The dark back of time – deconstruction in literature and religion

The Good and Evil Angels, by William Blake
BRENDAN MCNAMEE says that deconstruction is as old as its opposite

Eternity is in love with the productions of time

William Blake, The Marriage of Heaven and Hell.

Deconstruction is a modern cliché, but it is something much older and more substantive than a passing academic fad. Since it came to prominence in the sixties and seventies the word has been bandied about in general parlance, losing most of its meaning in the process.

It usually indicates a process of taking something apart and not much more than that, so you have films like Woody Allen’s Deconstructing Harry, which consists merely of a character’s evisceration, and restaurants serving desserts called deconstructed cheesecake, which consists of little more than components of cheesecake separated on a plate.

More seriously, it’s often seen as a destructive rejection of cherished beliefs and certainties. But that word ‘certainties’ is the hinge. Certainties have a way of subtly devolving from life-enhancing structures to stifling and destructive oppressions. An attractive form can hide a rotting interior. Many people instinctively recognise this. If cherished lines from widely beloved poets and musicians are an indication of this recognition then Leonard Cohen’s most oft-quoted line, ‘There is a crack in everything, that’s how the light gets in,’ from his song ‘Anthem’, indicates that deconstruction, as I will read it here, is already subconsciously understood and valued by many. Letting the light in on airless, out-dated structures and practices: that’s the essence of deconstruction.

In this essay, I shall look at deconstruction through a variety of literary quotations, ranging from Heraclitus to Heaney, which show that the practice has been around for as long as philosophy itself, and that it is, and always has been, an integral and vital part of both art and religion. I read it, in fact, as a modern secular form of mysticism, what the American academic John D. Caputo calls ‘religion without religion’ (The Prayers and Tears of Jacques Derrida: Religion Without Religion).  Caputo and Jacques Derrida, the putative originator of deconstruction, will be my main (actually, my only) links to the practice of deconstruction as it is understood in academia. My focus will be on how it manifests in the world beyond. In the second part of the essay I will attempt to show how deconstruction can be seen at work in widely disparate instances of literature and film.


Without consciousness, there is, to all intents and purposes, no world. On that basis, it can be asserted that all time is contained in the present, the past as memory, the future as anticipation. The present consists of two elements, consciousness and nature, the world within and the world without, subject and object. The world without we call ‘actuality’, all the stuff that makes up the visible universe. We see it through this mirror called consciousness. The stuff changes all the time; the mirror remains the same (that is, the phenomenon of consciousness underlies the individual manifestations of that consciousness through sentient beings in time). Consciousness, then, is another word for eternity.

Wherever there is consciousness, it is always now. But because it only knows itself by its productions, the stuff of actuality, the productions themselves come to be considered paramount, come to be thought of as reality itself. And they are necessary. Crops must be planted, cities built, cultures and laws devised. Structure reigns. But with time these structures become stifling, burdensome, tedious – the weight of tradition, the boredom of habit. The mirror becomes fogged. Deconstruction is the wiping of the mirror. Deconstruction is eternity gasping for breath.

Vladimir Nabokov

When asked whether he believed in God, Vladimir Nabokov said, ‘I know more than I can express in words, and the little I can express would not have been expressed, had I not known more’ (Strong Opinions, p45).

Is this what lies at the heart of deconstruction? A sense that the world as it is described in language is missing some vital element, some element that cannot be captured in language, but the vague awareness of which is what largely drives that described world of language? As the theologian Paul Tillich puts it, ‘It is the riddle and the depth of all expression that it both reveals and hides at the same time’ (Art, Creativity, and the Sacred, p221). Derrida echoes that idea in these words: ‘We are dispossessed of the longed-for presence in the gesture of language by which we attempt to seize it’ (Acts of Literature, p78). Poetic language could be seen as both a lament at this dispossession and a desperate attempt to overcome it all in one.

You can extrapolate from Nabokov’s sentence to life itself: ‘I am more than I can express in words, and the little that I can express could not be expressed, were I not more.’ That ‘more’ is what divides the world between materialists and idealists. For materialists, the world we see around us is quite fascinating enough; for idealists there is something essential missing. For idealists (believers and non-believers alike), that indefinable ‘more’ is what keeps the ship afloat. Like a string on a well-tuned guitar it keeps life at a tension, a tension necessary to create the music of life itself. ‘The harmony past knowing sounds more deeply than the known,’ as Heraclitus has said (Fragments: The Collected Wisdom of Heraclitus, p31). Isn’t this why we make art? As Steve Toltz puts it, ‘We make art because being alive is a hostage situation in which our abductors are silent and we cannot even intuit their demands’ (Quicksand, p16).

Take Beckett’s Waiting for Godot. Where, or what, would Beckett’s tramps be without Godot to wait for? They wouldn’t be anywhere. They wouldn’t be. The essence of Godot is his non-arrival, just as – perhaps – the essence of God is his unknowability, his unattainability, and, almost certainly, his non-existence. By his non-existence I mean that God may simply be the idea of God. As Henri de Lubac put it, ‘We do not have desire for God; we are that desire. It is imprinted on our created nature’ (Mystery of the Supernatural pps176-77). Just as Godot is needed to keep the tramps on stage, so is the idea of God (or whatever unattainable ideal one substitutes for God) needed to keep us all trudging through the wastes of time. (Absence pervades presence, may indeed be the larger part of presence, much in the way that dark energy may be the larger part of the universe, even though it cannot be detected.)

More optimistically, the idea may be what’s needed to transform those wastes of time into something more like a garden. True religion, like true art, is alchemy. The effect of great art, regardless of what actual events are being portrayed, is exhilaration. In this sense, all great artists are mystics, and art is the most accessible form of mysticism we have, and one of the most effective ‘mirror-cleaners’ we have. Likewise, religion. Seen in this light, both art and religion are forms of deconstruction. Seen in another light, of course – when form overrides mystery, when significance declines into meaning – they are very much in need of deconstruction.

In his book, Deconstruction in a Nutshell, John D. Caputo calls deconstruction love. Love itself cannot be deconstructed because it is not a thing, it is not static. Love happens. How many stories there are that demonstrate this by showing love as a disruptive force: love across the race divide, the class divide, the cultural divide, always disrupting accepted ‘truths’ of life, which of course are not truths at all but merely comfort blankets masquerading as truths. Love underlies all social and cultural expressions of it, which are just that: expressions of an intangible reality, but not the thing itself (much like consciousness and the productions of time).

There’s a scene in a recent sitcom, called Hold the Sunset, which subtly illustrates this idea. John Cleese plays a crusty old codger with a reputation for sarcasm. One of his neighbours, often the butt of his jokes, is a dog lover. One day, the Cleese character encounters this neighbour out walking accompanied only by the dog’s leash. A brief conversation conveys the information that the dog has died, but the neighbour hasn’t quite got over it yet and it comforts him to walk with the leash. Cleese makes some sympathetic comment about this, which the man, knowing Cleese’s general outlook, takes to be mockery, but Cleese hastens to reassure him that it isn’t, that he understands fully the man’s actions, that love is love, whatever the nature or character of the recipient. Finally, the neighbour gets his point and says, ‘You mean, love can’t tell the difference.’

Love can’t tell the difference. In that sense, love doesn’t actually exist until it finds a recipient, just as deconstruction is not a ‘thing,’ and doesn’t actually exist until it has some established ‘truth’ to work on. Just as eternity doesn’t exist until it finds an expression through the productions of time. You can’t have a mirror without a dark back, and vice versa. Perhaps the same thing is meant when people say God is love. God doesn’t exist – or not for us, anyway – until he is manifested in the world. Manifested as the world?  

There is an old Sufi legend about a certain Arab who died and left seventeen camels, which he bequeathed to his three sons in the following proportions: to the oldest a half; to the second a third; to the youngest a ninth. The three sons were disputing violently about the proper division of the camels when a stranger rode up to them from the desert and asked them the cause of their anger. When they had explained it to him he said: ‘But this is very simple. I shall give you my camel; so now you have eighteen instead of seventeen, and the sum is easily done. The eldest will take nine, the second six and the youngest two.’ When the three sons had each taken the camels allotted to him, they found that one was left over. ‘And therefore,’ said the stranger, ‘I can now take my own camel back again, and yet leave you with no further cause of dispute.’

This expresses the same idea as Blake’s aphorism, cited at the start. Time is where we live, the land of the tangible (camels and churches, governments, games, art, everything), but all of these productions, all these things, only make sense in light of an intangible force lying behind them. Deconstruction is the attempt to keep that mysterious force in play, to keep that crack open without which life would become stale and airless. In the absence of deconstruction, when there is too much order, too much rigidity, something snaps: ‘Tedium is the worst pain. The mind lays out the world in blocks and the hushed blood waits for revenge’ (Grendel, John Gardner, p109).

The mind lays out the world in blocks: this is a good definition of the world’s structures, whether cultural, social, literary, judicial or whatever. When they become set in their ways and fail to respond to changing circumstances or to the nuances of a situation’s contexts, as they invariably do due to human laziness and complacency, then boredom and discontent sets in. Eventually, something snaps. Modernism in its many forms – cultural, social, political – was perhaps the loudest snap of the twentieth century.

Norman Mailer

Norman Mailer once compiled an extensive list of opposing qualities, entities and concepts that he labelled hip/square, such as wild/practical, romantic/classic, instinct/logic, a question/an answer, self/society, associative/sequential and many more, all of which can be seen to be, in varying degrees, reflections of the chaos/order divide (Advertisements for Myself, pps346-48). The idea of deconstruction could be seen as the academic version of the corresponding societal movement that shook the sixties. Revolution was in the air. But it’s important not to forget the second member of the pairing. One of Mailer’s pairs of opposites, self/society, calls to mind a sentence from Machiavelli: ‘No stability without an institution; no progress without an individual.’You need some degree of stability or there would be no possibility of civilisation of any kind. So you need institutions (something Derrida was always at pains to stress). But you also need innovative individuals who insist on disrupting things when those institutions become stale or unworkable. And where would the innovative, deconstructing individuals be without institutions to work against? You can’t jump into the air without a ground to spring from.

Another, and perhaps more helpful, way of expressing the chaos/order divide is to call it a dynamic/static divide. In Lila: An Enquiry into Morals, Robert Pirsig proposed this as a more fundamental divide in life than the subject/object divide, which is the one that prevails in our current materialistic and common sense based world. And the deeper you delve into deconstruction, the more you find it corresponds to this division: the structures of the world, whether social, cultural, legal, literary, political, etc, all tend toward the static. Rules get laid down, they seem to work (they keep chaos at bay, they explain so much), so they are adopted with fervour and adhered to rigidly. Too rigidly. History is littered with the appalling results of this rigidity, this fundamentalism, mostly in the fields of politics and religion. Every effort to crack open such petrified structures is a form of deconstruction.

Theodore Adorno once described the relationship between empirical reality and works of art as a form of redemption: ‘Everything will be just as it is and yet wholly different’ (John Banville, Athena, p105). Everything will be as it is – that is, the structures of the world will not change in their essence, they will still be structures and continue to serve whatever purpose they were constructed to serve, but they will be wholly different because seen with different eyes, eyes that are open to potential, to nuance, to change. There will still be seventeen camels, but the brothers will have no cause for dispute because their eyes will be open to the possibility of an eighteenth camel, a possibility that, without having to exist in any material sense, redeems all that does so exist. Deconstruction then could be seen as a kind of open-ended, undefined faith.

John Banville

John Banville has written a radio play in which Isaac Newton, the inventor of the calculus (and also a devoted alchemist), says the following:

The calculus operates upon the premise of a closer and closer approach to infinity. Infinity, however, may not be approached. Infinity is, and there’s an end of it. Yet the calculus works . . .


The same might be said for language and reality. Language operates upon the premise of a closer and closer approach to reality. Reality, however, may not be approached. Reality is, and there’s an end of it. Yet language works . . . Up to a point, anyway. There is still that tantalising mystery that keeps escaping, that no word seems equal to. But a word had to be found, nonetheless, so we came up with the word God. Yes, that’ll do. God is the name of and cause of everything that is. That settles the question, right?

No, very rightly wrong, as Beckett would say. There is no answer. ‘God’ is just another deferral. The word might have been fine had it not been taken for an answer. ‘He should have had a name that sounded like a question,’ as Cees Nooteboom puts it (Rituals, p42). That would have put deconstruction at the heart of all that is. In the Hindu mythology Prajapati, Lord of the Creatures, has a secret name, Ka, which in Sanskrit means, ‘who?’ ‘Prajapati is the god who has no identity, who is the origin of all insoluble paradoxes’ (Roberto Calasso, Ardor, p8).


Consider these two statements, the first from the Spanish writer, Javier Cercas, the second from Clarice Lispector, the Ukranian-born, Brazilian writer sometimes referred to as the Brazilian Kafka:

‘Literature is always anti-literary.’ (The Blind Spot, p36)

‘There’s one thing I understand: writing has nothing to do with literature.’ (The Paris Review, interview)

Both these statements are saying the same thing, though this is disguised by the fact that the word ‘literature’ is used in opposing senses by each writer. Cercas’s ‘literature’ is Lispector’s ‘writing’ and Lispector’s ‘literature’ is Cercas’s ‘literary.’ Both statements are intuitive expressions of deconstruction. This is best explained by recourse to Robert Pirsig’s division of life into what he calls dynamic quality and static quality. Applied to literature, this is the division between pure creativity as it happens, and the result of that creativity as it appears in the world, what Annie Dillard has called ‘the creative process frozen with its product in its arms’ (Living by Fiction, p164).

Cercas is using the word ‘literature’ to refer to the creative process, and by ‘literary’ in the term anti-literary, he means the ‘business’ of literature, the criticisms, the essays, the classification into genres and literary periods, the endless chatter about books, very little of which can claim close kinship with the creative process itself (though some of it can: those readers who, unaware of what they should or should not approve of according to the official tastemakers, are genuinely enraptured by some work or other. Such readers, it could be said, are partaking in that very creative process itself. As Borges has put it, the man who reads a line of Shakespeare becomes Shakespeare. Mind you, that would have to be a man with a very fresh eye). And Lispector is echoing this sentiment. Her ‘writing’ is Cercas’s ‘literature.’  Dillard’s image is a nice one. The frozen product is the hardened lava at the foot of a volcano. The volcano itself has little interest in poring over the remains of its effusions at the foot of the hill. This is why you will often hear writers and artists expressing little interest in past work, however lauded it might be by their audiences. It’s the process itself that truly enraptures them. It also explains the even more common expression from artists that they often feel themselves to be mere conduits for some mysterious force that uses them to reveal itself in the world.[1]


‘You are neither here nor there,

A hurry through which known and strange things pass.’

Seamus Heaney, ‘Postscript’

‘There is an absence, real as presence.’

John Montague, ‘A Flowering Absence’

Wittgenstein began his Tractatus Logico-Philosophicus with the sentence, ‘The world is all that is the case,’ and ended it with this one, ‘Whereof we cannot speak, thereof we must be silent.’ Materialists have concentrated on the first sentence, and the detailed adumbrations that follow it; for idealists, on the other hand, the final sentence is the point where things begin to get interesting.  What is it that we cannot speak of? And if we cannot speak of it, how are we aware of it in the first place? Could it be that this mysterious non-entity is what creates everything that is the case (everything that can be spoken of) to begin with? Could that be the reason for its eternal presence (as an absence) in our minds? This is an established religious idea: the world is God’s mirror, which God needs in order to see himself. In order to be? Two of Christianity’s most mystical theologians, the fourteenth century German Dominician, Meister Eckhart and the ninth century Irish philosopher, John Scotus Eriugena, would seem to think so:

This is why I pray to God to rid me of God, for my essential being is above God in so far as we comprehend God as the principle of creatures. . . And if I myself were not, God would not be either; that God is God, of this I am the cause. If I were not, God would not be God

Eckhart, quoted in Dermot Moran, The Irish Mind, p91

It follows that we ought not to understand God and the creature as two things distinct from one another, but as one and the same. For both the creature, by subsisting, is in God; and God, by manifesting Himself, in a marvellous and ineffable manner creates Himself in the creature

Eriugena, ibid. p91

This can be put in less religiously-charged language. This is Alex Dubilet:

The infinite names not a transcendence that ruptures the self-sufficiency of the subject, but an immanent and impersonal process that precedes and exceeds the very difference between self and other. [. . . a hurry through which known and strange things pass] . . . subjective life is always already a deformation, a life made to suffer by being forced into itself

Lawrence Durrell puts the same idea like this: ‘People are not separate individuals as they think, they are variations on themes outside themselves’ (Constance, p378). Love is perhaps the strongest of those ‘themes’ and might go some way toward explaining the ever-yearning nature of humans. We are like Philip Larkin’s young steers, ‘always seeking purer water, / Not here but anywhere’ (‘Wires’). Or, perhaps, anywhere but here, here being the ‘subjective life’ that is ‘always already a deformation’ because it knows intuitively that this sense of separation, of individuality, is unnatural, or incomplete.


‘Deconstruction arises in response to an imperative that has to do with the ‘mystery’ of the impossible, not merely the ‘problem’ of the possible’ (Caputo, lix). The idea of mystery lies at the heart of literature. Take Jorge Luis Borges’ definition: ‘Literature can be defined by the sense of the imminence of a revelation which does not in fact occur’ (Selected Non-Fictions, p346). To a certain mindset, this might seem thoroughly pointless. If the revelation does not in fact occur, haven’t you just wasted your time? This attitude, sadly, is very much the prevailing one today, and partly explains, I think, why literature is in decline. Definiteness reigns, and facts are king. But Borges is talking about living within an atmosphere of mystery wherein every aspect of the world is charged with a mysterious significance. He clarifies this in a re-statement of the idea:

Music, states of happiness, mythology, faces worn by time, certain twilights and certain places, all want to tell us something, or have told us something we shouldn’t have lost, or are about to tell us something; that imminence of a revelation as yet unproduced is, perhaps, the aesthetic fact (ibid. p346).

If we are attuned to those ‘known and strange things’ spoken of by Seamus Heaney in the lines above, then we are deconstructionists by default. Those lines continue, ‘As big soft buffetings come at the car sideways / And catch the heart off guard and blow it open’ (‘Postscript’). That, I would say, is a good definition of deconstruction’s purpose – catching the heart off guard, and blowing it open.


‘These things never happened, but are always,’wrote Sallust on myth (Roberto Calasso, The Marriage of Cadmus and Harmony, epigraph). Is myth itself a form of deconstruction? Myths are eternal truths underlying the more tangible realities of life, but they are unamenable to being captured in systems (unless mistaken as actual events). They are continually re-interpreted so that they continue to speak to peoples across a wide range of cultures. They never happened, so they can never take their assigned place in history; they inform all that does happen, giving it significance beyond the time in which actual events take place. ‘What has never anywhere come to pass, that alone never grows old,’ as Schiller has put it (Schopenhauer, p247). It’s been said about Shakespeare, for instance, that we don’t read Shakespeare, Shakespeare reads us. Shakespeare deconstructs us.

 ‘What has never anywhere come to pass, that alone never grows old.’ This is as good a definition of consciousness, or eternity, as one could ask for. The trouble with our normal understanding of consciousness is that, so thoroughly entwined is it with the stuff of life, we always think of it as consciousness of something. It is literally impossible to imagine consciousness alone (‘Consciousness-without-an-object’ is how one philosopher-mystic, Franklin Merrill-Wolff, describes the mystic state.) Try it and see. The nearest you can come is to imagine an empty space, but even this is ‘something.’ The problem appears to be that as long as you are consciously engaged in imagining, then you are imagining ‘something.’

Roberto Calasso

Hindu mythology can be helpful here. In Hinduism, brahman is ultimate reality. Roberto Calasso describes it thus:

But the brahman, whatever that might be, must necessarily be divided into two parts: the ‘unmanifest’ and the ‘manifest.’ The one is therefore always two. . . The brahman is the wild goose that ‘in rising from the water, it does not extract one foot. If it did, neither today nor tomorrow would exist.’ The water is the unmanifest brahman, the wild goose is the manifest brahman. (K, pps47-48)

The unmanifest brahman here would be consciousness alone, Merrill-Wolff’s consciousness-without-an-object; manifest brahman is the stuff of consciousness, the actual world we inhabit, the wild goose. But the wild goose, independent though it appears to be (and is, according to materialists), has one foot in the water, without which ‘neither today nor tomorrow would exist.’ Time itself, that is, arises from consciousness, the consciousness that is unmanifest, and can never be apprehended, because it is what is doing the apprehending, and what it apprehends is the wild goose, the actual world. So when Caputo talks about ‘the mystery of the impossible,’ this unmanifest aspect of reality is what I take him to mean. It stands apart from ‘the problem of the possible’ because the problem of the possible is the kind of problem that science and reason are equipped to deal with, the definable problems of the actual world. And, again as Caputo says, deconstruction (like art and religion) ‘arises in response to’ this mystery of the impossible. Derrida’s ‘trace,’ that mysterious intangible shadow he finds behind all language, is perhaps the wild goose’s dim awareness of the water from which it gains its life.

Deconstruction in film and literature

Purity is the malign inversion of innocence. Innocence is love of being, smiling acceptance of both celestial and earthly sustenance, ignorance of the infernal antithesis between purity and impurity. Satan has turned this spontaneous and as it were native saintliness into a caricature which resembles him and is the converse of its original. . . . Religious purification, political purges, preservation of racial purity – there are numerous variations on this atrocious theme, but all issue with monotonous regularity in countless crimes whose favourite instrument is fire, symbol of purity and symbol of hell.

Michel Tournier, The Erl-King, p. 70

If deconstruction is, as John D. Caputo has it, love, and, as Derrida says, ‘a response to a call,’ then the Bourne Trilogy can be seen as a subtle cinematic expression of deconstruction in action, and an instance of the power of love.

Jason Bourne is purity personified. He is a pure machine, trained to do one thing and not to let any extraneous factors, such as emotion or complexity, cloud that purpose. The purity derives from an idea. A noble idea. In this case, the idea of the American Way. Freedom. Democracy. It could just as easily be the idea of communism, or Aryan supremacy, or Islamic fundamentalism, or nationhood, anything, that is, with the power to capture people’s imaginations and inspire them to build an impregnable structure housing that idea. Nothing can be allowed to threaten or undermine this structure in any way. Soldiers must be trained to defend it. To be effective, such soldiers must never allow the muddle of human emotions to distract them from their purpose. Hence – ultimately – such soldiers as Jason Bourne. The shell protecting the purity of the purpose must be impenetrable.

But, thankfully, the shell is never impenetrable. There is a crack in everything. The pivotal moment of the Bourne Trilogy occurs towards the end of the first movie, The Bourne Identity, in a flashback scene wherein Bourne remembers the event that set him adrift on the ocean with two bullets in his back and a serious bout of amnesia. He is on a mission to execute an African leader on a ship. All prepared to pull the trigger on his sleeping victim, he suddenly finds himself looking into the clear innocent eyes of a five-year-old child – and the shell cracks. Something penetrates to the core, the core that perhaps attracted him to the purity of his cause in the first place. And this core is innocence in Tournier’s sense of the word, an instinctive recognition that life, in all its tumultuous variety and chaos, is the true value, and that to force this wondrous incorrigible plurality into a pre-conceived shape is the real sin. Trying to put order on the chaos of life is a natural and necessary human impulse, but it can go too far. When it does, life turns into death. In George Eliot’s words, ‘There is no general doctrine which is not capable of eating out our morality if unchecked by the deep-seated habit of direct fellow-feeling with individual fellow-men’ (Middlemarch).

In a word, Bourne is touched by love. And love is a force that will not be corralled into the neat paddock of ideology, whatever that ideology’s declared good intentions. This, I think, is what Caputo means when he calls deconstruction ‘love,’ and what Derrida means when he refers to it as ‘a response to a call’ (Dialogues with Contemporary Continental Thinkers: The Phenomenological Heritage, Richard Kearney , p118). Any idea can be deconstructed because ideas are essentially fictions to begin with, makeshift mental shacks erected to help us navigate the chaos of life. Love, by contrast, is not a construction (and if it is, it’s fake, self-delusion born of a deep need). Love is not a thing at all, but rather something that happens; a force with the power to disrupt all social, cultural and political structures, regardless of how reverently held they may be.

What happens to Bourne finds an echo in Samuel Taylor Coleridge’s poem, ‘The Rime of the Ancient Mariner.’ Like Bourne, the mariner is lost in darkness through an act of murder (the killing of an albatross), and, like Bourne, he too is blessed with an epiphany of sorts – in this case, the sighting of sea-snakes. He is struck by the beauty of the creatures, a beauty beyond the ability of any language to describe (‘No tongue / Their beauty might declare’), and thus beyond capture by any structure:

A spring of love gushed from my heart,

And I blessed them unaware:

Sure my kind saint took pity on me,

And I blessed them unaware

II. 282-87

‘Unaware’ is a key word in that quatrain (as Coleridge indicates by repeating it). It happens beneath the level of conscious thought, beneath the level at which mental structures are erected, and are thus immune from being deconstructed. Jason Bourne’s kind saint, the power of love itself, has stopped him in his tracks for just long enough to disrupt his planned assassination. The putative victim wakes up and takes a few shots at Bourne, who just manages to escape overboard, thus setting in motion a series of events that will in time become the flower of which this initial insight was the seed.

Over the course of three films, Bourne then spends his time getting to the root of the evil that has been done to him, and doing his best to put it right. The purity he fights is bluntly expressed by a CIA boss in a scene with Pamela Landy, a CIA controller trying to do the right thing by Bourne, in the third film. The boss has ordered that Nicki, the girl sent to talk to Bourne, be killed along with Bourne because he suspects she has gone over to the fugitive’s side. When Landy objects to this, saying, ‘If we start down this path, where does it end?,’ he snarls in reply, ‘It ends when we’ve won.’ The battle-cry of purists and fundamentalists the world over: It ends when we’ve won. When we’ve silenced or killed off all the opposition to our one pure way of life.

Pascal put the idea like this: ‘Man is neither angel nor beast, and unhappily whoever wants to act the angel, acts the beast’ (Pensées, p358). Deconstruction, seen in this light, is a way of guarding against the angel turning into the beast.

The ideal deconstructionist might be the character of Pamela Landy in the third Bourne film. She wants to take the risk of talking to Bourne though, for all she knows, he may well be the renegade assassin her superiors say he is. She certainly has no wish to destroy the institution of which she is a member, but she knows instinctively that it cannot function as a healthy body by simply following blind procedures without regard to other, and possibly dangerous, possibilities; without, in other words, being open to ‘the other.’ In a similar fashion, Derrida has no wish to destroy the philosophies which he deconstructs, but rather to let the fresh air of new thinking into them, in order to keep them alive. Deconstruction is a modern secular way of keeping the fresh air of the infinite blowing through the finite world.

Huckleberry Finn

If deconstruction is spontaneity in action, the law of the heart triumphing over the law of the land, or over the law of whatever social mores or cultural rigidities are currently in vogue, then Huckleberry Finn provides a perfect example.

Huck’s essential being is itself a form of deconstruction of all the social and cultural structures that he’s surrounded and mostly oppressed by, all flying under the banner of ‘sivilisation,’ but the idea is most clearly and sharply focused in the story of the journey down the Mississippi with the escaped slave, Jim. Huck is no intellectual, he fully accepts his society’s view of slaves, which is that they are owned in their entire inferior being by the whites, who have been given this duty of care by God. Slavery, far from being an evil, is God’s law. Huck accepts this. But on the journey down the river, he comes to know and like Jim as an individual human being, one much like himself, and he is tortured by the thought of giving him up to the authorities, something his rational mind tells himis the correct thing to do. The law of the heart (or wherever the seat is of these fleeting, spontaneous impulses) comes up against the law of the head.

This is deconstruction in action. In allowing his heart the victory in this particular battle, Huck is deconstructing a fundamental fixed point of his society’s belief system. This is not at all the same thing as Huck thinking the problem out intellectually and deciding that slavery per se was a bad thing. This would simply be pitting one intellectual position against another. It’s important that Huck ends his inner conflict, not by suddenly becoming enlightened about the evils of slavery, but by obeying the deeper truth he hears within himself, the one that can’t be pinned down in any statute book. Derrida posits justice as the deconstructive element in law. There may be no justice in the world, but the law – fixed statutes and penalties – is fired and inspired by the idea of justice (but too often perverted by the actions of Tournier’s Law: ‘Purity is the malign inversion of innocence’). ‘You’ll get justice in the next world,’ goes the opening line of William Gaddis’s novel, A Frolic of His Own, ‘in this world we have the law.’ With Huck and Jim, justice is the event that has disrupted the rigidity of the law, that event being the un-deconstructible human connection between them. That is, love.

‘no help for that’

At heart, the human being is a lack (we’re all waiting for Godot), and deconstruction is the intuitive awareness of that lack, and of the necessity of keeping a weather eye on the dangers of anything that promises to be ‘the answer.’ I doubt if Charles Bukowski has ever been accused of being a deconstructionist, but he did write this:

no help for that

there is a place in the heart that

will never be filled

a space

and even during the

best moments


the greatest


we will know it

we will know it

more than


there is a place in the heart that

will never be filled


we will wait



in that


What is this but Derrida’s longing for the impossible?

Three Colours: Blue

Julie, the protagonist of Krzysztof Kieslowski’s Three Colours: Blue loses her husband and child in a car accident and decides, as a way of alleviating the pain of this loss, to effectively shut down her life. She cuts all ties with friends and family, moves to a flat in the city and establishes a simple routine centred on the local cafe and the swimming baths. She puts her life on auto-pilot; safe, secure, swaddled in pain-free tedium. On a personal level, she echoes those fundamentalist religions and political systems that operate by strict rules and regulations and abhor all innovations and spontaneity.

But life will not have it. Slowly but surely she is drawn back into the flow. As the wife of a famous composer (and a composer herself) music had been her great love, and now, despite efforts to rid herself of this aspect of her past, it keeps stopping her in her tracks, pieces of a musical score suddenly banishing the mundanity around her. And people, too, will not be ignored. Her essential goodness and humanity (which will be made explicit towards the end of the film) is drawn out when she responds to the sounds of a man being attacked by thugs in the street outside her apartment. She doesn’t respond with enough vigour to do the poor man any good, but it’s a start – a start that creates a connection with a young woman living on the floor beneath. Then she refuses to sign a petition got up by the other residents who want to kick out this young woman whom they regard as a whore. As a result, the young woman becomes her friend. Bit by bit, she is drawn back into life – to the point where, finding out that her husband had been having an affair with a young lawyer, she goes to see the woman and, on hearing that she is pregnant, gives her a place to live – her old house (a beautiful chateau) which she had previously put up for sale. And she completes her husband’s final unfinished symphony in tandem with her husband’s assistant, with whom she embarks on an affair.

It’s a classic story arc in both literature and film: the stony heart, cut off from life through pain of one kind or another, gradually melted through contact with people, in effect, through the power of love. So what can it possibly have to do with deconstruction, or any of deconstruction’s extended family? As mentioned earlier, deconstruction is love, a response to a call. Love is the ultimate deconstructing power because it, alone, is not, and never can be, a construction of any kind. Rather, it is what infuses all other structures – families, institutions, philosophies – with their life. Julie has built herself a life which she believes will free her from pain, and love has deconstructed it, prevented it from degenerating into an empty shell. As if to underscore the point, the film ends with the famous words of St. Paul, set to the music she has composed: ‘If I have not love, I am become as hollow brass.’ An empty shell. Whether it’s a personal life, a religious organisation, a political system or a philosophy, without love at the heart of it, it’s worthless. St. Paul’s famous words, seen in this light, may well be western literature’s earliest deconstruction manifesto.

Pride and Prejudice

Possibly the most famous scene in Pride and Prejudice is the one where Darcy, fascinated despite himself by Elizabeth, dares to open a crack in his well-structured stuffy world in order to make her a proposal – and Elizabeth responds by blowing the walls down. She deconstructs his world in the best Derridean fashion: that is, she shatters his false, desiccated notions of propriety and decorum while leaving the solid structure supporting those notions intact (everything will be as it is yet wholly different). After all, she does want to live there.

Works Cited

Banville, John. Stardust. Radio monologues, BBC 3, 11/05/02.

───. Athena. London: Picador, 1993.

Borges, Jorge Luis. Selected Non-Fictions. Harmondsworth: Penguin, 1999.

Calasso, Roberto. K. London: Vintage, 2006.

───. Ardor. London: Allen Lane, 2013.

───. The Marriage of Cadmus and Harmony. London: Vintage, 1994.

Caputo, John D. Deconstruction in a Nutshell: A Conversation with Jacques Derrida. Fordham: Fordham University Press, 2021.

Cercas, Javier. The Blind Spot: An Essay on the Novel. London: Maclehose Press, 2018.

Derrida, Jacques. Acts of Literature. London: Routledge, 1992.

Dillard, Annie. Living by Fiction. New York: Harper Perennial, 1983.

Dubilet, Alex. ‘Speculation and Infinite Life: Hegel and Meister Eckhart on the Critique of Finitude.’

Durrell, Lawrence. Constance. London: Faber and Faber, 1982.

Eliot, George. Middlemarch. London: Everyman, 1991.

Gardner, John. Grendel. London: Picador, 1973.

Frye, Northrop. ‘Reconsidering Levels of Meaning,’ Christianity and Literature, 54.3 (Spring 2005), pp. 397-432.

Heaney, Seamus. Spirit Level. London: Faber and Faber, 1994.

Heraclitus. Fragments: The Collected Wisdom of Heraclitus. Trans. Brooks Haxton. New York: Viking Penguin, 2001.

Houellebecq, Michel. Public Enemies. London: Atlantic Books, 2011.

Imhof, Rudiger. ‘An Interview with John Banville: ‘My Readers, That Small Band, Deserve a Break.’’ Irish University Review 11.1 (1981): 5-12.

Kearney, Richard. Dialogues with Contemporary Continental Thinkers: The Phenomenological Heritage. Manchester: Manchester UP, 1984.

Larkin, Philip. Collected Poems. London: Faber and Faber, 1988.

Lispector, Clarice. The Paris Review. ‘Clarice Lispector: Madam of the Void,’ interview with Jose Castello, December 10, 2020. (

Lubac, Henri de. Mystery of the Supernatural. London: Geoffrey Chapman, 1967.

Mailer, Norman. Advertisements for Myself. London: Granada, 1972.

Moran, Dermot. ‘Nature, Man and God in the Philosophy of John Scotus Eriugena’ in R. Kearney, ed. The Irish Mind. Dublin and New Jersey: Wolfhound Press and Humanities Press, 1985. pp. 91-106; pp. 324-332.

Nabokov, Vladimir. Strong Opinions. New York: Vintage International, 1990.

Nooteboom, Cees. Rituals. Harmondsworth: Penguin, 1985.

Pascal, Blaise. Pensees and Other Writings. Oxford: OUP, 2008.

Pirsig, Robert. Lila: An Enquiry Into Morals. London: Bantam Press, 1991.

Tillich, Paul. ‘Art and Ultimate Reality,’ in Diane Apostolos-Cappadona, ed. Art, Creativity, and the Sacred. New York: Crossroad, 1984. pp. 219-35.

Toltz, Steve. Quicksand. London: Sceptre, 2016.


[1] Some testimonies from artists on the subject: The French poet and novelist Michel Houellebecq has said: ‘It is as though – and I know this sounds irrational – it is as though the poem already existed, has existed for all eternity, and that all you have done is discover it’ (Public Enemies 247). John Banville had this to say on the creation of his novel, Kepler:

Always I begin with the shape. But let me make a distinction, a very important one. The form of say, Kepler, is in itself wholly synthetic, by which I mean that it is imposed from outside, yet by synthetic I do not mean false, or insincere. It is, this formal imposition, the means by which I attempt to show forth, in the Heideggerian sense, the intuitive shape of the particular work of art which is Kepler, and which was there, inviolate, before and after the book was written. (Imhof 6)

Keith Richards of the Rolling Stones has said this on the subject of song writing (I’m paraphrasing from a barely-remembered interview): ‘You don’t write songs, you sort of pluck them out of the ether. They’re there, all the time. You just have to find them.’ And speaking of such poets as Keats, Wordsworth and Eliot, Northrop Frye has claimed: ‘They’ve all said the same thing. The poet does not think of himself as making his poems. He thinks of himself as a place where poems happen. (Frye 408)

Canadian rock revisited

Derek Turner interviews Canadian rock titan EDGAR BREAU

Q. Canada’s musical heritage is as varied as its landscape – from the Celtic-and French-infused “music of the maritimes”, via Portia White, Oscar Peterson, Paul Anka, Neil Young, Steppenwolf, Leonard Cohen and Joni Mitchell, to M.O.R. mega-acts like Rush, Bryan Adams, Céline Dion, Michael Bublé, and Justin Bieber. But your musical roots draw from less familiar soil. Critics have detected influences ranging from English folk to psychedelia and “Krautrock”, and Soft Machine to Stockhausen and Velvet Underground. I assume you don’t ever apply labels to yourself! But do you have a kind of philosophy of music? What attracts you to a song? Does it have to be ‘meaningful’ as well as melodic and rhythmic? How would you describe your writing process?

A. I started out playing Gordon Lightfoot cover songs from his record Back Here on Earth. Well-constructed songs of place, person, and lived experience by one of the best. Next came Scottish songsmith Donovan Leitch, with his bluesy Celtic mix – a very subtle writer, lovely melodies and rich lyrical content. Bob Dylan’s symbolist lyrical experiments were also a big influence on me in my youth. Those two poles pretty well sum up what I look for in a song. When I first recorded in 1974 my songs sounded nothing like the above-mentioned songwriters. Only later would the early folk influences return.

My writing process now – I take various open tuning approaches, finger style. I sometimes will start off with a catchy, promising song title. “That was the Week that Was”, the satirical BBC program furnished me with one such. It suggested word play to me, and the story line developed gradually into a romantic week that was brief and seemingly of little consequence – “the drinks got to me” – but upon reflection something more powerful occurred and reflection fills the mind of the protagonist with poignant memories. I throw out reams of material on the way to something solid that I can work on and develop into a good song. Trial and error and a lot of revision.

A 1757 map of French Canada

Q. What music did you hear around you when you were growing up? Were your parents musical? What is your family background? What was 1970s Hamilton like to grow up in? To an outsider, it looks like a city both busy, and with some commitment to culture.

A. There was always music in the home. My father, who was an east coast Acadian from Chatham New Brunswick, played the mouth organ and sang old French songs he learned in his youth. His musical tastes ranged from accordionist Harry Hibbs, a traditional Newfoundlander, country singer Hank Snow, balladeer Jim Reeves, Strauss waltzes and some Italian opera. I have three older sisters who played and danced to Elvis Presley, Hank Williams, Jerry Lewis, Ivory Joe Hunter 78s. Later on, the youngest of them, Maureen began buying girl-group 45s by the Chiffons, Supremes, Ronettes, Martha and the Vandellas, and many others. I watched American Bandstand with her. She brought the Rolling Stones’ records into the house as well. My mom loved all our records. My father was mostly contemptuous of it, except for Gordon Lightfoot.

My father came from a French/Catholic Acadian background which reached far back in our country’s history. Our most distant relative, Vincent Breau (Breaux, Brault) arrived in Canada from France in 1661 and became the ‘Adam’ of the entire line of descendants bearing his name. It could be said that the ‘Breaus’ were one of ten or twelve founding families of Acadia, a former French colony established in 1604 in the territory that now includes Nova Scotia, New Brunswick and Prince Edward Island in Canada. My grandfather worked in a saw mill, and built and played violins despite the missing digit caused by an accident at the mill. My great grandmother was said to be Mi’kmaq who are a First Nations people of the Northeastern Woodlands, indigenous to the Atlantic Provinces. I learned this later in life from a relative and have no reason to doubt it. My grandmother was also French Acadian. Dad was a decorated soldier  in the Carlton York regiment and saw action in the Italian campaign after a stay in the U.K. training and – if his stories can be believed – rabble rousing, carousing and having the time of his life. He was shot through the wrist in Italy, ending his active duty as a sniper. On return home he left ‘down east’ as he always called it looking for work in the Toronto/Hamilton area of Ontario. Many others came here from the Atlantic coast. Dad worked at the Westinghouse factory but when layoffs loomed relocated to Guelph Ontario to work in the penitentiary as a guard. His qualifications: he had singlehandedly guarded hundreds of Italian POWs with a machine gun. Certainly he didn’t have much of an education, working in lumberjack camps at age 16.

Ever the soldier, he found it hard to understand his eldest son’s nonchalance towards jobs and education. I considered myself rather as a poet, and a musician destined for great things. We clashed at times, to put it mildly and understandably.

My mother came from Welsh/Irish stock, strict Catholic. Some were clerics, nuns, missionaries, one in Darjeeling, India. Our home was literally full of people. At the height of it, as I entered adolescence there were 15, consisting of myself, six siblings, an aunt (actually my cousin, family secret), two foster children and four cousins. We ate in three shifts. I grew up listening to prison stories, the raw violence that occurred there – stories of prisoners in the ‘hole’ being hosed down after they did unspeakable things with their own excrement, razors in toothbrushes, brawls my dad was involved in, challenges the soldier would never back down from. I believe Blood Sweat and Tears vocalist, David Clayton Thomas, was incarcerated as a young man when my dad worked there. He references a certain guard, ‘the silent tough one’, in his memoirs and I wonder if it’s Mr. Breau. My brother, Michael took after dad but his way was an outlaw, wild and lawless road that ended up behind the bars my father looked at from the other side. Michael was as tough as nails, a legend in the east end of Hamilton, a beloved lone wolf who carved out his own way, and eventually made good in the renovation business.

Things were chaotic at times and I was beginning to come off the rails. In the summer of 1972 after reading Kerouac’s On The Road, I found a hitchhiking buddy, my own Neal Cassady, and thumbed across the country, having many adventures on the road. Like Kerouac, I was a mix of Catholic and bohemian, a conservative in some ways intellectually, but living and moving in more liberal and for a time decadent and – I dare say it – dabbling in the occult and avant-garde circles. He was French Quebeçois, I was part French Acadian. Both of us were anti communist.

My father was a socialist, in early days pro-communist, but later on he became a social conservative. He rejected the labour movement’s drift away from working-class economic issues into social issues and, eventually, identity politics.

Hamilton was a tough steel town when I was growing up there in the east end of the city where the steel mills were located. I hesitate to name the gangs, even today, that divided up the turf. Warfare it was. One learned to be wary and forever looking over your shoulder on the streets for potential menacing action. Later on, I would take karate lessons from two wonderful streetwise African-Canadian black belts originally from Detroit, who taught me respect and honour while honing my fighting skills. Shortly after attaining my brown belt I decided to leave the dojo, worried about breaking a hand or a finger, intent now to be a musician and absorbed in romantic interests. A loss of discipline no doubt…

Hamilton today

Q. How did you meet your bandmates? What was it about Pink Floyd’s Saucerful of Secrets that inspired Simply Saucer’s name? After all, your favourite Floyd member, Syd Barrett, had much less to do with that album than its predecessor. Was listening to prog rock and psychedelia a way to imaginatively remove yourself from an unpleasing reality?

A. I met my bandmate Paul Colilli at high school. He was fascinated by Sixties bands as they emerged and buying all the records he could get his hands on. Beatles, Stones, Kinks, Pink Floyd, Soft Machine, Byrds, the Nazz, Canada’s Kensington Market. We became close friends and talked incessantly about music, literature and film. Paul was taking instructions in classical piano and eventually I began rehearsing with him at his parents’ home. We collaborated in naming the band and began looking for other musical adventurers.

He was of Italian-Canadian background with strict parents and they eventually steered him into post-secondary school education away from the rough bohemian influences. Late in 1973, my best friend left the band to pursue a degree and career as an academic and eventually became a modern renaissance man, the Dean of Italian Studies at Laurentia University. He was a world-renowned scholar known for his writings on Italian literature, culture and philosophy. He released a couple of albums later in life, describing his music as metaphysical ghost music. Sadly, Paul passed away in 2018 but not before recording new music with his old friends in Simply Saucer. A release is due in 2021 under the name Saucer73. See the link for more on Paul Colilli –

I men another bandmate, David Byers, at a record store. His relatives in Holland had been sending him Dutch underground bands like Savage Rose, Wally Tax and the Outsiders, Supersister, and Group 1840. Dave had caught the Velvet Underground at a Toronto outdoor festival and immediately became a fan. I felt the same way about them and began patterning my vocals and guitar-playing after Lou Reed.

All of us were collecting records voraciously and would vie for bragging rights when we found obscure offerings, most of which would later become part of the rock canon, groups like The Seeds, The Stooges, Captain Beefheart and his Magic Band, The Thirteenth Floor Elevator, The Can, Faust. We held drunken rituals called Record Spinoffs where we would rate our latest ‘finds’ by criteria of “originality”, “obscurity” and there would be a winner at the end of the drinking bout crowned and celebrated.

Musically we began to jell, mainly playing improvisational pieces – long jams, psychedelic, erratic, angular – using electric guitars, audio generators, mini moogs, electrified flutes and saxophones. We had picked up a drummer by then, an eccentric fellow by the name of Neil de Merchant who had pop-jazz leanings. My foster brother, John, played synth under the moniker, “Ping”, and a high school friend Kevin Christoff rounded out the band.

At the time a coterie of us were engrossed in imaginative, fantasy fiction. The Lord of the Rings I had read in my high school days but now it was Mervyn Peake’s Gormenghast, David Lindsay’s A Voyage to Arcturus, Arthur Edward Waite’s occultist biography of Louis Claude de St. Martin and his novel, The Quest of the Golden Stairs, as well the Rider Tarot deck he designed. There was E.R. Eddison’s Fish Dinner in Memison, William Hope Hodgson’s The Night Land and, most frightening of all, the works of H.P. Lovecraft.

Incidentally I hadn’t read Lovecraft since those halcyon days but recently picked up a copy of Michel Houellebecq’s H.P. Lovecraft: Against the World, Against Life – a penetrating disturbing essay, reassessing his works and was induced again to read The Call of Cthulhu and The Whisperer in Darkness, both stories absolutely terrifying. Houllebecq writes

The twentieth century may come to be recognized as the golden age of epic and fantasy literature, once the morbid mists of feeble avant-gardes dissipate. It has already witnessed the emergence of Howard, Lovecraft and Tolkien – three radically different universes. Three pillars of dream literature, as despised by critics as they are loved by the public.

The fantasy writers filled my young man’s head with dreams of forbidden planets, arcane occult rituals, monster races of humanoids spawned in the mists of times, places sublime ‘at the back of the north wind’. Arthur Machem, Lord Dunsany, Poe, the Egyptian Book of the Dead, with a Catholic mystic or two thrown in for good measure. I lived in a strange enchanting world mentally and it began to spill over into the music of Simply Saucer.

Q. But then you reinvented yourselves as rawer rockers, with ‘She’s A Dog’ – a steel-town sounding, stripped-down song which seems strangely unrepresentative of your earlier, later, and even contemporary careers. Other songs from that period were much more ambitious, with synthesizers and theremins. Why did you choose that song? Was it a simple bid for commercial success? Wasn’t the Hamilton audience ‘ready’ for the other things you’d been doing? Julian Cope implies this, when he says you

conjured up a whole raft of imaginary Canuck ne’er-do-wells to travel with [you on your] extremely idiosyncratic musical travelogue

A. The responses to our live show in the early days of performing could be rather dramatic. We emptied out an arena in Carlton Place, Ontario; they just weren’t ready for our heavy metalloid music. Two fans braved it out to the end, showering us with praise. In Oakville, Ontario we were thrown off the stage, the drummer, literally thrown out of the club. Projectiles were hurled at us in St. Catherines. Professor Colilli, years later, declared that we were ‘deconstructing music’. Either that or just self-destructing!

Eventually we ended up in the studio where we recorded the studio side of Cyborgs Revisited (1974) at the home studio of Daniel and Bob Lanois in Ancaster, Ontario. Daniel would become, later on, just about the most famous record producer in the world. His client list is very impressive – U2, Joni Mitchell, Bob Dylan, Willy Nelson, Neil Young, Peter Gabriel, the Neville Brothers – the list is long. Back then, I remember him sitting cross legged on the studio floor with his hands over his ears bravely enduring our “heavy metalloid music”. The six songs we recorded would not see the light of day for another 15 years, all the major Canadian record labels rejecting our demo. The day would come, though, when critics would outdo themselves in superlatives trying to describe the sounds on Cyborgs Revisited – our posthumous slab of vinyl, mysterious gift of outsider music to the world.

All of the songs were composed in a dreary narrow storefront, with walls painted black. I lived and slept and ate there for a year, amplifiers, guitars and chords on the floor where I slept on a thin piece of sponge, the sounds of the street echoing in the background, hoods pulverizing their latest victim perhaps with a pool cue, knife, or once when the local gang ‘ladies’ stopped by brandishing a plank with nails in at aimed at the head of our cheeky new drummer. It was claustrophobic in there, and so what better to do than compose my songs of dystopic technology running rampage over the fields of fairy?

Such considerations as a job to provide food and clothing, I blithely ignored. My concerned mother sent care packages over to the hovel, concerned that I would starve. The local thieves took advantage of my naivete, stowing stolen Harley Davidsons at the back of the rehearsal space on one occasion… ”Would you mind keeping these here for us for a couple of days? Thanks man…” I had no idea.  

The gangs penetrated the inner sanctum now and again, threatening me with tyre irons, stealing guitars (alas), and demanding the band ‘play some Led Zeppelin’. One of them years later led a phalanx of motorcycle bad boy riders, some Hells Angels included, out of respect for their compatriot, brother Mike, to the graveyard where they hastily constituted an honour guard for my deceased father, the tough old prison guard whom they well respected. Later on in the church hall, George, we’ll call him, who had bitten off a rival’s ear and wore it around his neck as a talisman remarked that he remembered dropping acid outside our rehearsal space and then inspired by our music went out and “busted some heads”. I was flattered …

So yes, She’s A Dog was written for commercial success, and in fact England’s New Musical Express declared it “the pick hit single of the week” – a mix of the Kinks, Who and Velvet Underground, which suited me very well.

Q. Now, of course, Cyborgs Revisited is viewed as one of the great Canadian rock albums. But the songs on it were quite old by the time it was issued in 1989, and you had long ago reinvented yourself as a balladeer. You must have had mixed feelings at hearing those songs again, not to mention being expected to perform them.

A. Yes, absolutely it was difficult. I had abandoned the electric guitar by 1979 and invested in an acoustic guitar made by a soon-to-be internationally celebrated luthier by the name of Grit Laskin. I was enthralled by the American primitive guitar stylings of John Fahey and had crafted new songs with a more mature lyrical content. I was in the studio at the time Cyborgs Revisited was released, recording my first solo album. The critical reaction to Cyborgs Revisited right from the beginning was extremely positive and in some cases ecstatic. I felt very divided. The reviews poured in, and folks were calling Cyborgs Revisited one of the greatest Canadian rock albums ever made. There was shock that this music had come out of Canada. The record collectors salivated over it, stunned that the music had been hidden from the world since 1974.

Meanwhile, back at home my wife was very pregnant with our third child, fearful of my return to playing music, hysterical at the late hours I was keeping and my increasingly outside the mainstream political beliefs and their inclusion in my songs. “Think of your kids”, she would say. “We could be subject to an arson attack. What’s happening to you?” The centerpiece of my album, New Sacred Cow Blues, was rather reactionary in a revolutionary kind of way. The intent was to write a new kind of protest song, one not coming from a liberal progressive outlook but au contraire from a radical traditionalist perspective. The cannon was now on a swivel and pointing directly back at the smug and complacent ‘former’ counter culture that had become ossified, mainstream and as intolerant as the straight culture it had denigrated in the Sixties. My new anthem began with the words  “I’m serving notice, on a wooden door…” casting me as a modern Luther intent on dismantling the smug countercultural ‘verities’ that had gone unchallenged for so long, a reaffirmation of the medieval call to order and hierarchy. In short, it was a clarion call of battle for the soul of the West.

Under the strain of my own grandiose obsessions and my wife’s nervous projections of paranoia (which would eventually lead to a nervous breakdown), with inner divisions running wild in my psyche, I cracked, walked away from the studio and the music world and hunkered down for the next ten years, homeschooling my children and subscribing to radical traditionalist publications like Small Farmer’s Journal, Modern Age, University Bookman, the Chesterton Review, the Dawson Newsletter, Issues and Views (African American conservative entrepreneurs who introduced me to the economist Thomas Sowell’s libertarianism).

Inspired by Chesterton’s and Belloc’s politics of distributism and championing of a new Agrarianism, I made plans to move into the north country and live self-sufficiently, growing my own food, making cheese (I had already made a start on this), homeschooling my children, farming in the three-cows-and-an-acre tradition. I made inquiries about a century-old farmhouse in Tara, Ontario, but on the homefront things were starting to fall apart, and money was running out. I took a woodworking job and left my wife to school the kids. Soon after she completely broke down mentally and ended up at the psyche ward at the local hospital. The plan was put on hold and soon faded into the distance as crisis mounted year after year.

Q. The folk influences you and others have cited seem much more obvious in your modern work – in songs like ‘Patches of Blue’, ‘Martha’s Back’ or ‘Mount Idaho’. Articles about and interviews with you throw up English folk names, like Steeleye Span. But what about other folk traditions? Were you conscious of an Acadian, or more precisely Franco-Ontarian, inheritance, and did you listen to that vein of traditional music?

The Acadian flag

A. My father stressed the nobility of our French heritage, taught us French phrases, extolled the unparalleled military virtues of General de Gaulle (who remains a favourite). The Acadian side of the family were fun loving, uninhibited, opinionated, argumentative.

My father played his music, yes, but it wasn’t until his retirement that he delved deeply into the history of his family and learned in depth the tragedy of the Acadians – their dispersal and deportation from Acadia in 1755 when they refused to sign an oath of allegiance to the English crown. He immersed himself in their history and genealogies, nursing a grudge against the predatory English, drawing Acadian flags, writing poems of his lost homeland and inculcating in his children fervour for our lost heritage.

Q. Folk music is frequently associated with radical or at least liberal politics – probably inevitable given its emphasis on giving voice to the unheard and unlucky. But this is not today’s cultural kind of radicalism, with its abortion, BLM and transgender activism – but more about economic fairness. I ask because of your foray into politics in the late 1990s, when you stood for the Family Coalition Party in the Ontario provincial elections, on a socially conservative and even fiscally conservative platform. What brought that about?

A. I became interested in apologetics in the 1990s. John Henry Newman’s “Essay on the Development of Christian Doctrine” and his “Apologia Pro Vita Sua” were influential as were the high Anglican popular works by C.S. Lewis and Dorothy L. Sayers. George Bernanos, Charles Peguy, Russell Kirk all influenced my thinking – the list is long.. After the band broke up in 1981, I began reading Solzhenityn’s three volume Gulag Archipelago. I’d sit in the corrugated iron shack on the coke oven battery, while my fellow workers got stoned and played cards, absorbed in the tortures, interrogations, the bone-numbing fear and the ever present bureaucracy heartlessly processing the prisoners. My father’s socialist and rosy view of the Soviet Union crumbled. Lennon’s ‘Imagine’ I began to see as symptomatic of our own culture’s dreamy abstractional drift towards totalitarianism. The woke social justice warriors, critical race theory, cancel culture are all modern manifestations of it in our own time.

I gave a talk on apologetics at church one evening, and a couple of the founders of the Family Coalition Party happened to be there. They approached me afterwards urging me to run in the upcoming provincial election. They must have been mightily impressed with my talk! The party was socially conservative, and much of their approach was based on the Catholic principle of subsidiarity – defined as an organizing principle that matters ought to be handled by the smallest, lowest or least centralized competent authority. Health savings accounts, diverse educational models like charter schools, home schooling were extolled by the party. I was already home schooling at that time. Government encouragement of small family farms and stewardship of the environment were a part of the platform.

My politics are localist, communitarian, distributist, ecology-mindful, freedom-oriented, based on the principle of subsidiarity. They are agrarian-centred, with an emphasis on the common good, the nation state over individual assertions of an atomistic, narrow, idiosyncratic, often times delusional, ‘identity’. I believe a society works best when there is a tension between liberals and conservatives. We need them both – iconoclasts who can smash up the dead ideas and debris of our imperfect past and the conservers of tradition, our lovely countryside, family farms, faith and yes our history.

Q. Why didn’t you carry your politics further? You lost that election, but most politicians lose their first elections. What do you make of Doug Ford and his Progressive Conservatives – and Canadian politics more generally?

A. I was asked to run again but declined. The shellacking I took in the polls had been rather bracing but that alone doesn’t account for my reluctance to run again as I’m by nature a strong-willed contrarian accustomed to living outside the mainstream, unbowed by a lack of popular support for my convictions. I ran a respectable campaign and learned much about the intricacies of our democratic process. There were tensions at home by that time that sidelined my nascent political career. Things were beginning to fall apart in my marriage.

Premier Doug Ford has shut down numerous small businesses due to the pandemic while allowing bigger franchises, such as Costco and Walmart, to continue to thrive. He’s promised to give the taxpayer the scientific data in support of his closures but has consistently failed to deliver on that promise. He sold out and betrayed the social conservatives he needed to win the nomination in the first place and since then has demonstrated his incompetence convincingly.

I supported Leslyn Lewis in the recent federal Conservative leadership race; although she lost a close contest, I believe she’s the future of the party. A Jamaican immigrant, she earned degrees from the University of Toronto, York University and Osgoode Hall Law school, and practiced law for 20 years starting her own firm. She specialized in corporate, real estate, immigration and energy law. She has a Masters degree in environmental studies, and would push back against political correctness. She agrees with Jordan Peterson that ‘gender expression’ and ‘gender identity’ should not be grounds for discrimination protection in the Criminal Code and the Canadian Human Rights Act because she believes it would threaten people for using ‘incorrect speech’. A more ecological version of Maggie Thatcher, perhaps?

Right now the federal government under the ‘leadership’ of Justin Trudeau is spending the country into oblivion and pushing every politically correct woke dogma imaginable down the throats of the populace. A kind of soft totalitarianism begins to pervade our institutions, and cancel culture abounds. Our state broadcaster the CBC feels like a mere adjunct of the Liberal Party, while universities demonize views which just a decade ago were perfectly acceptable. Illiberal mover and shaker elites, buttressed by critical race theory, racialize every aspect of life, including mathematics. As identity becomes paramount in divvying out social justice, the poor remain on the sidelines; economic hardship takes a back seat to the latest favored “identity victim’. Trudeau’s election promise to bring safe water to every indigenous reserve has fallen by the wayside, his carbon reduction plans are an empty promise. He cowers before Communist China, failing to speak directly to them about the Canadian hostages they keep. Justin Trudeau is a mere shadow of his father and former Prime Minister, Pierre Elliot Trudeau.

I applaud James Lindsay, the mathematician/philosopher, whose website, Public Discourses, systematically critiques Critical Race Theory and demonstrates that is not at all about social justice but about Marxist political power and dominance through the destruction of the liberal norms of political discourse. Indeed, it is at heart anti-democratic and totalitarian.

Q. What do you think of the contemporary Canadian musical scene – acts like Arcade Fire, July Talk, Deadmau5, and Drake? Which, if any of these, do you enjoy? If none of them, then who do you listen to mostly?

A. I know little of any of them other than Arcade Fire named one of their albums, Neon Bible, after the novel of the same name by the great Louisiana writer John Kennedy Toole who wrote the masterpiece, A Confederacy of Dunces. (I identify deeply with Ignatius Reilly sans the disgusting bodily functions.)

I find my music in out-of-the-way thrift storesand junk shops, and friends give them to me as gifts. Recent finds – a six record (vinyl) set by celebrated Polish harpsichordist, Wanda Landowska on RCA Victor 1958, called The Well Tempered Clavier by J.S. Bach. All of this for Canadian $3.50. Another is Sing Round the Year, 18 carols selected and composed by Welsh born composer, musician, singer and entertainer, Donald Swann – sung by him and the girls of Mayfield School, Putney and the boys of Westminster School. A real find that, for a total of 0.25 cents! One more – a record by the legendary Memphis-born blues singer, Alberta Hunter, an original soundtrack recording from the film Remember My Name. She recorded it at the age of 83 and it is smoking hot great. Picked it up used, for a mere pittance. You get the picture. I collect as always really finding whatever happens to show up. Books the same way. I’m not systematic or organized at all really. Whatever catches my fancy, and currently I’m reading Michel Houllebecq. Bed time reading are the Essays of Graham Greene.

Finally, Simply Saucer continues to thrive. We were a headlining act at the 2019 Goner Fest in Memphis Tennessee and have played NYC, Chicago, Philadelphia, Boston, Detroit, Austin and many other American cities, and much of Canada. We were slated to tour California and much of the American west coast in 2020 but Covid had other plans. We are returning to the studio to record once again. I have wonderful bandmates of spectacular talent including original member Kevin Christoff on bass, Mike Trebilcock, formerly of the popular powerpop band the Killjoys on guitar, Colina Phillips, who as a session singer worked with Bruce Cockburn, Bryan Adams, Alice Cooper and many others, on backing vocals and synth and a youthful drum phenom, Brad Bridges. And finally, I’m an avid member of the Churchill Community Garden Association, a rank amateur amazed each year by the fecundity of my plot at harvest time.