Revulsion + Reductionism = Plenticide

Plenticide (eugenics, genocide, pesticides) : human civilization of the Modern era seems determined to get rid of all of its nearest and dearest , leaving just a tiny 'saving seed' of the most perfect and the purest of humanity to exist all alone in this vast lifeless Universe.

It just didn't make sense : for the more evidence that emerged that the universe was old, vast and empty the harder humanity, circa 1930, tried to eliminate most of what little life was confirmed to exist in the universe : that of Earth itself.

Perhaps, you might argue, they hoped to find lots of new companions from among the little green people kitted out in metallic scales and bearing two heads that would surely be found on places like Mars.

But does that wash ?

In a culture consumed with fears that "black" men, black because one drop of black blood was enough to define them as negro and not because they looked in anyway black, might marry their daughters and then perform unspeakable crimes of miscegenation ?

Could a species that regarded it as a serious crime for its members to marry other members of that same species if they looked at all different (the felony of miscegenation) and trying to kill off all other of the familiar lifeforms on planet Earth, ever find something in common with the unfamiliar lifeforms from planets with physical conditions so different from that of Earth ?

Not the ray guns would be blasting all those seductive little green women to death faster than you can say Buck Rogers or Flash Gordon.

Flash Gordon, a Yale educated WASP, didn't even truck with consorting with alien women from this planet (ie recent Catholic or Jewish immigrants to America) - so why expect him to indulge in miscegenation with aliens from other planets ?

No we can only account for this new emphasis on plenticide in the modern era by seeing it as the result of two simultaneous reactions combining.

One was a near universal 'revulsion inwards' reaction among educated humanity to science's 'natural history' revelations that the totality of reality and lifeforms was far far greater than ever imagined and far far more entangled together in complicated ways.

A revulsion against miscegenation in every sphere and in every dimension.

Living and marrying only within one's ethnicity and class seemed far more simple and predictable.

But this inwardness and sense of go-it-alone autarky seemed only realistically possible because other branches of science were, at the same time, claiming that below the surface complexity of reality, it was actually extremely simple and predictable and even controllable.

Scientific reductionism promised that all that now existed or could ever exist, Man could easily synthesize from the atoms of useless rocks, with the limitless energy of the splitting atom.

Not only did WASP males of circa 1930 now feel revulsed at the thought of having sex with their black female slaves, they also no longer needed the strong backs of black male slaves either, as machines had replaced them.

Neither was wanted or needed on this pure voyage into the progressive future.

Hence :  Revulsion + Reductionism = Plenticide.

'Farewell My Valento' : all wartime America tries 'passing' as native born WASP

When an originally dark-haired Italian-American woman successfully 'passing' as Mrs Helen Grayle (an icy blond member of 1940s Los Angeles' upper crust) is threatened with the exposure of her dark (literally : noir) secret , Velma Valento kills and kills and kills again.

All to prevent her secret from ever coming out.

This basically is the engine that drives the plot of the first and greatest noir cum private eye story ever : Raymond Chandler's FAREWELL MY LOVELY (1940).

The city of quartz passes for diamond

From 1920 till 1960 (the years of the very height of high modernity) Los Angeles's population repeatedly told the census people that it had the highest percentage of native born white protestants of any major American city - most residents also claiming to be born with clearly Anglo-Saxon names.

Some - a few - might have been telling the truth - but not many.

Adapting your real name to sound more native born Anglo Saxon did not just start and end with people in Show Biz or LA : it was a national passion under Modernity.

And claiming to attend a mainstream protestant denomination (once every decade - for someone else's funeral or wedding) never ever hurt any 'passer' either during the era of Modernity.

And so what if you were originally a swarthy Italian or a light Colored - who could tell anything anymore in a nation addicted to having deep tans and peroxided hair ?

One of the greatest successes of Modernity film's censor board (the Breen Office) was in preventing any hint on screen of deliberate miscegenation : the races deliberately choosing to sleep together.

But perhaps Modernity's greatest fear was of the screen showing examples of what later is revealed to be unintentional sexual miscegenation.

That Mary Douglas-like nightmare of the supposedly white native born protestant WASP bonkette in your Big House bed actually turning out to be a swarthy dark , foreign and Catholic crop picker from out in the dirty fields .

In the early 1940s, the Allied nations justified the conscripting of their young to possibly die as necessary to protect the vital "small c" catholic concept that 'all men are brothers'.

Meanwhile, Joseph Breen's office, working (ultimately) under the direction of the Pope, struggled hard every day to deny this fact ever appearing on the screen.

But then the race-traitor Raymond Chandler (that rare southern Californian who truly was white protestant anglo saxon and native-born) slipped a catholic darkie 'past' Breen : and Noir was born ...