Wonders Never Cease

From crystal balls to the Iraq War, mankind’s predilection for the marvelous and the illusory endures.

By Lewis H. Lapham

The Devil and Dr. Faustus meet.

“The Devil and Dr. Faustus Meet,” illustration from The Life and Horrible Adventures of the Celebrated Dr. Faustus, published by Orlando Hodgson, c. 1825. Wellcome Library (CC BY 4.0).

These metaphysics of magicians
And necromantic books are heavenly;
Lines, circles, scenes, letters, and characters;
Ay, these are those that Faustus most desires.
O, what a world of profit and delight,
Of power, of honor, of omnipotence,
Is promised to the studious artisan!
—Christopher Marlowe, Doctor Faustus

As between the natural and the supernatural, I’ve never been much good at drawing firm distinctions. I know myself to be orbiting the sun at the speed of 65,000 miles per hour, but I can’t shake free of the impression shared by Pope Urban VIII, who in 1633 informed Galileo that the earth doesn’t move. So also the desk over which I bend to write, seemingly a solid mass of wood but in point of fact a restless flux of atoms bubbling in a cauldron equivalent to the one attended by the witches in Macbeth. Nor do I separate the reality from the virtual reality when conversing with the airy spirits in a cell phone, or while gazing into the wizard’s mirror of a television screen. What once was sorcery maybe now is science, but the wonders technological of which I find myself in full possession, among them indoor plumbing and electric light, I incline to regard as demonstrations magical.

The inclination apparently is what constitutes a proof of being human, a faculty like the possession of language that distinguishes man from insect, guinea hen, and ape. In the beginning was the word, and with it the powers of enchantment. Across the reach of many centuries this issue of Lapham’s Quarterly speaks to mankind’s predilection for the marvelous, the evidence taken from every quarter of the compass, the testimony touching on the various conjugations of the supernatural into the tenses of divination, poetry, medicine, witchcraft, philosophy, and religion. The braying of Apuleius’ golden ass in concert with the Kamasutra’s sweet singing to the lovelorn; Circe, Behemoth, and Merlin in company with Saint Augustine, Sigmund Freud, and P.T. Barnum.

Newton, by William Blake, c. 1805. Tate Britain, London.

Newton, by William Blake, c. 1805. Tate Britain, London. 

The issue takes its cue from Marlowe’s tragical Doctor Faustus because his dreams of “profit and delight, / Of power, of honor, of omnipotence,” are the stuff that America is made of, as was both the consequence to be expected and the consummation devoutly to be wished when America was formed in the alembic of the Elizabethan imagination. Marlowe was present at the creation, as were William Shakespeare, the navigators Martin Frobisher and Francis Drake, and the Lord Chancellor Francis Bacon envisioning a utopian New Atlantis on the coast of Virginia.

It was an age that delighted in the experiment with miracles, fiction emerging into fact on the far shores of the world’s oceans, fact eliding into fiction in the Globe Theatre on an embankment of the Thames. London toward the end of the sixteenth century served as the clearinghouse for the currencies of the new learning that during the prior 150 years had been gathering weight and value under the imprints of the Italian Renaissance and the Protestant Reformation in Germany. The Elizabethans had in hand the writings of Niccolò Machiavelli and Martin Luther as well as those of Ovid and Lucretius, maps drawn by Gerardus Mercator and Martin Waldseemüller, the observations of Nicolaus Copernicus, Johannes Kepler, Giordano Bruno, and Paracelsus. The medieval world was dying the uneasy death memorably remarked upon in 1611 by John Donne, lyric poet and Anglican divine looking uneasily within himself for a magician’s metaphysics with which to settle the dispute between the spirit and the flesh:

And new philosophy calls all in doubt,
The element of fire quite put out;
The sun is lost, and th’ earth, and no man’s wit
Can well direct him where to look for it.

Magic remained an option, a direction and a technology not yet rendered obsolete. Robert Burton, author of The Anatomy of Melancholy, found the air “not so full of flies in summer as it is at all times of invisible devils.” To the Puritan dissenters contemplating a departure to a new and better world the devils were all too visible in a land that “aboundeth with murders, slaughters, incests, adulteries, whoredom, drunkenness, oppression, and pride.” From Cambridge University in the 1580s, Gabriel Harvey wrote to Edmund Spenser to say that all present were “inquisitive after news, new books, new fashions, new laws, new officers, and some after new elements, and some after new heavens and hells too.”

In both the skilled and unskilled mind, astronomy and astrology were still inseparable, as were chemistry and alchemy, and so it is no surprise to find Marlowe within the orbit of inquisitive “intelligencers” centered on the wealth and patronage of Henry Percy, “the Wizard Earl” of Northumberland, who attracted to his estate in Sussex the presence of Dr. John Dee, physician to Queen Elizabeth blessed with crystal showstones occupied by angels, as well as that of Walter Raleigh, court poet and venture capitalist outfitting a voyage to Guiana to retrieve the riches of El Dorado. The earl had amassed a library of nearly two thousand books and equipped a laboratory for his resident magi, chief among them Thomas Hariot, as an astronomer known for his improvement of the telescope (the “optic tube”), and as a mathematician for his compilation of logarithmic tables. As well versed in the science of the occult as he was practiced in the study of geography, Hariot appears in Charles Nicholl’s book The Reckoning as a likely model for Marlowe’s Faustus.

During the same month last spring in which I was reading Nicholl’s account of the Elizabethan think tank assembled by the Wizard Earl, I came across its twentieth-century analogue in Jon Gertner’s The Idea Factory: Bell Labs and the Great Age of American Innovation. As in the sixteenth century, so again in the twentieth, a gathering of forces both natural and supernatural in search of something new under the sun. The American Telephone and Telegraph Company undertook to research and develop the evolving means of telecommunication, and to that end it established an “institute of creative technology” on a 225-acre campus in Murray Hill, New Jersey, by 1942 recruiting nearly nine thousand magi of various description (engineers and chemists, metallurgists, and physicists) set to the task of turning sand into light, the light into gold. All present were encouraged to learn and borrow from one another, to invent literally fantastic new materials to fit the trajectories of fanciful new hypotheses. Together with the manufacture of the laser and the transistor, the labs derived from Boolean algebra the binary code that allows computers to speak to themselves of more things in heaven and earth than were dreamed of in the philosophies of either Hamlet or Horatio.

Once something becomes discernible, or understandable, we no longer need to repeat it. We can destroy it.

—Robert Wilson, 1991

Gertner attributes the episte-mological shape-shifting to the mathematician Claude Shannon, who intuited the moving of “written and spoken exchanges ever deeper into the realm of ciphers, symbols, and electronically enhanced puzzles of representation”—i.e., toward the “lines, circles, scenes, letters, and characters” that Faustus most desired. The correspondence is exact, as is the one to be drawn from
John Crowley
’s essay “A Well Without a Bottom,” that recalls the powers of the Abbot Trithemius of Sponheim, a fifteenth-century mage who devised a set of incantations “carrying messages instantaneously…through the agency of the stars and planets who rule time.” Bell Labs in 1962 converted the thought into Telstar, the communications satellite relaying data, from earth to heaven and back to earth, in less than six-tenths of a second.

Between the 1940s and 1980s, Bell Labs produced so many wonders both military and civilian (the DEW line and the Nike missile as well as the first cellular phone) that AT&T’s senior management was hard put to correct the news media’s tendency to regard the Murray Hill estate as “a house of magic.” The scientists in residence took pains to discount the notion of rabbits being pulled from hats, insisting that the work in hand followed from a patient sequence of trial and error rather than from the silk-hatted magician Eisenheim’s summoning with cape and wand the illusions of “The Magic Kettle” and “The Mysterious Orange Tree” to theater stages in nineteenth-century Paris, London, and Berlin.

The disavowals fell on stony ground. Time passed; the wonders didn’t cease, and by 1973 Arthur C. Clarke, the science-fiction writer believed by his admirers to be the twentieth-century avatar of Shakespeare’s Prospero, had confirmed the truth apparent to both Ariel and Caliban—“Any sufficiently advanced technology is indistinguishable from magic.” As chairman of the British Interplanetary Society during the 1950s, Clarke had postulated stationing a communications satellite 22,300 miles above the equator in what is now recognized by the International Astronomical Union as “The Clarke Orbit,” and in 1968 he had co-written the film script for 2001: A Space Odyssey. The opening sequence—during which an ape heaves into thin air a prehistoric bone that becomes a spaceship drifting among the stars—encompasses the spirit of an age that maybe once was Elizabethan but lately has come to be seen as a prefiguration of our own.


New philosophies call all in doubt, the more so as the accelerating rates of technological advance—celestial, terrestrial, and subliminal—overrun the frontiers between science, magic, and religion. Familiar with the three deployments of the supernatural, Francis Bacon in 1605 writes The Advancement of Learning to correct the “mistaking or misplacing of the last or furtherest end of knowledge.” Magic he associates, as did Marlowe, with the pride and vanity of an individual grasping at power for his or her own specific and satanic use. Natural philosophy, the seventeenth-century term for what subsequently comes to be known as science, Bacon regards as investigation directed toward the development of “a rich storehouse for the glory of the Creator and the relief of man’s estate.” A public as opposed to a private good, subsequently defined in The New Atlantis as “the enlarging of the bounds of human empire, to the effecting of all things possible.” By empire Bacon doesn’t mean geopolitical dominance in the manner of the Persian or the Roman; he anticipates Anton Chekhov’s remark, “There is no national science just as there is no national multiplication table; what is national is no longer science.”

The Witches’ Sabbath, by Francisco de Goya, c. 1799. Museum of Lázaro Galdiano, Madrid.

The Witches’ Sabbath, by Francisco de Goya, c. 1799. Museum of Lázaro Galdiano, Madrid. 

The inventors of America’s liberties, their sensibilities born of the Enlightenment, proceeded along the lines advanced by Bacon. The new world in America they understood as an experiment with the volatile substance of freedom. Most of them were close students of the natural sciences—Thomas Paine an engineer, Benjamin Rush a physician and chemist, Roger Sherman an astronomer, Thomas Jefferson an architect and agronomist. Intent upon enlarging the frame of human happiness and possibility, they pursued the joy of discovery in as many spheres of reference as could be crowded onto the shelves of a Philadelphia library or a Boston philosophical society.
J. Hector St. John de Crèvecoeur
, colonist arriving from France in 1755, writes in his Letters from an American Farmer to express gratitude for the spirit in which Benjamin Franklin’s invention of the lightning rod—“by what magic I know not”—was both given and received: “Would you believe that the great electrical discoveries of Mr. Franklin have not only preserved our barns and our houses from the fire of heaven but have even taught our wives to multiply their chickens?”

A similar approach to the uses of learning informed Jefferson’s best hopes for the new nation’s colleges and schools, and for the better part of the last two centuries it has underwritten the making of America into what the historian Henry Steele Commager named “The Empire of Reason.” An empire that astonishes the world with the magnificence of its scientific research laboratories, but one never safe from frequent uprisings in the rebel provinces of unreason. It is in the nature of the human animal to seek the visible through the medium of the invisible, the longing for the ineffable as fundamental to the arts and sciences as it is to religious ritual, but as to where to look for the mystery to unfold, the direction is always doubtful, and America doesn’t lack for long experience with the elixirs of spiritualism and transcendentalism similar to those that Mary Baker Eddy locates in the practice of Christian Science.


Like England in the late sixteenth century, America in the early twenty-first has in hand a vast store of new learning, much of it seemingly miraculous—the lines and letters that weave the physics and the metaphysics into strands of DNA, Einstein’s equations, Planck’s constant and the Schwarzschild radius, the cloned sheep and artificial heart. America’s scientists come away from Stockholm nearly every year with a well-wrought wreath of Nobel prizes, and no week goes by without the unveiling of a new medical device or weapons system. The record also suggests that the advancement of our new and marvelous knowledge has been accompanied by a broad and popular retreat into the wilderness of smoke and mirrors. The fear of new wonders technological—nuclear, biochemical, and genetic—gives rise to what John Donne presumably would have recognized as the uneasy reawakening of a medieval belief in magic. We find our new Atlantis within the heavenly books of necromancy inscribed on walls of silicon and glass, the streaming data on an iPad or a television screen lending itself more readily to the traffic in spells and incantation than to the distribution of reasoned argument. The less that can be seen and understood of the genies escaping from their bottles at Goldman Sachs and MIT, the more headlong the rush into the various forms of wishful thinking that increasingly have become the stuff of which we make our politics and social networking, our news and entertainment, our foreign policy and gross domestic product.

How else to classify the Bush administration’s invasion of Iraq if not as an attempt at alchemy? At both the beginning and end of the effort to transform the whole of the Islamic Middle East into a democratic republic like the one pictured in the ads inviting tourists to Colonial Williamsburg, the White House and the Pentagon issued press releases in the voice of the evil angel counseling Faustus, “Be thou on earth as Jove is in the sky, / Lord and commander of these elements.” Charles Krauthammer, neoconservative newspaper columnist and leading soloist in the jingo chorus of the self-glorifying news media, amplified the commandment for the readers of Time magazine in March 2001, pride going before the fall six months later of the World Trade Center: “America is in a position to reshape norms, alter expectations, and create new realities. How? By unapologetic and implacable demonstrations of will.”

Man is always a wizard to man, and the social world is at first magical.

—Jean-Paul Sartre, 1939

So again four years later, after it had become apparent that Saddam Hussein’s weapons of mass destruction were made of the same stuff as Eisenheim’s projection of “The Vanishing Lady.” The trick had been seen for what it was, but Defense Secretary Donald Rumsfeld didn’t emerge from the cloud of deluded expectation, unapologetic and implacable, out of which he had spoken to the groundlings at a NATO press conference in 2002: “The message is that there are no ‘knowns.’ There are things we know that we know. There are known unknowns…but there are also unknown unknowns…The absence of evidence is not evidence of absence.”

The Rumsfeldian message accounts not only for what was intended as a demonstration magical in Iraq, but also for the Obama administration’s current purpose in Afghanistan, which is to decorate a wilderness of tribal warfare with the potted plant of a civilized and law-abiding government that doesn’t exist. Choosing to believe in what isn’t there accords with the practice adopted in Wall Street that brought forth the collapse in 2008 of the country’s real-estate and financial markets. The magnitude of the losses measured the extent to which America assigns to the fiction of its currency the supernatural powers of a substance manufactured by a compensation committee of sixteenth-century alchemists. The debacle was not without precedent. Thomas Paine remarks on the uses of paper money (“horrid to see, and hurtful to recollect”) that made a mess of America’s finances during its War of Independence—“It is like putting an apparition in place of a man; it vanishes with looking at, and nothing remains but the air.”

Paine regards the “emissions” of paper money as toxic, fouling the air with the diseases (vanity, covetousness, and pride), certain to destroy the morals of the country as well as its experiment with freedom. A report entitled “Scientific Integrity in Policy Making,” issued in February 2004 by the Union of Concerned Scientists, advanced Paine’s argument against what it diagnosed as the willed ignorance infecting the organism of the Bush administration. Signed by more than sixty of the country’s most accomplished scientists honored for their work in many disciplines (molecular biology, superconductivity, particle physics, zoology), the report bore witness to their experience when called upon to present a federal agency or congressional committee with scientific data bearing on a question of the public health and welfare. Time and again in the forty-page report, the respondents mention the refusal on the part of their examiners to listen to, much less accept, any answers that didn’t fit with the administration’s prepaid and prerecorded political agenda. Whether in regard to the lifespan of a bacteria or the trajectory of a cruise missile, ideological certainty overruled the objections raised by counsel on behalf of logic and deductive reasoning. On topics as various as climate change, military intelligence, and the course of the Missouri River, the reincarnations of Pope Urban VIII reaffirmed their conviction that if the science didn’t prove what it had been told to prove, then the science had been tampered with by Satan.

The Raising of Lazarus (After Rembrandt), by Vincent van Gogh, 1890.

The Raising of Lazarus (After Rembrandt), by Vincent van Gogh, 1890. Van Gogh Museum, Amsterdam. 

The report spoke to the disavowal of the principle on which the country was founded, but it didn’t attract much notice in the press or slow down the retreat into the provinces of unreason. The eight years that have passed since its publication have brought with them not only the illusion of “The Magic Kettle” in Wall Street but also the election of President Barack Obama in the belief that he would enter the White House as the embodiment of Merlin or Christ. To the extent that more people become more frightened of the future that calls all in doubt, they exchange the force of their own thought for the power they impute to supernatural machines. To wage the war against terror the Pentagon sends forth drones, robots, and surveillance cameras, hard-wired as were the spirits under the command of Faustus, “to fetch me what I please, / Resolve me of all ambiguities, / Perform what desperate enterprise I will.” Wall Street clerks subcontract the placing of $100 billion bets to the judgment of computer databanks that stand as silent as the stones on Easter Island while calculating at the speed of light the rates of exchange between the known unknowns and the unknown unknowns. By way of projecting a federal budget deficit into both the near and distant future, the season’s presidential candidates float cloud-capped towers of imaginary numbers destined to leave not a rack behind.

The American body politic meanwhile dissolves into impoverished constituencies of one, stripped of “profit and delight” in the realm of fact but still sovereign in the land of make-believe. Every once and future king possessed of a screen like the enchanted mirror that Lady Galadriel shows to Frodo Baggins in the garden at Caras Galadhon. The lost and wounded self adrift in a sea of troubles but equipped with the remote control that once was Prospero’s; blessed, as was the tragical Doctor Faustus, with instant access to the dreams “of power, of honor, of omnipotence.”

Related Reads