The American creepshow

 

America creeps me out.

Hark: even in the complaint, hear the native woodnotes wild. “Creep” – the b-side of the American aesthetic. Creeps and creepiness, our politicians, our lynchers old and young, our gothic. D.H. Lawrence, who fought the fight against gentility, was still its prisoner when he wrote, deducting from Squire Cooper’s tales, that the American hero was hard, isolate, a killer. The American hero is indeed a killer, but of the most self-pitying, the most incel kind. He can’t wipe out a high school class with Dad and Mom’s semiautomatic rifle without shedding a tear over his own victimhood. He can’t lynch a black man (either robed in the classic white sheet or in the blue uniform) without “protecting his family” or his 2^nd amendment right to maximum creepiness. His counterparts ride the airwaves and chair congressional committees, win elections as Senators and Presidents, and exude creepiness, annexing politics towards that final goal. That we take that creepiness as fascism does it the high honor of imputing an ideological motive to a pathological tease. It is all the Halloween, the Friday the 13^th Universe, where even the final girl is simple more bait continuing the series.

So: America creeps me out.