For the wages of sin is death, Rome6:23
Introduction
Some people argue that the Bible is a form of literature, but I am more inclined to agree with the sentiment expressed by an unknown figure who proclaimed, ‘The Bible is not literature.’ When I was a young aspiring writer, I began by embracing the notion that my presence was akin to that of an ‘unnamed insect.’ While fiction serves as a means to articulate one’s innermost thoughts, the challenge lies in presenting these thoughts in a manner that resonates with readers. This necessitates a discerning eye during the process of revision, with a willingness to excise what does not align with the intended message.
Embracing this narrative of brutality, with the Bible serving as the pinnacle, I found my ego humbled. Recognizing that the entirety of past legacies is encapsulated within the Bible’s teachings, I embarked on my journey as a writer, mindful of the absence of virgin territory in the realm of imagination. One lingering challenge that persisted for me was the task of ‘penning tales of cruelty,’ particularly in the context of ‘vigilante justice.’（mob justice)
The passage from the Letter to the Romans, ‘For the wages of sin is death,’ traversed my manuscript in various iterations, at times serving as the prologue, while on other occasions, being voiced by characters who never graced the narrative world. It is pertinent to note that the biblical text extends beyond this aphorism to elucidate, ‘but the gift of God is eternal life in Christ Jesus our Lord,’ underscoring the concept of redemption offered by Jesus to individuals ensnared in the cycle of transgression, where the departed are absolved of the capacity to sin.
And Then There Were None and Bergson’s philosophy
During my recuperation from 2018 onwards, I also came to appreciate Agatha Christie’s “And Then There Were None.” This story does not involve a detective. It is narrated in the third person, where each deceased body seems to speak, and the truth is eventually encapsulated in a letter of Aposiopesis. Gathered here are ten individuals who have committed crimes that evade legal judgment. Among the victims was Emily Brent, a zealot who had driven her pregnant maid to suicide.
Perhaps anticipating her own demise, she sought solace in Psalm 91, which promises divine salvation: “You will not fear the terror of night, nor the arrow that flies by day, nor the pestilence that stalks in the darkness, nor the plague that destroys at midday.” However, despite her prayers, she met her end being fatally stung by a bee.
The unfolding tragedy on this secluded island is masterminded by a scheme to eliminate Justice Wargrave. Amidst the relentless passage of time, a Bergsonian disconnect between the time of consciousness and the time of the world is observed. Emily’s internal worldview of faith influences her outward decisions. She fixates on unpunished sins. Pure and inner awareness does not necessarily equate to enduring Christian love, light, or goodness: Philosophical purity extends to universality and transcends ethics.
The act of sanctioned killing illustrates the unwritten laws that emerge when philosophy and theology are constrained by ethical considerations. While religion offers admonition for human sins and promises divine forgiveness, societal justice does not always mirror these principles. The judge turned his attention to this disconnection and conceived this narrative. The enigmatic centerpiece of the story, the staged murders through figurines, draws inspiration from a Mother Goose poem.
Originally symbolizing black people, the poem was later reimagined to depict Indians. These figurative killings, mirroring oppression and persecution, blur the lines between matter, memory, and the ethereal nature of the mind. Time on the island is elusive, as none lay claim to it; the very existence of the characters becomes transient, manipulated by the enigmatic entity U.N. Owen, who has lured ten individuals to the island. Incorporeal forces dictate the island’s fate.
The relationship among matter, space, and memory, often overlooked as mere philosophical abstractions by most, manifests tangibly, particularly when the material takes on suggestive undertones. Individuals uncover meaning in Mother Goose’s verses and symbolic dolls, as they unwittingly play into the orchestrated plans of the true culprits. A mysterious gramophone voice exposes each individual’s missteps, echoing as haunting aural sensations that unsettle even the most stalwart of characters, eliciting fear in the interplay between matter and spirit—a philosophical quandary that may leave one drowsy and disoriented.
The scene must have been quite favorable for the magistrate who orchestrated it. Just like good table manners(killing game) at a meal, he carried out the murders in a beautifully orchestrated manner. As the sound of a gunshot rang out, the culprit, Wargrave, feigned his death. Then, as he rose, his spectral drama intensified. Wargrave’s self-absorption is evident in his association of himself with biblical figures Cain and Abel. Cain, responsible for the first murder in the Bible, also resorted to lies. Despite this, God prevented Cain from seeking revenge. Consequently, the judge found himself ensnared in an aesthetic illusion of justice. This is because private punishment or vigilantism（mob justice) goes against the will of God. However, private retribution and aesthetic perception are inherently intertwined.
For example, ‘soma rope’ drawn separately.
A ‘soma rope’ depicting a birdcage and a bird separately creates the illusion of a bird within the cage. By turning the ‘soma rope,’ the interplay between the bird and its enclosure suggests a symbiotic coexistence. This Literature is likely to have honed in on this nuanced relationship. Unlike literature, other artistic mediums such as painting and music avoid delving into the realm of ‘mob justice.’ When it comes to rendering judgment, paintings tend to veer towards religious iconography or stop short at depicting ‘public punishment’.
Words serve various roles, from divine scriptures to poetry, proverbs, fiction, and journalism. While painting and music may not be taken seriously by everyone, language is a skill possessed by all, capable of expressing love or falsehood, engaging individuals earnestly. However, words simply come and go with time. Even the declaration ‘I love you’ fades, as words necessitate perception, memory, and lived experiences. Love cannot subsist on words alone; it requires emotions and actions as companions. Nevertheless, the term ‘love’ readily evokes associations for many. Despite the elusive nature of profound love, a sense of direction can often be discerned.
Love prompts actions, enabling one to recognize it through conduct. On the contrary, the emotions of cause and effect behind acts like murder or vigilante justice are not easily comprehended. Mother Goose’s Indian poem, a stark depiction, concludes with the image of the last Indian tragically taking his own life by hanging. These ten individuals grasp the full significance of the poem. The existential threat to their lives transforms the pure continuity of consciousness and time from mere theoretical musings into poignant realities. Furthermore, their narratives do not culminate in penance, but rather conclude within the realm of the past as intertwined with past ≒ memory.
Souls by Mob Justice
“Like the ten invited guests, we do not see memory, time and space as separate objects.
According to Plato’s three ideas, (1) is the true, (2) beauty, (3) interest towards the good. Sternberg refers to this aesthetic interest in beauty. In the Bible we find such a composition in the Old Testament story of Hagar. Abraham’s wife Sarah could not have children, so she gave birth to a slave, Hagar. She gave the child the name Ishmael. Hagar’s situation is similar to that of Emily Brent, but in the end, Hagar is saved by God.
In the biblical world, “Thou shalt not kill” (Exodus 20.13) is based on faith, on the absolute God. But does literature write about evil, breaking its promises with mischief? Georges Bataille made us believe that the essence of literature lies in uncovering evil. Writers sometimes ponder whether to write based solely on imagination or experience. Eventually, they find that imagination alone is insufficient, and they seek to capture the essence of everyday life. That’s why this story is serene, providing only a surface-level view of the characters, as no detectives are present in the narrative.
If there is any confirmation of God’s existence, it’s when a fishing boat accidentally discovers a confession that a judge had placed in a bottle, never meant to be found. Christianity’s association with fishermen is deep-rooted, and such unexpected occurrences can challenge our perceptions. In the grand scheme of mystery novels, these aspects may seem insignificant, yet they add a layer of depth to our understanding of the world.
Paintings, if destroyed, lose their meaning, similar to Carel Fabritius’s artworks after the explosion. Literature, on the other hand, has the power to impact individuals in unique ways, transcending physical space and form. How does literature leave a mark on people? It serves as a vessel for abstract concepts and emotions, portraying the fluid and ever-changing nature of human experience. The phrase ‘And Then There Were None’ encapsulates the brutal reality of the literary realm.
Art faces its true test when it remains as a solely tangible form, bypassing any need for verbal explanation. While painting is tangible, literature remains alongside the Bible but lacks a visual aspect. As I reflect on my past as an artist, it becomes clear that my pursuit was not of painting flowers but of exploring existence and love through art.
In the modern world, we find a disconnect between philosophy, psychology, and the soul, necessitating a return to a more religious perspective in order to address these fundamental aspects. Nevertheless, literature remains a powerful medium for delving into the complexities of the human soul. Nietzsche’s concept of Ressentiment and the inversion of values find echoes in Agatha Christie’s ‘And Then There Were None’.
The murderer in the story indulges in his desires under the guise of proxy revenge and pleasure, embodying hidden motives and selfish pursuits on the isolated island. His actions reveal an inner struggle for acceptance and validation. Ultimately, his act of discarding his confession into the ocean signifies a search for absolution, where chance plays a pivotal role in determining his fate. This narrative unfolds as a cautionary tale of vigilante justice.
My artistic exploration, akin to a gathering of twigs for a bird’s nest, aimed to give form to beauty and emotion. Despite the thorns and perils, every element in this artistic creation is akin to a word from a higher power. The process remains an introspective journey into the essence of existence and beauty, yearning for a deeper understanding of the human psyche.
In my next work, I aspire to delve into the darker aspects of existence, much like the shadows that lurk beneath the surface of our consciousness.”
Literature and Mob Justice Overview
It took me six years to work on this theme. Writing about cruelty, akin to journalism, does not involve separating oneself from others. At times, it necessitates exposing one’s own malice.
I delved into Agatha Christie’s ‘And Then There Were None’ in light of Bergson’s philosophy. While the subject matter of matter and spirit, when explored philosophically, is often criticized for its abstraction, in the context of a deadly game, everyone comprehends its significance.
In this predatory tale, Indian dolls symbolize their lives as they perish according to the cryptic verses of a Mother Goose poem.
Philosophical consciousness does not mandate adherence to morality or ethics. It indicates a lack of necessity for religious notions of goodness, which I have encapsulated in this introductory exposition. My aim is to elevate my unpublished novel to the focal point of this narrative.
‘Mob Justice’ embodies a yearning for acknowledgment of the downtrodden and marginalized soul. Despite being driven to the brink, I do not view myself as a mere casualty. I shall return.
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Chris Kyogetu 