5 It is not only that we can imagine opposite states, such as the non-existence of the existent thing; we can imagine countless intermediary states. And our nemo gains power over our behaviour to the extent that we believe that were it not for the faults of the human condition, or of society, or of our education, or of our economic position, then we might be what we can imagine. It grows, in short, in strict relation to our sense and knowledge of general and personal inequality.
6 There are basic aspects of the nemo that can never be remedied. I can never be the historical Shakespeare or the historical Cleopatra; I can never be some modern equivalent of them. I can never live for ever… and so on. I can imagine myself to be countless things that I shall never be; for I can never be without the physical and psychological defects it is beyond my own, and science’s, powers to remedy. Though it is logically nonsensical to call the inevitable a state of inequality, we do in fact think of it so. And this may be termed the permanent metaphysical sense of the nemo in all of us.
7 The nemo is a man’s sense of his own futility and ephemerality; of his relativity, his comparativeness; of his virtual nothingness.
8 All of us are failures; we all die.
9 Nobody wants to be a nobody. All our acts are partly devised to fill or to mask the emptiness we feel at the core.
10 We all like to be loved or hated; it is a sign that we shall be remembered, that we did not ‘not exist’. For this reason, many unable to create love have created hate. That too is remembered.
11 The individual thing in front of the whole: my insignificance in face of all that has existed, exists, and will exist. We are almost all dwarfs, and we have the complexes and psychological traits characteristic of dwarfs: feelings of inferiority, with compensatory cunning and malice.
12 We have different ideas of what constitutes a ‘somebody’; but there are certain generally accepted specifications. It is necessary to make my name known; I must have power – physical, social, intellectual, artistic, political… but power. I must leave monuments, I must be remembered. I must be admired, envied, hated, feared, desired. In short, I must endure, I must extend, and beyond the body and the body’s life.
13 Belief in an afterlife is partly an ostrich attempt to cheat the nemo.
14 The new paradise is the entry after death into that world of the remembered dead where the Irving continue to wander. One gained access to the old paradise by good actions and divine grace; but one gains access to the new paradise simply by actions: actions good or bad that will be remembered. In the new paradise the elect are the notorious, the most famous, the greatest of their kind – whatever that kind was.
15 There are two principal ways to defeat the nemo: I can conform or I can conflict. If I conform to the society I live in, I will use the agreed symbols of success, the status symbols, to prove that I am somebody. Some uniforms prove I am a success; others hide that I am a failure. One of the attractions of the uniform is that it puts a man in a situation where part of the blame for failure can always be put on the group. A uniform equalizes all who wear it. They all fail together; if there is success, they all share it.
16 I can counter my nemo by conflicting; by adopting my own special style of life. I build up an elaborate unique persona, I defy the mass. I am the bohemian, the dandy, the outsider, the hippy.
17 A great deal of recent art has been conditioned by the pressures of the nemo. There is the desperate search for the unique style, and only too often this search is conducted at the expense of content. Genius will satisfy both requirements; but many a less gifted contemporary artist has become the victim of his own ‘trademark’. This accounts for the enormous proliferation in styles and techniques in our century; and for that only too characteristic coupling of exoticism of presentation with banality of theme. Once artists ran to a centre; now they fly to the circumference. And the result is our new rococo.
18 One may call this the positive evil effect on art of the nemo; but it has also a negative evil one. A jungle of pastiche grows round each work or artist that is felt to be genuinely ‘creative’ – that is, nemo-killing.
19 Romantic and post-Romantic art is all pervaded by fear of the nemo; by the flight of the individual from whatever threatens his individuality. The calm of classical statues, classical architecture, classical poetry seems noble perhaps, but infinitely remote; and when it is without genius, classical art seems to us now insipidly bland and monotonously impersonal.
20 At the same time never have so many had such easy access to great art. The best is everywhere. The smaller we feel, the less able we are to be creative. This is why we try to escape through futile new styles, futile new fashions, like panic-stricken children in a building on fire; throwing ourselves at every exit.
21 We live in an age of short-duration goods. Most of us are concerned in the production of such goods. Few of us now produce things that will outlast the next five years, let alone our lives. We are part of a chain. We are nemo-tyrannized.
22 As populations increase, the people that seem to have conquered the nemo gain in fascination; and quite irrespective of their human worth.
23 Oswald killed President Kennedy in order to kill his real enemy: his nemo. He was not a man blind to reality, but hypersensitive to it. What drove him to kill was the poisonous injustice of both his particular society and the whole process. Again and again the anarchist assassins of the late nineteenth century asserted this: they did what they did to make themselves equal with the assassinated. One said: ‘Now I shall be remembered as long as he is.’*
24 The German people allowed Hitler to dominate their lives for the same reason. Like individuals, races and countries can lose their sense of importance, of meaningfulness. A great dictator is like a uniform; he gives the illusion to all below him that the nemo is defeated.
25 On a less harmful level we see it in the mass admiration of the famous and the successful; of the film star, the ‘personality’, the ‘celebrity’; in the popularity of the gossip magazine, the pin-up cult, the cheap biography, in the imitative mannerisms and living-styles disseminated by women’s magazines. We see it in the attention lavished on every flashy mediocrity, every mayfly success. It is not only Hollywood that treats everything it produces as ‘great’: the public wants this spurious greatness.
26 The nemo is strongest in the most evolved and best educated, weakest in the most primitive and ignorant. So it is clear that its power can only increase, not only as higher general standards of education are achieved, but also as the populations of the world grow. To the extent that there is more opportunity for leisure and more information available, boredom and envy will also increase. Terrible chain-reactions come into play: the more individuals the less individual they each feel; the more clearly they see injustice and inequality the more helpless they seem to become; the more they know the more they want to be known; and the more they want to be known the less likely it becomes that they will be.
27 As it becomes increasingly difficult to defeat the nemo by attracting attention in the outside world, we turn increasingly to the small personal world in which we live: to friends, relations, neighbours, colleagues. If we can defeat the nemo there, then that at least is something; and so arises the current obsession with conspicuous consumption, with keeping up with the Joneses, with proving our superiority on however absurd and humble a level – in our skill with a golf-club, with Italian cooking, with growing roses. So arises our mania for gambling in all its forms; and even our preoccupation with things excellent in themselves, like higher wages and healthier and better-educated children.