Tag Archives: stories

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I long to hear the story of your life

I like the idea that I am a story which I am still writing. After all, there seems to be a rambling kind of direction to it, and if pressed, I could likely invent a plot. Of course, until the final page, nobody -not even me- really knows how it’s going to turn out, but that’s the beauty of it. The intrigue of it -a story in which we’re kept guessing until the very end.

I suppose, though, any story admits of a certain amount of literary licence, and a life story is definitely no exception -just look at many social media postings where fact and fiction intermingle like roots from a pot-bound plant. It’s hard to know what to do with stories like that; by constructing them the way they have, does that still make them stories of who the narrators actually are? By altering the way we tell our tales, does that also alter us?

Because our memories are imperfect reproductions of what actually happened, and because the way we sift through them may favour -or reject- the more remarkable ones, do we have a story at all? Could our lives be nothing but random hodgepodges of remembered events on flash-cards we hold up when asked to tell someone about ourselves? And, even when organized in some semblance of sequential chronology, is it a story, or a fantasy?

Sometimes the only thing that stitches the narrative together is the fact that it all seems to have happened to that fraying thread of continuity we identify as ourselves. And yet, an old black and white photograph of me as a child seems not to be the same ‘me’ as the one I feel I am now. I have to believe the writing on the back that identifies it as me, and yet… and yet I do not remember it being taken. That child is not me anymore -there are so many gaps I cannot fill. So how do I construct a narrative that includes him? Am I his story, or is he mine?

I had almost forgotten about the idea of Homo narrans when I happened upon a counter-argument in an essay by Galen Strawson, a British analytic philosopher from the University of Texas at Austin: https://aeon.co/essays/let-s-ditch-the-dangerous-idea-that-life-is-a-story

After reciting a few examples of sundry philosophers and savants who subscribe to the narrative approach, Strawson writes, ‘I think it’s false – false that everyone stories themselves, and false that it’s always a good thing.’ I have to say that it spurred me to read on; I wondered how he would attempt to assail the now-conventional wisdom of the narrativists.

He firmly rejects this thesis. ‘It’s not just that the deliverances of memory are, for us, hopelessly piecemeal and disordered, even when we’re trying to remember a temporally extended sequence of events. The point is more general. It concerns all parts of life, life’s ‘great shambles’, in the American novelist Henry James’s expression. This seems a much better characterisation of the large-scale structure of human existence as we find it. Life simply never assumes a story-like shape for us.’

Strawson seems to feel that identity through narrative is an almost desperate attempt to seize control of the course one’s life: to develop an autobiographical narrative to act as a lens through which we experience the world. He quotes McAdams, a leading narrativist among social psychologists: ‘Beginning in late adolescence and young adulthood, we construct integrative narratives of the self that selectively recall the past and wishfully anticipate the future to provide our lives with some semblance of unity, purpose, and identity.’

And then, before we decide that describes our ‘story’, Strawson counters with a quote from the British author W Somerset Maugham: ‘I recognise that I am made up of several persons and that the person that at the moment has the upper hand will inevitably give place to another. But which is the real one? All of them or none?’ I suspect this was an attempt to muddy the water, but I pressed on.

I get the impression that Strawson identifies most with the 16th century philosopher and writer Michel de Montaigne who is mainly remembered for his prodigious output of essays. Montaigne, was also known for his memory lapses, and so it is no surprise that ‘‘I can find hardly a trace of [memory] in myself,’ he writes in his essay ‘Of Liars’ (1580). ‘I doubt if there is any other memory in the world as grotesquely faulty as mine is!’ And why is that important for Strawson?

Because ‘Poor memory protects him [Montaigne] from a disagreeable form of ambition, stops him babbling, and forces him to think through things for himself because he can’t remember what others have said… To this we can add the point that poor memory and a non-Narrative disposition aren’t hindrances when it comes to autobiography in the literal sense – actually writing things down about one’s own life. Montaigne is the proof of this, for he is perhaps the greatest autobiographer, the greatest human self-recorder… Montaigne writes the unstoried life – the only life that matters… He knows his memory is hopelessly untrustworthy, and he concludes that the fundamental lesson of self-knowledge is knowledge of self-ignorance.’

Not to make too great a point of a faulty memory being a helpful argument against the narrative of life, though, Strawson borrows from a comment on a book by the American novelist James Salter: ‘Salter strips out the narrative transitions and explanations and contextualisations, the novelistic linkages that don’t exist in our actual memories, to leave us with a set of remembered fragments, some bright, some ugly, some bafflingly trivial, that don’t easily connect and can’t be put together as a whole, except in the sense of chronology, and in the sense that they are all that remains.’ In other words, I suppose, self-knowledge comes mostly in bits and pieces that we fit together as best we can.

I still feel that life is a narrative, though -a series of events, however cobbled together, however rambling, that tell a story. Like an archeologist sifting through fragments from a midden, we piece together seemingly disparate items and random shards until we have a chronology that makes sense to us, an idea about what was happening and when. Our lives are not so much describable in accurately numbered episodes, as they are in contextually sorted potsherds found in the dust we have been walking through for years; we’ve organized them in a way that makes sense to us. So, our lives are only as colourful as the fragments we have stooped to gather.

Shouldn’t that tell us something…?

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A spur to prick the sides of my intent

Suppose it were possible to change things about your own birth? What a great idea, right? Just think what that might mean: at the very least, perhaps, that you would not be imprisoned by whatever genetics you were allotted; you might actually have a chance to be the master of your own fate; and if you chose, be able to excel in fields currently beyond your reach.

And yet, would it even matter if it were yours to choose? Surely, not every daughter born to university professors succeeds as well as her parents; not every wealthy scion is able to make use of the educational opportunities he is able to access. It seems to me that there is more to it than the circumstances of birth -or the ticket you were issued in the chromosomal lottery: even hereditary instructions are malleable.

Genes are only blueprints -guidelines in a way- and what gets built in the end, often depends on how consistently each instruction is followed. Sometimes, circumstances prevent, or simply delay, completion of the initial plan. One of the mechanisms that allows this is epigenetic interference with the chromosomal directions: chemical signals that turn genes on or off -changes that are not inherited through DNA but rather result from interactions between genetic processes and experience. And these signals, or switches if you will, can be activated by a variety of circumstances: environment, stress, illness, diet, and even intrauterine factors- just to name a few. Genes are not the handcuffs we once thought they were.

But, I think most of us suspected that the exigencies imposed by birth were not absolute long before we knew anything about epigenetics. Or genes… or inheritance, for that matter. Philosophy has long wondered about who, what, and why we are; I was reminded of this by an essay written by Ada Jaarsma, a professor of philosophy at Mount Royal University in Calgary. https://aeon.co/essays/in-genetics-as-in-philosophy-existence-precedes-essence?

She writes that ‘In the early aftermath of the war, the French philosophers Simone de Beauvoir and Jean-Paul Sartre used the term ‘existential’ to mark a radically first-person approach to history. Instead of the seemingly implacable nature of an event in time, these existentialists pointed to the subjective meaning that such events hold.’ Indeed, ‘I need to choose the circumstances of my birth, Sartre explained in Being and Nothingness (1943).’

On its own, his statement seems more metaphor than prescriptive, and yet, reality is conditional, isn’t it? To some extent, we all control how we perceive it, and therefore what it is like for each of us. I, like many of those in my philosophy lectures, was attracted to existentialism, and yet, although the poster figures were people like Sartre and Camus, I was drawn to Simone de Beauvoir, Sartre’s long-time friend. I loved her metaphor of existence being a drama.

And yet, one of their rallying cries was ‘existence precedes essence’ which I never understood. The only thing I could figure was that they were simply saying that you couldn’t become anything unless you existed -and that didn’t seem particularly profound to me at the time. But Jaarsma helped me with this when she explained that ‘Beauvoir and Sartre were drawing attention to the utterly singular way in which we each become the selves that we are, with our own memories, stories and storytelling habits.’ There is for each of us, some control, if and when we weave these into some form of meaning. It’s the process of weaving that marks our humanity: that takes us from being a ‘thing’ into a ‘project’, to paraphrase Beauvoir from her Pyrrhus and Cineas. To choose our own births, in other words.

Jaarsma’s essay deals with far more than my brief précis has included, but I suppose we only take what information we need from any text. For me, it was the memory of those introductory philosophy lectures in my early years at university -my impressionable years, perhaps, but maybe also my formative years.

I loved philosophy and thought long and hard about it for those all-night discussions that my three close friends and I seemed fated for every Saturday night over a few beers. One of them, Arvid, was a Science major, and another, Bertram, was in Engineering, and then there was Judy who was enrolled in Arts, but intended to switch to philosophy when she had enough credits, or whatever. The discussions were really arguments, but isn’t that what philosophy is all about?

At any rate, the time that sticks out in my memory, was when Judy and I had just been to a seminar on Simone de Beauvoir earlier that week and were both primed with her feminist perspective.  Feminism was still considered quite radical at the time- and although I didn’t understand most of it, she decided to spring it on the other two.

“That’s just crap,” was Arvid’s traditional response to feminism -most of us were still trapped in the Zeitgeist of the time, I’m afraid. Even Bertie, who professed to a neutrality he couldn’t maintain for more than two or three sentences in an argument, wasn’t able to see why we men should have to yield anything to ‘the other side’ as he put it.

“We are the stories we tell,” I tried to interject to calm him down.

“Well, I was brought up with a different story, G,” he said with clenched jaws as he tried to stare me down.

Judy was sitting on the floor, her head leaning against the wall in the little dorm room where we had gathered, and had a sip of her beer. “And what was that story, Bertie?”

His expression softened as he tried to put it into words. “Well…” -Bertie hated confrontation- “I guess that I don’t see the need to capitulate…”

“Is that what it would be if you accepted women as equals, Bertie: capitulation…?”

He looked confused. “But I do accept women as equals.” Judy wrinkled her nose at that and he blushed. “I mean, we should all do what we’re good at, right…?”

“And what are women good at?” She pinned him to the wall he was leaning against with her eyes. “Having babies? Cooking? Cleaning the house?” She blinked seductively. “Being a good wife for her man?”

“Well, no…”

“A woman philosopher named Simone de Beauvoir once said ‘I am not a thing, but a project’. What do you think she meant, Bertie,” she said with a glance in my direction.

Bertie seemed flustered at the question. “Uhmm, that she was still working at what she was good at? Or…” He hesitated; he had obviously not thought about women like this before.

“Or that she could become somebody else?” Judy interjected, smiling at his discomfort. “Maybe whatever she wanted…? Perhaps her project was to tell a story –her story?”

“But…” Bertie had a quick swallow of his beer, and stared at her. “Just because you tell a story about yourself doesn’t make it true, or anything.” He thought about it for a moment. “I mean, maybe you’re just making it up -telling yourself something that will never happen…”

“It’s a goal though, isn’t it Bertie? Something to aim for.”

He shook his head. “But suppose it’s unrealistic…”

She sighed and smiled at him -sadly, I thought- then put down her beer. “What’s your story?”

He closed his eyes, as if he wished he’d never said anything. “I… I don’t really have one, I don’t think.”

Judy smiled again, this time like a mother, or maybe a sister. “Yes you do, Bertie,” she said softly. “You want to be an Engineer.”

He slowly shook his head, eyes still closed as if she’d hit a sore point. “I told myself I did, but now I’m not so sure.” He opened his eyes slowly and let his eyes rest gently on her cheek. “I don’t think I can do it, you know…”

Judy got up off the floor and went over to sit beside him. “Sometimes you just have to believe the story you wrote, Bertie.” She touched his shoulder affectionately. “At this stage in our lives, the story is all we have…”

I don’t remember much of the night after that, but I did happen to run into Bertie years later. “So, what are you doing with yourself nowadays, G?” he said after we shook hands and did the man-thing of slapping each other’s shoulder. “You always wanted to be a doctor, I remember…”

I nodded my head. “And you were going to be an engineer, weren’t you…?” I was curious about what had happened to him. Circumstances change as semesters bring new classes, and our little group of friends gradually dissolved. Within a year, we’d pretty well lost touch with each other…

“Flunked out after a couple of years,” he answered. “Anyway, I switched into science like -what was his name? Arvid? Now I’m a teacher.”

He looked happy enough, but as I was leaving, I saw the wistful expression on his face. I think I must have stirred some long-buried memories; I think he remembered he’d had a different story once…

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In scorn of Nature, Art gave lifeless life

Age is an artist that continues to paint experience after experience over the worn and tattered scenes that are no more. For most of us, however, the pentimento is obvious, and never quite disappears beneath the crust of what we insist on adding. And yet, we continue to paint in hopes we’ve got it right at last: that what we are now portraying is what we should have seen those many years ago. All the while, of course, the colours thicken on what we layered on before, adding nothing to our knowledge, only curtains that cast shadows on the canvas -the past no more than tricks of light.

And yet I’m beginning to suspect that there is more to Art than the depiction of long forgotten histories in words or canvas -far more, in fact. Art is the plaque in the cornerstone that reminds us of how things were, the figure-ground that taunts our hallowed view of present days -the stories that we have come to revere.

But we are, all of us, Art; we are the stories that we tell, and the ones that we have heard. We are what we have seen, however vaguely remembered, and parts of us are shadows that follow us around like memories.

So, it occurred to me that Art could function as a synergist: its effect is greater than might be expected from what it depicts. If nothing else, a painting -like an old photograph, perhaps- allows us to see what was and compare it with what is. Some difference is usually to be expected, I suppose, but if the change is sufficiently irreconcilable to our expectations, it may speak to those little ears within that are alert to dissonance. In other words, it may spur us to a conclusion, an action, that we may not have felt was either necessary or justified before: the past ‘screwing our courage to the sticking place’, to slightly paraphrase Shakespeare’s Lady Macbeth.

I hasten to admit that my epiphany is far from original, but I was pleased to find a thorough examination of it in an essay in BBC Future written by Ella Saltmarshe and Beatrice Pembroke, the founders of the Long Time Project which ‘champions art and culture as a route to helping people think and act more long-term.’ https://www.bbc.com/future/article/20190521-how-art-and-culture-can-help-us-rethink-time

‘For most of human history we haven’t needed to think long-term,’ they write. ‘” As futurist Jamais Casio puts it, “In a world of constant, imminent existential threats, the ability to recognise subtle, long-term processes and multi-generational changes wasn’t a particularly important adaptive advantage.” Yet today, the nature of risk has changed. We no longer live in a world of clear, local cause and effect, and the greatest threats to civilisation are happening on the timescale of decades or centuries.’ And yet, ‘While our minds might be not be wired to deal with long-term threats and priorities in the abstract, they are wired for two things that we can control: story and emotion… Art can stretch our time frames, helping us develop what geologist Marcia Bjornerud calls “timefulness”: the ability to locate ourselves within eras and aeons, rather than weeks and months.’

The authors go on to document the ‘growing body of deep time work that locates us in the epic geological history of the Universe, evoking awe and wonder.’ And it seems to me that such an approach may help to bridge the ever-widening gap between indifference and despair: the unwillingness to confront the existential threats that seem to be confronting us at every turn -from the paucity new antibiotics able to deal with increasing microbial resistance, the growing mistrust of vaccines in the face of overwhelming evidence for their efficacy, to the elephant looming in the dark, stuffy room of climate change. We are often so frightened by these, and other things, that we turn our heads away, and like children hiding under a blanket, think we have found a refuge from the elephant and his kin. But somewhere inside, we know we have solved nothing, and if we turn again to look, we find that it is staring at us still.

Sometimes, when things seem too remote for action, too unlikely to affect us, or worse, too horrible to contemplate, we benefit from intermediaries we trust to explain what we have failed to understand and to guide us through the fear. Change is normal, but only when it doesn’t colour outside the expected boundaries -then it turns to chaos. In the words of Shakespeare again -this time King Lear- that way madness lies; let me shun that. So, as the authors write: ‘If we can work with art and culture to stretch our time frames so that we care about the long-term future, then hopefully as a species, we will have a future in the long term.’

And sometimes, it is also the little things changing that we’re reluctant to face.

“Is that where you used to live, Grampa?” My 4 year old grandson stared at the picture I had shown him with a doubtful expression on his face. “Can we go and see it…?”

I could only smile at his enthusiasm. I was a child myself when I’d lived there and my parents had long since sold the house to developers, but at the time it was on a quiet, unsidewalked street lined with trees. Now, years later, it was lined with multi-storied apartment blocks and parked cars.

“It’s changed since then, Cas,” I explained. “And our house isn’t there anymore…”

“Where’d it go?” he asked, his face now puzzled.

My answer was a little shrug. In truth, I missed the house with its wide wooden steps and covered porch. It had trees in the front and back, and a garden where my mother used to grow vegetables that she’d preserve for the long, protracted winter season. I’d told Cas about it many times, but had only just found the grainy photograph for him to see.

“Is the street like our street now?” He ran to the front window of the little apartment his mother and my son were renting while they worked their way up their respective corporate ladders. I had agreed to babysit for the afternoon.

I walked over to the window and looked out with him; I had to nod my head. “Yes Cas, very much like this street.”

He stared out the window for a while, and as I started to walk away, he turned to me. “Why did you let them do it, Grampa?”

The question caught me by surprise. “Do what, Cas?”

“Tear down your beautiful house and take away the trees?”

I had to sigh. “I suppose my mommy and daddy were getting old and needed to move to some place smaller that was easier to take care of…” In fact, they were both gone now.

He thought about it for a moment. “Did their new house have trees and a garden, too?”

Cas seemed so earnest that I didn’t want to disappoint him. He’d never met his great-grandparents; he’d never had to endure their gradual decay in the extended care home in which they  ended up. So I nodded. “Yes, they moved to a place with trees and a little flower garden.”

A big smile suddenly appeared on his face and his eyes twinkled with pleasure. “That’s good,” he said, with a sudden adult expression on his little face. “My daddy says we’re going to move to a place with trees…” He glanced out of the window again. “Trees are important when you get old, aren’t they Grampa?”

They certainly are Cas, I thought and nodded with a sigh. Trees will always be important.

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When beggars die there are no comets seen

When I was growing up, Death was a word I rarely had to use. I suppose that’s the thing about nuclear families: they sometimes privilege the unit at the expense of others in the kin. Occasionally, a distant relative I had never met succumbed, or there would be a report on the news of casualties somewhere from disaster or conflict, but mostly they happened there, and I was here -two very different places. I had no problem coping with it; apart from sadness, there seemed little else that would result –could result- from no longer being able to see the person in the flesh. Of course I felt devastated with the death of a pet, but in time, even that faded as other life unrolled around me. Sadness was an ache that healed.

I don’t mean to sound unfeeling, or indifferent to the suffering of others, it’s just that human Death wasn’t something I had to deal with in my youth. It was only later, with the death of my parents, that the full haze of sorrow descended like a cloud and persisted long after the ceremonies for each. I try to remember them as they were, and still trace events throughout their lives until they were no more. Neither funeral was the end of my memories about either of them, of course -each rite was just another marker in a book I could open any time. The ceremony was important, though: we all need an epilogue, a final demonstration that we mattered -a recognition that, in all of time, we did exist for a while.

Perhaps it’s a gift of Age, but what I’m only now coming to realize, is how devastating a person just disappearing without a trace can be. A thoughtful essay by Andy Owen brought thoughts about Death to my attention once again: https://aeon.co/essays/a-missing-person-is-like-a-story-without-an-ending

‘People aren’t meant to just disappear,’ he writes. ‘Disappearance can expose an existential fear in those left behind – what could make you question your self-esteem more than the knowledge that you could just go missing without a trace? This is why some states and armed groups have deliberately ‘disappeared’ those seen as their greatest threat.’

‘There are some common themes across time and cultures that make what Boss [U.S. psychologist Pauline Boss, who started working with the wives of missing US airmen in the 1970s] calls ambiguous loss – the loss of the missing, a loss that has never been fully confirmed – so difficult. One is the inability to perform the appropriate rituals or rites that help us manage loss.’ Another, of course, is not knowing whether or not the missing person is dead. Whether or not the relatives should mourn, or keep hoping…

‘In The Sense of an Ending (1967), the British literary critic Frank Kermode investigates our need to make sense of our lifespan with fictional stories that have an origin, a middle and an end. ‘What puts our mind at rest,’ he writes, ‘is the simple sequence.’ We are, all of us, stories with a universal grammar; it is not followed -not possible- with the missing. The ending is important in a story, it makes sense of the narrative. And if the ending is not there, we are sometimes forced to make one up.

Owen tells of the aftermath of the 2011 tsunami in Japan in which almost 20,000 people died or went missing. ‘Survivors of the disaster soon began seeing and feeling ghostly presences; people dressed in warm clothes at the height of summer, hailing taxis and then disappearing from the back seat.’ Stories need endings.

When I was still a child in a Winnipeg public school I had a friend named Russel Vásquez. He and his mother  had moved from somewhere in Mexico, I remember.

Russel, like me, was shy and although he didn’t talk very much at school, we lived across  the lane from each other and I would see him sitting by himself in his backyard pretending to read. I could tell he was pretending because he never turned any pages. It was as if a book gave him an excuse to sit by himself.

One day just after school had finished for the summer, I walked across the lane and called out his name. He smiled and put down the book and stood up to greet me. I don’t think he’d made many friends at school, but he seemed happy to talk to me. His English was heavily accented, and although at first he looked embarrassed, we soon realized we had a lot in common and became the kind of friends only children of that age can be. Before long we began trading information about our parents.

His mother was an teacher, like mine, but although I mentioned that my father was an accountant, Russel didn’t offer to tell me about his. Only when summer fully matured, and we had become best friends, did he admit that he didn’t know what had happened to his father. Both his parents had been involved in something that involved a lot of phone calls, and they got mad at him if he asked about it. One night after he’d gone to bed, Russel heard someone banging on the door to their house, and then what sounded like a fight. His mother had come running into his bedroom a few minutes later and told him somebody had taken his father so they had to leave right away.

“Didn’t your mother phone the police?” I asked.

He just shrugged. “Many gangs in my country, and I think some of police are work for them.”

“But did your father join you later?” I was aghast at what I’d heard -it was nothing like Winnipeg.

Russel shook his head slowly and I could tell he was on the verge of tears. “My mother no say it, but I think he probably dead… We no heard from him since he left,” he added in a soft voice.

“But…”

Russel stared at me for a moment. “We no talk about it now… Okay?”

I realized then that there are some things that even best friends can’t discuss.

But one day at the end of August, I remember Russel running excitedly across the lane when he saw me coming. “I see him today,” he yelled.

“See who?”

“My father!”

“Where?” It sounded too good to be true.

“With some people in the Eaton store,” he said, lowering his voice and looking around furtively. “But when I call him, maybe he no hear, and he disappear in the people again. I try to find him, but…”

“So what did your mother say?”

His face wrinkled. “She outside on a bench waiting for me, and when I tell her, she don’t believe me at first. And she look more worry than happy, you know. She tell me I can no have see him…”

Just then I heard his mother calling him from their back door and he shrugged apologetically. “She think I see things,” he explained. “That I see…” he searched for an English word, then gave up and shrugged again. “…fantasmas…” We both knew what mothers were like, so I just rolled my eyes.

I was too young at the time to understand, but Russel and his mother suddenly moved out of the house across the lane before school started that fall, and before he could even say goodbye.

I never heard from him again. Stories need endings…

 

 

 

 

 

 

 

 

 

 

 

 

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This thing of darkness

I’m starting to wonder if I was misled during those halcyon days on my father’s knee. It was a time when heroes and villains were easily recognizable -like the white and black hats on the cowboys in the movies that were in vogue then. Apparently, I needed to know who to root for when I was a child -life was a battle between good and evil, God and the Devil. I thought that maybe all stories were supposed to be like that in one way or another -that, in fact, perhaps without that tension, there would be no story worth listening to -nothing and nobody to cheer for. But I’m getting ahead of myself.

I suppose it’s natural to assume that the early patterns learned are special -sacrosanct, even- when you are a child. Deviations are regarded with suspicion. Doubt. And even now, I usually expect there to be recognizable traits in the characters, and a direction of the storyline that helps me to pick out which side to pull for. So maybe it has been that way from the time stories were first told -the one inviolable rule to keep an audience attentive. In a chaotic world, people must have longed for order, justice -something to hope for, if only in the imaginary tales told in the flickering firelight as eyes watched hungrily from the forest. The eventual triumph of good over evil -surely that’s the purpose of a good story…

But it seems that in the glimmer of recent historical analysis, that’s not how it used to be. I came across a fascinating essay by Catherine Nichols which suggests that the Ancients did not see it quite like that: https://aeon.co/essays/why-is-pop-culture-obsessed-with-battles-between-good-and-evil

Entitled The good guy/bad guy myth, she writes that ‘In old folktales, no one fights for values. Individual stories might show the virtues of honesty or hospitality, but there’s no agreement among folktales about which actions are good or bad. When characters get their comeuppance for disobeying advice, for example, there is likely another similar story in which the protagonist survives only because he disobeys advice. Defending a consistent set of values is so central to the logic of newer plots that the stories themselves are often reshaped to create values for characters such as Thor and Loki – who in the 16th-century Icelandic Edda had personalities rather than consistent moral orientations.

‘Stories from an oral tradition never have anything like a modern good guy or bad guy in them,  despite their reputation for being moralising. In stories such as Jack and the Beanstalk or Sleeping Beauty, just who is the good guy? Jack is the protagonist we’re meant to root for, yet he has no ethical justification for stealing the giant’s things. Does Sleeping Beauty care about goodness? Does anyone fight crime? Even tales that can be made to seem like they are about good versus evil, such as the story of Cinderella, do not hinge on so simple a moral dichotomy. In traditional oral versions, Cinderella merely needs to be beautiful to make the story work. In the Three Little Pigs, neither pigs nor wolf deploy tactics that the other side wouldn’t stoop to. It’s just a question of who gets dinner first, not good versus evil.’

That’s interesting, don’t you think? Although I suspect the final verdict is not yet in, we have -all of us- been guilty of inadvertent historical revisionism: we have felt the need to interpret stories as having morals, unaware of the ‘historic shift that altered the nature of so many of our modern retellings of folklore, to wit: the idea that people on opposite sides of conflicts have different moral qualities, and fight over their values. That shift lies in the good guy/bad guy dichotomy, where people no longer fight over who gets dinner, or who gets Helen of Troy, but over who gets to change or improve society’s values.’ In other words, we are judging, or appending qualities, that originally may not have been intended.

‘The situation is more complex in epics such as The Iliad, which does have two ‘teams’, as well as characters who wrestle with moral meanings. But the teams don’t represent the clash of two sets of values in the same way that modern good guys and bad guys do. Neither Achilles nor Hector stands for values that the other side cannot abide, nor are they fighting to protect the world from the other team. They don’t symbolise anything but themselves and, though they talk about war often, they never cite their values as the reason to fight the good fight. The ostensibly moral face-off between good and evil is a recent invention that evolved in concert with modern nationalism – and, ultimately, it gives voice to a political vision not an ethical one.’

‘In her book The Hard Facts of the Grimms’ Fairy Tales (1987), the American scholar Maria Tatar remarks on the way that Wilhelm Grimm would slip in, say, adages about the importance of keeping promises. She argued that: ‘Rather than coming to terms with the absence of a moral order … he persisted in adding moral pronouncements even where there was no moral.’’

But now that I am in my autumn years, and have had time to reflect on these things, I think that Nichols only partially captures what’s really going on: although the revised stories incorporate values that have shaped (or been shaped by) society as a whole, they also encompass a whole range of feelings from my childhood, that I am rather loathe to abandon. Her analysis seems a bit too reductionist for me.

I suppose I am a product of my era, a result of its prevailing zeitgeist, and yet when I was a child, I think I wanted to believe, not so much in the continuing battle of Good with Evil (whatever either of those concepts mean), but more in the hope of an acceptable ending to the story. So, for me, the success of Goldilocks and the Three Bears, for example, didn’t hinge on a moral dichotomy -a Life-lesson. It’s a story that doesn’t really need that kind of tension. A child doesn’t impute evil to Goldilocks for eating Baby Bear’s porridge -okay, I didn’t, anyway. It left me with a warm, fuzzy feeling, and I don’t think I learned a lesson from it -I was entertained. I was fascinated. I was just a child sitting on a lap wanting to hear my father’s reassuring voice. Surely you have to have some stories that don’t teach you anything, except how to smile…

by

Should You Wish Upon a Star?

I’m of two minds about magic. On the one hand, it seems too good to be true -too naïve and unexamined, too much like Santa Claus; but there’s a part of me that wants to believe in another world where faeries dance on dew-soaked blades of moonlit grass, and bird song fills the dawn forest as a paean to the aborning light. In a place -or was it a time– where anything was possible, because no one had proven that it wasn’t.

Unfortunately, I grew up and found an adult proof -or thought I had. I suppose most of us do, though. It’s not even a choice -as we wend our ways through the interstices of everyday life, we shed those things which impede our progress -like a shirt on a hot day, unregarded magic is in corners thrown, to paraphrase Shakespeare. Our route is littered with it, if we cared to look. But we don’t anymore. We can’t be bothered.

And yet, in my darker days, when I find myself staring into the ordered chaos that encloses me like a cape, I sometimes wonder if it was all a mistake. Perhaps we were meant to keep a little in reserve. A curtain we could peek behind in times of need. In times when we realize that what we have is not enough… or, rather, too much.

In one such mood, I happened upon an article written by Frank Klaassen, an associate professor of History in the University of Saskatchewan, entitled The Magic of Love and Sex, who characterizes himself as a scholar of medieval magic. I have to admit, that anybody who purports to be able to unmask the most mysterious trappings of an enchanted, faraway age has got my ear -or in this case, at least, my eyes. https://theconversation.com/the-magic-of-love-and-sex-91749

He says that ‘[…] passing the magazine stand at the checkout counter is like stepping back in time.’ Both the men’s and the women’s magazines promise to divulge secret methods of procuring unattainable things we all want, yet could only dream of: sex, power, influence… ‘Bronislaw Malinowski [a Polish-born British social anthropologist] says that the function of magic is to ritualize optimism, to enhance “faith in the victory of hope over fear.” By this he means that when we perform magic, we ritualize our hopes, even if that ritual itself produces no effects.’

‘There is a massive modern industry that leverages our vulnerabilities. Hundreds of scientifically unproven techniques offer not only power over love and sex, but health, wealth, good luck, influence over other people, improving appearance, intelligence and public speaking, assuring happiness and protection of self and family.

‘Modern books on magic like Starhawk’s The Spiral Dance and New Age handbooks like Shakti Gawain’s Creative Visualization have become classics over the past 40 years and have sold millions of copies. They cover pretty much the same ground. With few exceptions, the goals of medieval magic were identical to these personal growth manuals from the 1970s, and fulfilment in love tops the list.’

But interestingly, similar to today, Klaassen says that scholars back then were also critical of magic and superstition. ‘Medieval philosophers expended a lot of ink demonstrating how seemingly miraculous things were just natural effects […] To respond to these attacks, writers of medieval magic books often did exactly what their modern counterparts do —they tried to make them look like they were scientific. They used scientific ideas and language.

‘In comparison, one would think that modern people would be far less interested in magic, particularly given our advanced sense of how the physical world functions and the scientific educations we all get in public school.’

But, I think the crux of his point is to compare the two modes of thinking, and whether things have changed all that much over the years. ‘[…] it challenges the idea that scientific thinking somehow banishes magical thinking. Clearly, it doesn’t.’

‘[…] Modern science may have helped us live longer but it hasn’t made illness and death any less inevitable. It certainly hasn’t made it possible to make ourselves more wealthy, desirable, charismatic, intelligent or successful in love.

From one perspective, love magic is biological. We are biologically programmed to try anything that might help us reproduce ourselves. Skepticism would just get in the way of that. Hope, on the other hand, keeps us creatively trying things out and doing whatever it takes: The perfect clothes, the right music, giving flowers, perfume, beautiful words, … or magic.

From another perspective, as Malinowski suggested, magic springs from human qualities that we all value very highly: Optimism, hope and creativeness. Where would we be without those? If our ancestors only stuck to the tried and true, things they knew would not fail, we’d still be in the trees. We’d certainly have no love songs.’

I like the idea that magic is hope. And hope is no less real because what we wish for hasn’t yet happened; there may not be faeries dancing on the lawn at night, but if I want to believe that if I hid out there under a blade of grass one night I would see them, should you lock me up? Or put me on medication? All of us hear stories, some more fanciful than others -and not all of them are as we remember. We colour our narratives with almosts and often sneak in a few might haves to spice the tales. The rest of us wink at the clever interpolations, and then add our own when it’s our turn to speak. Who’s to say what really happened -what might have happened?

There is a ragged border between fact and fancy sometimes, and maybe your misspeak is my magic -or at least my hope. Would you really want to take that away from me… and should you? Like Shakespeare’s Hamlet, I want to believe there are more things in heaven and earth than are dreamt of in our philosophies…

by

Presume Not that I am the Thing I Was.

We are all stories, aren’t we? But as I slip further down the years, I wonder about my story. Some of it I suppose I don’t remember, and yet what I do might still be suspect –a revision I make even as I think about it. Memory doesn’t reproduce the past so much as create it. And therein lies the problem. There was a time when historical validity was only accredited to its witnesses –a first-hand account told by someone who was actually there, someone who experienced it. But we’re long past that now…

When we are dead, we become fictions; when we can no longer speak for ourselves, what we might have thought, what we might have been, is merely interpreted, as the historical fiction writer Hilary Mantel has said. And even modern historians, scrutinizing the same evidence, will often differ in their explanations of the past. Who is to choose among them –and why?

So, history isn’t fixed, as we often assume, and it certainly isn’t static –it changes with new evidence, or transmogrifies according to the prevailing Weltanschauung. As Mantel sees it, history is not the past –it’s a method we’ve evolved to organize our ignorance of it. It’s what’s left in the sieve when the centuries have run through it.

I think that what occasioned this reminiscence was a short feature in the BBC news about a fifteen-year old toilet sign found in Italy at a farmhouse B&B: http://www.bbc.com/news/blogs-trending-40936110. The sign was attempting to use emojis to indicate that the toilet was not restricted to any particular sexual orientation. It had three symbols –one of a man, one of a woman, and one of a gay person. Unfortunately, the latter is depicted as a rather flouncy individual who is clearly neither male nor female, but rather an amalgam of them both, I suppose. Why it was felt necessary to suggest that ‘gay’ belonged to neither group is unknown. At any rate, the LGBTQ community reasonably complained of the sign’s confusion of sexual orientation with gender identity and the (new) owners obligingly removed it, even though it had apparently been covered up when they bought the property, and had remained so. They had meant no offence.

Things change. Sensitivities change. And signs are expected to reflect that… I, too, am caught up in the current ethos and find the sign unfeeling, and ill-informed, but things were different then, I think. The world was a different place for sure; the Umwelt itself was less evolved. But nonetheless, it makes me wonder whether we can ever understand the lived-world of another era. Whether even I can ever understand my own historical self, and so continually amend what I can remember of him –and continually rewrite the story…

I was waiting for a bus on the outskirts of town the other day, and sought the tiny shade afforded by a small wooden bench. Two older ladies arrived and seemed more in need of shade and rest than me, so I offered them the only gift I had –the bench. But it was in a covered structure and under a tree, so I stayed nearby in its cooling shadow.

They were both in their eighties, I would think, and both wore loose floral-print cotton dresses like I think my mother would have favoured. They wore their hair like her, too –short and manageable under almost identical blue hats. In fact, the more I looked, the more like her they seemed –they could all have been sisters, although my mother was an only child and died many years ago. It’s strange how often older women seem similar. Men do too, I suppose, but I notice the women more. Age homogenizes their faces, and memory standardizes their appearance… Blends them together into vague familiarity like apples in a crate. Fish in a tank.

I contented myself with leaning against the tree and staring idly down the street lost in thought… Okay, I was listening to them; I can’t resist an argument and they’d been going at it even before they sat down –some sort of family thing.

“You have to admit that father was ahead of his time, though, Thea…” The only difference between them I could detect was the colour of the flower pattern on their dresses. It was the red flower who was talking.

Thea, the blue-flower, sighed loudly. “What on earth makes you say that, Flo?”

Flo promptly crossed her arms and glared at her sister. It was hard to tell from where I leaned, but I think she rolled her eyes because it pulled her lip upwards and something rattled in her mouth. “Remember? He encouraged her to work outside the home, and told everybody about how women should have the same rights as men. Nobody thought like that in those days.”

“What house did you grow up in, Flo? He wouldn’t even let me work in that restaurant, remember?”

Flo shrugged at the memory. “You were too young, Thea. He was protecting you…”

“Then why didn’t he protect Ronny? He had a paper route when he was even younger.” Thea seemed pout for a moment. “And anyway, he didn’t encourage mom to work until he lost his job that time. And even then, she had to clean the house and cook the dinners for us when she got home.”  She stared at Flo. “That’s not equal rights and it’s certainly not ahead of the times…”

Flo stared at her sister with a slight tilt to her head. “Well, how about when Ronny came out? Father welcomed him back into our house…” I could sense that Flo was a bit hesitant to speak about her brother, though.

Thea sighed loudly again, but this time contemptuously. “Only after five years, Flo! And even then, it was because mom kept phoning Ronny and inviting him over. Father had nothing to do with it! And remember, the only reason Ronny agreed to come was because it was a family dinner –their anniversary- and yet, Father wouldn’t even speak to him at first. He totally ignored him at the table.” She shook her head sadly and looked at her sister. “Ronny was so hurt. Remember he even left the table and went to sit in the living room until mom convinced him to come back? And then, years later, Father had the gall to tell everybody that he’d never harboured any grudges against homosexuals? That he’d always accepted them?”

“Father’s last boss was a homosexual, wasn’t he?”

Thea glanced my way and her eyes strayed onto my face for a second, as if fleeing from her sister’s naïveté. “Father always pretended to move with the current, Flo. But deep down, he was a man of his time. That was the way things were when he was growing up. There’s no sense in applying today’s values to another era. It took slow and painful steps to get here…” She touched her sister gently on the shoulder. “It’d be like blaming the doctors in his day for not having discovered penicillin.”

Flo looked down the street and saw the bus approaching. “You certainly remember a different Father from me, Thea…”

Thea shrugged as she fished around in her purse for the fare. “We’ve always seen the world through our own eyes, Flo. It’s a puzzle, eh?” she added as they both boarded a bus that was not mine.

I moved to the bench, now in deeper shade, and thought about what Thea had said about their differences being a puzzle.  I remembered fragments of a thought Alan Watts, had written back in the sixties. It was something about there being a difference between puzzles and mysteries: puzzles are meant to be solved, but mysteries are meant to be enjoyed. Wondered about. Tasted. I think I’d prefer to think of the past as a mystery, you know. That we each taste the world with different eyes; there’s no one history that satisfies us all… And therein lies the wonder.

 

by

The Tales We Write in Water

We are all stories, aren’t we? Largely untold, and seldom transcribed, we travel through our lives like cups filled to overflowing, spilling drops like patterns on a dirty tablecloth. It’s often not so much a reticence that keeps our information bottled up, as opportunity to share it. It’s why, I suppose, there is such a need for counsellors. Therapists. Ears, not just to hear what we feel is important to us, but to listen. Someone to understand our need for time on the pedestal…

Diaries do that as well, albeit with little feedback unless they are publicized. No feedback in fact if they are left unattended and unnoticed in a drawer somewhere for fear of discovery -disclosure of inner secrets too personal to admit, embarrassing moments too painful to discuss, dreams we fear are out of reach. And yet the very act of writing them down may not be wasted: http://www.bbc.com/future/story/20170601-can-writing-about-pain-make-you-heal-faster

Okay, I don’t really buy the premise of the article suggesting there may be something immunologically regenerating about writing, that healing occurs faster, or that there may be beneficial effects on health in general –and yet I readily admit that, as a sometime writer myself, it intrigues me. I’ve always thought about it in terms of catharsis, but now I’m not so sure. In 1986, a psychology professor named James Pennebaker asked his students to ‘spend 15 minutes writing about the biggest trauma of their lives or, if they hadn’t experienced a trauma, their most difficult time’. Six months later, he discovered that this seemed to have had an effect on their general health as measured by fewer visits by them to the health center. A bit tenuous, it seems to me, but it was his subsequent analysis that interested me more.

‘What does the act of committing words to paper do? Initially it was assumed this simply happened through catharsis, that people felt better because they’d let out their pent-up feelings. But then Pennebaker began looking in detail at the language people used in their writing. He found that the types of words people used changed over the course of the four sessions.’ The students ‘[…] began by using the word “I” a lot, but in later sessions moved on to saying “he” or “she” more often, suggesting they were looking at the event from other perspectives. They also used words like “because”, implying they were making sense of the events and putting them into a narrative.’

The perspective change that evolved in their writing is fascinating. As I write this, I’m reminded of a fragment of a poem by Robert Burns (To a Louse, On Seeing One on a Lady’s Bonnet at Church): ‘O wad some Power the giftie gie us to see oursels as ithers see us!’… But, come to think of it, isn’t this very non sequitur an example of how the act of putting down words unlocks unexpected doors? Could writing be the Power to which Burns was referring…?

Well, perhaps that’s a bit of a stretch, I’ll admit, and yet…

I had travelled into town to buy a piece of technological kit at a store in a huge mall in the center of the city, when I suddenly felt overwhelmed by the noise, the movement, and even the smell of the thronging crowd flowing over and around me like a debris-strewn river. I wanted to sit down somewhere, but it was lunch time and all the benches were full, so I headed outside to a little dog park I’d noticed on the way in. Even there the pews were occupied, although admittedly, not by dogs, but people eating fast food out of wax-paper wrappers. I felt a bit nauseated and I didn’t think I could handle sitting beside one of them, so I chose a seat beside a young woman who had eschewed her stomach for a little notepad on which she was furiously scribbling. A thin woman, with short blond hair and a blue business dress, I thought at first she was just catching up on office work; the fact that there was neither a laptop nor a phone in evidence, seemed only passing strange. Her face, young and unblemished, was somewhere else – certainly not here, despite the soft breeze that rustled the leaves, and the sound of birds flitting from branch to branch above our heads. But she looked happy. Content. Absorbed…

It was pleasant sitting outside, and the trees that ringed the tiny urban meadow seemed to keep the more annoying attacks of traffic noise at bay. After a while I became aware of something I hadn’t heard since I was at school, I think: the sound of pencil hurriedly scraping across paper. There was something atavistically soothing about it –something that brought back childhood memories: the sound of walking on fallen autumn leaves maybe, or the soft hiss of bacon that my mother was frying in the kitchen… Sounds totally unlike what I was hearing, to be sure, and yet compelling. Comforting.

In my reverie, I’m afraid I began to stare at her –or rather, at the notebook on her lap. Eyes, when left unleashed do things that are hard to explain. Hard to justify. And because of my unsolicited proximity to her on the otherwise crowded bench, she noticed. At first it was a scowl that tried to shoo my eyes, if not my very presence away, but then, seeing my embarrassed smile at being caught in flagrante delicto as it were, she smiled.

“Just writing down some thoughts,” she said glancing at her watch and then carefully closing up the notebook as if it were a bible.

In some way exculpated by her words, my face relaxed.

“Sometimes I just have to write them down before my office thoughts take over,” she added, shrugging contentedly as she stood to leave. “Helps me cope somehow…”

I saw her walk away along the wide gravel path, stopping from time to time to stare up into the trees, oblivious, it seemed, to the city that roared around her. And as I watched, I have to admit, so was I.

by

Life’s Like That

Why is Life so hard to define? When I was in school, it was easy –as mentioned in a BBC article on the topic: http://www.bbc.com/earth/story/20170101-there-are-over-100-definitions-for-life-and-all-are-wrong -Life was MRS GREN (Metabolism, Reproduction, Sensitivity, Growth, Respiration, Excretion, and Nutrition). That’s all you needed for the exam –although I’m glad they never asked for an explanation of Sensitivity. But times change, and as do definitions, so by the time I was in university, I was confused. Every faculty had its own perspective –chemists defined in terms of chemicals, biologist preferred DNA, and physicists were partial to the dynamics of molecular properties that bypassed structural components in favour of information transfer.

Me? I wandered around a fair amount in my undergraduate years before I ended up in Medicine so, already rainbow-hued, I opted for a just-right-baby-bear definition -not too much of anything. By then, I understood that Life was an amalgam –but the product and not the recipe. The final taste, and not the way the ingredients are cooked. Telos, I suppose, rather than methodos– words sufficiently nebulous as to dissolve in most of the more erudite proposals. To me, Life is a story – scilicet, a spirit-  and one whose progress is tied to the outcome. We humans are requisite classifiers and groupers –itself a story- and we thereby miss the uniqueness of entity, the magic of identity; for us, something is either alive or not. Black or white. It’s an important distinction to be sure, but as I said, it misses the pungency of the flavour. The excitement of the effect. The Proustian Phenomenon of the madeleine biscuit soaked in tea… My route explains nothing, I’ll concede, and yet somehow, it’s what makes it Life, and not something else.

But I was always hopeless at philosophy, and despite my zeal for it, perhaps wisely accepted parental advice and wandered off into Medicine and eventually a career as an obstetrician/gynaecologist. I suspect they were concerned that otherwise I might end up living with them at home.

From time to time, however, I am still tempted to wax lyrical on Life with the occasional patient who seems to require some additional prodding with regard to their own. I can’t say I’ve achieved any truly publishable results, but the process is nonetheless enjoyable for me on those otherwise interminably complaint-ridden days that crop up from time to time.

It usually requires a stimulus –an opportunity when my input would not be construed as an imposition on their time with me.

Janet, for example. She was a forty-one year old woman who had pursued her own career as a lawyer at the apparent expense of a stable relationship. Intelligent, and attractive, she had finally ‘decided to accede to an intimacy request’ from an acquaintance –that’s how she put it- and when she had first made the appointment had wanted some advice as to how to avoid pregnancy. Her would-be partner was an older man who had not felt comfortable using condoms however. So he hadn’t. And she was. Not only that, but she was confused about it.

“Doctor, I’m almost forty-two years old, and despite the occasional ‘dalliance’ I’ve never been able to become pregnant…” She stared at me like I was somehow to blame for the vagaries and vicissitudes that had befallen her.

I could almost see the quote marks around her word ‘dalliance’. “You said ‘able to become pregnant’, Janet. Were you trying?”

She shook her head almost before my question reached her, but I could tell by her expression that she wasn’t sure. “Life is such a precious thing… I’d want to be sure about everything…”

“Like…?”

“Like whether I could care for it. Whether I would regret whatever decision I made about a pregnancy I hadn’t planned.” She didn’t even mention what effect the father might have on the process. “So…” she thought about it for a second. “…So I suppose I’m happy I didn’t have to make that decision before…”

“And now…?”

She shrugged and sent her eyes, like beggars, to ask my face for something –wisdom, maybe; suggestions, at least. “I mean, what are my chances, doctor?”

“Chances?”

“You know, that I won’t miscarry anyway. Remember, I’m forty-one now… And there’s also a risk of genetic malfeasance, isn’t there?”

Even though I have many lawyers as patients, I’d never heard the risks of pregnancy in an older mother put quite like that… I’m definitely in the pro-choice camp, as she well knew, so I realized she wouldn’t think I was trying to sway her ultimate decision no matter what I said. But still… “We can do the usual prenatal testing to identify any genetic problems beforehand, Janet. And yes, miscarriages are more common with pregnancies in older mothers…”

Her eyes grasped at the hems of mine like supplicants. “And if I were your daughter…?” I knew I had to be careful then -she was asking for an opinion, albeit framed as a personal one.

I sighed and sat back in my  chair. “A new life is a new story, Janet –a bit of yours, a bit of the father’s- but at this stage, most of it is still an idea somewhere. It doesn’t have to get written to qualify –we all have ideas inside when we stop and think about them. We write down some of them, I suppose but sometimes even then, we just can’t get the wording right. Or the idea, once on paper, doesn’t seem what we thought. Remember, a story is no less a story for not being completed, and no less a creation for not being read… But sometimes, you just have to take the chance that you’re on to something.”

Her eyes flew away and settled on her lap for a moment. “You’d make a great lawyer, doctor,” she said, with a mischievous smile, her eyes back on mine once more. “Obfuscation is something they just can’t teach…”

I’m not sure she followed my argument so I risked a little smile. “Isn’t it what you do when there really is no case to be made beyond a reasonable doubt?”

She rolled her eyes and chuckled. “I don’t take cases like that anymore.”

I suspected she hadn’t this time, either.