Deconstructing Obama, Pt. 1: Building a Narrative
[This is the first of an open-ended, ongoing series I plan to have about Barack Obama and what may or may not motivate him. I think he makes a fascinating figure, regardless of whether or not you believe in his politics. I think he is an extremely cunning and Machiavellian figure with methods that, once deconstructed, will be very instructive to anyone interested in human nature. This series will go on for as long as I have insights to make about Obama, but will not be the exclusive focus of this blog.]
I had a lot of debates with my intellectual friends during this election about Barack Obama. Many of them would take apart the logical and economic fallacies of Obama’s proposals, giving examples of why they wouldn’t work and pointing out contradictions and inconsistencies. I kept responding that their intellectual approach was actually an obstacle for them in analyzing the political race because the informed people choose their sides and ideologies early in the game. After all, both candidates laid out their agendas very early in the game, either on their campaign websites, their political careers before the election or in their stump speeches.
Most of these much-sought after “undecideds” or “moderates” are simply not that intellectually engaged in the process, because if they were they’d have made a decision already. The key to these people is not to inundate them with more facts, because that is a waste. There are already more than enough facts out there for them to make a decision on. The key to win these people over is to switch from focusing on content, like facts and policy, and focus on context arguments, like enthusiasm, charisma, emotional connection, pointing out personal and professional associations, and likeability.
Keep in mind I’m not calling these undecideds stupid. Although I think many of them actually were stupid, there were also many intellectuals that were tired of focusing on logic and facts and were looking for someone that would engage them emotionally
This is the beauty of Obama, he perfectly understood the power of context over content. When his informercial came out for example, a friend of mine went into an in-depth refutation of it, declared it a failure for being too pessimistic and showing economic illiteracy through factual inaccuracies. I told him to turn off his intellectual instinct to engage every message on a logical. He needed to realize that the content was irrelevant. It was pure public relations, and Obama was creating a brand using snazzy graphics, slogans and iconography and creating a narrative using soaring rhetoric, cinematography, drama, characters, the narrative, the music that pulled on the heart strings. It was pure style over substance, and it needed to be judge it as a feel-good movie trailer or commercial and not a logical argument. And from that perspective, the informercial worked.
Most Presidents have written books before or during their elections, but they have usually been policy books. Obama main book, the one most discussed in the lead-up to the election, was pure narrative, an autobiography describing his struggles with class and race and not much else. No sophisticated policy arguments, no nuanced intellectual viewpoints, just personal narrative. Dreams from My Father: A Story of Race and Inheritance paints him to be the Byronic Hero. This is an archetype well proven to resonate with people, especially single women, in works of fiction:
A Byronic hero exhibits several characteristic traits, and in many ways he can be considered a rebel. The Byronic hero does not possess “heroic virtue” in the usual sense; instead, he has many dark qualities. With regard to his intellectual capacity, self-respect, and hypersensitivity, the Byronic hero is “larger than life,” and “with the loss of his titanic passions, his pride, and his certainty of self-identity, he loses also his status as [a traditional] hero” (Thorslev 187).
He is usually isolated from society as a wanderer or is in exile of some kind. It does not matter whether this social separation is imposed upon him by some external force or is self-imposed. Byron’s Manfred, a character who wandered desolate mountaintops, was physically isolated from society, whereas Childe Harold chose to “exile” himself and wander throughout Europe. Although Harold remained physically present in society and among people, he was not by any means “social.”
Often the Byronic hero is moody by nature or passionate about a particular issue. He also has emotional and intellectual capacities, which are superior to the average man. These heightened abilities force the Byronic hero to be arrogant, confident, abnormally sensitive, and extremely conscious of himself. Sometimes, this is to the point of nihilism resulting in his rebellion against life itself (Thorslev 197). In one form or another, he rejects the values and moral codes of society and because of this he is often unrepentant by society’s standards. Often the Byronic hero is characterized by a guilty memory of some unnamed sexual crime. Due to these characteristics, the Byronic hero is often a figure of repulsion, as well as fascination.
More on the Byronic Hero can be found here:
The Byronic hero is an idealised but flawed character exemplified in the life and writings of Lord Byron, characterised by his ex-lover Lady Caroline Lamb as being “mad, bad and dangerous to know”.[1] The Byronic hero first appears in Byron’s semi-autobiographical epic narrative poem Childe Harold’s Pilgrimage (1812-18). The Byronic hero typically exhibits the following characteristics:[2][3]
- high level of intelligence and perception
- cunning and able to adapt
- sophisticated and educated
- self-critical and introspective
- mysterious, magnetic and charismatic
- struggling with integrity
- power of seduction and sexual attraction
- social and sexual dominance
- emotional conflicts, bipolar tendencies, or moodiness
- a distaste for social institutions and norms
- being an exile, an outcast, or an outlaw
- “dark” attributes not normally associated with a hero
- disrespect of rank and privilege
- a troubled past
- cynicism
- arrogance
- self-destructive behaviour“
The Byronic Hero is immensely powerful with women, and usually just about any fictional work that is immensely popular with women has a Byronic hero as its protaganist, from Heathcliff in Wuthering Heights (Signet Classics) to the vampire Lestat in Ann Rice’s works to the character Edward in the new hit movie Twilight, based on a popular novel Twilight (The Twilight Saga, Book 1)
. I think the immense popularity of Dark Knight last summer with women was because it portrayed a battle of wills between two (arguably three) Byronic heroes. This Byronic appeal was so strong that it created an intense love of the movie among single women despite the fact the movie is, in my humble opinion, utter crap. Is it any wonder Obama’s biggest voting block was unmarried women?
In Obama’s bio, he mentions early on that his grandfather had a copy of Dale Carnegie’s How to Win Friends & Influence People on his desk. One of the key concepts in the book is to use dramatization and narrative to sell ideas rather than cold, hard logic, which just tends to alienate. I think this is a major part of where his strategy to build narrative over content came from, which is why unlike previous presidents, his book was a book about dramatic personal narrative rather than a book on policy. And within this narrative, he smartly chose to use the Byronic hero as his main character, except with a happier, more optimistic ending. A “safe” Byronic hero with the sharp, dangerous edges filed down if you will.
The other source of Obama’s power I think comes from the book 48 Laws of Power, which I will demonstrate in the next part, which can be found here.
Recommended Reading: