The Psychopath Factory by Adams Tristam Vivian;

Author:Adams, Tristam Vivian;
Language: eng
Format: epub
Tags: The Psychopath Factory: How Capitalism Organises Empathy
ISBN: 4764137
Publisher: Watkins Media Ltd
Published: 2016-10-06T04:00:00+00:00

CHAPTER 7

Cool Customers…

One of the criteria within the clinical psychopathic definition is Cleckley’s “General poverty in major affective reactions”. Cleckley describes how “the psychopath always shows general poverty of affect. Although it is true that he sometimes becomes excited and shouts as if in rage or seems to exult in enthusiasm and again weeps in what appear to be bitter tears or speaks eloquent and mournful words about his misfortunes or his follies, the conviction dawns on those who observe him carefully that here we deal with a readiness of expression rather than a strength of feeling” (1988, p. 348). One particular character trait of fictional and diagnosed psychopaths is a lack of affective reactions. This is often manifested as coolness under pressure, fearlessness, thrill seeking or cold indifference to the outside world. Tom Ripley, Patrick Bateman and Hannibal Lecter all seem to have a poverty of major affective reactions. They seem cool under pressure. Of course, this advantageous trait is coupled with a cunning, conning and manipulative predisposition. For example, in Highsmith’s third Ripley novel, Ripley’s Game, Tom Ripley is often rendered as cool and relaxed. His coolness is starkly juxtaposed with the character of Jonathan. Whilst they are engaged in various violent, criminal and dangerous situations Tom is always calm and relaxed. He behaves casually, eats well, talks of mundane interests and remains upbeat whereas Jonathan is often quiet, untalkative or monosyllabic; sweating and paralysed by worry. As they move through various high-risk binds, the personal risk and danger seem like frustrating inconveniences for Tom whereas, for Jonathan, they worry him to his core. Jonathan is not completely useless in the various crises and jeopardies the pair find themselves in. But the reader is left with the distinct impression that Tom is calm and capable whereas Jonathan is quite deeply affected by these situations. Tom has to carry, nurture and cajole Jonathan through the crimes. Jonathan is wracked by guilt and worry; he fears for his life, whereas Tom’s major concern is unsettlingly pragmatic. For Tom, each high-risk situation is merely an obstacle to overcome in order to protect his property and possessions, an obstacle that he methodically works through with diligence and frustration rather than anger, fear or worry. Their internal thoughts are distinctly different too. Jonathan frets about his family and the immediate physical danger he is in. Tom, however, remains pragmatic and logical about the potentially lethal situations. Tom’s thoughts often drift to quite innocuous matters: his new harpsichord or his servant’s return to the mansion. The difference between Tom and Jonathan is exemplified in one particular chapter. Jonathan is tasked with garrotting a member of the mafia on a train. The target has two bodyguards and the train offers little cover or means of escape. Tom foresees that the task is too tough for Jonathan and takes the initiative to complete the murder himself. Tom garrottes the target, dispatches the body along with a bodyguard and almost falls out of the train himself. Jonathan’s only task is to keep a lookout.

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