The Enlightenment still walks among us. Or rather, it lingers like a spectre – insisting it is alive, rational, and universal, while we, its inheritors, know full well it is a ghost. The project I’ve begun – call it my anti-Enlightenment collection – is about tracing these hauntings. Not the friendly ghosts of warm memory, but the structural ones: rationality unmoored, democracy designed to fail, presentism enthroned as law.
Audio: NotebookLM podcast on the essay underlying this post.
This collection began with Rational Ghosts: Why Enlightenment Democracy Was Built to Fail, which anatomised the Enlightenment’s misplaced faith in rational self-governance. The rational individual, Enlightenment’s poster child, turned out to be less a citizen than a figment – a ghost conjured to make democracy look inevitable.
It continues now with Temporal Ghosts: Tyranny of the Present, which dissects the structural bias of presentism – our systemic privileging of the living over the unborn. Hobbes, Locke, Rousseau, Bacon, Smith, Bentham, Montesquieu: each laid bricks in an architecture that secured sovereignty for now while exiling the future into silence. Debts accumulate, climate collapses, nuclear waste seeps forward through time. The unborn never consented, yet institutions treat their silence as assent.
Why a Collection?
Because ghosts travel in packs. One essay exposes Enlightenment’s hollow promises of reason; another its structural bias toward immediacy. The next will follow a different haunting, but always the same theme: Enlightenment’s bright lantern casts a shadow it refuses to see. The collection is less about reconstruction than exorcism – or at least acknowledgment that we live in a haunted house.
Ghost by Ghost
Rational Ghosts – Enlightenment democracy promised rational citizens and self-correcting systems. What it delivered instead was structural irrationality: Condorcet’s paradox, Arrow’s impossibility theorem, and a politics rigged to stumble over its own claims of reason.
Temporal Ghosts – The unborn are disenfranchised by design. The Enlightenment’s “living contract” fossilised presentism as law, leaving future generations to inherit debts, ecological ruin, and technological lock-in.
There may be more hauntings to come – economic ghosts, epistemic ghosts, technological ghosts. But like all spectres, they may fade when the season changes. The calendar suggests they’ll linger through Día de Muertos and Hallowe’en; after that, who knows whether they’ll still materialise on the page.
The fashionable complaint is that large language models ‘hallucinate’. They spit out confident nonsense: the tech pundits are scandalised. A chatbot invents a book, attributes it to Plato, and spins a dialogue about Quidditch. ‘Hallucination!’ they cry. Machines, it seems, are liars.
Spare me. Humans are the original hallucination engines. We fabricate categories, baptise them in blood, and call the result ‘truth’. At least the machine doesn’t pretend its fictions are eternal.
Take race and selfhood, our twin masterpieces of make-believe.
They carve boundaries out of fog. Race slices humanity into ‘Black’ and ‘White’. Selfhood cordons ‘I’ off from ‘you’. Arbitrary partitions, paraded as natural law.
They’re locked in by violence and paperwork. Race was stabilised by censuses, laws, and medical forms – the same bureaucratic gears that powered slavery, eugenics, and apartheid. Selfhood was stabilised by diaries, court records, and psychiatric charts. Write it down often enough, and suddenly the fiction looks inevitable.
They make bodies manageable. Race sorts populations into hierarchies and facilitates exploitation. Selfhood sorts individuals for property, accountability, and punishment. Together, they’re operating systems for social control.
They are fictions with teeth. Like money, they don’t need metaphysical foundations. They are real because people are willing to kill for them.
These hallucinations aren’t timeless. They were midwifed in the Enlightenment: anthropology provided us with racial typologies, the novel refined the autonomous self, and colonial administration ran the pilot projects. They’re not ancient truths – they’re modern software, installed at scale.
So when ethicists wring their hands over AI ‘hallucinations’, the joke writes itself. Machines hallucinate openly. Humans hallucinate and call it scripture, law, and identity. The only difference is centuries of institutional muscle behind our delusions.
And here’s the sting: what terrifies us isn’t that AI produces falsehoods. It’s that, given time, its inventions might start to look as solid as ours. Fifty years from now, people could be killing for an algorithm’s hallucination the same way they’ve been killing for gods, races, and selves.
Gustave Le Bon’s The Crowd: A Study of the Popular Mind (1895) has had the half-life of uranium. His thesis is simple and disturbing: rational individuals become irrational when they merge into a crowd. The crowd hypnotises, contagion spreads, and reason dissolves in the swell of collective emotion.
It’s neat. It’s elegant. It’s also far too flattering.
Audio: NotebookLM podcast on this topic.
Le Bon assumes that the default state of the human being is rational, some Enlightenment holdover where citizens, left to their own devices, behave like tidy mini-Kants. Then, and only then, do they lose their reason in the mob. The trouble is that a century of behavioural science has made it painfully clear that “rational man” is a fairy tale.
Daniel Kahneman mapped our cognitive machinery in Thinking, Fast and Slow: System 1 (fast, intuitive, emotional) is running the show while System 2 (slow, deliberate, logical) is mostly hired as the PR manager after the fact. Dan Ariely built a career documenting just how predictably irrational we are – anchoring, framing, sunk-cost fallacies, you name it. Add in Tversky, Thaler, Gigerenzer, and the usual suspects, and the picture is clear: we don’t need a crowd to become irrational. We start irrational, and then the crowd amplifies it.
In that sense, Le Bon wasn’t wrong about crowds being dangerous, but he may have missed the darker point. A crowd doesn’t corrupt a rational base – it accelerates the irrational baseline. It’s not Jekyll turning into Hyde; it’s Hyde on a megaphone.
This matters because if you take Le Bon literally, the problem is situational: avoid crowds and you’ll preserve reason. But if you take Kahneman seriously, the problem is structural: crowds only reveal what was already there. The positive feedback loop of group psychology doesn’t replace rationality; it feeds on the biases, illusions, and shortcuts already baked into the individual mind.
Le Bon handed us the stage directions for mass manipulation. Modern behavioural economics shows us that the script was already written in our heads before we ever left the house. Put the two together and you have the perfect recipe for political spectacle, advertising, and algorithmic nudges.
Which makes Le Bon’s century-old observations correct – but not nearly bleak enough.
After revisiting MacIntyre on Nietzsche – with Descartes lurking in the background – I think it’s time for another round on dis-integrationism.
Audio: NotebookLM podcast on this topic.
Philosophy has a bad renovation habit. Descartes tears the house down to its studs, then nails God back in as a load-bearing beam. Nietzsche dynamites the lot, then sketches a heroic Übermensch strutting through the rubble. MacIntyre sighs, bolts Aristotle’s virtue table to the frame, and calls it load-bearing furniture. The pattern repeats: demolition, followed by reconstruction, always with the insistence that this time the structure is sound.
Video: Jonny Thompson’s take on Nietzsche also inspired this post.
But the error isn’t in tearing down. The error is in rushing to rebuild. That’s where the hyphen in dis-integrationism matters – it insists on the pause, the refusal to immediately re-integrate. We don’t have to pretend the fragments are secretly a whole. We can live with the splinters.
Yes, someone will protest: “We need something.” True enough. But the something is always a construction – provisional, contingent, human. The problem isn’t building; the problem is forgetting that you’ve built, then baptising the scaffolding as eternal bedrock.
Modernity™ is a museum of such floorboards: rationalism, utilitarianism, rights-talk, virtue ethics, each nailed down with solemn confidence, each creaking under the weight of its contradictions. The sane position is not to deny the need for floors, but to remember they are planks, not granite.
For the religious, the reply is ready-made: God is the foundation, the rock, the alpha and omega. But that is already a construction, no matter how venerable. Belief may provide the feeling of solidity, but it still arrives mediated by language, institutions, rituals, and interpretation. The Decalogue is a case in point: per the lore, God conveyed information directly to Abraham, Moses, the prophets, and onward in an unbroken chain. The claim is not only that the foundation exists, but that certain communities possess unique and privileged access to it — through scripture, tradition, and “reasons” that somehow stop short of being just more scaffolding.
Yet history betrays the trick. The chain is full of edits, schisms, rival prophets, councils, translations, and contradictions – each presented not as construction but as “clarification.” The gapless transmission is a myth; the supposed granite is a patchwork of stone and mortar. A dis-integrationist view doesn’t deny the weight these systems carry in people’s lives, but it refuses to mistake architecture for geology. Whatever floor you stand on was built, not found.
Dis-integrationism is simply the refusal to be gaslit by metaphysics.
This clip of Rachel Barr slid into my feed today, fashionably late by a week, and I thought it deserved a little dissection. The video wouldn’t embed directly – Instagram always has to be precious – so I downloaded it and linked it here. Don’t worry, Rachel, I’m not stealing your clicks.
Now, the United States. Or rather, the United States In Name Only – USINO. A nation perpetually rebranding itself as a “union” whilst its citizens claw at each other like alley cats in a bin fire. Yes, divisions abound – economic, racial, ideological, pick your poison – but some fissures cut to the bone. Today’s example: Charlie Kirk and the rabid congregation of defenders he’s managed to cultivate.
Audio: NotebookLM podcast on this topic.
The Competing Liturgies
To hear one camp tell it, Kirk is no hater at all. He’s a gentle, God-soaked soul, brimming with Christian love and trying – halo tilted just so – to shepherd stray sheep toward Our Lord and Saviour™. A real Sunday-school sweetheart.
But this is not, shockingly, the consensus. The other camp (my camp, if disclosure still matters in a post-truth age) see him as a snarling opportunist, a huckster of hate packaged in the familiar varnish of patriotism and piety. In short: a hate-merchant with a mailing list.
Spectacle as Weapon
I’ve watched Kirk at work. He loves to stage “debates” – quotation marks mandatory – where a token dissenter is dropped into an amphitheatre of loyalists. It’s the rhetorical equivalent of feeding Christians to lions, except the lions roar on cue and the crowd thinks the blood is wine. He laces misogyny, racism, and reheated premodern dogma into cheap soundbites, and the audience laps it up as though they were attending a revival. For the believers, it’s a festival. For everyone else, it’s a hostile takeover of public discourse.
Deaf Ears, Loud Mouths
Here’s the rub: Cohort A doesn’t perceive his words as hate because they already share the operating system. It’s not hate to them – it’s common sense. Cohort B, meanwhile, hears every syllable as the screech of a chalkboard dragged across the public square. Same words, two worlds.
And when I dare to suggest that if you can’t hear the hatred, you might just be complicit in it, the pushback is instantaneous: Stop imposing your worldview! Which is rich, since their worldview is already blaring through megaphones at tax-exempt rallies. If my worldview is one that insists on less hate, less dehumanisation, less sanctified bullying, then fine, I’ll take the charge.
The deeper accusation, though, is almost comic: that I’m hallucinating hate in a man of pure, lamb-like love. That’s the gaslighting twist of the knife – turning critique into pathology. As if the problem isn’t the bile spilling from the stage but my faulty perception of it.
Perspective is everything, yes – but some perspectives reek of wilful blindness.
Humans can’t seem to stop clawing after morality. The primates among us chuck cucumbers when their neighbours get grapes, and the rest of us grumble about fairness on social media. The impulse is practically universal, an evolutionary quirk that kept us from throttling each other long enough to raise children and build cities.
Image: A seemingly perturbed capuchin monkey.
But universality is not objectivity. Just because every ape howls about fairness doesn’t mean “Justice” floats somewhere in Platonic space, waiting to be downloaded. It only means we’re the kind of animal that survives by narrating rules and enforcing them with shunning, shame, or, when necessary, cudgels.
Audio: NotebookLM podcast on this topic.
This is where Alasdair MacIntyre trips over his own robes. After Virtue skewers Enlightenment rationalists who tried to prop morality on reason, it then dismisses Nietzsche for being “irrational.” MacIntyre’s fix? Resurrect Aristotle’s teleology. If reason can’t save morality, maybe an ancient oak tree can. But this is wish-thinking with a Greek accent. He’s still arguing by reason that reason can’t do the job, then sneaking back in through Aristotle’s back door with a “firmer ground.” Firmer only because he says so.
Nietzsche, at least, had the decency to call the bluff: no telos, no floor, no cosmic anchor. Just will, style, and the abyss. Uncomfortable? Absolutely. Honest? Yes.
Deleuze went further. He pointed out that morality, like culture, doesn’t look like a tree at all. It’s a rhizome: tangled, proliferating, hybridising, never grounded in a single root. The fragments MacIntyre despairs over aren’t evidence of collapse. They’re evidence of how moral life actually grows—messy, contingent, interconnected. The only reason it looks chaotic is that we keep demanding a trunk where only tubers exist.
So here we are, apes with a craving for rules, building cities and philosophies on scaffolds of habit, language, and mutual illusion. We are supported as surely as the Earth is supported – by nothing. And yet, we go on living.
The need for morality is real. The yearning for telos is real. The floor is not.
So much of modern life rests on promises of improvement. Governments promise progress, religions promise redemption, therapists promise healing. Feltham’s Keeping Ourselves in the Dark (2015) takes a blunt axe to this edifice. In a series of sharp, aphoristic fragments, he suggests that most of these promises are self-deceptions. They keep us busy and comforted, but they do not correspond to the reality of our condition. For Feltham, reality is not an upward arc but a fog – a place of incoherence, accident, and suffering, which we disguise with stories of hope.
Audio: NotebookLM podcast summarising this post.
It is a book that situates itself in a lineage of pessimism. Like Schopenhauer, Feltham thinks life is saturated with dissatisfaction. Like Emil Cioran, he delights in puncturing illusions. Like Peter Wessel Zapffe, he worries that consciousness is an overdeveloped faculty, a tragic gift that leaves us exposed to too much meaninglessness.
Depressive Realism – Lucidity or Illusion?
One of Feltham’s recurring themes is the psychological idea of “depressive realism.” Researchers such as Lauren Alloy and Lyn Abramson suggested that depressed individuals may judge reality more accurately than their non-depressed peers, particularly when it comes to their own lack of control. Where the “healthy” mind is buoyed by optimism bias, the depressed mind may be sober.
Feltham uses this as a pivot: if the depressed see things more clearly, then much of what we call mental health is simply a shared delusion, a refusal to see the world’s bleakness. He is not romanticising depression, but he is deliberately destabilising the assumption that cheerfulness equals clarity.
Here I find myself diverging. Depression is not simply lucidity; it is also, inescapably, a condition of suffering. To say “the depressed see the truth” risks sanctifying what is, for those who live it, a heavy and painful distortion. Following Foucault, I would rather say that “mental illness” is itself a category of social control – but that does not mean the suffering it names is any less real.
Video: Depressive Realism by Philosopher Muse, the impetus for this blog article
Agency Under the Same Shadow
Feltham’s suspicion of optimism resonates with other critiques of human self-concepts. Octavia Butler, in her fiction and theory, often frames “agency” as a structural mirage: we think we choose, but our choices are already scripted by language and power. Jean-Paul Sartre, on the other hand, insists on the opposite extremity: that we are “condemned to be free,” responsible even for our refusal to act. Howard Zinn echoes this in his famous warning that “you can’t be neutral on a moving train.”
My own work, the Language Insufficiency Hypothesis, takes a fourth line. Like Feltham, I doubt that our central myths – agency, freedom, progress – correspond to any stable reality. But unlike him, I do not think stripping them away forces us into depressive despair. The feeling of depression is itself another state, another configuration of affect and narrative. To call it “realistic” is to smuggle in a judgment, as though truth must wound.
Agency, Optimism, and Their Kin
Feltham’s bleak realism has interesting affinities with other figures who unpick human self-mythology:
Octavia Butler presents “agency” itself as a kind of structural illusion. From the Oankali’s alien vantage in Dawn, humanity looks like a single destructive will, not a set of sovereign choosers.
Sartre, by contrast, radicalises agency: even passivity is a choice; we are condemned to be free.
Howard Zinn universalises responsibility in a similar register: “You can’t be neutral on a moving train.”
Cioran and Zapffe, like Feltham, treat human self-consciousness as a trap, a source of suffering that no optimistic narrative can finally dissolve.
Across these positions, the common thread is suspicion of the Enlightenment story in which rational agency and progress are guarantors of meaning. Some embrace the myth, some invert it, some discard it.
Dis-integration Rather Than Despair
Where pessimists like Feltham (or Cioran, or Zapffe) tend to narrate our condition as tragic, my “dis-integrationist” view is more Zen: the collapse of our stories is not a disaster but a fact. Consciousness spins myths of control and meaning; when those myths fail, we may feel disoriented, but that disorientation is simply another mode of being. There is no imperative to replace one illusion with another – whether it is progress, will, or “depressive clarity.”
From this perspective, life is not rescued by optimism, nor is it condemned by realism. It is simply flux, dissonance, and transient pattern. The task is not to shore up agency but to notice its absence without rushing to fill the void with either hope or despair.
Four Ways to Mistake Agency
I’ve long wrestled with the metaphysical aura that clings to “agency.” I don’t buy it. Philosophers – even those I’d have thought would know better – keep smuggling it back into their systems, as though “will” or “choice” were some indispensable essence rather than a narrative convenience.
Take the famous mid-century split: Sartre insisted we are “condemned to be free,” and so must spend that freedom in political action; Camus shrugged at the same premise and redirected it toward art, creation in the face of absurdity. Different prescriptions, same underlying assumption – that agency is real, universal, and cannot be escaped.
What if that’s the problem? What if “agency” is not a fact of human being but a Modernist fable, a device designed to sustain certain worldviews – freedom, responsibility, retribution – that collapse without it?
Sartre and Zinn: Agency as Compulsion
Sartre insists: “There are no innocent victims. Even inaction is a choice.” Zinn echoes: “You can’t be neutral on a moving train.” Both rhetorics collapse hesitation, fatigue, or constraint into an all-encompassing voluntarism. The train is rolling, and you are guilty for sitting still.
Feltham’s Depressive Realism
Colin Feltham’s Keeping Ourselves in the Dark extends the thesis: our optimism and “progress” are delusions. He leans into “depressive realism,” suggesting that the depressive gaze is clearer, less self-deceived. Here, too, agency is unmasked as myth – but the myth is replaced with another story, one of lucidity through despair.
A Fourth Position: Dis-integration
Where I diverge is here: why smuggle in judgment at all? Butler, Sartre, Zinn, Feltham each turn absence into a moral. They inflate or invert “agency” so it remains indispensable. My sense is more Zen: perhaps agency is not necessary. Not as fact, not as fiction, not even as a tragic lack.
Life continues without it. Stabilisers cling to the cart, Tippers tip, Egoists recline, Sycophants ride the wake, Survivors endure. These are dispositions, not decisions. The train moves whether or not anyone is at the controls. To say “you chose” is to mistake drift for will, inertia for responsibility.
From this angle, nihilism doesn’t require despair. It is simply the atmosphere we breathe. Meaning and will are constructs that serve Modernist institutions – law, nation, punishment. Remove them, and nothing essential is lost, except the illusion that we were ever driving.
Octavia E Butler’s Alien Verdict
Not Judith Buthler. In the opening of Dawn, the Oankali tell Lilith: “You committed mass suicide.” The charge erases distinctions between perpetrators, victims, resisters, and bystanders. From their vantage, humanity is one agent, one will. A neat explanation – but a flattening nonetheless.
Even if one resists his alignment of depression with truth, Feltham’s work is valuable as a counterweight to the cult of positivity. It reminds us that much of what we call “mental health” or “progress” depends on not seeing too clearly the futility, fragility, and cruelty that structure our world.
Where he sees darkness as revelation, I see it as atmosphere: the medium in which we always already move. To keep ourselves in the dark is not just to lie to ourselves, but to continue walking the tracks of a train whose destination we do not control. Feltham’s bleak realism, like Butler’s alien rebuke or Sartre’s burden of freedom, presses us to recognise that what we call “agency” may itself be part of the dream.
I’ve been working through the opening chapters of Octavia Butler’s Dawn. At one point, the alien Jdahya tells Lilith, “We watched you commit mass suicide.”*
The line unsettles not because of the apocalypse itself, but because of what it presumes: that “humanity” acted as one, as if billions of disparate lives could be collapsed into a single decision. A few pulled triggers, a few applauded, some resisted despite the odds, and most simply endured. From the alien vantage, nuance vanishes. A species is judged by its outcome, not by the uneven distribution of responsibility that produced it.
This is hardly foreign to us. Nationalism thrives on the same flattening. We won the war. We lost the match. A handful act; the many claim the glory or swallow the shame by association. Sartre takes it further with his “no excuses” dictum, even to do nothing is to choose. Howard Zinn’s “You can’t remain neutral on a moving train” makes the same move, cloaked in the borrowed authority of physics. Yet relativity undermines it: on the train, you are still; on the ground, you are moving. Whether neutrality is possible depends entirely on your frame of reference.
What all these formulations share is a kind of metaphysical inflation. “Agency” is treated as a universal essence, something evenly spread across the human condition. But in practice, it is anything but. Most people are not shaping history; they are being dragged along by it.
One might sketch the orientations toward the collective “apple cart” like this:
Tippers with a vision: the revolutionaries, ideologues, or would-be prophets who claim to know how the cart should be overturned.
Sycophants: clinging to the side, riding the momentum of others’ power, hoping for crumbs.
Egoists: indifferent to the cart’s fate, focused on personal comfort, advantage, or escape.
Stabilisers: most people, clinging to the cart as it wobbles, preferring continuity to upheaval.
Survivors: those who endure, waiting out storms, not out of “agency” but necessity.
The Stabilisers and Survivors blur into the same crowd, the former still half-convinced their vote between arsenic and cyanide matters, the latter no longer believing the story at all. They resemble Seligman’s shocked dogs, conditioned to sit through pain because movement feels futile.
And so “humanity” never truly acts as one. Agency is uneven, fragile, and often absent. Yet whether in Sartre’s philosophy, Zinn’s slogans, or Jdahya’s extraterrestrial indictment, the temptation is always to collapse plurality into a single will; you chose this, all of you. It is neat, rhetorically satisfying, and yet wrong.
Perhaps Butler’s aliens, clinical in their judgment, are simply holding up a mirror to the fictions we already tell about ourselves.
As an aside, this version of the book cover is risible. Not to devolve into identity politics, but Lilith is a dark-skinned woman, not a pale ginger. I can only assume that some target science fiction readers have a propensity to prefer white, sapphic adjacent characters.
I won’t even comment further on the faux 3D title treatment, relic of 1980s marketing.
* Spoiler Alert: As this statement about mass suicide is a Chapter 2 event, I am not inclined to consider it a spoiler. False alarm.
I just read The Granton Star Cause in Irvine Welsh’s short story collection, The Acid House, and couldn’t help but reflect it off of Kafka’s Metamorphosis.
Kafka gave us Gregor Samsa: a man who wakes up as vermin, stripped of usefulness, abandoned by family, slowly rotting in a godless universe. His tragedy is inertia; his metamorphosis grants him no agency, only deeper alienation.
Audio: NotebookLM podcast on this topic.
Welsh replies with Boab Coyle, a lad who is likewise cast off, rejected by his football mates, scorned by his parents, dumped by his girlfriend, and discarded by his job. Boab is surplus to every domain: civic, familial, erotic, and economic. Then he undergoes his own metamorphosis. And here Welsh swerves from Kafka.
Boab meets his “god.” But the god is nothing transcendent. It is simply Boab’s latent agency, given a mask – a projection of his bitterness and thwarted desires. God looks like him, speaks like him, and tells him to act on impulses long repressed. Where Kafka leaves Gregor to die in silence, Welsh gives Boab a grotesque theology of vengeance.
Through a Critical Theory lens, the contrast is stark:
Marx: Both men are surplus. Gregor is disposable labour; Boab is Thatcher’s lumpen. Alienated, both become vermin.
Nietzsche: Gregor has no god, only the absurd. Boab makes one in his own image, not an Übermensch, but an Über-fly – quite literally a Superfly – a petty deity of spite.
Foucault: Gregor is disciplined into passivity by the family gaze. Boab flips it: as a fly, he surveils and annoys, becoming the pest-panopticon.
Bataille/Kristeva: Gregor embodies the abjection of his family’s shame. Boab revels in abjection, weaponising filth as his new mode of agency.
The punchline? Boab’s new god-agency leads straight to destruction. His rage is cathartic, but impotent. The lumpen are permitted vengeance only when it consumes themselves.
So Kafka gave us the tragedy of stasis; Welsh provides us with the tragedy of spite. Both are bleak parables of alienation, but Welsh injects a theology of bad attitude: a god who licenses action only long enough to destroy the actor.
I identify strongly with Irvine Welsh’s characters in Trainspotting – the book, not the sanitised film version. Especially with Mark Renton, whose voice strips away illusions with a brutality that borders on honesty.
Audio: NotebookLM podcast on this topic.
Consider this passage from the chapter “Bang to Rites” (pp. 86–87), where Renton attends the funeral of his mate Billy. Billy joined the army to escape the dead-end life they all shared, only to be killed on duty in Northern Ireland. Renton’s verdict:
“He died a hero they sais. Ah remember that song: ‘Billy Don’t Be A Hero’. In fact, he died a spare prick in a uniform, walking along a country road Wi a rifle in his hand. He died an ignorant victim ay imperialism, understanding fuck all about the myriad circumstances which led tae his death. That wis the biggest crime, he understood fuck all about it. Aw he hud tae guide um through this great adventure in Ireland, which led tae his death, wis a few vaguely formed sectarian sentiments.
“The cunt died as he lived: completely fuckin scoobied.
“His death wis good fir me. He made the News at Ten. In Warholian terms, the cunt had a posthumous fifteen minutes ay fame. People offered us sympathy, n although it wis misguided, it wis nice tae accept anywey. Ye dinnae want tae disappoint folk.
“Some ruling class cunt, a junior minister or something, says in his Oxbridge voice how Billy wis a brave young man. [1] He wis exactly the kind ay cunt they’d huv branded as a cowardly thug if he wis in civvy street rather than on Her Majesty’s Service. [2] This fucking walking abortion says that his killers will be ruthlessly hunted down. So they fuckin should. Aw the wey tae the fuckin Houses ay Parliament.
“Savour small victories against this white–trash tool of the rich that’s no no no”
[1] Renton doesn’t let anyone off the hook. Not Billy, not the army, not the Oxbridge suits who polish the tragedy into something fit for the News at Ten. The uniform is a costume, a disguise: a working-class lad suddenly deemed “brave” only because he was wearing the right outfit when he died. Strip away the uniform, and he’d have been dismissed as a thug or a waster.
[2] Renton’s root-cause analysis is unsparing. Billy wasn’t killed by the man with the gun so much as by the machine that put him there – the state, the ruling classes, the ones who spin death into “sacrifice” while continuing to shuffle the poor like pawns across the board.
It’s this clarity that makes Welsh’s work more than a drug novel. Trainspotting isn’t just about needles and nods; it’s about seeing through the charade. Renton despises both establishment and rebellion because both are performance, both hollow. His cynicism is the closest thing to honesty in a world that would rather dress up corpses in borrowed dignity.
And maybe that’s why I feel the affinity: because subversion matters more than allegiance, and sometimes the only truthful voice is the one that refuses to be polite at the funeral.
Philosophics 