To Stand In Place

A strong gust blew through the forest. The house sparrow chirped and fluttered his wings, as he bobbed up and down on the branch he perched upon. In nervousness of being a guest in someone else’s space, he tried to make small talk.

“So, you grew up around here, right?” The white oak, standing there firmly in the ground, simply said, “Yeah.” An awkward silence followed. Not knowing what interests a tree, the bird puffed up it’s feathers and cocked it’s head. The tree remained without expression.

The little bird knew that the tree’s family lived nearby. So trying to coax more out of him, he queried further about his childhood and schooling, but was unable to garner any enthusiasm about the tree’s own life. He decided to take a more direct tack.

“Do you have many happy memories?” Then quickly added, “Or unhappy?” There still was little response. All the white oak would say was that he didn’t care about the place he lived. One place is same as another, he explained, solidly rooted to the spot.

After a short visit, the anxious sparrow was glad to leave. He caught a breeze and darted away into the sky.

A Story of Walking Away

Back during the early Bush era, American imperialism was rearing its ugly head. I was in a group at the time where I met a guy who would become a close friend. The group read a story by Ursula K. Le Guin. It was “The Ones Who Walk Away from Omelas,” a story written a in 1973 which was a couple of years before I was born. Those were the waning days of Nixon’s reign, another dark time right before his fall from power. I had forgotten about Le Guin’s story, until my friend mentioned it the other day. We are once more at a moment of societal angst. And the story remains relevant.

As told by the narrator, there is a utopian world, a supposedly wonderful and perfect society in all ways but one. A single innocent child must suffer alone as the price to be paid for the greater good. “The central idea of this psychomyth,” Le Guin explains in a preface, is “the scapegoat.” In giving the story further thought, my friend suggested: “I considered the central idea could be empire–that some would live very well off the misery of others (only 1 other in the story, but could be any number). Is one basis of empire, scapegoating?” I suspect Le Guin would accept that as a background influence to the central idea, if not the central idea itself. She says the inspiration came from William James (“The Moral Philosopher and the Moral Life“):

“Or if the hypothesis were offered us of a world in which Messrs. Fourier’s and Bellamy’s and Morris’s utopias should all be outdone, and millions kept permanently happy on the one simple condition that a certain lost soul on the far‑off edge of things should lead a life of lonely torture, what except a specifical and independent sort of emotion can it be which would make us immediately feel, even though an impulse arose within us to clutch at the happiness so offered, how hideous a thing would be its enjoyment when deliberately accepted as the fruit of such a bargain?”

This story is about the belief in substitutionary sacrifice, a narrative frame that gives meaning and purpose. It has ancient roots and took its present form by way of Judeo-Christian theology. The scapegoat is at the heart of our civilizational project. Ultimately, it’s a form of dark magic. And its power comes from telling a compelling story. But the exact details of the story are a distraction, pointing away from whatever is the real issue.

The real issue, one way or another, is always the social order. To anchor a social order, a story has to be viscerally embodied within collective experience. It’s not enough that someone is sacrificed for it must be known and accepted, must be felt as real and necessary by those within the social order. It makes them complicit and so binds them to the social order. It is a social contract written in blood. Dark magic is blood magic.

Le Guin is using counter-magic by telling her own story. It appears as mere fiction to allow it to slide below our psychological defenses. By doing so, she slips in a seed of potential awareness. The story isn’t about some other place. It is about our own society. The belief in substitutionary sacrifice as having magical power is what makes this kind of society possible, the shining city on a hill of corpses. Imperialism or any such authoritarian regime comes at great costs and those must be rationalized as necessary for the greater good. Le Guin describes that the young people of Omelas, upon learning of the suffering child, are moved by compassion as any good person would be in a good society:

“Their tears at the bitter injustice dry when they begin to perceive the terrible justice of reality, and to accept it. Yet it is their tears and anger, the trying of their generosity and the acceptance of their helplessness, which are perhaps the true source of the splendor of their lives. Theirs is no vapid, irresponsible happiness. They know that they, like the child, are not free. They know compassion. It is the existence of the child, and their knowledge of its existence, that makes possible the nobility of their architecture, the poignancy of their music, the profundity of their science.”

Let me bring this into present realities of our own society. This ritualized suffering of the condemned is why even rich, powerful white men can occasionally be sacrificed in order to maintain the status quo. Anyone can be sacrificed, as long as the system itself is protected and unquestioned. The one thing that can’t be sacrificed is the social order itself.

That is what makes spectacles of publicly shaming individuals a safe outlet, whereas the greater and more pervasive realities of collective victimization must remain unspoken. This is why the overwhelming problems of lead toxicity and pollution, primarily harming poor dark-skinned people, has never led to the same level of moral outrage and media judgment as has the sexual scandals. And this is why those sexual scandals mostly focus on well off white victimizers and well off white victims. Millions of the poor and powerless being harmed far worse would never get the same amount of attention and concern.

Such media spectacle maintains the focus on those in power and privilege, their suffering and their wrongdoing. And so this keeps the public mind locked within the ideological structure of power and privilege. The rest of us are supposed to be spectators sitting silently in the dark as the actors entertain us on the stage. A few people will be sacrificed and then, as a society, we can fall back into unconsciousness. With substitutionary sacrifice, our collective sins once again are atoned for.

The only thing most of us have to do is passively submit to the public ritual. So we watch in silence. And the story being told is burned into our psyche, our soul. To tell a different story, as does Le Guin, is a danger to the world as we know it. And to read such a story threatens to break the magic spell, invoking a state of anxiety and discontent by reminding us that our way of life (and way of death) is and always has been a choice.

We are reminded that there are those who choose to walk away. What they walk away from isn’t only that society but, more importantly, the story of that society. They can only do that by walking toward a different story, even if another society hasn’t yet fully taken form. First, a story has to be told about the walking away:

“At times one of the adolescent girls or boys who go to see the child does not go home to weep or rage, does not, in fact, go home at all. Sometimes also a man or woman much older falls silent for a day or two, and then leaves home. These people go out into the street, and walk down the street alone. They keep walking, and walk straight out of the city of Omelas, through the beautiful gates. They keep walking across the farmlands of Omelas. Each one goes alone, youth or girl, man or woman. Night falls; the traveler must pass down village streets, between the houses with yellow-lit windows, and on out into the darkness of the fields. Each alone, they go west or north, towards the mountains. They go on. They leave Omelas, they walk ahead into the darkness, and they do not come back. The place they go towards is a place even less imaginable to most of us than the city of happiness. I cannot describe it at all. It is possible that it does not exist. But they seem to know where they are going, the ones who walk away from Omelas.”

A Compelling Story

“A year after that very popular novel came out I read an article summarizing a study about that novel conducted by scholars at a well-known university. The study documented that the vast majority of people who bought and read this popular book believed it was not a novel, but an absolutely true story, though the book was marketed as a work of fiction, and nowhere on or in the book did the publisher or author claim the story was true. The study further reported that when people who loved this book were informed that the story was not true, they reacted with either tremendous anger or enormous disappointment, or both.”

This is Todd Walton discussing an interesting phenomenon, from Know Your Audience. And it is something he has personally experienced with his own fiction writing:

“I became aware of this phenomenon—people believing fiction is true—some years before this mass delusion about a popular novel swept the nation. In those long ago days, I frequently gave public readings of my fiction; and it was during the mid-1980s that more and more people began to experience my stories as true rather than as fiction. In response to this phenomenon, I would preface my reading of each story by declaring that the tale was not autobiographical, not inspired by supposedly true events, and was most definitely a work of fiction.

“Even with this disclaimer, many people in my audiences continued to assume my stories were recollections of things that had really happened to me, regardless of how preposterous that possibility.”

It’s not only that people were adamant about believing his fiction was real. They would get quite upset when told once again that it was fiction, even though they already had this explained to them before the reading. Some of them accused the author of lying to them. And a few left the room in protest.

From a slightly different perspective, here is an anecdote shared by Harlan Ellison:

“He told me– and he said this happened all the time, not just in isolated cases– that he had been approached by a little old woman during one of his personal appearances at a rodeo, and the woman had said to him, dead seriously, “Now listen to me, Hoss: when you go home tonight, I want you to tell your daddy, Ben, to get rid of that Chinee fella who cooks for you all. What you need is to get yourself a good woman in there can cook up some decent food for you and your family.”

“So Dan said to her, very politely (because he was one of the most courteous people I’ve ever met), “Excuse me, ma’am, but my name is Dan Blocker. Hoss is just the character I play. When I go home I’ll be going to my house in Los Angeles and my wife and children will be waiting.”

“And she went right on, just a bit affronted because she knew all that, what was the matter with him, did he think she was simple or something, “Yes, I know… but when you go back to the Ponderosa, you just tell your daddy Ben that I said…”

“For her, fantasy and reality were one and the same.”

I quoted that in a post I wrote about a similarly strange phenomenon. It’s how people are able to know and not know simultaneously (a sub-category of cognitive blindness; related to inattentional blindness, contextual ignorance, hypocognition, and conceptual blindness). With that in mind, maybe some of those people in Walton’s various audiences did know it was fiction, even while another part of them took it as real.

This kind of dissociation is probably more common than we might suspect. The sometimes antagonsitic responses he got could have been more than mere anger at having their perception denied. He was going beyond that in challenging their dissociation, which cuts even deeper into the human psyche. People hold onto their dissociations more powerfully than maybe anything else.

There is another factor as well. We live in a literal-minded age. Truth has become conflated with literalism. When something feels true, many people automatically take it as literal. This is the power of religion and its stories, along with politics and its rhetoric. But some argue that literal-mindedness has increased over time, starting with the Axial Age and becoming a force to be reckoned with in this post-Enlightenment age of scientism and fundamentalism. That is what leads to the black-and-white thinking of something either being literally true or absolutely false (a blatant lie, a frivolous fantasy, etc). Iain McGilchrist describes this as the brain dominance of the left hempisphere’s experience and the suppression of right hemisphere’s emotional nuance and grounded context.

This mindset isn’t just a source of amusing anecdotes. It has real world consequences. The most powerful stories aren’t told by fiction writers or at least not by those openly identifying as such. Rather, the greatest compelling storytellers of our age work in news media and politics. The gatekeepers have immense influence in determining what is real or not in the public mind. This is why there is a battle right now over fake news. It’s a battle among the gatekeepers.

This connects to the smart idiot effect. It’s interesting to note that, according to studies, the least educated are the most aware of the limits of their knowledge and expertise. It requires being well educated to fall into the trap of the smart idiot effect (hence why it is called that). This is the reason media personalities and politicians can be so dangerous, as they are people who talk a bit about everything while often being an expert in nothing or, at best, their expertise being narrowly constrained. This is fertile ground for storytelling. And this is why attention-grabbing politicians like Ronald Reagan and Donald Trump first became famous as media personalities — their being experts only in entertainment and egotism. Those like Reagan and Trump are storytellers who embody the stories they tell. They pretend to be something they are not and their audience-supporters take the pretense for reality.

This is seen in many areas of society but particularly on right-wing media. Interestingly, according to research, it is most clearly evidenced among the most well informed audience members of right-wing media who simultaneously are the most misinformed. The average Fox News viewer does know more factoids than the average American (maybe no great accomplishment), but they also know more falsehoods than the average American. What they don’t know very well is how to differentiate between what is true and not true. To be able to make this differentiation would require they not only be able to memorize factoids but to understand the larger context of knowledge and the deeper understanding of truth — the subltety and nuance provided primarily by the right hemisphere, according to Iain McGilchrist. Otherwise, factoids are simply fodder for talking points. And it leads to much confusion, such as a surprising percentage of conservatives taking seriously Stephen Colbert’s caricature of conservatism. Isn’t that interesting, that many conservatives can’t tell the difference between supposedly authentic conservatism and a caricature of it? The election of Donald Trump, an apolitical demagogue posing as a conservative, emphasizes this point.

It is maybe no accident that this phenomenon manifests the strongest on the political right, at least in the United States. It could be caused by how, in the US, authoritarianism is correlated to the political right — not so in former Soviet countries, though. So the main causal factor is probably authoritarianism in general (and, yes, authoritarianism does exist within the Democratic Party, if not to the extreme seen within the GOP; but I would note that, even though Democratic leaders are to the left of the far right, they are in many ways to the right of the majority of Americans… as observed in decades of diverse public polling). Research does show that authoritarians don’t mind being hypocritical, assuming they even comprehend what hypocrisy means. Authoritarians are good at groupthink and believing what they are told. They are literal-minded, as for them the group’s ideology and the leader’s words are identical to reality itself, literally. One could interpret authoritarianism as an extreme variety of dissociation.

I wouldn’t be surprised if Todd Walton’s most offended audience members would test as higher on authoritarianism. Such people have a strong desire to believe in something absolutely. Self-aware use of imagination and the imaginal is not an area of talent for them nor the trait of openness upon which it depends. This is because they lack the tolerance for cognitive dissonance, a necessary component of suspension of disbelief in the enjoyment of fiction. It makes no sense to them that a story could be subjectively true while being factually false (or factually partial). Hence, the sense of being deceived and betrayed. The fiction writer is an unworthy authority figure to the authoritarian mind. A proper authoritarian demagogue would tell his followers what they wanted to hear and would never then tell them that it was just fiction. The point of storytelling, for the authoritarian, is that it is told with utter conviction — it being irrelevant whether or not the authoritarian leader himself believes what he says, just that he pretends to believe.

Authoritarians aside, it should be noted that most people appear to be able to distinguish between truth and falsehood, between non-fiction and fiction. People will say they believe all kinds of things to be true. But if you give them enough of an incentive, they will admit to what they actually believe is true (priming them for rational/analytical thought would probably also help, as various studies indicate). And it turns out most people agree about a lot of things, even in politics. Dissociation has its limits, when real costs and consequences are on the line. But most storytelling, whether fictional or political, won’t effect the concrete daily life of the average person. People want to believe stories and so will take them literally, especially when a story has no real impact. For example, believing in the literal reality that bread and wine becomes the body and blood of Christ is an attractive story for it being largely irrelevant, just a pleasant fiction to create a social bonding experience through ritual (and evidence indicates that many ancient people perceived such things metaphorically or imaginally, instead of literally; the mythical being a far different experience from the literal). Literal-minded people forget that something can have truth value without being literally true. That is what stories are about.

So, it’s possible that if there had been some concrete and personal incentive for self-aware honesty (at least some of) those seemingly naive audience members would have admitted that they really did know that Todd Walton’s readings were fictional. It’s just that, under the actual circumstances with little at stake, their only incentive was their own emotional commitment in being drawn into the story. To be told it is fiction is like being told their experience is false, which would be taken as a personal attack. What they are missing, in that situation, is the willingness to separate their experience of the story from the story itself. It feels so real that they it would ruin their experience of it to imagine it not being real. That is a successful story.

(By the way, this helps explain why Plato so feared the poets, the storytellers of that era. See some context for this in an earlier post of mine, On Truth and Bullshit: “Frankfurt talks about the ‘bullshit artist’. Bullshitters are always artists. And maybe artists are always bullshitters. This is because the imagination, moral or otherwise, is the playground of the bullshitter. This is because the artist, the master of imagination, is different than a craftsmen. The artist always has a bit of the trickster about him, as he plays at the boundaries of the mind.”)

* * *

For some further thoughts from Iain McGilchrist:

The Master and His Emissary
pp. 49-50

“Anything that requires indirect interpretation, which is not explicit or literal, that in other words requires contextual understanding, depends on the right frontal lobe for its meaning to be conveyed or received. 132 The right hemisphere understands from indirect contextual clues, not only from explicit statement, whereas the left hemisphere will identify by labels rather than context (e.g. identifies that it must be winter because it is ‘January’, not by looking at the trees). 133

“This difference is particularly important when it comes to what the two hemispheres contribute to language. The right hemisphere takes whatever is said within its entire context. 134 It is specialised in pragmatics, the art of contextual understanding of meaning, and in using metaphor. 135 It is the right hemisphere which processes the non-literal aspects of language, 136 of which more later. This is why the left hemisphere is not good at understanding the higher level meaning of utterances such as ‘it’s a bit hot in here today’ (while the right hemisphere understands ‘please open a window’, the left hemisphere assumes this is just helpful supply of meteorological data). It is also why the right hemisphere underpins the appreciation of humour, since humour depends vitally on being able to understand the context of what is said and done, and how context changes it. Subjects with right brain damage, like subjects with schizophrenia, who in many respects resemble them, cannot understand implied meaning, and tend to take conversational remarks literally.”

pp. 125-126

“Metaphor is the crucial aspect of language whereby it retains its connectedness to the world, and by which the ‘parts’ of the world which language appears to identify retain their connectedness one to another. Literal language, by contrast, is the means whereby the mind loosens its contact with reality and becomes a self-consistent system of tokens.”

p. 332

“Metaphorical understanding has a close relationship with reason, which seems paradoxical only because we have inherited an Enlightenment view of metaphor: namely, that it is either indirectly literal, and can be reduced to ‘proper’ literal language, or a purely fanciful ornament, and therefore irrelevant to meaning and rational thought, which it indeed threatens to disrupt. It is seen as a linguistic device, not as a vehicle of thought. What the literalist view and the anti-literalist view share is that, ultimately, metaphor can have nothing directly to do with truth. Either it is simply another way of stating literal truth or else it undermines any claim to truth. But as Lakoff and Johnson have shown, ‘metaphor is centrally a matter of thought, not just words’. 2 The loss of metaphor is a loss of cognitive content.”

Alternative Visions, Radical Imagination

When Science Fiction Stopped Caring About the Future
by Noah Berlatsky, The Atlantic

Over here is Le Guin, taking a stand for science fiction on the grounds that “we will be wanting the voices of writers who can see alternatives to how we live now and can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine some real grounds for hope.” And over here is Star Wars, showing you more pictures of the Millennium Falcon. So much for Le Guin’s call to elevate creators who know “the difference between the production of a market commodity and the practice of an art.”

writing & reading, democracy & despotism 
by Kenan Malik, Pandaemonium

Ursula Le Guin
‘Resistance and change often begin in art’

Hard times are coming, when we’ll be wanting the voices of writers who can see alternatives to how we live now, can see through our fear-stricken society and its obsessive technologies to other ways of being, and even imagine real grounds for hope. We’ll need writers who can remember freedom – poets, visionaries – realists of a larger reality.

Right now, we need writers who know the difference between production of a market commodity and the practice of an art. Developing written material to suit sales strategies in order to maximise corporate profit and advertising revenue is not the same thing as responsible book publishing or authorship.

Yet I see sales departments given control over editorial. I see my own publishers, in a silly panic of ignorance and greed, charging public libraries for an e-book six or seven times more than they charge customers. We just saw a profiteer try to punish a publisher for disobedience, and writers threatened by corporate fatwa. And I see a lot of us, the producers, who write the books and make the books, accepting this – letting commodity profiteers sell us like deodorant, and tell us what to publish, what to write.

Books aren’t just commodities; the profit motive is often in conflict with the aims of art. We live in capitalism, its power seems inescapable – but then, so did the divine right of kings. Any human power can be resisted and changed by human beings. Resistance and change often begin in art. Very often in our art, the art of words.

The full text of the talk was published in the Guardian; there is also a video of the talk.

Science Fiction and the Post-Ferguson World: “There Are as Many Ways to Exist as We Can Imagine”
by Mary Hansen, YES!

Again, this is why we need science fiction. We often can’t imagine that things could be different because we can’t imagine alternative systems. Ursula LeGuin just gave an incredible speech at the National Book Awards, where she talked about this and said people can’t imagine a world without capitalism. Well, there was a time when people couldn’t imagine a world without the divine right of kings.

But the writers, the visionaries, those folks who are able to imagine freedom are absolutely necessary to opening up enough space for folks to imagine that there’s a possibility to exist outside of the current system.

I think it’s been a concerted effort to erase those possibilities. These systems that we live under are incredibly unnatural. This is not the way we’re supposed to live. It takes indoctrination to get us to a point where we believe that this is the way things should be. When we take a small step outside that, we are able to break that indoctrination and see that this is not the only way, and in fact there are as many ways to exist as we can imagine.

 

 

“Kids who hunt, fish, and trap don’t mug little old ladies.”

“Kids who hunt, fish, and trap don’t mug little old ladies.”
~ bumper sticker

“Since we saw this sticker on a car parked on a busy street in a densely urban area, clearly the intent here was to warn passersby to be on their guard against kids who don’t hunt, fish, and trap, since those are the likely muggers. So, when you’re walking through the city streets, seek children carrying rifles, fishing rods, and steel-toothed spring-loaded traps, and stay close to those children.”
~ The Kids Are to Blame, the stoneslide corrective

It is a humorous bumper sticker, when you give it a bit of thought. But it wasn’t intended to be humorous. It’s entirely unself-conscious in its inane logic.

I saw this bumper sticker the other day. My immediate response was to be dismissive. The argument falls apart. It is not meant to be thought about. It is a declaration of belief.

That is the key point. I suspect that even the owner of the vehicle realized that the statement isn’t true. The person probably isn’t stupid. Likely just an average person. It simply expresses what they wish was true. It isn’t just a statement of belief, but also a narrative. It is fiction and requires suspension of disbelief. It is a comforting lie, an idle fantasy.

I was thinking along these lines because of some research I came across earlier this year. The basic conclusion was that a lot of political polarization is superficial. It is cheerleading, a declaration of one’s group affiliation. But if there is money on the line incentivizing accurate information, it turns out most Americans disagree a lot less. They know what is true while pretending to believe all kinds of crazy shit.

This is human nature. It isn’t even that people are lying about what they know. It’s just that the brain compartmentalizes thinking. People honestly don’t normally notice the discrepancies between what they want to believe is true and what they know is true. It’s not deception and it isn’t stupidity. The human mind has its own priorities. Many of these priorities are social, rather than rational, the former typically trumping the latter, unless some tangible gain is offered to reverse the order of priority.

We all do this. And we all are oblivious to it. Self-awareness is no easy task.

We can choose

“I wanted us to understand what we could be, what we could do. I wanted to give us a focus, a goal, something big enough, complex enough, difficult enough, and in the end, radical enough to make us become more than we ever have been. We keep falling into the same ditches, you know? I mean, we learn more and more about the physical universe, more about our own bodies, more technology, but somehow, down through history, we go on building empires of one kind or another, then destroying them in one way or another. We go on having stupid wars that we justify and get passionate about, but in the end, all they do is kill huge numbers of people, maim others, impoverish still more, spread disease and hunger, and set the stage for the next war. And when we look at all of that in history, we just shrug our shoulders and say, well, that’s the way things are. That’s the way things always have been.” [ . . . ]

“There seem to be solid biological reasons why we are the way we are. If there weren’t, the cycles wouldn’t keep replaying. The human species is a kind of animal, of course. But we can do something no other animal species has ever had the option to do. We can choose: We can go on building and destroying until we either destroy ourselves or destroy the ability of our world to sustain us. Or we can make something more of ourselves. We can grow up. We can leave the nest.”

Butler, Octavia E. (2012-07-24). Parable of the Talents (p. 358). Open Road Media. Kindle Edition.

A Useless Wrapper

Mike loved candy. He always had a stash of sweets at hand, and it was a short distance from hand to mouth.

More than anything, Mike liked to indulge his sugar addiction with hard candy, letting the sugar form a thick layer of deliciousness upon his teeth. Years of this activity caused his teeth to slowly decay and in their place grew new teeth of crystalized sugar.

Mike’s sugar-based diet had taken a toll on his health. He now lay dying, too weak to even lift another piece of candy to his mouth. Still, he felt no repentance for his gluttony. His last breath escaped him like a belch after a long gulp of pop.

God reached down into his stash of humans. ‘This one is ripe’, God said as he latched onto Mike’s limpid form.

God plucked the sugary teeth from Mike’s mouth. ‘No use for the wrapper’ God muttered, crumpling the now useless corpse and tossing it down toward hell. Mike’s discarded flesh dropped through the heavenly regions, a lonesome soul on a lonesome journey, downward and further down.

A passing angel took notice, swooped in on mighty wings, and used its talons to grasp the curious object falling from above. With a single thrust of wings, the angel returned to its perch among the clouds.

The angel added this new find to its nest, placing it with great care just in the right spot alongside some moss and a piece of string. Before the angel nestled down, Mike looked around and thought to himself, ‘The clouds look like cotton candy’.

Literary Loss of Faith: Literary Criticism as Doomsaying

I noticed the article Has Fiction Lost Its Faith? by Paul Elie in The New York Times. It initially interested me, but the more I thought about it I felt irritated by it. I did like the idea about making belief believable, as Flannery O’Connor originally explained it.

What irritated me was the simplistic conclusion. It reminded me of the articles I constantly come across about the world coming to an end in some way or another. Books will disappear and along with it reading. Before that, people worried books would make oral culture disappear. Before that, people worried oral culture would make cave paintings disappear. People used to fear-monger about how the first land-line telephones would destroy American society and corrupt the youth. Then they said that about the television, and then cable, and then the internet.

It just goes on and on endlessly. The world is always ending and yet it never ends. The world of faith, of miracles, of gods ruling on earth, of humans and animals as a brotherhood, of the fairyland still being accessible, etc; all of it is always in the past, always declining, always disappearing. For as long as civilization has existed, there have been prophets of doom proclaiming the decline of civilization or some particular tradition.  It has been millennia of failed predictions and disproven criticisms.

This article expresses a related kind of rhetoric. The hypothesis stated as fact is that faith is disappearing from literature and that this somehow implies a deeper problem or malaise, a societal corruption or moral decline or weakening of serious thought, or something like that. People have been worrying about the loss of faith at least since the Protestant Reformation and probably long before that. This obsession is particularly strong in America where religion has had some of the strongest roots in all the world. If faith truly was weakening, no one would even write an article like this or want to read it because no one would give a flying fuck.

I don’t have a dog in this fight. I’m neither religious nor anti-religious. It’s not the substance of the argument that annoys me, rather the style and structure of it. It’s so simplistic and predictable, so tired and cliché. If society is collapsing from internal decay, it is weak journalism like this that is a sign of the coming apocalypse… except journalism has always been this way, as long as journalism has existed… so, I guess no apocalypse for the time being. I’ve always thought that if and when civilization finally collapses or modern Western society declines to a point of no return, it probably would come from a confluence of events and conditions that no one would or could foresee.

I doubt that there are fewer authors of faith. A better query might be: Have the literary gatekeepers lost their faith? If the great Christian writers of the past were writing today, would they be published by the major publishing companies, would the mainstream critics review their works, and would they make it on Oprah’s book club list?

Then again, I don’t even know that those are good questions. This article, after all, was published in the mainstream media. It is a literary gatekeeper who, in his dual role as journalist and fiction writer, is complaining about this literary loss of faith. It’s like Republicans claiming other Republicans are secret Democrats for not being right-wing enough or nationally viewed MSM pundits complaining about the MSM being liberally biased. It’s a rhetorical trick to manipulate one’s audience.

In this case, the critic of literary loss of faith is setting the stage for his upcoming novel about faith. This means he is offering the solution to the problem he portrays as a threat. How convenient.

In criticism of the article, the following are two good responses.

D.G. Myers writes in The Novel of Belief:

It is not immediately clear why a setting in the past should disqualify any novel from the category “of belief.” Perhaps the greatest religious novel ever written by an American—Willa Cather’s Death Comes for the Archbishop—is also set in the past. [ . . . ] There have been enough historical novels of religious faith written by Americans that Elie’s demand for contemporaneity begins to seem arbitrary.

[ . . . ] Elie also stipulates that the novel of belief be a novel of Christian belief, which leaves out of account the remarkable turn toward religion on the part of Jewish novelists [ . . . ]

There is no possible stipulation, however, which can explain Elie’s neglect of Christopher R. Beha’s extraordinary What Happened to Sophie Wilder. I’ve called the novel a modern saint’s life. It has everything Elie is looking for—the living language of religious faith, a distinct and conclusive personal transformation under the influence of the Holy Spirit, the acceptance of religion’s explanatory power, a commitment to the established Church instead of the Do-It-Yourself religiosity that so many Americans seem to prefer, an ethical quandary that is directly caused by Christian faith, an emphatic and unembarrassed Roman Catholic character, and best of all, it is entirely contemporary in its setting—but its author is young and not yet famous (he will be), his publisher is a small house (not like Elie’s own Farrar, Straus & Giroux), and it does nothing whatever to confirm the trend away from novelistic belief which Elie is at such pains to illustrate. Even worse, Beha’s novel may be part of a countervailing trend toward anew Catholic fiction, which rejects the literary Catholicism of Flannery O’Connor for predecessors like Graham Greene and Evelyn Waugh instead.

Abe Rosenzweig comments (from an article by Dominic Preziosi):

To be honest, this is the sort of “trend piece” one expects from the Times. He sort of takes a James Woodsian tour of recent fiction (Delillo! McCarthy!), meaning that he seems stuck on Big House publications, and his dismissal of Robinson seems wholly contrived along the rather arbitrary parameter that works set in the past must be dismissed (seriously, Robinson is one of the most lauded of contemporary authors, and her work is driven by Christianity; his rejection of her is just silly). Also, of course, is the simple fact that he’s not actually interested in works dealing with faith, but rather works that deal with (and are motivated by) Christian faith (equating “faith” with “Christian” is, of course, a typically Christian move).

I also find myself wondering what the point of the piece is. I don’t see how it could really be part of a program (reinvigorating Christian literature?); it seems to just be another soft lament for the fact that the Sikhs are next door.

 

 

 

Cronenberg, Burroughs, and Dick

Posted on Jan 1st, 2009 by Marmalade

David Cronenberg is a director whose movies I often enjoy.  A favorite weird movie of mine is Cronenberg’s Naked Lunch which is loosely based on the novel by William S. Burroughs.  He definitely brought his own touch to that story and there are some common themes with his other movies: mixing of machine and biology, sexuality, the grotesque, etc. 

I’m not sure which movie he first developed these themes, but Videodrome was one of his early movies.  I was just watching eXistenZ which also uses these themes.  Its a decent movie if you’re into dark violent visions of artificial realities. 

What inspired me to write this blog is that there is a scene where the two main characters bought some fast food.  The name on the bag was Perky Pat’s which is a direct reference to the Philip K. Dick story.  The story is about how people get obsessed about the game that their lives revolve around it.  Cronenberg takes this idea in a different direction, but I’m sure PKD would’ve appreciated what he did with it.

Basically, I was just pointing out Cronenberg as one of the contemporary meeting points between WSB and PKD.

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Tagged with: David Cronenberg, William S. Burroughs, Philip K. Dick, movies, novels, stories, fiction

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about 20 hours later

Nicole said

 

that must be some movie!

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about 22 hours later

Marmalade said

 

I watched eXistenZ again for a couple of reasons. Quentin S. Crisp mentioned it in his blog recently. Crisp thought it was the best alternative reality movie ever, but I’m not sure what he was comparing it to. After reading Crisp’s comment, I happened to be at the library where I noticed a copy and so checked it out.

I’m glad I did. I had more respect for it watching it again. Cronenberg does play with some fairly deep ideas. The first time I watched eXistenZ I thought of it as nothing but a novel SciFi action flick. I personally don’t agree with Crisp that its the best, but I disagree because I don’t feel that its directly comparable to other alternative reality movies such as The Matrix Trilogy or Dark City.

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1 day later

Nicole said

 

right, how can you really compare these movies? so, worth watching then?

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1 day later

Marmalade said

 

I doubt you’d like much that Cronenberg has made. He has made a lot of films though, and I haven’g watched most of them. I was reading the description of M. Butterfly and you might enjoy it.

Cronenberg is most famous for the movieThe Fly. That is more representative of his oeuvre. I find many of his movies fascinating, but the only one that I’ve watched repeatedly many times is Naked Lunch.

There is a couple reasons.

First, it felt a lot more polished than his earlier movies. He really was taking his favorite themes to a new level… maybe because he was using the work of another artist as the starting point.

Secondly, I’m also attracted to this movie because its a portrayal of Burroughs novel which itself is a fictional portrayal of part of his own life. Petter Weller plays the part of William Lee (Burroughs) perfectly. Both my friend and I are longtimefans of Borroughs, and so I’ve watched this movie with him numerous times.

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3 days later

Nicole said

 

it’s great you have such a friend, Marm. It enriches these experiences.

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3 days later

Marmalade said

 

I’m sure I’d be a different person if not for him. If it weren’t for our friendship, I probably wouldn’t have the interest I have in fiction.

We have this odd pattern. Often, when one of us is reading fiction, the other is reading non-fiction. As I was wanting to get back into fiction, I was telling him he needs to stop reading fiction all of the time.

Also, you can entirely blamemy friend forall of my blogging about horror. He reads horror all of the time and tells me about the stories. I wouldn’t even know about Quentin S. Crisp if it wasn’t for him.

It is rather strange to have had a close friend since childhood. Its seems rather uncommon in these days of people moving around all of the time. It also helps that neither of us is marriednorhas acareer. Life is good! lol

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4 days later

Nicole said

 

LOL!

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4 days later

Marmalade said

 

Hey Nicole – I’ve been noticing a new glitch in the system. All my recent posts show up as missing spaces between words. I can fix it by editing, but its seems an odd glitch. Have you noticed this happening to your comments?

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5 days later

Nicole said

 

No. But I have noticed extra indents. We seem to be having the opposite problems 🙂

William S. Burroughs as a Character

Posted on Dec 30th, 2008 by Marmalade

Burroughs is different from Philip K. Dick.  Whereas PKD was the first to use himself as a character, Burroughs had been made a character before he even was published himself. 

That would be a tough act to follow.  He had the shadow of someone else’s fame over him (Kerouac), and the popularity and mythos of the whole Beat movement.  Burroughs had to attempt to claim himself not only as a writer but also as his own person.  Fortunately, he wasn’t one to follow on the coattails of the fame of others.  He was certainly a way better writer than Kerouac, and he was quite distinct from all of the Beat writers.

Finding works that Burroughs is in is rather difficult.  I’m not sure how many books in which Kerouac placed a Burroughs character, and it wouldn’t surprise me if other Beats had also used him as a character.  Burroughs is much more a cultural icon than PKD.  I don’t know how to even begin to seek out fictional works that feature him, but I’ll offer what little I know at present.

As far as I can figure, William S. Burroughs first appeared as Bill Lee in Kerouac’s On the Road.  Burroughs used this name later in his own work.  He might of initially used it in Junky which he did intentionally to play off of Kerouac’s work.  He chose to continue this mythologizing.  He later used this name in other Works such as Naked Lunch which was supposedly a name given it by Kerouac.  I don’t know if there are any other names that Burroughs went by in his fiction or the fiction of others.

Novels:

The works of Jack Kerouac

Move Under Ground by Nick Mamatas
(A recent novel that mixes the mythos of the Beats with the Mythos of Lovecraft’s Cthulu.)

Movies:

Drugstore Cowboy written and directed by Gus Van Sant
(Burroughs acts the character of a defrocked priest named Tom.  He is loosely playing a character that is a mix of himself and his own fictional characters.)

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