Public Diaries, Private Letters

Via Russell Smith recently in Globe and Mail, a report on the unearthing of a Ted Hughes poem about the night his estranged wife, Sylvia Plath, killed herself.

I am not going to delve too deeply here in the poem itself, in part because I am not much of an expert on either of them. It is difficult reading, reading him trying to work through his cruelty toward his clearly distressed ex-wife. I do find it interesting that many of the articles speak of the fact that "feminists" hated him because of this, as though everyone else applauded him for leaving his wife and her tragic end...surely this poem expresses his own understanding and working through of the ways in which he was also responsible for her death.

There is a relationship here between the release of this poem, and the battle underway for the release of the remaining manuscripts of Franz Kafka, which was exhaustively and brilliantly written about recently in the New York Times magazine by Elif Bautman.

What do we share? What can we share about others? The battle to keep Kafka private is fascinating - he had instructed Max Brod to burn everything, but he knew also that Brod would not do it. Given we also know that Kafka burned much of his own writing, one can also presume that his request was a gesture of modesty (which Brod then used to build the myth of Kafka) and not a request. What is playing out now seems to be an extension of that very conversation, a case study in the subtleties of conversational implicature...

But what do we do with Hughes' letter? Someone was surely going to come along to find it, but Melvyn Bragg discovered it after learning of its existence from Hughes' ex-wife, so there is a sense that she, and perhaps Hughes himself, had wanted it to be published at some point.

Over the past while, I have been writing a lot of letters, and a lot of other things, and I have no desire to have them see the light of day, certainly not while I'm alive. However, I have written nearly everything online. And I have a public forum (here) to express things in the way I wish to express them.

If I'm hit by a bus tomorrow, does anyone have a right to crack open my account and read everything I wrote (not that anyone would!)? One can delete, but do things really get deleted? Should one be able to mark certain electronic letters as "confidential", or "to be destroyed"?

What do you think?

Acceptance

M -

I am really looking forward to the end of this year. Last year was not good, and at the end of it, there was a catastrophe I only saw as such when it was far too late to have done anything about it. Winter (among other things) will do that to a person.

If I were to take this event, in the final days of 2009, as an omen for what 2010 would bring, I would have plenty to point to in its favour. And such is the cyclical nature of my mind that I have been waiting for 2010 to end before starting “anew”.

The problem with this approach of starting anew with a new year is that it’s just a socially acceptable form of procrastination! Carpe Diem, you say? No, I would prefer to seize tomorrow, because there is always hope in tomorrow. And next year? Even better!

Then, when January 3rd rolls around, and the grand plans for the revolution have not come to pass, because I am tired and hung over, well...there’s always 2012!

I have learned a lot this year, about humility and pain (and my tolerance thereof), about how other people see me and about the kinds of things I expect from other people. I have also spent a lot of time wondering how those around me have managed to convalesce in the eternal shadow of a great castle, tended to by only the finest medical professionals, while I sit here in a cave with an Aspirin and some old gauze, which speaks to the fact that the most difficult thing I learned about myself recently is that I no longer have any hope.

“Wow, that’s really depressing!” you say (or not, maybe you have tuned out by now). You are quite right - it is depressing. However, isn’t hope a kind of misplaced nostalgia? Where we look at our lives, shake our heads, and wish for something better? Could no longer having hope also signify an embrace of the future and ones own ability to choose that future?

It is also moving away from a particularly pernicious form of fatalism toward something that resembles a sense of duty, to oneself, and to those one cares about, a sense that isn’t borne out of fear of failure or loss, but out of respect and compassion. But it's a big deal for me because I have always been an extremely hopeful person.

Given everything that has happened, and this will come as no surprise to you, M, of all people, but I have been thinking about Kafka, and in particular, Der Prozess. The standard Coles Notes version of the The Trial is that it’s about the existential emptiness of bureaucracy, or something like that (feel free to disagree!)

I think the title is ironic. The reality is that the process is irrelevant - it’s a ritual along the lines of a military parade in a banana republic - it’s meant to show something, just not the military.

Josef’s crucial error, which becomes increasingly apparent as the book progresses, is the hope that the bureaucratic process will save him, that there is a (this, any) process that will exonerate him. (Interesting fact - we don’t actually know which chapter is meant to follow which, so this progression is more of an editorial/reader affect than one of Kafka’s own design.)

Rather than being about the trial, The Trial is about judgement in a bureaucratic, managerial, capitalist society. It's all about the judgment - the judgment of an individual in a social space, a judgment one has very little control over, PR and marketing talk about personal branding aside...

We often focus naively on the fact that what bothered Kafka about bureaucracy was the mediocrity of his colleagues and the impersonal nature of it, because it’s what bothers us about it. But we are not Kafka! (I certainly am not, right? M?)

Looking at things this way, and taking some wonderfully loose and quite ungrounded biographical flights of fancy (this is a blog, after all!), his famous comment about there being hope, but not for us, is not merely a comment on the death of god (another piece of conventional wisdom), but a lamentation on the death of the aristocracy, the death of chance in human power relationships. Because everything we do now is mediated by "reason", where personal vendettas are settled gently, reasonably, by bureaucratic fiat.

By process.

Indeed, everyone I speak of tells me to have faith in the process of healing, that this is what will get your through everything. And I have spent the past while trying to work through a "process" when in fact what I had really been dealing with was the judgment in a trial that had already occurred.

I think what Kafka is getting at with this comment, and what I myself miss, is the idea that when one appealed to a lord or king, there was always the possibility of grace - the epiphanic resolution. There is no grace anymore, there is no hope.

This year, for me, has hung not on the hope for grace, but on the hope that reason might prevail - Impersonal personal reason. It hasn't.

And worse, I prefer resolution by grace. I am, truly, horrifyingly, a Romantic...

But that is no hope at all, is it? As we have seen, hope in the process, in people, is dangerous. The only hope worth having is the possibility of one’s own reinvention in the world, judgment be damned (this is also a Romantic solution, is it not?). And this isn’t to damn everyone else, but to acknowledge their proper place in one’s own desires.

Josef’s problem, and mine it seems, is that we let the judgments stop us from moving on (there are two words I hope never to hear again, and refuse to express in conversation any more!), we wait for the decision that never comes, but one that also stops us from making a decision ourselves. At the end of the day, this is our problem, not the judge's.

So you see, I spend a lot more time now working on being a Stoic, and less time on being like Josef. Because we all know what happens to Josef at the end...unless you read Der Prozess like Deleuze and Guattari, who suggest that the end of the book is really the beginning.

Actually, right now, putting the end of this trial back to the beginning seems like exactly the right idea to me.

But life is no book - not even Kafka could make that happen.

Inspiration

M -

I don't know if you know this (how long has it been since we had a conversation like that?), but I have not been very inspired lately. Is it cynicism? Ennui? I cannot say. (Well I could...but I won't here!)

So it was with delight to read Zadie Smith in the New York Review of Books on the recent Facebook film. It was heartening to read someone write so beautifully about things I myself had thought around social media and the way we seem to look at, and relate to, each other.

I was so impressed by this piece that I picked up a copy of her novel On Beauty, which, interestingly, is a kind of period piece of the mid-decade that the Social Network is, although in a very different way. I enjoyed the book immensely, and in it rediscovered a love of reading I thought had disappeared (as it often does, and likely will again).

For right now though, things are good!

Although I don't get many commenters here, would anyone like to let me know what they've read lately that has reaffirmed their love of the written word?

Commencement

M -

This Friday already feels very much like when I landed in Germany this summer. I could not believe I was finally there, finally, but there was something out of joint. Something missing.

It is (and was) as though another history is playing out, an incessantly imagined future of the very recent past, where things were so very similar (Germany, graduation, school, work) but everything had shifted.

The last time I was in Convocation Hall was over two years ago, and it was to watch someone else walk across that stage. And here I am, about to walk across that same stage, closely retracing those steps (too closely, perhaps).

How different things were two years ago! My graduation, two years away, was anticipated as the final destination of a journey I had started far too long ago, but which was finally on my horizon. Now, I do not know what to think of it.

I did not see it then - that graduation was as pure a celebration of life and accomplishment as there could ever be. I wore a linen suit, this magical suit that made me look far more attractive than I really am. I remember not wanting to take a picture of my friend crossing the stage, in part because I didn't want to ruin my experience of this moment, this moment of transformation, by putting something in between myself and the event. What we gain in a photo and its permanence, we lose in our experience of the moment. Instead of looking straight ahead, we look through something else, preserving the moment while losing our moment to time itself.

I see now just how tightly everything had been bound up even then, my entire life a ball of yarn that had been wound so tightly that one touch with the dullest knife and the ball would explode, threads everywhere. Even worse when the knife is sharp, and wielded with both skill and rage...

So I sit here now, tying knots, but trying not to wind things too tightly again. I know that some of the threads I am joining anew are not the same ones they had been wound into, some of these threads will never find their way back to that moment in the loom when they had been spun into a long, thin and strong line. Even the strongest thread, under enough stress, threatens to break. You and I know this all too well, M.

But I will cross that stage on Friday, and it will have been worth it. I only wish I knew what the "it" was now. What I do know is that I will see those footsteps that came before me, wishing their eyes were there to see me retracing our path.

I actually agree with Malcolm Gladwell

About social media!

I say this because I rarely agree with anything else he writes. But I don't think he's doing his usual counterfactual mishmashy thing here - his example in the Clay Shirky book about a Wall Street trader getting his phone back by using the coercive powers of the Internet on a single individual is pretty telling - at the end of the day, you can shame individuals into action, but not countries, and this seems about right to me.

Something New

Until yesterday, in my 12 years in Toronto, I have never heard someone order an escort for an evening of debauchery on public transit.

Until yesterday.

In Defence of Don's Engagement

(Warning - if you like Mad Men, and didn't see the season finale last night, and want to avoid all the Internet commentary on said finale - don't read!)

Further to my previous post about the horrific realisation that I am a hopeless Romantic (yes, capital R), I would like to post my own thoughts on what is emerging as the overall consensus on Don Draper's sudden engagement to his secretary Megan during the season finale of last night's Mad Men.

The consensus? Don hit rock bottom this season, and he was just cleaning himself up, and then he goes and gets engaged to his young and pretty secretary(!) in a fit of recklessness, leaving his current girlfriend in the dust.

I was actually surprised at how many people took this to be something really dumb and out of character, but I think a case could be made for the fact that, rather than this revealing Don as slipping further into pathetic middle age, medicating himself with a new woman, as one commentator put it (I can't remember which!), this is a sign of his progress.

Yes, she is 25 and pretty, but why should those be strikes against her? I find it very interesting that the opinions of the other cast members (that marrying his secretary was an act of recovering his lost youth and could only end in tragedy) has been echoed quite consistently in the commentariat - and yet, thinking that he's made some kind of mistake because she's young and pretty plays into exactly the kinds of prejudices that feminists (male and female) have spent 40 years attempting to work away from? She couldn't be a good mate because she's young and pretty? What does that say about us that this is the first major problem people see in all of this?

I mean, from what little we know of her, they have tried to portray her as, for lack of a better word, deep. There appears to be a lot more to her than a young, pretty secretary - couldn't Don's desire also be traced to recognizing that if he is medicating himself with a woman, it should be someone who might actually be able to cure him? If everyone had to be perfectly whole before they got involved, no one should be in a relationship...

Ok, I'll admit getting engaged is impetuous, but having worked together, they have known each other for quite some time, and why shouldn't that count for something? Sometimes the gut is more accurate than the mind, and the show has certainly spent a lot of time trying to convince us that she's very special...without getting into the possibility of ironic narration in TV (now that's a interesting idea...how would one even know?), if we take her characterization seriously, we can see why Don is taking her seriously, and not merely because she is pretty and young.

It's also interesting that this happened in California - the show has consistently set California up as a place of healing for Don, where he can be "himself", and so asking her here seems also to be indicating his own willingness to bring together his divided self (Don Draper/Dick Whitman) into a single one, symbolized by his using Anna's ring to marry her.

Obviously, only time will tell if the show's creators will bear my feelings about this out, and I suspect the key will be when (or if) Don tells her about his whole identity thing, but I think there is a very plausible reading of Don's actions as being a sign of mental health rather than a sign of failure.

That they were seen roundly as a failure is interesting to me though, because it says more about where we are now as a society, and I think the best thing about Mad Men right now is what it reveals about us through the past, as this brief defence of Don's engagement reveals something about me!

Disbelief

Hey,

Do you ever think about how difficult it is to stop believing in something, even when the truth is staring you in the face?

I have a confession to make (and don't let small children read this!!!) - I believed in Santa Claus for far too long. There was a good reason for this - I was told something by an adult which implied that a gift I received for Christmas didn't exist yet in the stores, and so the logical conclusion as a child was that Santa must have created it - I mean, isn't that his whole bag? Being magical?

I held on to this experience and belief, despite all the evidence to the contrary, until my father finally put me out of my misery. I was pretty upset about it, but I see now how the tenacity of that belief resided in large part out of the lived experience that confirmed it. Some shopkeeper's mistake became a truth that I was unwilling to part with.

But the reality is that I must have also wanted to believe. I mean, I don't want to psychoanalyse my young self, but there must have been a deep desire on my part to believe that there was some magic in the world.

Part of growing up is recognizing that there isn't this kind of magic in the world. But it often feels as though we don't just give up on magic, instead we move away from magical creatures and onto something like, say, romantic love.

It was easy to believe in something ephemeral as Santa Claus, so how much easier it is to believe in someone real, especially when the person who loves you back confirms that belief incessantly! It is like a thousand incompetent shopkeepers telling you what you want to hear each and every day! Santa Claus is really real!

How much more entrenched this kind of magical belief becomes! Even when you are faced with the fact that this belief in someone is no longer real, it is that much more difficult to stop believing...like childhood, when you stop believing in that person, one often finds that it takes everything with them. So sometimes it seems to make more sense to keep believing.

Oddly enough, it was Revenge of the Sith that got me thinking about this. As I've mentioned before, my son has become a big Star Wars fan, and I have developed a form of cinematic Stockholm Syndrome from having viewed the most recent films a number of times.

Anyway, my son enjoys watching the opening sequence of Revenge of the Sith, with the space battle and the lightsabers and the robots. However, once we get past the first 20 minutes, he wants to do something else, like play. But it was in the DVD player a few mornings ago, so I decided to watch the whole thing.

(A warning - I know that analysing Star Wars seems ridiculous, but you take things as they come!)

Although George Lucas gets knocked around a lot, he described the whole series of films as a "domestic tragedy", and I think that's about right. And what separates this film from the other prequels is that we actually find ourselves identifying with Anakin's decision, because the entire movie revolves around Anakin's preoccupation with his wife.

His turn to evil centres on his love for his wife and desire to protect her. But I realised watching Anakin destroy everything to save Padme was that he was really doing was trying to save himself from his own pain.

This is the dark underbelly of sacrificing for our beliefs, is it not? That in sacrificing everything for love, one is also trying to end the possibility of their own suffering, their own loss? That the burnt offering you provide will ensure the gods forever look favourably on you? That there is selfishness in that selflessness?

It feels as though we exchange one kind of pain for another - the pain of the present, of what is there, to foreclose the possibility of pain in the future. But as life always demonstrates, things don't work this way, especially in love, because no matter how much one might sacrifice, it might be too much for the other - at the end of the day, no one can imagine Padme at the end of the film looking at Anakin and saying "sure, you've just killed a bunch of children, but I'll be OK with you raising mine".

Although we might not do what he does (obviously!), we understand his transformation, there is something human about it, as troubling as that is. We even understand why he cannot go back on his belief, terrible as it is. Once he is lost, he is lost, and although one might wish that we alone can rescue ourselves from our darkest thoughts, it is usually only with others, those who care about us, where one can find the space in which to heal ourselves.

Moreover, he has to keep believing because he is alone - who can he possibly let go to when the one person who might have saved him, his wife, is no longer there? And in trying to save himself from his own pain, he reifies it - indeed, the suit becomes the physical manifestation of his failure to control his own pain from the outset. He spends his life embodying the very pain he tried so desperately to avoid.

Nevertheless, does one remain alone in their lost belief, or barring the return of the object of that belief, do they sacrifice that belief in the hope that they might again believe? In the end it remains about believing, because the price of total disbelief seems much too high...

Or maybe it's just me. Although I bask in the cool light of the Enlightenment, I cannot escape the reality that I am probably at my core a Romantic...

Più docile io sono, e dico di sì.

Do you remember the end of the last scene of the Marriage of Figaro?

It’s the point where Count Almaviva has discovered Figaro and Susanna’s tricks, and declares that he will never forgive them. And then the Countess arrives - she had pretended to be Susanna, and the Count had courted her in disguise, and the Count realises this. At this moment the Count realises the jig is up.

Although creating the sublime was, for Mozart, something like breathing is for the rest of us, I’m not sure he achieves it more fully anywhere than this moment where the music stops after Count Almaviva says:

“Contessa, Perdono”

We sit and we wait, and it feels like forever, because we do not know if the Contessa will say "I forgive you", we do not know if she, who has just been seduced by her husband while pretending to be another woman, will forgive him.

We have spent nearly three hours watching him try to seduce Susanna, and basically be a terrible asshole to everyone, especially his wife, who, on our first encounter, is on the verge of suicide over her husband’s conduct - Porgi, amor, qualche ristoro!

The very idea of forgiveness seems problematic to our modern eyes and ears - how awful it is to ask for forgiveness, when forgiveness is no longer a gesture that acknowledges a human relationship, but is a matter before the courts. The acceptance of responsibility now is as much a material gesture as it is an emotional one.

Yet to forgive! What other event heals us so quickly, so fully, as to see someone, on bent knee, asking us to acknowledge them, and in that very moment, the moment when you have all the power in the world over this person, you dissolve it? And in that moment of forgiveness, when all might be lost, everyone is redeemed - how this flies in the steely bureaucratic resolve required of modern life!

So we are stuck, afraid to ask for forgiveness and afraid to give it. And the comfort that our new “social” world gives to this fear - safely ensconced at our computers, in our vaunted privacy, we can lash out at those without fear of the possibility of that face staring back at you, those tears, the moment when you realise that you must accept their apology, because, despite everything, they mean something to you. Not their words, but them.

The Count begs for forgiveness.

The Countess replies, and as she does, we cannot help but imagine that, through all the pain the Count has caused her, the Countess cannot forgive him - how can she? How can she, even though she loves him? Indeed, because she loves him, how can she forgive him for this, the betrayal of their covenant?

But she does. She forgives him.

Is this not everything we want in life?

Bildung I

Schwarze Röcke, seidne Strümpfe,
Weiße höfliche Manschetten,
Sanfte Reden, Embrassieren –
Ach, wenn sie nur Herzen hätten!

Herzen in der Brust, und Liebe,
Warme Liebe in dem Herzen –
Ach, mich tötet ihr Gesinge
Von erlognen Liebesschmerzen.

Auf die Berge will ich steigen,
Wo die frommen Hütten stehen,
Wo die Brust sich frei erschließet,
Und die freien Lüfte wehen.

Auf die Berge will ich steigen,
Wo die dunkeln Tannen ragen,
Bäche rauschen, Vögel singen,
Und die stolzen Wolken jagen.

Lebet wohl, ihr glatten Säle!
Glatte Herren! glatte Frauen!
Auf die Berge will ich steigen,
Lachend auf euch niederschauen.

I had said I was going to post more this month while in Germany, but the motivation I thought would magically appear never came.

I have been very busy since arriving. I'm in class, and desperately trying to finish up some work that was supposed to have been done before I left, but which, for many reasons, remained unfinished at the time of my departure.

That things remain unfinished could be my epitaph, for this blog, and for my life over the past 5 years. This can be a good thing, and in the case of my son, who is as yet "unfinished", it is indeed delightful.

I have tried to be very careful about writing about "my life" on this blog and my life. The main reason for this has been professional, but walking a fine line between concealment and disclosure lent itself to a playful distancing which suited me just fine. I could talk about "my life" comfortably, while leaving my life somewhat untouched.

However, the reality is that in playing this role, it gets harder and harder to write when the day-to-day of one's life so completely consumes you that the idea of writing anything, be it a blog post, an essay or an e-mail to a friend for coffee, becomes too much to bear. Suffice to say that my life has become nearly unwritable under the terms I've tried hard to write under. More clearly, I have had a really, really awful year.

And unfortunately, I am nothing like Kafka, for whom writing became an escape from the pain he felt about himself and the world around him. Or maybe I should say, it is no longer an escape.

So I am sorry that this "vacation" post from Germany begins on such a sour note, but it would seem strange to pretend that all those things are not in the background and stopping me from writing. I am hoping instead that by writing with this out there, it will be easier for me to write about the good things, like the fact that I find Goettingen very charming, and the university a very nice place to hurriedly finish something that should have been done long ago but for which there was very little space in my world to get to.

The same could be said for blogging - work and my personal situation (I leave what that might entail as an exercise to the reader, except for those readers who already know, or who think they know but don't) have made it difficult for me to enjoy the things I, uh, enjoy doing, like writing on this blog and reading German literature.

Am I blaming these things for my misery? Well yes! Am I absolving myself of any responsibility? Well no! But all this weighs upon me nevertheless.

Ok, enough. The next post will be more interesting and less personal, or more personal and more interesting. Hopefully.