Abstract

As the Nietzsche industry continues to thrive, offering Zarathustra zealots everything from coffee table photography books to quasi-fictional accounts of Nietzsche’s mad dance into insanity and posterity, Daniel Conway offers a sober account of Nietzsche’s late writings, choosing to address quite seriously the shrill excesses that mark Nietzsche’s work from 1885–8. Conway undertakes to present Nietzsche’s own decadence and inheriting readership as evidence of the failure of his later project. Nietzsche embarks on voyages toward terrible seas, seeking to unsterilize wisdom and set his revaluation of values in motion by announcing his presence as “dynamite”; Conway exposes Nietzsche’s later works as just that, a tremendous power with erratic and often misguided aim. Whereas Kaufmann, Schacht, and others defend Nietzsche’s thought as apolitical, and gloss over or ignore altogether the vitriol and self-aggrandizement of Nietzsche’s last five works, Conway treats Nietzsche’s critique of modernity in light of Nietzsche’s self-referential motif. Unfortunately, Nietzsche crumbles under the burden of such scrutiny, as he emerges as the decaying embodiment of those upon whom he sets. Conway portrays Nietzsche as a cunning strategist who employs various techniques to obfuscate his own enervation. Nietzsche here is cast as the self-avowed decadent whose descent is marked by his solicitation of discipleship, and who knows full well that those worthy heirs will turn on him in an act of perfidy. The shameless shepherding of flatterers, reprobates, and misfits signals his decadence; Nietzsche recruits scions from the fringes of society instead of fostering his militia from within the latently noble ranks. Resuscitating the modern community is rejected as a futile project for Nietzsche; he casts himself as the neo-Christ figure whose immediate audience, owing to their own decadence, has a flash point too high for Nietzsche to ignite. The modern pilot light has been snuffed out, Nietzsche concedes, and a new one must be lit.