he prefers apples to oranges—not if one statement is made in the context of choosing a wallpaper design and the other in the context of selecting fruit for dessert. In such a case, we have statements that are opposites, but not contradictory. But if the statements are made in a single, continuous, and coherent context, then they are contradictions, and cannot both be true. Contradiction, in short, requires that statements and events be perceived as interrelated aspects of a continuous and coherent context. Disappear the context, or fragment it, and contradiction disappears. This point is nowhere made more clear to me than in conferences with my younger students about their writing. “Look here,” I say. “In this paragraph you have said one thing. And in that you have said the opposite. Which is it to be?” They are polite, and wish to please, but they are as baffled by the question as I am by the response. “I know,” they will say, “but that is
there
and this is
here.
” The difference between us is that I assume “there” and “here,” “now” and “then,” one paragraph and the next to be connected, to be continuous, to be part of the same coherent world of thought. That is the way of typographic discourse, and typography is the universe I’m “coming from,” as they say. But they are coming from a different universe of discourse altogether: the “Now ... this” world of television. The fundamental assumption of that world is not coherence but discontinuity. And in a world of discontinuities, contradiction is useless as a test of truth or merit, because contradiction does not exist.

My point is that we are by now so thoroughly adjusted to the “Now ... this” world of news—a world of fragments, where events stand alone, stripped of any connection to the past, or to the future, or to other events—that all assumptions of coherence have vanished. And so, perforce, has contradiction. In the context of
no context,
so to speak, it simply disappears. And in its absence, what possible interest could there be in a list of what the President says
now
and what he said
then?
It is merely a rehash of old news, and there is nothing interesting or entertaining in that. The only thing to be amused about is the bafflement of reporters at the public’s indifference. There is an irony in the fact that the very group that has taken the world apart should, on trying to piece it together again, be surprised that no one notices much, or cares.

For all his perspicacity, George Orwell would have been stymied by this situation; there is nothing “Orwellian” about it. The President does not have the press under his thumb.
The New York Times
and
The Washington Post
are not
Pravda;
the Associated Press is not Tass. And there is no Newspeak here. Lies have not been defined as truth nor truth as lies. All that has happened is that the public has adjusted to incoherence and been amused into indifference. Which is why Aldous Huxley would not in the least be surprised by the story. Indeed, he prophesied its coming. He believed that it is far more likely that the Western democracies will dance and dream themselves into oblivion than march into it, single file and manacled. Huxley grasped, as Orwell did not, that it is not necessary to conceal anything from a public insensible to contradiction and narcoticized by technological diversions. Although Huxley did not specify that television would be our main line to the drug, he would have no difficulty accepting Robert MacNeil’s observation that “Television is the
soma
of Aldous Huxley’s
Brave New World.
” Big Brother turns out to be Howdy Doody.

I do not mean that the trivialization of public information is all accomplished
on
television. I mean that television is the paradigm for our conception of public information. As the printing press did in an earlier time, television has achieved the power to define the form in which news must come, and it has also defined how we shall respond to it. In presenting news to us packaged as vaudeville, television induces other media to do the same, so that the total information environment begins to mirror television.

For example, America’s newest and highly successful national newspaper,
USA Today,
is modeled precisely on the format of television. It is sold on the street in receptacles that look like television sets. Its stories are uncommonly short, its design leans heavily on pictures, charts and other graphics, some of them printed in various colors. Its weather maps are a visual delight; its sports section includes enough pointless statistics to distract a computer. As a consequence,
USA Today,
which began publication in September 1982, has become the third largest daily in the United States (as of July 1984, according to the Audit Bureau of Circulations), moving quickly to overtake the
Daily News
and the
Wall Street Journal.
Journalists of a more traditional bent have criticized it for its superficiality and theatrics, but the paper’s editors remain steadfast in their disregard of typographic standards. The paper’s Editor-in-Chief, John Quinn, has said: “We are not up to undertaking projects of the dimensions needed to win prizes. They don’t give awards for the best investigative paragraph.”
⁴
Here is an astonishing tribute to the resonance of television’s epistemology: In the age of television, the paragraph is becoming the basic unit of news in print media. Moreover, Mr. Quinn need not fret too long about being deprived of awards. As other newspapers join in the transformation, the time cannot be far off when awards will be given for the best investigative sentence.

It needs also to be noted here that new and successful magazines such as
People
and
Us
are not only examples of television-oriented print media but have had an extraordinary “ricochet” effect on television itself. Whereas television taught the magazines that news is nothing but entertainment, the magazines have taught television that nothing but entertainment is news. Television programs, such as “Entertainment Tonight,” turn information about entertainers and celebrities into “serious” cultural content, so that the circle begins to close: Both the form and content of news become entertainment.

Radio, of course, is the least likely medium to join in the descent into a Huxleyan world of technological narcotics. It is, after all, particularly well suited to the transmission of rational, complex language. Nonetheless, and even if we disregard radio’s captivation by the music industry, we appear to be left with the chilling fact that such language as radio allows us to hear is increasingly primitive, fragmented, and largely aimed at invoking visceral response; which is to say, it is the linguistic analogue to the ubiquitous rock music that is radio’s principal source of income. As I write, the trend in call-in shows is for the “host” to insult callers whose language does not, in itself, go much beyond humanoid grunting. Such programs have little content, as this word used to be defined, and are merely of archeological interest in that they give us a sense of what a dialogue among Neanderthals might have been like. More to the point, the language of radio newscasts has become, under the influence of television, increasingly decontextualized and discontinuous, so that the possibility of anyone’s knowing about the world, as against merely knowing
of
it, is effectively blocked. In New York City, radio station WINS entreats its listeners to “Give us twenty-two minutes and we’ll give you the world.” This is said without irony, and its audience, we may assume, does not regard the slogan as the conception of a disordered mind.

And so, we move rapidly into an information environment which may rightly be called trivial pursuit. As the game of that name uses facts as a source of amusement, so do our sources of news. It has been demonstrated many times that a culture can survive misinformation and false opinion. It has not yet been demonstrated whether a culture can survive if it takes the measure of the world in twenty-two minutes. Or if the value of its news is determined by the number of laughs it provides.

There is an evangelical preacher on television who goes by the name of Reverend Terry. She appears to be in her early fifties, and features a coiffure of which it has been said that it cannot be mussed, only broken. Reverend Terry is energetic and folksy, and uses a style of preaching modeled on early Milton Berle. When her audiences are shown in reaction shots, they are almost always laughing. As a consequence, it would be difficult to distinguish them from audiences, say, at the Sands Hotel in Las Vegas, except for the fact that they have a slightly cleaner, more wholesome look. Reverend Terry tries to persuade them, as well as those “at home,” to change their ways by finding Jesus Christ. To help her do this, she offers a “prosperity Campaign Kit,” which appears to have a dual purpose: As it brings one nearer to Jesus, it also provides advice on how to increase one’s bank account. This makes her followers extremely happy and confirms their predisposition to believe that prosperity is the true aim of religion. Perhaps God disagrees. As of this writing, Reverend Terry has been obliged to declare bankruptcy and temporarily halt her ministrations.

Pat Robertson is the master of ceremonies of the highly successful “700 Club,” a television show and religious organization of sorts to which you can belong by paying fifteen dollars per month. (Of course, anyone with cable television can watch the show free of charge.) Reverend Robertson does his act in a much lower register than Reverend Terry. He is modest, intelligent, and has the kind of charm television viewers would associate with a cool-headed talk-show host. His appeal to godliness is considerably more sophisticated than Reverend Terry’s, at least from the standpoint of television. Indeed, he appears to use as his model of communication “Entertainment Tonight.” His program includes interviews, singers and taped segments with entertainers who are born-again Christians. For example, all of the chorus girls in Don Ho’s Hawaiian act are born-again, and in one segment, we are shown them both at prayer and on stage (although not at the same time). The program also includes taped reenactments of people who, having been driven to the edge of despair, are saved by the 700 Club. Such people play themselves in these finely crafted docu-dramas. In one, we are shown a woman racked with anxiety. She cannot concentrate on her wifely duties. The television shows and movies she sees induce a generalized fear of the world. Paranoia closes in. She even begins to believe that her own children are trying to kill her. As the play proceeds, we see her in front of her television set chancing upon the 700 Club. She becomes interested in its message. She allows Jesus to enter her heart. She is saved. At the end of the play, we see her going about her business, calmly and cheerfully, her eyes illuminated with peace. And so, we may say that the 700 Club has twice elevated her to a state of transcendence: first, by putting her in the presence of Jesus; second, by making her into a television star. To the uninitiated, it is not entirely clear which is the higher estate.

Toward the end of each 700 Club show, the following day’s acts are announced. They are many and various. The program concludes with someone’s saying, “All this and more ... tomorrow on the 700 Club.”

Jimmy Swaggart is a somewhat older-style evangelist. Though he plays the piano quite well, sings sweetly, and uses the full range of television’s resources, when he gets going he favors a kind of fire-and-brimstone approach. But because this is television, he often moderates his message with a dollop of ecumenism. For example, his sermon on the question, Are the Jews practicing blasphemy? begins by assuring his audience that they are not, by recalling Jesus’ bar mitzvah, and by insisting that Christians owe the Jews a considerable debt. It ends with his indicating that with the loss of their Temple in Biblical times, the Jews have somehow lost their way. His message suggests that they are rather to be pitied than despised but that, in any case, many of them are pretty nice people.

It is the perfect television sermon—theatrical, emotional, and in a curious way comforting, even to a Jewish viewer. For television—bless its heart—is not congenial to messages of naked hate. For one thing, you never know who is watching, so it is best not to be wildly offensive. For another, haters with reddened faces and demonic gestures merely look foolish on television, as Marshall McLuhan observed years ago and Senator Joseph McCarthy learned to his dismay. Television favors moods of conciliation and is at its best when substance of any kind is muted. (One must make an exception here for those instances when preachers, like Swaggart, turn to the subject of the Devil and secular humanism. Then they are quite uncompromising in the ferocity of their assaults, partly, one may assume, because neither the Devil nor secular humanists are included in the Nielsen Ratings. Neither are they inclined to watch.)

There are at present thirty-five television stations owned and operated by religious organizations, but every television station features religious programming of one sort or another. To prepare myself for writing this chapter, I watched forty-two hours of television’s version of religion, mostly the shows of Robert Schuller, Oral Roberts, Jimmy Swaggart, Jerry Falwell, Jim Bakker and Pat Robertson. Forty-two hours were entirely unnecessary. Five would have provided me with all the conclusions, of which there are two, that are fairly to be drawn.

The first is that on television, religion, like everything else, is presented, quite simply and without apology, as an entertainment. Everything that makes religion an historic, profound and sacred human activity is stripped away; there is no ritual, no dogma, no tradition, no theology, and above all, no sense of spiritual transcendence. On these shows, the preacher is tops. God comes out as second banana.