Two quotes keep coming to mind — one famous, one not so much; one on American violence, one on the blaming and excusing that keeps it company.
“The essential American soul is hard, isolate, stoic, and a killer. It has never yet melted,” wrote D. H. Lawrence:
It is the miserable story of the collapse of the white psyche. The white man’s mind and soul are divided between these two things: innocence and lust, the Spirit and Sensuality. Sensuality always carries a stigma, and is therefore more deeply desired, or lusted after. But spirituality alone gives the sense of uplift, exaltation, and “winged life”: with the inevitable reaction into sin and spite. So the white man is divided against himself. He plays off one side of himself against the other side, till it is really a tale told by an idiot, and nauseating.
Against this, one is forced to admire the stark, enduring figure of Deerslayer. He is neither spiritual nor sensual. He is a moraliser, but he always tries to moralise from actual experience, not from theory. He says: “Hurt nothing unless you’re forced to.” Yet he gets his deepest thrill of gratification, perhaps, when he puts a bullet through the heart of a beautiful buck, as it stoops to drink at the lake. Or when he brings the invisible bird fluttering down in death, out of the high blue. “Hurt nothing unless you’re forced to.” And yet he lives by death, by killing the wild things of the air and earth.
It’s not good enough.
But you have there the myth of the essential white American. All the other stuff, the love, the democracy, the floundering into lust, is a sort of by-play. The essential American soul is hard, isolate, stoic, and a killer. It has never yet melted.
Of course the soul often breaks down into disintegration, and you have lurid sin and Judith, imbecile innocence lusting, in Hetty, and bluster, bragging, and self-conscious strength, in Harry. But these are the disintegration products.
What true myth concerns itself with is not the disintegration product. True myth concerns itself centrally with the onward adventure of the integral soul. And this, for America, is Deerslayer. A man who turns his back on white society. A man who keeps his moral integrity hard and intact. An isolate, almost selfless, stoic enduring man, who lives by death, by killing, but who is pure white.
This is the very intrinsic-most American. He is at the core of all the other flux and fluff. And when this man breaks from his static isolation, and makes a new move, then look out, something will be happening.
The other is from Miroslav Volf:
In extraordinary situations and under extraordinary directors, certain themes from the “background cacophony” are picked up, orchestrated into a bellicose musical, and played up. “Historians”—national, communal, or personal interpreters of the past—trumpet the double theme of the former glory and past victimization; “economists” join in with the accounts of present exploitation and great economic potentials; “political scientists” add the theme of the growing imbalance of power, of steadily giving ground, of losing control over what is rightfully ours; “cultural anthropologists” bring in the dangers of the loss of identity and extol the singular value of our personal or cultural gifts, capable of genuinely enriching the outside world; “politicians” pick up all four themes and weave them into a high-pitched aria about the threats to vital interests posed by the other who is therefore the very incarnation of evil; finally the “priests” enter in a solemn procession and accompany all this with a soothing background chant that offers to any whose consciences may have been bothered the assurance that God is on our side and that our enemy is the enemy of God and therefore an adversary of everything that is true, good, and beautiful.
As this bellicose musical with reinforcing themes is broadcast through the media, resonances are created with the background cacophony of evil that permeates the culture of a community, and the community finds itself singing the music and marching to its tune. To refuse to sing and march, to protest the madness of the spectacle, appears irrational and irresponsible, naïve and cowardly, treacherous toward one’s own and dangerously sentimental toward the evil enemy.