Elegy for Lost Items

The big adventure I had this week was having my cell phone taken from my locker at work. This is a $10 phone, folks, not an expensive iPhone, but it did cause me the aggravation of having to deactivate my service, buy a new phone, set it up, reactivate my service, find out how to get a list of any phone calls that may have been placed to or from my phone while it was out of my hands, and stop by the police station at midnight to report the theft (a police report is required if you want to request your own phone records—not sure if this is a requirement if someone tries to get them through FISA).

It wasn’t the first time I missed something that I thought I’d left in my locker and will hopefully be the last—but you never know. I liked the other phone better, even though all it really did was make and accept phone calls, but they don’t produce it any more, so I had to accept an upgrade, which I did, more or less ungraciously. It does have several pleasant-sounding alarm tones to choose from; lets you turn Wi-Fi definitively off, so you don’t connect to the Internet without meaning to (admittedly a drawback on the other phone); and caused me to stroll through Target, where I fell in love with some decorative pitchers that I don’t need but enjoyed looking at.

I don’t know about you, but it strikes me as odd that someone would take a $10 phone. It reminds me of the time I was staying at Extended Stay in SoCal two years ago and someone stole my cell phone charger (a $7 item) out of a zipped compartment. I remember racing over to the closest Walmart to where I was working and buying one on my lunch hour, the one and only time I’ve seen Knott’s Berry Farm (which was in the vicinity). When I made a police report in that case, the officer seemed not to understand the fact that it wasn’t the value of the item that mattered but the fact that someone at the hotel had gone into my room and stolen it. This time, I did at least get the feeling that the officer frowned on the whole lack of security around the lockers—he asked if the store had security cameras.

Naturally, things like this put you in a bad mood. I don’t ever recall giving anyone permission to disrespect my personal space or the sanctity of my possessions, but people seem to have peculiar ideas about what they can get away with these days. We do still live in a country of laws, but you would never know it by either reading the news or listening to me recount the things that have happened to me in recent years. Prosecution is always an option, of course, but—gosh, what a drag. Still, you can’t let people get away with things because otherwise they have no incentive to stop.

I guess this post is about the unwanted and overweening presence of Hermes, the trickster, who has appeared and reappeared in various forms in my life and is one of the reasons why Hestia has such an appeal for me right now—Hestia being somewhat the opposite of Hermes. That’s probably why the sight of a simple pitcher could stop me in my tracks: an object purporting to be nothing but itself and hearkening to be filled with iced tea or lemonade and placed on a summer table with a vase of flowers. If I were a good Buddhist, I suppose I’d be thinking along the lines of, “The pitcher is already broken/Nothing is permanent,” but heck, I don’t even have the pitcher yet, so let me at least enjoy the idea of it whole and perfect and sitting on my table in my nonexistent house. I guess I’ll go ahead and post the picture, so you can see what I’m going on about (I have no place to put a pitcher right now, even if I bought it).

Enjoy the pitcher/picture, and if you happen to see the person who took either my charger or my cell phone, tell them I haven’t forgotten them. To everything there is a season (to quote both the Bible and the Byrds).

Equal Time for Apollo

After I read my post from last week, something occurred to me: I didn’t bring Apollo into my archetypal discussion of Sherlock Holmes. For some people, he might seem like more of a natural match for the archetype of the Great Detective, with his devotion to science, music, and other pursuits. He didn’t even occur to me while I was writing the post, though I admit Mr. Holmes has attributes in common with him. I should at least have brought him up and said why Mr. Holmes seemed to me more like Athena than Apollo, so I’ll do that now. There are really several reasons.

First, I think of Apollo as trailing clouds of glory, making grand entrances, and otherwise creating a grand spectacle. He’s good at a number of different things and rather a proud god, sure of his appeal to nymphs and mortals alike. As the god of light, he’s always shining, and I can’t help but think of him in his most natural guise as possessing enviable golden curls that are constantly glinting and gleaming. In other words, you really can’t miss him—a room is almost too big to contain him. Mr. Holmes, on the other hand, is more of an indoor person, most at home talking things over with Watson in his rooms in Baker Street. Although you could say that he “sheds light” on the facts of his cases, it is more as if he points out to people things that they have seen for themselves but failed to understand. He does have a large store of knowledge about chemistry and other sciences, but aside from that, he’s uncannily observant.

I think of Mr. Holmes as more professor-like than the grandiose Apollo, as someone who uses his brain to the full. For that reason, he seems closer to Athena, who sprang from her father’s head and whose attribute is the owl. (Apollo seems more eagle-like.) Besides that, Mr. Holmes is no skirt-chaser, being very abstemious in that regard—more like Athena, Apollo’s chaste sister. In many ways, he seems not to care that much for his body and physical well-being. There is a darkness that clings to his character, a kind of counterbalance to his logical brilliance and devotion to scientific methods. He has an opium addiction that sometimes sinks him very deep into darkness, giving him more in common with Morpheus, the god of sleep and dreams, than with shining Apollo.

And yes, I know that both Apollo and Sherlock Holmes play stringed instruments, but Orpheus also played the lyre, and his melancholy seems much more in synch with Mr. Holmes than Apollo’s blazing virtuosity (I don’t object to blazing virtuosity; I’m only trying to draw a distinction between styles). I assume Apollo rarely does anything without the accompaniment of crescendos and thundering chords, those Fabio locks all a-tumble, as he overwhelms some poor Greek on the battlefield or chases a fleeing girl who couldn’t care less about his perfect pitch. His is more the grand style of Bach or Handel than the lyricism of Orpheus. I think of Mr. Holmes, generally, as playing for himself rather than with intent to impress.

Lastly, I was thinking about Mr. Holmes’s faculty with disguises, which reveals a tricksterish quality that he occasionally employs to good effect on cases. This sly, shape-shifting ability to change his coloration is at odds with Apollo’s proud, clear lines. In another context, I compared Apollo with an airline pilot, a role in which you expect clear-headedness, precision, and perhaps a certain amount of bravado, but most of all, decisiveness—you don’t want your pilot playing tricks on you or doing something unexpected. Many of the gods (including Apollo) had the ability to disguise themselves and play tricks when they wanted to, but Hermes is known for his quicksilver quality. Mr. Holmes, like Hermes, seems not only to make use of disguises for his own purposes but also to enjoy tricking people.

All of this is really to say that Mr. Holmes, like all of us, is an amalgam of different qualities, with perhaps one or two dominating. He’s not above showing off. And for those of you who think I’m being too hard on Apollo—who does, after all, have gifts of his own and sometimes plays an important, positive role in human affairs—I admit that there is something in what you say. My blog, however, is currently represented by an image of Apollo chasing a distressed nymph, so it’s probably a good idea to point out that all the gods have both light and dark aspects. I do think other qualities predominate in the character of Sherlock Holmes, though he takes much of his scientific brilliance from dazzling Apollo. But not the curly hair.

Cattle Thievery and the Evening News

There was a job announcement the other day for a writer in the public diplomacy program of a university journalism department, a job that at first glance sounded like something I might be able to do. Since I didn't know exactly what public diplomacy is (a fine-sounding term, but what is it?) and how it relates to journalism, I spent some time reading about the position and trying to get a feel for where they were going with it. In the end, I decided it wasn't for me, for several reasons, the main one being that I'm still not sure what public diplomacy has to do with journalism. Is it the same thing as P.R.?

If I'm not mistaken, public relations is sometimes taught alongside journalism courses in college, which makes sense in a way because both disciplines are a part of the field of communications, even though they have different aims and methods. When I worked for a newspaper, I worked on the business side doing creative and promotional work, which, while a necessary part of the paper's functioning, had nothing to do with news reporting. The newspaper tried to keep the two sides of its business, the advertising/promotion side and the editorial/reporting side, separate, even so far as placing them on opposite sides of the building. I started out at the paper working part-time on the copy desk and writing free-lance pieces, but once I got a job on the business side, I was in very different territory. It was uncommon for someone to go from the business side to the news side, so even though I continued to write features articles for the paper, that was different from being an investigative journalist or a reporter. It would have been hard for a Promotion writer to seem credible as a regular reporter, because the roles are very different.

When I see a concept like public diplomacy being touted as an exciting new field, it reminds me of what I don't like about the media: there's too much of what I would call "soft journalism," too much opinion mixed up with news, and too much of what many people would consider propaganda if they only knew what it was slipped in alongside old-fashioned reporting. It's a regular Mulligan's stew out there in the media world, the good, the bad, and the ugly, and I think about this every time I look at or listen to a news piece. I'm guessing there are opportunities in non-profits, businesses, and other organizations for someone to put expertise in public diplomacy to good use; it's the proximity to journalism that seems problematic.

As I understand a reporter's function, it's to tell the who, what, when, where, and why, if I am not being hopelessly romantic in supposing this. There is certainly a place in journalism for editorializing and commentary, but first and foremost, journalists are supposed to tell you what happened. How can democracy function if people don't first know the facts? We do want democracy to function, don't we?

I suspect that some people welcome the blurring of boundaries between reporting and public diplomacy because it allows more opportunities to sway public opinion and influence views, to push out propaganda in a way that looks respectable. It's likely that this has always gone on, and it's probably a mistake to hearken back to a "golden age" of journalism when things were done differently, but nevertheless--reporters are supposed to report, and there just seem to be a lot of ways to get around it these days.

So I looked at the posting, read about the journalism school and the people who worked there, and realized I wouldn't be able to do the job even if I got it. The whole project had a lot of gloss to it, as befits a prestigious organization, and not only am I anti-gloss but I also have a problem with the presentation of public diplomacy as an adjunct of journalism. It seems to me that they ought to be in different departments, that public diplomacy, marketing, and public relations belong in business schools, while journalism is a separate thing entirely. I am often frustrated with the news because even after consulting numerous sources (like our English teachers told us to do) I still have to piece together what's actually happened for myself. By the time you get past the spin, there's sometimes not much else.

The proliferation of news sources via the Internet has been both a blessing and a curse, I think. There are many more sources out there, which potentially means many more independent voices, but it can also create a kind of cacophony in which what's important gets lost in the shuffle. It's like the satellite TV dilemma, the situation in which you click past dozens of channels without finding anything to watch.

I'm all for quantity--having a choice of news sources is good--but here I'm putting in a good word for quality. The fluidity of boundaries between what really should be separate endeavors creates a slipperiness that lets Hermes, who hovers over all forms of communication anyway, flit around all over the place, and as we know, Hermes is a bit of a trickster. He was a cattle thief, after all.

The Thing That Keats Said

Last week, I came across Donna Tartt's novel The Goldfinch at the public library. A brief description of the plot on The New York Times bestseller list, along with the writer's reputation, reeled me in. The novel tells a fictional story about a real painting, Carel Fabritius's "The Goldfinch," a 17th-century Dutch masterpiece, whose actual home is in the Netherlands. In the novel, a bomb rocks New York's Metropolitan Museum of Art while the protagonist, 13-year-old Theo Decker, is visiting with his mother. Theo's mother dies in the attack, and in the confusion, he smuggles "The Goldfinch," which his mother adored, out of the museum.

Theo's impulsive act, undertaken while he's deeply in shock, becomes, along with his mother's death, the defining fact in his life. Unable to think of a way to return the painting without causing trouble, he keeps it, taking it out of hiding now and again to marvel at it secretly, though he's increasingly wracked by guilt and fear over his possession of it.

The interplay of opposites -- a cataclysmic act of violence, an object of rare and haunting beauty in its midst, a boy who is both innocent and guilty -- runs throughout the novel. Theo is a Hermes-like character, growing up to combine the qualities of a thief and dissembler with a rare sensitivity and passionate nature. In the midst of his self-destructiveness and suffering, he is aware of the moral dilemmas imposed by his situation and is somehow a better person than many of his actions suggest.

Since "The Goldfinch" is the central image of the novel, described repeatedly and in loving detail through Theo's eyes, it necessarily becomes an object of meditation for the reader. What is it about this little goldfinch, in addition to its purely monetary value, that sets such a complicated series of events in motion and affects Theo (and even his harum scarum friend and co-conspirator Boris) so deeply? It seems to be the recognition of a common destiny. The bird is chained to its perch, trapped and circumscribed by events, but it gazes directly and unflinchingly at the viewer in a manner that Theo comes to recognize as -- despite everything -- life-affirming. In the midst of somber circumstance, its spirit remains strong, its gaze sending a challenge to the viewer: I've embraced the eternal yes. Will you?

I'm reminded here, a bit incongruously, of the film Waking Ned Devine, a rollicking story rather removed in atmosphere from the rich solemnity of The Goldfinch (whose tone has much in common with the shadowy, gold-flecked interiors of the Dutch masters it celebrates). In Waking Ned Devine, there is a communal attempt to trick a lottery board into distributing winnings to the surviving friends of the actual winner, who has died. One senses in the scheme not meanness but rather a generosity in the spirit of the deceased Ned Devine himself. The trickery is good-natured and serves the greater good.

In the case of The Goldfinch, the painting is taken by a 13-year-old with the instincts of a thief but a certain purity of heart and is stolen in turn by his amoral but happy-go-lucky best friend, eventually falling into the hands of an international gang of criminals. The final resolution is a twist of fate beyond anything Theo could have imagined, with good and evil very much entangled. But did the purity of Theo's feelings for the painting somehow protect it just enough to tip the balance toward good? It seems this could be true, since the restoration of the painting then inspires Theo to rebuild his own life along more hopeful lines.

This story illustrates the way fate, personified here by the spirit of trickery, may move through the lives of people, sometimes with their knowledge and sometimes not, to achieve an end larger than all of them (though it may enlarge some of them in the process). The way this works, however, remains a mystery. Was it all accidental? Was some of it shaped by the desires of the characters at a level deeper than they could understand? Is truth beauty and beauty truth, as Keats said? You have to decide for yourself.

Crash of the Gods

As a student of myth, I've been trained to look at everyday events through an archetypal lens. This is not the only way to understand life, but it's often useful. I've found, though, that it's one thing to gleefully deconstruct a favorite film in terms of mythic themes and another to apply the same lens to difficult events in your own life.

Take the fender-bender I was involved in last week. At the time it was happening, I was calm but very annoyed. What a nuisance, on top of other things I had to deal with! I was on my way to read and drink iced coffee at Starbucks. It was a sunny April afternoon. I was coming up to a busy intersection when I heard an ambulance approaching from the left and stopped. A couple of seconds later, I felt the impact as someone hit me pretty hard from the rear. My first reaction was simply to feel stunned -- what happened? And then I felt aggravated. I put on my caution lights and got out to talk to the other driver.

This driver was in a large Ford pick-up, for which the bumper of my little Toyota was no match. I stated the obvious, which was that he had hit me. He said I had stopped in front of him. I pointed out that I had stopped for an ambulance, to which he had no real reply. Then he asked if I wanted to just exchange insurance information or call the police. I told him I would call the police, to which he replied, "Well, call them then." He didn't ask if I was OK or seem apologetic. He smiled through the entire conversation as if we were on some kind of a lark.

I called the police and waited 45 minutes for an officer to arrive. While we were waiting, the other driver came up to my window and asked if I knew how long it would be until someone came. I told him I didn't know. He asked if I wanted to go ahead and exchange insurance information. I told him I wanted to wait for the police; a little while later, an officer arrived. After we moved our cars out of traffic, the officer took our statements and told me I could get the report online. I told him I had a bit of a headache and would probably get checked out to make sure I was OK.

Since we were in the parking lot of a hospital, I went into the emergency room there. Besides asking a lot of questions and putting me through some range of motion exercises, the staff also recommended an X-ray for my arm, which was by then slightly sore. Figuring it was better to be safe, I had the X-ray, which showed I had no fracture. I was told the headache was due to an adrenaline rush.

OK, so much for the facts. Now, as one professor I know likes to say, which gods were present?

As I got out of my car and faced the other driver, I felt competing emotions. A car crash is a violent event, and the presence of all that adrenaline proves that the body reacts to it as such. I know I was feeling a bit under attack as I got out of my car, but another voice in my head reminded me of the importance of being calm. If you had been been nearby, watching the scene unfold, you would have seen the glinting armor and flashing helmet of warlike Athena emerging from the driver's side of that small Toyota. A goddess of war, yes, but not one who relies on brute strength; she is also known for wisdom and counsel. I'm glad she was there.

What of the other driver? I wasn't in his skin, so I can't answer for his state of mind (as far as I know, he hasn't contacted his adjuster yet, so I still don't know what he was thinking). However, his smile and veneer of joking make me think of no one so much as the trickster, Hermes (minus the charm the latter sometimes exudes). There's an element of the trickster in most accidents, but some hint of gaiety in the man's face, inappropriate under the circumstance, made this impression even stronger. He was clearly at fault, and perhaps acting clownish was his defense.

Then the officer, the representative of law and order, arrived. He was strictly professional and took the reports with a seasoned efficiency that spoke of having repeated the same scene many times. He was Zeus, appearing suddenly to dispense justice, only he came in a squad car instead of descending from on high. (Modern life requires some adjustment in the details.)

Then the emergency room. Apollo is the god most associated with modern medicine, with its scientific ways and means. Apollo is skillful and efficient but perhaps a bit cold; certainly I felt I was surrounded by capable people, but if you've ever spent any time in an emergency room cubicle, you'll probably agree that it's not the warmest, fuzziest place you can imagine. It was sterile and a bit chilly. I wasn't in dire straits, so I was left on my own for most of the time, behind a curtain, with someone coming in occasionally to ask questions, take my vital signs, or perform some other function. That's probably by design, as I'm sure the emergency room staff makes it a policy to keep accident victims under observation, even if they're seemingly intact.

Asklepios, the other Greek god most associated with medicine, had a different approach; patients sought healing at overnight visits to his temple, where it was believed that he visited them in dreams. My understanding is that the rest and attention given to the patient were part of the cure. I don't know the details, but I imagine reclining on a couch, eating grapes, and listening to the dulcet tones of a flute playing softly nearby. Perhaps a massage before dinner, then a bath in the healing waters, and a pleasant night's sleep on a cushioned and draperied bed, followed by a late breakfast and consultation with the resident healer, who looked like Dr. Joe Gannon.

Actually, I did have a curtain, and I did have a chair, although I couldn't get it to recline. It takes more imagination than I can summon to transform those clinical surroundings into an Asklepion temple, and I'm very glad I didn't have to spend the night. I have a feeling there wouldn't have been any flute playing. But as glad as I am to have been able to walk out on my own steam (which is really the main thing), it would have been nice to have a little nurturing. A cup of hot tea, perhaps, or a pat on the arm. Modern medicine recognizes the emotional impact of an event such as mine, as evidenced by the instruction sheet I was given that explained the possibility of feeling depressed or anxious afterwards. But there was little in the way of any therapy for the soul, any milk of human kindness (a bit of chocolate wouldn't have been amiss, either).

Of course, there's one last player in this event, and that's the ambulance whose approach started the chain of events. You may be struck, as I was, at the irony of being put in the emergency room by stopping for an emergency vehicle. I'm sure this isn't the first time it's happened, but since it happened to me, I'm trying to make sense of the scene. Was the ambulance simply a blind agent of Fate? Was it Apollo, carrying some other unfortunate in far worse shape and in dire need of healing? Since it was the sound of the siren that made me stop, it's tempting to compare it to the Sirens who made the sailors crash on the rocks (after all, the result was similar). Possibly, it was some combination of all of these. There are usually multiple stories involved in any situation, not just the one that seems obvious.

If this had been a movie, I would have been able to dissect it with some of the intellectual precision of Apollo, but since it's real life, it's a good deal messier and not as easy to interpret. Is there a theme? Were there heroes? Were there villains? Is there something to be learned? And just where was Asklepios when I needed him? The sum of what I know: An accident happened; it was a hassle. However, I did not lose my temper, despite a trying circumstance. And that's something (thank you, Athena).

The aftermath is that I'm doing a lot of walking for the time being. Good for the soreness, good for the soul, and a bit less stressful than entering the fray of traffic just now. I wrote a book called Solved by Walking, so I guess I'm following my own advice, though I didn't have this circumstance in mind when I called it that. No matter: whatever works.

Mythology in Aisle 12

I don't know what's up with the yogurt case at Kroger lately, but they have definitely been bringing in some new stock. I bought some Greek yogurt, a new item at my store, and tried the pomegranate variety a few days ago. I had never tasted yogurt made with pomegranates, and the myth student in me was charmed because of the association of pomegranates with Persephone. It seemed an uncommon flavor but a very appropriate one for Greek yogurt.

I got more than I was expecting when I bit into the fruit and encountered something hard. Thinking I had gotten a stem or pit left in accidentally, I threw it away. With the next spoonful came a realization: these hard bits were pomegranate seeds, they were supposed to be in there, and I was swallowing them.

In the myth, it's the eating of the pomegranate seeds that ensures Persephone will have to stay part of the year in the Underworld with Hades. When she is reunited with her mother, Demeter, she is told she will have to stay in the Underworld for one month out of the year for every seed she ate (the number usually given is six). Persephone's descent to the Underworld in the autumn and her return to the upper world each spring correspond with the cycle of the growing season.

I was always affected by the pathos of this story and thought it terribly sad until I wrote a paper about it a few years ago and had to look at it from various angles. One thing I hadn't considered was that the myth could be read not as a tragedy but as a story of maturation. Persephone, after all, is a queen in the Underworld and rules there independently of her mother. If they hadn't been separated, she would never have come into a kingdom of her own. From this angle, the myth describes a natural process of growing up, which sometimes happens willingly, and sometimes doesn't. I had never considered what Persephone might be like if she had never left home.

I was going to get some more yogurt, but when I went to the store yesterday, the shelves of that brand, advertised at $.99 a carton, had been emptied. I was hunting for a substitute when I found another brand called (I'm serious) "The Greek Gods Traditional Greek Yogurt." Well, I knew I had to try it, so even though it only came in big 24-ounce cartons, I bought one. I looked at it just now and noticed that there is a picture of Hermes on the lid. Hermes is the god who entered the Underworld to bring Persephone back to her mother; he is a messenger, able to come and go between all the realms as he pleases, and is also something of a shapeshifter.

This yogurt didn't come in a pomegranate flavor, but they did have honey, and that's what I got. Now the plot thickens. Bees were associated with the Goddess, and Demeter is one form in which she appeared. Honey is connected with the labyrinth, too, in some mysterious way. I have been reading lately about the inscription on a clay tablet, found in ancient Knossos, dating from around 1400 BCE. The inscription reads something like, "One jar of honey to all the gods, one jar of honey to the Mistress of the ? Labyrinth." Ariadne was probably a goddess early on, so this inscription may refer to her.

I don't know what any of this means, unless Hermes is now the buyer for Kroger's dairy department. But I am going to eat a spoonful of the honey yogurt before I go to bed, just to see if it will give me sweet dreams.