Stories & Soliloquies

Stories & Soliloquies
      • Lights in the Darkness

        Posted at 10:00 am by michellejoelle, on December 2, 2013

        With advent upon us, I thought I’d start December out with some words on light and hope in the face of darkness and fear. The nights are coming more quickly, and the dark is lingering on, but everywhere, people put out candles and fairy-lights to make the most of the darkest time of the year. The more darkness there is, the easier it is to see the lights, and the more powerful and beautiful the lights are. Its enough to make some choose this – the darkest time of the year – as their favorite time of the year.

        In the face of sadness, fear, doubt, and powerlessness, maybe it’s enough to look on the bright side.

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        In his post, “Hope and Fear“, Christian Mihai points to hope as weapon against the darkness.  It’s not some substantive thing that heads it off, but the mere anticipation that something will – or at least, that something could.

        But at the same time hope is there as well. And we never, ever lose hope. Yes, at times we might lose hope in our own strengths, or our passions, but we never lose hope that something’s going to happen. Even at the edge of the dark abyss, we still hope that someone’s going to save us – we need a hero to save us from the hopelessness of staring into the abyss for too long.

        The amazing thing about hope is that nothing actually needs to happen, and it still works. In fact, any single thing that does happen will fall short in comparison to the hope for what could, not just in potential, but in actual power. It’s why we tell stories of improbable triumphs, celebrate holidays and special occasions, and sing songs. We light tiny lights to bear down the inimitable darkness and make it something wonderful.

        Even in her more pragmatic take on finding happiness, Nimue Brown seems to focus on situations and people with high standards, and on knowing what to do to keep things going, even when it may be difficult. It seems to be less about the resting point than the continuing trajectory, even if it isn’t always nice.

        I can be really happy working for a focused tyrant who has a really important vision and demands the nigh on impossible of me. I like the challenge, the sense of purpose, and the things that can be achieved.

        Even though it feels counter-intuitive, there’s happiness to be found in the most demanding situations – because there’s something to shoot for. The “things that can be achieved” are listed as equal to “the challenge” and “the sense of purpose” – not above them.

        In Book XIX of The City of God, Augustine implies that hope is not just anticipation of the good that you wish to come, it is the reflection from the goodness beyond, reaching back to us in order to pull us along. He goes on at length about the various ways that even good things can disappoint us, because the evil in the world is so insurmountable tat happiness seems impossible. But he doesn’t just give up. As long as we keep our heads up and our eyes fixed on the far away light of God, even though we cannot see it directly but can only use it as a guide for where to look, the overwhelming darkness around us can’t swallow us whole. As soon as we drop our gaze and trying to grapple with the misery on our own terms, we get pulled into it.

        Christian metaphysics aside, its tempting to think that even though the ills of the world – the sadness, the fear, the powerlessness – threaten to overcome with infinite vastness, if I keep hope, I’ll somehow be connected to something good, even if it is presently out of my reach. It’s a different vision of happiness than most people typically covet. It’s not always joyful or easy, but can be arduous and frustrating.

        But it’s also weirdly freeing – in placing happiness in hope, Augustine removes from it the contingency of a model where happiness is found in some object, act, or even a person, so that even if I fail, or if circumstances fail me, I could still be happy, and still find a way to help others be happy where I can, even if my contributions are miniscule. It’s a vision of happiness that keeps me writing, even when I feel like I’ll never finish my story, that keeps me trying to fix things when I make mistakes, or when things fall apart, or when I just want to give up.

        I’d like to think what Augustine says is true, and that the little lights of advent candles are more than just a way to find illusory comfort in the darkness. Let’s just say – I can hope.

        Posted in Essays | 1 Comment | Tagged Augustine, christmas, darkness, lights
      • On Allegory and the Death of the Author

        Posted at 10:00 am by michellejoelle, on November 26, 2013

        After thinking about my post the other day, “It All Comes Back to Stories“, I wanted to come back to the ideas I started at the end. Basically, when it comes to dealing with clearly stated messages, we have a tendency to recoil and retreat back into examples, images, and stories. A dense philosophical text makes more sense to us if we can turn it into a story in our minds. I’m all for this.

        However, I mentioned in the second part of my essay “Sacramental Imagining” that I agreed with Tolkien’s assessment of allegory – that it exacts a kind of tyranny on its readers that was a little unsavory, and eminently harmful for the story. I’d like to qualify that sentiment. While I still think that stories work better as applicable metaphors than as rigid allegories, I do love the cave in Plato’s Republic, Lewis’s Chronicles of Narnia, Orwell’s Animal Farm, and even Tolkien’s own Leaf, by Niggle. All of these are allegories.

        The thing about these allegories is that with the exception of The Cave, they are great stories as much as they are devices, and as such they can be reapplied to different situations or messages, or taken just as stories in themselves. Leaf, by Niggle can tell us as much about art as it can the afterlife, and Animal Farm is as much a lesson in the perils of power as it is a lesson in Russian history. And they’re eminently entertaining as mere stories.

        On the other hand, Plato’s Cave may not have much of a story by itself, but it is employed not subversively, but openly – it makes no pretense to trickery, but instead serves as explanatory example of principles argued for conceptually in previous books. It seems less tyrannical for its honesty. Beyond this, you can easily find ways of seeing lessons in the allegory of the cave that go beyond merely illustrating Socrates’ point in context. People take it out of context all the time, to great effect.

        But allegory is hard to get right. You want the message to work without dominating the reader. You want to be able to see the message, but still have the story work if you don’t. But in the latter scenario, is it still the same story? In Walter Benjamin’s Arcades Project, he develops an idea of historiography as a dialectical disruption, an academic move which tears a moment in time from its both its place in the temporal flow, losing sits places in chains of cause and effect, as its lateral context. It becomes something new and different when ripped free and concretized by the outside observer who is mired in her own flowing context. You want to disrupt the one-to-one comparison just enough to allow for some imagination in interpretation, but if you’re trying to say something specific, something you think is important, it can be tough to let it be so ripped from you and its intended context. It cannot be easy for an author to send their story out into the world, where it might – or will – be torn from them and created anew by readers. Overt allegory is one way of planting firm contextual ground in your work, one way of keeping an auteurial hold on a story so it cannot rip free and be cast off alone into the wind.

        Posted in Essays | 0 Comments | Tagged Allegory, Animal Farm, Chronicles of Narnia, Plato, reading, tolkien, writing
      • It All Comes Back to Stories

        Posted at 1:00 pm by michellejoelle, on November 22, 2013

        The writer of the blog Standing Ovation, Seated, username artmoscow, has a gift for seeing stories in paintings and explaining how the nonverbal elements of the painting really speak to a viewer. I’ve learned a lot from reading his recent blog posts and also combing the archives.

        People like to say that art can mean anything, and that every interpretation is valid, and that’s sort of true. But as much as art is open to interpretation, there’s also a guiding structure that at the very least narrows the path. Though the path might lead anywhere, there’s still a defined path, whether that path is straight and marked with boundaries and guardrails, or whether it is overgrown and meandering, or teetering on the edge of a cliff. There’s a story there, and that’s why art speaks to us, even if we don’t take the time to puzzle it out.

        Stories crop up in a lot of places that we don’t expect – in a painting or photograph, in a song, or even in a well planned meal. With Thanksgiving coming up, I can’t help but think of the non-verbal associations that food calls forth in a rush a of flavor and warmth. Even though we supply much of the content that is evoked, the signposts given by the artistry of the work tap into different memories and tell our minds what to call up. There’s a story there, and we’re able to write it around the emotional content the artwork conveys, and find meaning.

        But when it comes to work that leads with a verbal expression of its meaning, however, we still try to figure out how to make it into a story, coming back from the message so that we can figure out the emotional content underneath. We take a precise explanation of a concept and say to ourselves, once again: yes, but what does this mean to me?

        My day job is teaching and studying philosophy. Even though a great number of the texts I teach openly state their message, explaining what the message means to us nearly always comes down to effective story-telling. Plato tackles this idea in his Republic; Socrates begins by laying the concepts out for his interlocutors plainly – and none of them really seem to get it. So he pedals back a bit, using models to make his concepts less conceptual, and then he pedals back again until the Republic dissolves into allegory, and even open fictions about the message. It’s weirdly clearer that way. Socrates ironically delves deeper and deeper into the cave as he’s trying to lead us out. It is inevitable; story is the lens through which we finite humans, trapped in the linear experience of our own subjective narratives, see the world.

        Posted in Essays | 0 Comments | Tagged art, artmoscow, Augustine, jamie wallace, philosophy, Plato, stories
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