There was a temporary interval in American life when a shooting spree by a madman would have been viewed as the crime of one man. The dead would have been mourned. The killer, if he had been taken alive, would have been punished, and while the memorial might have been accompanied by some leading sermons, the country would have been spared the media exploitation and blame-a-thon that invariably follows such events.
A shooting takes place and the media urges that millions of firearms be confiscated. Every crisis requires that more freedoms be sacrificed for that overriding public danger that the talking heads are screaming about this week over news feeds from every corner of the globe. There are no more private lives. Only public ones. Everyone will sooner or later pass before the camera and be judged by millions of strangers in a narrative that will transform him or her into a hero or villain in the great social struggle against the public danger of the day.
Calling Adam Lanza a madman has little meaning now. The madman retreats to a private world of his own making. But the collective culture does not recognize madness as a detachment from the crowd. Instead it views it as yet another social malady to be solved. Re-open the asylums. Provide more mental health funding. Open hotlines for anyone with suicidal thoughts. Social solutions for a social society coping with the anti-social.
But even our madmen are public figures now. Cut off from the collective culture by their minds, they still strive to connect to its most fundamental value. Fame.
America's spree killers don't drive pickup trucks with gun racks. They aren't NRA members and have never opened a bible. They are young, mentally ill and famous. They are exactly like the real and fake celebrities who crowd magazine covers, television screens and paparazzi-choked premieres. But they can't sing or dance, and have no unique way to embarrass themselves into staged fame. Instead they kill their way to being famous.
As schizophrenic as our shooters were, as unable to connect to the groupthink of the larger culture, they understood the one thing that we valued. And they got it in a brute force way. They became what every girl with dyed blonde hair waiting on line to impress the judges of television's dueling singing competitions, every waiter with sunglasses waiting to become a movie star on Rodeo Drive, every "internet personality" leaning precariously over a webcam on YouTube, every kid trying out rhymes on his friends and building a fake biography of all the people he shot in drug deals gone bad, want to be. Famous.
In mass culture, fame is the only oxygen of the individual. It is the only thing that distinguishes the vanishing individual from the herd. The celebrity is to 21st Century America as the general, the writer, the poet, the politician and the genius were to former eras. All these things and many more have been distilled down to the simple status of celebrity. You are either famous or you aren't. You either have a private life that everyone knows about or your private life has already been repealed by the overriding public dangers of cow farts, racism and large sodas. You are either a slave to the public or just a public slave.
A culture of crowds makes crazy people even crazier. There's nothing for paranoia like a major city and these days we all live in the major city of a culture that is crowded in even its most rural areas. Crowd culture expects everyone to follow the leader, to join the meme, to move with the flow, but that is something that crazy people cannot do. The madman is always out of step and out of sync, the paranoid schizophrenic occasionally makes a compelling leader, but he is unable to be a follower.
Madness can at its simplest be viewed as the gap between his thinking and our own. Like cultural differences, it often explodes into violence, but unlike cultural differences it cannot be bridged because there is no common language. The madman is a member of a unique culture of one. He is a citizen of himself. He has his own laws, his own values and even his own mental language. And it is one that no sane person will ever understand.
If the madman has lost the ability to speak to the crowd, the crowd has equally lost the ability to speak to the individual. The madman suffers from a defective mental vocabulary and the mad society has lost the ability to formulate concepts relating to individual behavior.
In our society the individual is always seen as putting on a public performance of accepting or rejecting group values. All private lives become a public competition to see who recycles the most, is the least racist, the most giving and the best example of what a cog in the great social machine should be. Every individual act is a commentary, not ultimately on the individual, but on the social machine. Crime is no longer a private act, but a public one, that emerges out of social factors such as the poverty rate, race relations, the availability of firearms, cold medication in pharmacies and the amount of funding for midnight basketball, outpatient mental health therapy and a thousand others.
All private plans are a public danger. All individual acts are really collective acts. There is no "I" in individual. There is only the crowd, its avatars who live out their fantasies and entertain them, and the masses shuffling off toward their daily labors until they are released from the grind and allowed a few hours to entertain themselves watching their avatars live a public show of private life.
How does one speak of individual responsibility to such people and how can they be expected to distinguish individualism from madness? The ant hive cannot be expected to think of the ant. It cannot understand anthood apart from the hive.
The Blame-a-Thon continues. Blaming Adam Lanza for his own actions is insufficient. Even blaming his dead mother is insufficient. Individuals do not matter. Only groups do. Corporations. The NRA. The Tea Party. Private tragedy becomes a political event complete with campaign speeches and fundraising letters. Organizations converge. New offices are opened and phone lines are installed. Press conferences are given. "This is a wake up call. A call for action. It's time we did something."
Within an hour, the responsibility is transferred from a killer to the society at large and then to the groups that do not share the values of the new collectivist society. War is declared. Press releases are faxed. Letters are sent out. "We need your help, Michael." "Stand with us, Susan." The dead are buried and their bodies are used to make the mulch of a new wave of political repression and profiteering. The dead, like singing competition contestants, are ultimately disposable, as are their killers. It is the producers and the judges who endure.
There is more danger than safety in the crowd. Not only can the crowd not deter a madman, for the same reason that Kitty Genovese bled to death lay dying for an hour, but the crowd is also mad. It is a madness that is harder to detect because it is the madness of a crowd. The individual irrationality of a madman is detectable by outsiders, because of its conflict with the group reality, and even to the person of the madman by that same conflict, which fuels his paranoia toward the outside world, but the group cannot detect its own irrationality and is too large and pervasive for its irrationality to be recognized on the outside.
Our crowd is not yet as collectively insane as Adam Lanza, but it's getting there. And it will not be pretty when it does. The madness of crowds is not a pretty thing. It can be seen in the hysterical crowds that greeted Hitler or the equally hysterical crowds swooning at the sight of a celebrity. Individual madness is flawed chemistry, but crowd madness is a will to madness, a raving desire to be one with the collective view, to be famous or almost famous, to exchange reason for sensation and individuality for the group immortality of the group.