The Essential Colin Wilson Read Online Free PDF Page B

very much human. And the ape and the man exist in one body; and when the ape's desires are about to be fulfilled, he disappears and is succeeded by the man, who is disgusted with the ape's appetites.
    This is the problem of the Outsider. We shall encounter it under many different forms in the course of this book: on a metaphysical level, with Sartre and Camus (where it is called Existentialism), on a religious level, with Boehme and Kierkegaard; even on a criminal level, with Dostoevsky's Stavrogin (who also raped a small girl and was responsible for her death). The problem remains essentially the same; it is merely a question of discounting more or less as irrelevant.
    Barbusse has suggested that it is the fact that his hero sees deeper that makes him an Outsider; at the same time, he states that he has 'no special genius, no message to bestow', etc., and from his history during the remainder of the book, we have no reason to doubt his word. Indubitably, the hero is mediocre; he can't write for toffee, and the whole book is full of clichés. It is necessary to emphasize this in order to rid ourselves of the temptation to identify the Outsider with the artist, and so to oversimplify the question: disease or insight? Many great artists have none of the characteristics of the Outsider. Shakespeare, Dante, Keats were all apparently normal and socially well-adjusted, lacking anything that could be pitched on as disease or nervous disability. Keats, who always makes a very clear and romantic distinction between the poet and the ordinary man, seems to have had no shades of inferiority complexes or sexual neuroses lurking in the background of his mind; no D. H. Lawrence-ish sense of social-level, no James Joycian need to assert his intellectual superiority; above all, no sympathy whatever with the attitude of Villiers De Lisle Adam's Axel (so much admired by Yeats): 'As for living, our servants can do that for us.' If any man intended to do his own living for himself, it was Keats. And he is undoubtedly the rule rather than the exception among great poets. The Outsider may be an artist, but the artist is not necessarily an Outsider.
    What can be said to characterize the Outsider is a sense of strangeness, of unreality. Even Keats could write, in a letter to Browne just before he died: 'I feel as if I had died already and am now living a posthumous existence.' This is the sense of unreality, that can strike out of a perfectly clear sky. Good health and strong nerves can make it unlikely; but that may be only because the man in good health is thinking about other things and doesn't look in the direction where the uncertainty lies. And once a man has seen it, the world can never afterwards be quite the same straightforward place. Barbusse has shown us that the Outsider is a man who cannot live in the comfortable, insulated world of the bourgeois, accepting what he sees and touches as reality. 'He sees too deep and too much', and what he sees is essentially chaos . For the bourgeois, the world is fundamentally an orderly place, with a disturbing element of the irrational, the terrifying, which his preoccupation with the present usually permits him to ignore. For the Outsider, the world is not rational, not orderly. When he asserts his sense of anarchy in the face of the bourgeois' complacent acceptance, it is not simply the need to cock a snook at respectability that provokes him; it is a distressing sense that truth must be told at all costs , otherwise there can be no hope for an ultimate restoration of order. Even if there seems no room for hope, truth must be told. (The example we are turning to now is a curious instance of this.) The Outsider is a man who has awakened to chaos. He may have no reason to believe that chaos is positive, the germ of life (in the Kabbala, chaos— tohu bohu— is simply a state in which order is latent; the egg is the 'chaos' of the bird); in spite of this, truth must be told, chaos must be faced.
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