“Metal for Wintertime” by James Parker (Arthur, 2005)

Originally published in Arthur No. 15 (Jan 2005)

“Metal for Wintertime”
by James Parker

Reviewed:

JESU
Jesu
(HydraHead)

HIGH ON FIRE
Blessed Black Wings
(Relapse)

OM
Variations On A Theme
(Holy Mountain)

DEAD MEADOW
Feathers
(Matador)

What a band was Godflesh. In the person of Justin Broadrick, with his combat boots, and his black clothes, and his electrode-ready shaved head, and his searing, clattering guitar tone, and his militant drum machine, and the traumatic circular lurching and nodding thing he would do onstage (which recalled to me unavoidably the movements of a cage-maddened polar bear I once saw in London’s Regents Park Zoo), a particular strand of post-punk disgust seemed to have fused—at very high pressure—with a severe religious impulse: here, one sensed, was a real ascetic, a world-class world-rejector. Of course, there was a lot of it about at the time —Eighties, early Nineties. Plenty of bands were disgusted, there were plenty of bleak and black-clad zealots with guitars for whom flesh was pain, existence gaol and society nothing but a species of sausage-grinder, but with Broadrick all that grimness and refusal was sublimed into something beautiful. Like a proper heretic, like a martyr in an El Greco painting, he had his eyes on the beyond; he was going down to rise above; even in Godflesh’s sickest, most imploded moments you could still hear that rage for transcendence. Slavestate… mindfuck… circle of shit etc (this was the tenor of Godflesh lyrics). Vivisection… the void… blah. But there was always beauty, somewhere about. On a chemical trace of melody Broadrick could compose an anthem.

Almost in passing, wrestling with machines, he invented industrial metal, Fear Factory and I don’t know who else, but Godflesh was never so much about ‘musical development’ as it was about the steady excavation and elaboration of a mindset, the dogged unburying of psychic material. The final album, Hymns, was the masterpiece—higher and heavier than ever. Ted Parsons (Swans, Prong) played drums, and that was beautiful—instead of the pedantic tang! tang! of the artificial ride we had the knelling cymbal-strokes of Ted, making his powerful human difference. He’s playing again in Jesu, Broadrick’s new thing, now here with a self-titled album. In Jesu all the high-low dualisms of Godflesh are magnified—decelerated, chilled down and magnified. The music moves with a dolorous processional slowness, at times hitting Swans-speed – that castigating trudge—but layered over the top is all manner of loveliness. Guitars prickle and expire over glacial, grinding bass-phrases. Keyboards float, entranced, above gulfs of noise. You need your ears for this one; there are exquisite and almost-painful things going on in the upper frequencies. (Swans-meets-My Bloody Valentine? I’m no good with the rockcrit formulae.) Broadrick sings for the most part in a prayer-like murmur, with reverb bouncing his prayers back at him—“I know the stones I’ve thrown/ They come back twice as strong”—and refrigerated puffs of ambience sailing by. (Swans-meets-My Bloody Valentine-meets-Boards Of Canada? On Ketamine? Still no good.) Passages of Jesu are crushingly beautiful—really. I almost cried.

The press release from Holy Mountain pluckily hails the new Om CD (their first) as “the triumphant return of two-thirds of Sleep!” Might have been a good name for the record, that—Two Thirds of Sleep. Better, perhaps, than Variations On a Theme which is its actual title. Anyway, two-thirds of Sleep is what we have here: drummer Chris Hakius and bassist/vocalist Al Cisneros, who earned their place in history as Matt Pike’s partners on the monumental Jerusalem, 52 minutes of bloody-fingered bong-metal mastery. In the great fission of Sleep Pike went flaming off with the high end and the songs, leaving Hakius and Cisneros to rumble along the drone-continuum in 20-minute guitar-free groove orgies. A vast monotony presides over the Om project, from the affectless ‘zen’ singing to the unsmiling, weed-inflated lyrics—“latitudinal ground elliptic motion sets Unveil” (alright!)—but Cisneros and Hakius do make a lovely racket together, a fluid, inventive Sabbath-esque churn, and besides, monotony is clearly the point: chamber upon chamber of nullity: I mean, how high are you, anyway? Because Om are ready for you, they’ll go there, they LIVE there, they’ll play through these rocking sludge-cycles until Time peels back and the imp Infinity tips his tiny red hat.

Blessed Black Wings, High On Fire’s third album, is produced by Steve Albini. What a pleasure that was to type. I’ll do it again. Blessed Black Wings, High On Fire’s third album, is produced by Steve Albini. It’s a metalhead’s wet dream: HOF’s mad-dog pummelling preserved for us with the crushing exactness, the awesome pedantry of the recorder Albini, every ‘i’ dotted and ‘t’ crossed. HOF is of course the baby of Matt Pike, the other third of Sleep, and Blessed Black Wings is everything we’d hoped it might be. “Devilution,” the opener, is fantasyland—Des Kensel’s warrior-charge toms fading thunderously in, a riff that sounds like Hell clearing its throat and then Pike hits us with the screaming heavy metal prophecy: “MAN’S DONE! BABYLON! EAT THE FRUIT DIVINE!” You won’t hear anything more thrilling this year. The chorus could be Discharge. Conspicuous lack of interest in tunes has never been an obstacle to heaviness; Pike’s warthog shriek regularly falls to pieces and his solos have a kind of sealed autistic fury to them, but this is the glory of HOF—their bestial limitedness. Did I say bestial? I meant beastious, as in “Stepping on the curse/Inflicting its beastious wounds” (“Cometh Down Hessian”). The point is, HOF keep it narrow. They keep it bloody. They keep it orc-like. Which is smart; there are a couple of “interludes” on Blessed Black Wings, moments of quasi-lyricism when Pike dips the volume, climbs off the effects pedal and twanks a few melodically-organised notes, and it sounds like he’s playing with mittens on.

A couple of things have changed. Theres’s a new bassist here: Joe Preston. And while one regrets the passing of George Rice, with his excellently un-metal name, from the ranks of HOF, Preston (ex-Melvins, Thrones, Earth) clearly has the pedigree for the job. Also, on Blessed Black Wings HOF have rediscovered forward motion, with that “Ace Of Spades”-style oompah! oompah! that no one really does anymore. It suits them, to a degree—they can flail along. Me, I liked it when their music just STUCK, roiling and roaring in circles and vortices, impaled on a single point of intensity (see “Hung Drawn and Quartered” from the last album.) But what the fuck, this is an amazing record. It kills. It’s totally beastious.

I’m sure DC’s Dead Meadow have had quite enough of being called a comedown band, but really, the new record Feathers is such a nice place to regather your shredded faculties. Gently lumbering drums, body-temperature bass, Jason Simon’s trailing, gaseous tenor and incense-laden guitar, now and then the leviathanic stirring of a riff—the brain’s root gets a solid, loving massage. Anton “Send the waitress up here RIGHT NOW!” Newcombe, from the Brian Jonestown Massacre, has produced them (not this album) which makes sense; Dead Meadow have BJM’s shimmering near-vapidity, the airy jingle-jangle, but there’s muscle in here too, some proper dead-eyed Om-Style groove commitment, boring backwards through hard rock into a gaping psychedelic sprawl. Fairies wear boots, as Ozzy observed. I don’t have the lyrics in front of me, but I’m told that they are fantasy-encrusted, steeped in Tolkienry etc. Sounds fine—you can never have too many elves—although in the general drifting-off of Simon’s vocals one hears not legends or narratives but fugues, suspensions—self-doubting orcs, doped-out dwarves looking muzzily at their dropped tools. It’s gorgeous, utterly. The ground shifts, the music raves and sways. Watch the princes shed their armor. Come on down!

This woman is a saint/genius, and a genuine cause for Hope.


Labor Union, Redefined, for Freelance Workers

By STEVEN GREENHOUSE
Published: January 27, 2007
New York Times

Herding freelancers is a bit like herding cats. Both are notoriously independent.

Nonetheless, Sara Horowitz has figured out a way to bring together tens of thousands of freelancers — Web designers, video editors, writers, dancers and graphic artists — into a thriving organization.

Ms. Horowitz has founded the Freelancers Union, offering members lower-cost health coverage and other benefits that many freelancers often have a hard time getting.

A former labor lawyer, Ms. Horowitz intends to form a forceful advocacy group for freelancers and independent contractors, the most mobile members of an increasingly mobile work force. In addition, she is trying to adapt unions to a world far different from yesteryear, when workers often remained with one employer for two or three decades.

“This really is about a new unionism,” she said, “and what it means is to bring people together to solve their problems.”

Having signed up 40,000 freelancers from the New York area, she is now planting her group’s flag across the nation, hoping to herd far more of the nation’s 20 million freelancers and independent contractors into her union.

“These workers are the backbone for so many industries vital to our nation’s economy — I.T., financial services, the arts, advertising and publishing,” she said. “Yet these same workers are not afforded simple job protections or a social safety net.”

By creating a new type of union for nontraditional workers, Ms. Horowitz hopes to help revive the labor movement. Its membership has slipped to just 7.4 percent of the private-sector work force, down from one-third in 1960.

Unlike traditional unions, the Freelancers Union has no intention of bargaining with employers. Still, Ms. Horowitz says her group’s main goal is identical to that of all unions — providing mutual aid, in this case health benefits, to their members.

“More and more people are not going to get their benefits from an employer,” Ms. Horowitz said. “Our ultimate goal is to update the New Deal. It is to create a new safety net that’s connected to the individual as they move from job to job.”

Jennifer Lebin joined the Freelancers Union while living in Manhattan after seeing one of its subway ads that say, “Welcome to Middle-Class Poverty.” Ms. Lebin, a political consultant, bought the group’s health coverage and paid $20 to attend a union-sponsored seminar offering tax advice to consultants and independent contractors.

Ms. Lebin, who has moved to Chicago, expressed disappointment that she could no longer use the union’s health plan — doctors in Illinois are not part of the network. “If there is a way that the Freelancers Union could offer the same benefits to members outside the New York area, I’d sign up in a heartbeat,” she said.

The Freelancers Union, which sells benefits à la carte, hopes to offer health benefits in 10 states by the end of this year. It is already offering its discounted disability and life insurance nationwide.

More than 14,000 freelancers in the New York area have bought its health insurance, generally for about $300 a month, some 40 percent below what they would normally pay elsewhere. The organization has also used its group purchasing power to help freelancers obtain discounted dental, disability and life insurance.

Membership in the Freelancers Union is free. To finance itself, the group uses an entrepreneurial model: it earns modest commissions on the benefits that its members buy.

Robert Bruno, a professor of labor relations at the University of Illinois at Chicago, praised the group’s innovative approach, although he said it could not replace traditional unions.

“This needs to be part of labor’s repertoire,” Professor Bruno said. “To the degree it helps to reshape what we’ve come to understand what a labor organization is, it’s all to the good.”

Ms. Horowitz, 44, won a MacArthur genius award in 1999 after she established Working Today, a group based in Brooklyn that focused on providing benefits to New Yorkers in flexible work arrangements. She founded the Freelancers Union in 2003, with a more ambitious vision.

The group intends to do advocacy work just like a labor union. In New York, it is backing legislation to let freelancers obtain unemployment insurance. Even if freelancers are laid off after working for an employer for two years, they cannot receive unemployment benefits because they are considered independent contractors.

Some members do not expect the group to play the role of a traditional union.

“Unions represent members in negotiating wages and benefits,” said Barbara Scott, an artist in Berlin Center, Ohio. “I don’t see the Freelancers Union functioning that way. I see it as a networking tool.”

Bobby Ambrose, a graphic designer in Chicago, disagreed.

“I was hoping that they would be like a labor union,” Mr. Ambrose said. “There are a lot of situations that freelancers face regarding pay rates and job hours, like when you’re doing full-time work when you’re only hired to be part time. It would be nice if they could push to make things better.”

Several traditional unions are studying the freelance union’s progress, perhaps to borrow some ideas on organizing nonunion workers and offering benefits.

“The labor movement,” Ms. Horowitz said, “went from guilds through mutual aid societies through craft unions and through industrial unionism. You’re not going to persuade me that there is not going to be a new form of unionism. The story’s not over on what we’re creating.”

ARTHUR EMAIL BULLETIN No. 0065

“COMMAND PERFORMANCE”

The Arthur Magazine Email Bulletin

No. 0065

January 25, 02007

Website:

http://www.arthurmag.com

Blog:

http://www.arthurmag.com/magpie

lameSpace:

http://www.myspace.com/arthurmag

Comments:

editor@arthurmag.com

1. THANKYOUFORLETTINUSBEOURSELVESAGAIN.

Please join us for an evening of music, spirits and celebration 

tonight tonight TONIGHT at 

The Echo Park Social(ist) & Pleasure Club

Thursday, Jan. 25

and every Thursday night

10pm-close

at

Little Joy

1477 Sunset Blvd in Echo Park

FREEEEEEeeeeeeEEEEEEEE

21 & up

presented by Arthur Magazine, L.A. Record and The Journal for Aesthetics and Protest

Tonight’s DJs will be Zach Cowie and his secret friends.

Tonight’s bartender will be Arthur Magazine’s “Do the Math” pundit Dave Reeves. 

If you were there last week, this is what you heard:

***DJ: Jay Babcock – a set of Fat Possum “George Mitchell Collection” 7-inch records ***

Houston Stackhouse – “Big Fat Mama Blues”

Dewey Corley & Walter Miller – “Just a Dream I Got on My Mind” / “Memphis a Wonderful City”

Othar Turner – “Bumble Bee”

John Lee Ziegler – “If I Lose Let Me Lose”

George Henry Bussey – “When I’m Sober” / “Mean Mistreater”

Leon Pinson – “Motherless Child” 

Buddy Moss – “Thousand Woman Blues”

Cecil Barfield – “I Told You Not to Do That”

Big Joe Williams – “Everyone Got a Woman” / “What She Need With a Rooster”

Lonzie Thomas – “Rabbit on a Log”/”Raise a Ruckus Tonight”/”My Three Women”

Sleepy John Estes – “Rats in the Kitchen” / “Special Agent”

William ‘Do-Boy’ Diamond – “Hard Time Blues”

***DJs Mark Frohman & Molly Frances ***

little junior and the blue flames–mystery train

johnny burnette–lonesome train

the yardbirds—train kept a rollin

the fugs—group grope

little richard–lucille

the sonics

the creation–biff bang pow

captain beefheart–obeah man

alton ellis–lovely place

the clash–big black cadillac

the modern lovers–I’m straight

beat happening–pinebox

the action–

the cramps–human fly

cathy rich–wild thing

television–little johnny jewel 7″

the stooges–cock in my pocket

the remains—don’t look back

jackie mittoo–last train to skaville

junior wells & buddy guy–snatch it back and hold it

*** DJ: Jay Babcock ***

(more or less in sequence)

Sly & the Family Stone – “In Time”

Sly & the Family Stone – “Time for Livin'”

Sly & the Family Stone – “Let Me Have It All” (alt mix)

Sly & the Family Stone – “Mother Beautiful”

Sly & the Family Stone – “(You Caught Me) Smilin”

Sly & the Family Stone – “Crossword Puzzle” (early version)

Sly & the Family Stone – “If You Want Me to Stay”

Sly & the Family Stone – “Luv N Haight”

Sly & the Family Stone – “If It Were Left Up to Me”

Sly & the Family Stone – “Can’t Strain My Brain”

Sly & the Family Stone – “Loose Booty”

Sly & the Family Stone – “Frisky”

Sly & the Family Stone – “Family Affair”

Sly & the Family Stone – “Babies Makin’ Babies” (alt version)

Sly & the Family Stone – “Running Away”

Sly & the Family Stone – “Just Like a Baby”

Sly & the Family Stone – “I Don’t Know (Satisfaction)”

Ike Turner & His Kings of Rhythm 

Alice Coltrane – “Govinda Jai Jai”

Beach House – “Master of None”

Stereolab – “Vonal Declosion”

LCD Soundsystem – “North American Scum”

Black Sabbath – “Supernaut”

Alice Coltrane – “Journey In Satchidananda”

2. THIS SAT IN L.A. – BENEFIT FOR ALL-AGES HOTSPACE IL CORRAL.

From Sean Carnage: “SUPER AWESOME BENEFIT SHOW WITH ANAVAN THIS SATURDAY!!! WE HAVE SPECIAL GUESTS DJ CAPTAIN AHAB, DJ BJ FROM PORTLAND, TOTALLY RADD’S CROOKED COWBOY BAND, THE *AMAZING* EMCEE BIZZART, ROBIN WILLIAMS ON FIRE (JUST ADDED!!!), KYLE MABSON, AND A DANCE PARTY THAT GOES UNTIL 11 AM!!!!!  STARTS 7PM WITH COCKTAIL HOUR AND A SCREENING OF 40 BANDS/80 MINUTES! MUSIC AT 9PM. ENTRY $10 (TO BUY IL CORRAL A NEW PA). SUPPORT IL CORRAL MUSIC!!!”

more info: http://www.ilcorral.net/

3. TRINIE DALTON & STEVE ‘PLASTIC CRIMEWAVE’ KRAKOW IN CHAT/DUET AT QUIMBY’S THIS SATURDAY.

Arthur Magazine and Drag City presents

Trinie Dalton and Steve Krakow

Saturday, January 27 at 8PM

FREEEEEEEEEEEEEEEEE

Quimby’s Bookstore

1854 West North Ave.

Chicago, IL 60622

www.quimbys.com

“Ms. Dalton, author of ‘Wide Eyed’ (Akashic Books) and co-editor of ‘Dear New Girl or Whatever Your Name Is’ (McSweeney’s) will read from her yet-to-be-finished novel. Her writing has appeared in Arthur, LA Weekly, Bomb, Nerve.com, Purple, and The Believer. When not playing guitar hero for reals in Plastic Crimewave Sound, Mr. Krakow writes, edits and draws the mind-expanding psychedelic pop hurricane called Galactic Zoo Dossier. Together, they will have an amicable chat about zines, weird Americas old and new, and other subcultural curiosities.”

Don’t be bummed into submission.

Arthur Unlimited Dream Co.

Atwater Village, California

TRINIE DALTON and STEVE KRAKOW this Saturday FREE in Chicago!

Saturday, January 27 at 8PM
Arthur Magazine and Drag City presents…
Trinie Dalton and Steve Krakow

Ms. Dalton, author of Wide Eyed (Akashic Books) and co-editor of the wonderfully weird Dear New Girl or Whatever Your Name Is (McSweeney’s) will read from her yet-to-be-finished novel. Her writing has appeared in Arthur, LA Weekly, Bomb, Nerve.com, Purple, and The Believer. When not playing guitar hero for reals in Plastic Crimewave Sound, Mr. Krakow writes, edits and draws the mind-expanding psychedelic pop hurricane called Galactic Zoo Dossier. Together, they will have an amicable chat about zines, weird Americas old and new, and other subcultural curiosities.

Trinie Dalton & Plastic Crimewave Steve Krakow
Saturday, January 27th, 8pm, FREE
Quimby’s Bookstore
1854 West North Ave.
Chicago, IL 60622
www.quimbys.com

Chris Hedges: The Radical Christian Right Is Built on Suburban Despair

from alternet.org

The Radical Christian Right Is Built on Suburban Despair
By Chris Hedges, AlterNet. Posted January 19, 2007.

Millions of Americans live trapped in soulless exurbs which lack any kind of community, leaving them feeling isolated and vulnerable. Without alternatives for their social despair, they flock to demagogues promising revenge and a mythical utopia.

The engine that drives the radical Christian Right in the United States, the most dangerous mass movement in American history, is not religiosity, but despair. It is a movement built on the growing personal and economic despair of tens of millions of Americans, who watched helplessly as their communities were plunged into poverty by the flight of manufacturing jobs, their families and neighborhoods torn apart by neglect and indifference, and who eventually lost hope that America was a place where they had a future.

This despair crosses economic boundaries, of course, enveloping many in the middle class who live trapped in huge, soulless exurbs where, lacking any form of community rituals or centers, they also feel deeply isolated, vulnerable and lonely. Those in despair are the most easily manipulated by demagogues, who promise a fantastic utopia, whether it is a worker’s paradise, fraternite-egalite-liberte, or the second coming of Jesus Christ. Those in despair search desperately for a solution, the warm embrace of a community to replace the one they lost, a sense of purpose and meaning in life, the assurance they are protected, loved and worthwhile.

During the past two years of work on the book American Fascists: The Christian Right and the War on America, I kept encountering this deadly despair. Driving down a highway lined with gas stations, fast food restaurants and dollar stores I often got vertigo, forgetting for a moment if I was in Detroit or Kansas City or Cleveland. There are parts of the United States, including whole sections of former manufacturing centers such as Ohio, that resemble the developing world, with boarded up storefronts, dilapidated houses, pot-hole streets and crumbling schools. The end of the world is no longer an abstraction to many Americans.

Jeniece Learned is typical of many in the movement. She stood, when I met her, amid a crowd of earnest-looking men and women, many with small gold crosses in the lapels of their jackets or around their necks, in a hotel lobby in Valley Forge, Pennsylvania. She had an easy smile and a thick mane of black, shoulder length hair. She was carrying a booklet called “Ringing in a Culture of Life.” The booklet had the schedule of the two day event she is attending organized by The Pennsylvania Pro-Life Federation. The event was “dedicated to the 46 million children who have died from legal abortions since 1973 and the mothers and fathers who mourn their loss.”

Learned, who drove five hours from a town outside of Youngstown, Ohio was raised Jewish. She wore a gold Star of David around her neck with a Christian cross inserted in the middle of the design. She stood up in one of the morning sessions, attended by about 300 people, most of them women, when the speaker, Alveda King, niece of Dr. Martin Luther King, asked if there were any “post-abortive” women present. Learned ran a small pregnancy counseling clinic called Pregnancy Services of Western Pennsylvania in Sharon, where she attempted to talk young girls and women, most of them poor, out of abortions.

She spoke in local public schools, promoting sexual abstinence, rather than birth control, as the only acceptable form of contraception. And she had found in the fight against abortion, and in her conversion, a structure, purpose and meaning that previously eluded her. The battle against abortion is one of the Christian Rights’s most effective recruiting tools. It plays on the guilt and shame of woman who had the abortions, accusing them of committing murder, and promising redemption and atonement in the “Christian” struggle to make abortion illegal, in the fight for life against “the culture of death.”

Her life, before she was saved, was, like many in this mass movement, chaotic and painful. Her childhood was stolen from her. She was sexually abused by a close family member. Her mother periodically woke Learned and her younger sister and two younger brothers in the middle of the night to flee landlords who wanted back rent. The children were bundled into the car and driven in darkness to a strange apartment in another town. Her mother worked nights and weekends as a bartender. Learned, the oldest, often had to run the home. Her younger sister, who was sexually abused by another member of the family, eventually committed suicide as an adult, something Learned also considered. As a teenager she had an abortion.

She was taking classes at Pacific Christian College several years later when she saw an anti-abortion film called The Silent Scream. “You see in this movie this baby backing up trying to get away from this suction tube,” she said. “And, its mouth is open and it is like this baby is screaming. I flipped out. It was at that moment that God just took this veil that I had over my eyes for the last eight years. I couldn’t breathe. I was hyperventilating. I ran outside. One of the girls followed me from Living Alternative. And she said, ‘Did you commit your life to Christ?’ And I said, ‘I did.’ And she said, ‘Did you ask for your forgiveness of sins?’ And I said, ‘I did.’ And she goes, ‘Does that mean all your sins, or does that mean some of them?’ And I said, ‘I guess it means all of them.’ So she said, ‘Basically, you are thinking God hasn’t forgiven you for your abortion because that is a worse sin than any of your other sins that you have done.'”

The film brought her into the fight to make abortion illegal. Her activism became atonement for her own abortion. She struggled with depression after she gave birth to her daughter Rachel. When she came home from the hospital she was unable to care for her infant. She thought she saw an 8-year-old boy standing next to her bed. It was, she is sure, the image of the son she had murdered.

“I started crying and asking God over and over again to forgive me,” she says. “I had murdered His child. I asked Him to forgive me over and over again. It was just incredible. I was possessed. On the fourth day I remember hearing God’s voice. ‘I have your baby, now get up!’ It was the most incredibly freeing and peaceful moment. I got up and I showered and I ate. I just knew it was God’s voice.”

In the United States we have turned our backs on the working class, with much of the worst assaults, such as NAFTA and welfare reform, pushed though during President Clinton’s Democratic administration. We stand passively and watch an equally pernicious assault on the middle class. Anything that can be put on software, from architecture to engineering to finance, will soon be handed to workers overseas who will be paid a third what their American counterparts receive and who will, like some 45 million Americans, have no access to health insurance or benefits.

There has been, along with the creation of an American oligarchy, a steady Weimarization of the American working class. The top one percent of American households have more wealth than the bottom 90 percent combined. This figure alone should terrify all who care about our democracy. As Plutarch reminded us “an imbalance between the rich and poor is the oldest and most fatal ailment of all republics.”

The stories believers such as Learned told me of their lives before they found Christ were heart breaking. These chronicles were about terrible pain, severe financial difficulties, struggles with addictions or childhood sexual or physical abuse, profound alienation and often thoughts about suicide. They were chronicles without hope. The real world, the world of facts and dispassionate intellectual inquiry, the world where all events, news and information were not filtered through this comforting ideological prism, the world where they were left out to dry, abandoned by a government hostage to corporations and willing to tolerate obscene corporate profits, betrayed them.

They hated this world. And they willingly walked out on this world for the mythical world offered by these radical preachers, a world of magic, a world where God had a divine plan for them and intervened on a daily basis to protect them and perform miracles in their lives. The rage many expressed to me towards those who challenge this belief system, to those of us who do not accept that everything in the world came into being during a single week 6,000 years ago because it says so in the Bible, was a rage born of fear, the fear of being plunged back into a reality-based world where these magical props would no longer exist, where they would once again be adrift, abandoned and alone.

The danger of this theology of despair is that it says that nothing in the world is worth saving. It rejoices in cataclysmic destruction. It welcomes the frightening advance of global warming, the spiraling wars and violence in the Middle East and the poverty and neglect that have blighted American urban and rural landscapes as encouraging signs that the end of the world is close at hand.

Believers, of course, clinging to this magical belief, which is a bizarre form of spiritual Darwinism, will be raptured upwards while the rest of us will be tormented with horrors by a warrior Christ and finally extinguished. This obsession with apocalyptic violence is an obsession with revenge. It is what the world, and we who still believe it is worth saving, deserve.

Those who lead the movement give their followers a moral license to direct this rage and yearning for violence against all those who refuse to submit to the movement, from liberals, to “secular humanists,” to “nominal Christians,” to intellectuals, to gays and lesbians, to Muslims. These radicals, from James Dobson to Pat Robertson, call for a theocratic state that will, if it comes to pass, bear within it many of the traits of classical fascism.

All radical movements need a crisis or a prolonged period of instability to achieve power. And we are not in a period of crisis now. But another catastrophic terrorist attack on American soil, a series of huge environmental disasters or an economic meltdown will hand to these radicals the opening they seek. Manipulating our fear and anxiety, promising to make us safe and secure, giving us the assurance that they can vanquish the forces that mean to do us harm, these radicals, many of whom have achieved powerful positions in the Executive and legislative branches of government, as well as the military, will ask us only to surrender our rights, to pass them the unlimited power they need to battle the forces of darkness.

They will have behind them tens of millions of angry, disenfranchised Americans longing for revenge and yearning for a mythical utopia, Americans who embraced a theology of despair because we offered them nothing else.

Chris Hedges, a graduate of Harvard Divinity School and former Pulitzer-prize winning foreign correspondent for The New York Times, is the author of American Fascists: The Christian Right and the War on America.