I went to see The Hobbit on Saturday; along with most everybody else, I had been looking forward to it for a while. Normally, I don't read a book shortly before seeing the movie, but as it happens I did re-read the book quite recently, detachable cover and all (I got it as part of a boxed set for Christmas when I was a senior in high school). The story is so familiar to me that even without having it fresh in my mind, I would have noticed the places where Peter Jackson inserted material.
I've read that most of the added scenes can be traced to material in the appendices of The Lord of the Rings. It seems reasonable of Mr. Jackson to tie this movie (and the rest of the trilogy) to his prior work. The Hobbit (as a book) has an entirely different flavor, a lighter and more humorous tone, than the somber Lord of the Rings; I remember having to adjust to the change in atmosphere when I first read the books. The Hobbit is a caper, but LOTR is an epic. Mr. Jackson has emphasized the aspects of the story that place The Hobbit more firmly within the sequence of events leading up to the cataclysmic episodes in the later books.
So seeing the movie is both like and unlike reading the book; it is a little jarring if you go to the theater expecting absolute faithfulness to Tolkien's story as originally written. I agree with those who think some of the scenes were a bit long. (I thought we'd never get out of the Orcs' tunnels, but I felt the same way when I read the book. And the scenes with Radagast in the forest seemed misplaced, almost as if they been transplanted from a Disney movie.)
All of that aside, any combination of Tolkien and Peter Jackson is bound to have its share of magic, and it was fun to see The Hobbit on the big screen. One thing Mr. Jackson has always emphasized is the heroic nature of the quest; in LOTR he poignantly addressed the characters' struggles to live up to the enterprise and the ways in which their adventures changed (and scarred) them. The fellowship of the ring came together to accomplish something more important than individual ambition; in serving something larger, all of its members (even the weak ones) grew. In The Hobbit, Mr. Jackson seems intent on bringing out in a similar way the noble aspects of Bilbo and his companions. Not merely disgruntled treasure-seekers, the dwarves are in search of a home and a legacy that has been violently taken from them. No longer simply their bewildered "burglar," Bilbo becomes sympathetic to their loss and their real emotional need to reclaim their inheritance.
If any young person happens to be reading this, you may not have had the experience of a book (or a movie) somehow becoming different as you come back to it over time. It's happened to me with books I didn't like the first time around (like Moby-Dick, now in my dissertation, if you can imagine) and with books I've always loved. The first time I read The Hobbit, it was simply a very enjoyable, highly imaginative fantasy. It stayed that way for a long time, but when I started studying mythology, I was able to see it and LOTR in the light of a hero's journey and to understand intellectually the story's appeal. Then a little more time went by, and wow, the stories and characters took on an even more vivid hue as I started to recognize myself and other people I know in them.
In the introductory pages of my edition of the The Hobbit are the words of a commentator, Peter S. Beagle, who states, "Lovers of Middle-Earth want to go there. I would myself, like a shot." Imagine your surprise when you finally figure out that you don't have to go there because you're there already. Tolkien's world is really just a mirror, showing us ourselves, in costume, dropped into an imaginary setting, as myths tend to do. I just recently realized how completely familiar Bilbo's conflicted nature, the respectable, tea-cake loving Baggins side, and the wildly adventurous Took side, were to me. I also share his love of meals and the comforts of home. (I had always wanted to be an elf, but it turns out I'm more of a hobbit. You can't always get what you want.)
At the movie's end, Thorin and company are standing on the eagles' rock, looking eagerly toward the Lonely Mountain, with Bilbo declaring, "I do believe the worst is behind us" (of course it isn't -- there are two more movies to go). I don't know about you, but my reaction to that was a wry and painful sympathy. They haven't even gotten to the spiders yet, much less Smaug! This is where Bilbo and I part company: if it had been me, considering all the Orcs, wargs, and trolls I had already bested, I would have been demanding that someone take me back to Rivendell, poste-haste, for some R & R, river views, and a permanent hiatus. Of course, then there wouldn't have been a story.
Thank goodness for heroes!
Wednesday, December 19, 2012
Wednesday, December 12, 2012
That's What You Get for Being You
What with baking gingerbread cookies, making the local arts scene, and doing what writers do, I've barely had time to wash clothes and go to the grocery store. Somehow, though, I still have time to think about things I'd like to write but haven't yet. I have so much material, between one thing and another, that I'm not sure how my head even holds it all. (People keep saying to me, "I bet you have a lot to write about." That's true, but how do they know?)
Take this thing about researching my family history . . . have I mentioned that? My mother had some questions about her origins that I think deserve to be answered. In between an Irish family tree I couldn't make heads or tails of and some memories that troubled my mother throughout her life, I think I'm more than justified. I don't mind an Unsolved Mystery on TV, but when it comes to my own life, I'm a regular Sherlock Holmes.
Of course, you know writers have a lot of imagination and a tendency to take even a tiny bit of material and run with it. Well, picture this: my mother was told (by her father) that her mother was not her mother, and she remembered being visited as a child by some wealthy people who singled her out for attention.
This suggests to me something like the following:
Child born out of wedlock in 1930s Ireland (or maybe England, and she was spirited to Ireland?). Wealthy, powerful father; poor, powerless mother (possibly a maid of some kind?). Maybe the father doesn't know about the pregnancy; maybe he insists on an abortion, but the mother refuses. She finds someone to take her baby in (a relative? a friend?). But somehow the father (or his people) find out about the baby.
Now, why would these people care? If the baby is raised in ignorance of her origins, no harm done -- right? But suppose there was a lot of money involved, and the father died without another heir. Or suppose the baby was his first-born, or the other heirs died, or joined nunneries, or were castaways on desert islands. (Note to self: investigate the laws of inheritance in Ireland and/or England.) Suppose -- suppose there was even a title involved. Now that's something people could really get worked up over.
So, the whole game becomes one of watching and making sure this baby never finds out the truth. But she's already wondering, because the people stupidly came and showed their hand. ("She doesn't look like the rest of them.") She'll never remember; she's a child! But she does; she does remember! Eventually, she marries an American serviceman and moves to America, where she has children and tries to forget the past. But it won't forget her, because, because -- (why not go for broke?) she's the daughter of a king! She's an actual princess (or a duchess, or something), starching shirts and changing diapers, in 1950s America.
Now, this won't do. She's already the heiress to a title, and now her line is flourishing. All those healthy babies. So attempts are made . . . that time with the gas jets, very, very strange. The car accident. The broken leg. All that interference with her marriage. Her life falls apart. A lot of trouble for this lady, but she keeps on ticking, and all of her children survive to adulthood.
It's years later, the lady is now elderly, and her children are scattered. She is feisty and difficult. While her daughter is away, she is hospitalized. The hospital uses the wrong telephone number to notify the daughter (Note: a similar plot device was used by Thomas Hardy in Tess of the D'Urbervilles, in which an all-important note, slipped under a door, goes under the rug by mistake). The children find out in time to rush to the hospital, but the lady dies, having barely regained consciousness.
Life goes on. But unbeknownst to the daughter, the forces that tried to bring her mother down are now marshaled against her and are even closer than she thinks. An unfortunate coincidence has placed an enemy in the very office she works in! (Gasp!) The siblings, engrossed in their own lives, are unaware of the danger that stalks their sister, and the sinister beings (disguised as ordinary folks) who have infiltrated her life will do anything for a buck. (I'm sorry to have to break it to you.)
Gradually, the daughter has to wonder: how long has this been going on? (How long has it been going on: plot point yet to be decided!) When the daughter calls in some surprising allies, things really get twisted: things half said, half unsaid; mysterious messages; people who look like other people (some of them dead); pretense; deceit, attempted murder. So the daughter decides to fight back with a little help from her friends and a little acting of her own.
Literally, a cast of thousands (by conservative estimate). Feigned madness, cross-country chases, mind games, stolen keys, identity theft, money changing hands, double agents, skinny dipping at 2 a.m., musical interludes, midnight rambles, Hollywood, the FBI, the CIA, foreign agents, garrulous cab drivers, incompetent bankers, jealousy, poison, trains, planes, automobiles, stolen guitars, politics, biological warfare, "accidents," veiled threats, unshakable loyalty, shakable loyalty, Democrats, Republicans, kings and queens, a MacBook, a possible love story (or several), some really bad disguises, traps, strange tapping noises, and a whole lot of people muttering "WTF!?" Somewhere in the book, someone has to shout, "Why are these Brits always in our face? We fought a war 200 years ago, and we're still not shed of them! I mean, I like scones as much as the next person, but still!" (That dialogue is non-negotiable.)
Sounds like a best-seller, doesn't it? I never thought espionage was my line, but life throws up some surprising material, and some of it may even be true.
Evildoers: All I can say is, never, ever put material like this in the hands of a writer. (And one who happens to be a librarian? Are you mad? They can look stuff up!) You've been warned -- and if it's already too late for you, well, that's what you get for being you. Maybe Jack Nicholson will play you in the movie, or Glenn Close, but as for my money, you ain't gettin' none of it. I've got student loans to pay.
Take this thing about researching my family history . . . have I mentioned that? My mother had some questions about her origins that I think deserve to be answered. In between an Irish family tree I couldn't make heads or tails of and some memories that troubled my mother throughout her life, I think I'm more than justified. I don't mind an Unsolved Mystery on TV, but when it comes to my own life, I'm a regular Sherlock Holmes.
Of course, you know writers have a lot of imagination and a tendency to take even a tiny bit of material and run with it. Well, picture this: my mother was told (by her father) that her mother was not her mother, and she remembered being visited as a child by some wealthy people who singled her out for attention.
This suggests to me something like the following:
Child born out of wedlock in 1930s Ireland (or maybe England, and she was spirited to Ireland?). Wealthy, powerful father; poor, powerless mother (possibly a maid of some kind?). Maybe the father doesn't know about the pregnancy; maybe he insists on an abortion, but the mother refuses. She finds someone to take her baby in (a relative? a friend?). But somehow the father (or his people) find out about the baby.
Now, why would these people care? If the baby is raised in ignorance of her origins, no harm done -- right? But suppose there was a lot of money involved, and the father died without another heir. Or suppose the baby was his first-born, or the other heirs died, or joined nunneries, or were castaways on desert islands. (Note to self: investigate the laws of inheritance in Ireland and/or England.) Suppose -- suppose there was even a title involved. Now that's something people could really get worked up over.
So, the whole game becomes one of watching and making sure this baby never finds out the truth. But she's already wondering, because the people stupidly came and showed their hand. ("She doesn't look like the rest of them.") She'll never remember; she's a child! But she does; she does remember! Eventually, she marries an American serviceman and moves to America, where she has children and tries to forget the past. But it won't forget her, because, because -- (why not go for broke?) she's the daughter of a king! She's an actual princess (or a duchess, or something), starching shirts and changing diapers, in 1950s America.
Now, this won't do. She's already the heiress to a title, and now her line is flourishing. All those healthy babies. So attempts are made . . . that time with the gas jets, very, very strange. The car accident. The broken leg. All that interference with her marriage. Her life falls apart. A lot of trouble for this lady, but she keeps on ticking, and all of her children survive to adulthood.
It's years later, the lady is now elderly, and her children are scattered. She is feisty and difficult. While her daughter is away, she is hospitalized. The hospital uses the wrong telephone number to notify the daughter (Note: a similar plot device was used by Thomas Hardy in Tess of the D'Urbervilles, in which an all-important note, slipped under a door, goes under the rug by mistake). The children find out in time to rush to the hospital, but the lady dies, having barely regained consciousness.
Life goes on. But unbeknownst to the daughter, the forces that tried to bring her mother down are now marshaled against her and are even closer than she thinks. An unfortunate coincidence has placed an enemy in the very office she works in! (Gasp!) The siblings, engrossed in their own lives, are unaware of the danger that stalks their sister, and the sinister beings (disguised as ordinary folks) who have infiltrated her life will do anything for a buck. (I'm sorry to have to break it to you.)
Gradually, the daughter has to wonder: how long has this been going on? (How long has it been going on: plot point yet to be decided!) When the daughter calls in some surprising allies, things really get twisted: things half said, half unsaid; mysterious messages; people who look like other people (some of them dead); pretense; deceit, attempted murder. So the daughter decides to fight back with a little help from her friends and a little acting of her own.
Literally, a cast of thousands (by conservative estimate). Feigned madness, cross-country chases, mind games, stolen keys, identity theft, money changing hands, double agents, skinny dipping at 2 a.m., musical interludes, midnight rambles, Hollywood, the FBI, the CIA, foreign agents, garrulous cab drivers, incompetent bankers, jealousy, poison, trains, planes, automobiles, stolen guitars, politics, biological warfare, "accidents," veiled threats, unshakable loyalty, shakable loyalty, Democrats, Republicans, kings and queens, a MacBook, a possible love story (or several), some really bad disguises, traps, strange tapping noises, and a whole lot of people muttering "WTF!?" Somewhere in the book, someone has to shout, "Why are these Brits always in our face? We fought a war 200 years ago, and we're still not shed of them! I mean, I like scones as much as the next person, but still!" (That dialogue is non-negotiable.)
Sounds like a best-seller, doesn't it? I never thought espionage was my line, but life throws up some surprising material, and some of it may even be true.
Evildoers: All I can say is, never, ever put material like this in the hands of a writer. (And one who happens to be a librarian? Are you mad? They can look stuff up!) You've been warned -- and if it's already too late for you, well, that's what you get for being you. Maybe Jack Nicholson will play you in the movie, or Glenn Close, but as for my money, you ain't gettin' none of it. I've got student loans to pay.
Monday, December 3, 2012
Dream Trains, With Horses
I had a very striking dream a few nights ago, one that seems worth recording. In the dream, I had somehow walked into an area between two separate train tracks. I was standing near the track on my right when a loud train approached, moving very fast. The noise and power of the train were almost overwhelming, not to mention the fact that the train itself was outsized (as were all the other objects in the dream). In fact, the entire feeling of this dream was a lot like stepping into the pages of a book by Chris Van Allsburg (Jumanji, say, or The Mysteries of Harris Burdick), in which objects out of context behave peculiarly and take on a charged but veiled significance.
One train was bad enough, but there were two. Right after the first train, another came blasting toward me on the other track; they were almost simultaneous. The second one, too, was enormous, loud, and aggressively fast. Right after that, an oversize cart drawn by horses came bearing down on me between the tracks, but the cart was so large that it went right over me. I was shaken by the speed and the size of these moving objects, but I was not hurt.
The feeling of overstimulation due to noise and motion reminds me of the time I went to see Escape From L.A. with a friend at the midnight movie. This wasn't something I would have picked on my own, since action movies aren't my forte (or didn't used to be); my friend picked it out. Imagine someone accustomed to sedate Merchant Ivory productions and quiet character-driven dramas sitting in a big-screen cinema, way past her bedtime, being pounded by Dolby sound at a teeth-jarring level and assaulted by image after image of mayhem and doom, all conducted at warp speed. I don't remember the plot, just the nauseating feeling of sensory overload and a wish to bolt from the theater.
My dream was a little like that, except that it was in my head, so bolting wasn't an option.
For a Jungian, a situation like this calls for explication, amplification, and active imagination. I will assume, first off, that the two trains and the horse-driven cart are what they seem to be, objects of transportation. From my point of view, everything else was in motion, and I was stuck in a dangerous spot. I wanted to be moving, but no opportunity presented itself. On closer inspection, I saw a chasm in front of me, over which the trains were jumping without benefit of tracks. They continued to repeat this maneuver, and as much as I wanted to be on one of them and on my way, I couldn't help noticing how dangerous it was for the trains to keep making this leap. Disaster seemed to be in the offing.
When I think about trains, many things come to mind. I've traveled by train several times and often found myself driving alongside trains on my recent trip out west. I live not far from a railroad track and was nearly stopped by a train the other night after running an errand. I recently told someone about a memory or dream I have of traveling in a Pullman car once when I was very young. These associations are both positive and negative.
On an archetypal level, trains are synonymous with power, with the ambitions of the Industrial Age, and with the expansion, in our country, to the west. Trains traveling from two directions met to celebrate the completion of the Transcontinental Railroad. Interesting that the term "Iron Horse" was once applied to locomotives, since oversized horses dragging a giant cart also appeared in my dream.
Power. Ambition. Industry. Expansion. Transportation. Speed. And also, perhaps, from a certain point of view, a kind of ruthlessness or unheeding momentum.
In active imagination, you try to start a conversation with the people or objects in your dream. When I think about trying to talk to either the trains or the horse and cart, I feel at a bit of a loss. The very speed and force of their motion almost seems designed to preclude speech. And yet, standing still, in a seemingly precarious spot, I saw something that none of them seemed to notice: the width of the chasm and the danger it represented. Though eager to be on my way, I still saw that getting on one of the trains (never mind the cart) was not a safe proposition. Other than the discomfort of being where I was, I was safer on the ground.
At the end of my dream, the chasm loomed as the most important image. I started to think of how to get across it but wasn't able to figure it out. If I now address the chasm, and say, "Hello, what are you doing in my dream? And how do I get across?" The chasm might say, "You're right not to trust these lunatics." And, "Are you sure you need to cross? If you're meant to be on the other side, there's bound to be a bridge somewhere. Think about where you want to be. In the meantime, get away from these idiot trains . . . you've had enough drama. Go get a cup of tea or something. And those horses? And that stupid cart? Don't even get me started . . . "
One train was bad enough, but there were two. Right after the first train, another came blasting toward me on the other track; they were almost simultaneous. The second one, too, was enormous, loud, and aggressively fast. Right after that, an oversize cart drawn by horses came bearing down on me between the tracks, but the cart was so large that it went right over me. I was shaken by the speed and the size of these moving objects, but I was not hurt.
The feeling of overstimulation due to noise and motion reminds me of the time I went to see Escape From L.A. with a friend at the midnight movie. This wasn't something I would have picked on my own, since action movies aren't my forte (or didn't used to be); my friend picked it out. Imagine someone accustomed to sedate Merchant Ivory productions and quiet character-driven dramas sitting in a big-screen cinema, way past her bedtime, being pounded by Dolby sound at a teeth-jarring level and assaulted by image after image of mayhem and doom, all conducted at warp speed. I don't remember the plot, just the nauseating feeling of sensory overload and a wish to bolt from the theater.
My dream was a little like that, except that it was in my head, so bolting wasn't an option.
For a Jungian, a situation like this calls for explication, amplification, and active imagination. I will assume, first off, that the two trains and the horse-driven cart are what they seem to be, objects of transportation. From my point of view, everything else was in motion, and I was stuck in a dangerous spot. I wanted to be moving, but no opportunity presented itself. On closer inspection, I saw a chasm in front of me, over which the trains were jumping without benefit of tracks. They continued to repeat this maneuver, and as much as I wanted to be on one of them and on my way, I couldn't help noticing how dangerous it was for the trains to keep making this leap. Disaster seemed to be in the offing.
When I think about trains, many things come to mind. I've traveled by train several times and often found myself driving alongside trains on my recent trip out west. I live not far from a railroad track and was nearly stopped by a train the other night after running an errand. I recently told someone about a memory or dream I have of traveling in a Pullman car once when I was very young. These associations are both positive and negative.
On an archetypal level, trains are synonymous with power, with the ambitions of the Industrial Age, and with the expansion, in our country, to the west. Trains traveling from two directions met to celebrate the completion of the Transcontinental Railroad. Interesting that the term "Iron Horse" was once applied to locomotives, since oversized horses dragging a giant cart also appeared in my dream.
Power. Ambition. Industry. Expansion. Transportation. Speed. And also, perhaps, from a certain point of view, a kind of ruthlessness or unheeding momentum.
In active imagination, you try to start a conversation with the people or objects in your dream. When I think about trying to talk to either the trains or the horse and cart, I feel at a bit of a loss. The very speed and force of their motion almost seems designed to preclude speech. And yet, standing still, in a seemingly precarious spot, I saw something that none of them seemed to notice: the width of the chasm and the danger it represented. Though eager to be on my way, I still saw that getting on one of the trains (never mind the cart) was not a safe proposition. Other than the discomfort of being where I was, I was safer on the ground.
At the end of my dream, the chasm loomed as the most important image. I started to think of how to get across it but wasn't able to figure it out. If I now address the chasm, and say, "Hello, what are you doing in my dream? And how do I get across?" The chasm might say, "You're right not to trust these lunatics." And, "Are you sure you need to cross? If you're meant to be on the other side, there's bound to be a bridge somewhere. Think about where you want to be. In the meantime, get away from these idiot trains . . . you've had enough drama. Go get a cup of tea or something. And those horses? And that stupid cart? Don't even get me started . . . "
Tuesday, November 27, 2012
Press Releases for Ariadne
I went to a reading by writer Barbara Kingsolver tonight at a local bookstore and enjoyed hearing her read and talk about her new book. I went to the reading partly out of interest in Ms. Kingsolver's work and partly for inspiration. It's always enlightening to hear other people talk about how they work and what inspires them.
I wanted to ask her the same question I asked of Neil Gaiman a few years ago: Do you know where your stories are going before you write them, or do you find out as you go along? She partly answered the question in talking about the thought she puts into her stories before she starts writing. I especially liked what she said about deciding at the beginning what she wants the reader to get from the book and using that as a guide; I hadn't thought about doing that with fiction, but yes, it makes sense. I'm going to try it the next time I attempt a novel (it's got to happen sometime because I already have a title).
I'm not, like Ms. Kingsolver, a methodical writer. I'm more from the Writing by the Seat of Your Pants School of Composition, which has its drawbacks. (Plan blog posts in advance -- are you kidding?) Outlines have always seemed a little artificial to me, and I've always had fun writing just to see what would show up on the page. When I started my dissertation, I struggled to corral my thoughts, which ran all over the place like a herd of stray cats. I had to work hard to organize my ideas and was in despair at the seeming ease with which other people got their thesis in focus. What works for a shorter piece isn't necessarily appropriate for a dissertation.
Two years ago, I was just finishing my first two chapters. At the time I didn't know that I was off to a good start, just that it was hard work each and every time I sat down to write. It's like that sometimes.
Happily, it worked out over time, the dissertation got done, and I turned it into a book, which is out there for the world to see. I think it turned out great and would like everyone to wind up with one in their Christmas stocking, if at all possible, so that I can give readings just like Ms. Kingsolver and have my own driver.
I could have paid someone to write a press release for me, but as I told my sister the other day, I used to write press releases for a living and am not sure someone else can write a better one than I can do myself.
So here's my homemade press release, guaranteed to tell the truth and guide you in your buying decision:
FOR IMMEDIATE RELEASE
Dazzling New Talent Scores Big With First Book
Lexington, Kentucky - November 27, 2012 - Ariadne is a king's daughter living the good life on Crete when a dark secret from her family's past catches up with the present, threatening to destroy her romance with a prince on a mission. When Theseus arrives on Crete as part of a contingent due to be sacrificed to the insatiable Minotaur, Ariadne is smitten, even in the face of her father's anger. As keeper of the labyrinth's secrets, she is the one person who can save Theseus and the Athenian youths by revealing the labyrinth's innermost ways. Moved by love and haunted by fear, Ariadne must decide between loyalty to her father and country and loyalty to the sinewy Theseus. Like any good myth, this story has it all: love, death, family, sex, betrayal, a boat, and a man with a bull's head.
But behind the story you think you know lies an even more exciting terrain. Just who is Ariadne, after all, and why does she know the secrets of the labyrinth if Daedalus built it? Who is the Minotaur, really, and what does everyone have against him? If Theseus is such a prince, what's up with him and Phaedra? What really happened on Naxos? Why is everybody doing the Crane Dance? And why do these characters show up again and again in different guises over the centuries, almost recognizable but tantalizingly transformed?
Ms. Hackworth handles all of these questions with grace and aplomb, guiding you through the bewildering byways of labyrinth lore with the assurance of one who has been there, proving that it really can be solved by walking. You will be a-mazed as the Holy Grail, A Midsummer Night's Dream, a mysterious white whale, and even Bruce Springsteen flash before your eyes in this no-holds-barred tell-all. Solved by Walking: Paradox and Resolution in the Labyrinth is available now through Amazon, Barnes & Noble, Powell's, and other online retailers, or you can always go to your favorite bookseller, be shocked if it isn't there, and ask for it. This timeless classic is sure to be on everyone's bestseller list, so beat the rush and get your copy today!
(I told you I could do it.)
I wanted to ask her the same question I asked of Neil Gaiman a few years ago: Do you know where your stories are going before you write them, or do you find out as you go along? She partly answered the question in talking about the thought she puts into her stories before she starts writing. I especially liked what she said about deciding at the beginning what she wants the reader to get from the book and using that as a guide; I hadn't thought about doing that with fiction, but yes, it makes sense. I'm going to try it the next time I attempt a novel (it's got to happen sometime because I already have a title).
I'm not, like Ms. Kingsolver, a methodical writer. I'm more from the Writing by the Seat of Your Pants School of Composition, which has its drawbacks. (Plan blog posts in advance -- are you kidding?) Outlines have always seemed a little artificial to me, and I've always had fun writing just to see what would show up on the page. When I started my dissertation, I struggled to corral my thoughts, which ran all over the place like a herd of stray cats. I had to work hard to organize my ideas and was in despair at the seeming ease with which other people got their thesis in focus. What works for a shorter piece isn't necessarily appropriate for a dissertation.
Two years ago, I was just finishing my first two chapters. At the time I didn't know that I was off to a good start, just that it was hard work each and every time I sat down to write. It's like that sometimes.
Happily, it worked out over time, the dissertation got done, and I turned it into a book, which is out there for the world to see. I think it turned out great and would like everyone to wind up with one in their Christmas stocking, if at all possible, so that I can give readings just like Ms. Kingsolver and have my own driver.
I could have paid someone to write a press release for me, but as I told my sister the other day, I used to write press releases for a living and am not sure someone else can write a better one than I can do myself.
So here's my homemade press release, guaranteed to tell the truth and guide you in your buying decision:
FOR IMMEDIATE RELEASE
Dazzling New Talent Scores Big With First Book
Lexington, Kentucky - November 27, 2012 - Ariadne is a king's daughter living the good life on Crete when a dark secret from her family's past catches up with the present, threatening to destroy her romance with a prince on a mission. When Theseus arrives on Crete as part of a contingent due to be sacrificed to the insatiable Minotaur, Ariadne is smitten, even in the face of her father's anger. As keeper of the labyrinth's secrets, she is the one person who can save Theseus and the Athenian youths by revealing the labyrinth's innermost ways. Moved by love and haunted by fear, Ariadne must decide between loyalty to her father and country and loyalty to the sinewy Theseus. Like any good myth, this story has it all: love, death, family, sex, betrayal, a boat, and a man with a bull's head.
But behind the story you think you know lies an even more exciting terrain. Just who is Ariadne, after all, and why does she know the secrets of the labyrinth if Daedalus built it? Who is the Minotaur, really, and what does everyone have against him? If Theseus is such a prince, what's up with him and Phaedra? What really happened on Naxos? Why is everybody doing the Crane Dance? And why do these characters show up again and again in different guises over the centuries, almost recognizable but tantalizingly transformed?
Ms. Hackworth handles all of these questions with grace and aplomb, guiding you through the bewildering byways of labyrinth lore with the assurance of one who has been there, proving that it really can be solved by walking. You will be a-mazed as the Holy Grail, A Midsummer Night's Dream, a mysterious white whale, and even Bruce Springsteen flash before your eyes in this no-holds-barred tell-all. Solved by Walking: Paradox and Resolution in the Labyrinth is available now through Amazon, Barnes & Noble, Powell's, and other online retailers, or you can always go to your favorite bookseller, be shocked if it isn't there, and ask for it. This timeless classic is sure to be on everyone's bestseller list, so beat the rush and get your copy today!
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(I told you I could do it.)
Monday, November 19, 2012
Better Angels
Yesterday I went to see Stephen Spielberg's Lincoln. I wanted to see it but was a little apprehensive since the trailer made it look rather dark and brooding. However, I knew I would see it sooner or later, and a friend was also interested in going, so off we went to a matinee.
This is not the first time Mr. Spielberg has made a film that leaves you feeling you have immersed yourself rather than simply watched; Schindler's List was another experience of the same type. I would say, though, that the emotional tenor of the two films is very different. Schindler's List evokes horror and pity (among other things), but Lincoln inspired, in me at least, an intense sadness mixed with a painful awareness of the great personal cost of honor and responsibility. There are lighter moments in the film, and Lincoln's legendary sense of humor is glimpsed now and again, but by the end you feel that you have witnessed (and truly, participated in) a terrible struggle.
In the middle of a cruel and seemingly interminable war, amid personal tragedy, and in the face of resistance and hostility, even from his allies, Lincoln struggles to secure passage of the 13th Amendment, to abolish slavery. The film details the deals, the personal appeals, the compromises, the shaky alliances, and the strange bedfellows that went into producing a victory for the pro-amendment side. Mr. Spielberg has emphasized that he is a filmmaker, not a historian, so I don't necessarily assume complete faithfulness to actual events. But I think the spirit of the times, and the flavor of the struggle, as incendiary and divisive as it must have been, has been captured in this somber portrait of the era.
Of course, there is a lot of mythology surrounding Lincoln, as with any great leader. He embodies the hero archetype, and although he appears as a near saint in this portrayal, with his patience, wisdom, and compassion, he no doubt had his faults as a human being. Political expediency was a reality, and others did not always view him as "trustworthy." It appears he was not above using whatever means he could find to accomplish what seemed to him a necessary end.
As is usually true of myth, Lincoln's story is timeless, having parallels in our own recent struggles as a nation to carry on in spite of great polarization. Although we do not perhaps have an issue as momentous as slavery dividing us, we have to contend with differing ideas about the proper course for our country and the best way to achieve prosperity. Again, the two major political parties frequently lock horns and fail to connect when it counts, and the public, too, is divided.
I don't think the divisions we have today create an impassable road block, any more than they did in Lincoln's time. Reasonable people may disagree on the best way to move forward; no one has a monopoly on virtue, intelligence, or truth. One thing I know about conflict resolution is that the way to start is to find the common ground, the place where everyone can stand and say, yes, we all agree on this. It may not be as difficult to find this place as it appears. Some disagreements are more superficial than they might seem to be at first.
I was moved to look up some of Lincoln's writings today, which happens to be the 149th anniversary of the Gettysburg address (and the occasion of Spielberg's commemorative speech in honor of the day at Soldier's National Cemetery). Even if we did not remember Lincoln as a great president, we would have to remember him as a great writer, poetic and eloquent even in the face of tension and opposition. From the First Inaugural Address: "We are not enemies, but friends. We must not be enemies. Though passion may have strained it must not break our bonds of affection. The mystic chords of memory, stretching from every battlefield and patriot grave to every living heart and hearthstone all over this broad land, will yet swell the chorus of the Union, when again touched, as surely they will be, by the better angels of our nature."
From the Gettysburg Address: "Fourscore and seven years ago our fathers brought forth on this continent a new nation, conceived in liberty and dedicated to the proposition that all men are created equal."
From the Second Inaugural Address: "With malice toward none, with charity for all, with firmness in the right as God gives us to see the right, let us strive on to finish the work we are in, to bind up the nation's wounds . . . to do all which may achieve and cherish a just and lasting peace among ourselves and with all nations."
What I gather from his words and actions was Lincoln's faith in his country and the ability of those within it to come together (and also to come together with the citizens of other countries). Another archetype emerges from all of this, that of wholeness and integration -- what we experience as the Self, present in our sense of relating to something larger than ourselves (though we also experience wholeness within). I think most people would still agree that we are stronger together than we are apart, whether we are talking of families, communities, nations, or the world at large.
I wish I had written the phrase, "the better angels of our nature," but I didn't. However, that may not stop me from borrowing it for my title, with full credit to Abraham Lincoln. It's in the public domain, so it belongs to all of us now.
This is not the first time Mr. Spielberg has made a film that leaves you feeling you have immersed yourself rather than simply watched; Schindler's List was another experience of the same type. I would say, though, that the emotional tenor of the two films is very different. Schindler's List evokes horror and pity (among other things), but Lincoln inspired, in me at least, an intense sadness mixed with a painful awareness of the great personal cost of honor and responsibility. There are lighter moments in the film, and Lincoln's legendary sense of humor is glimpsed now and again, but by the end you feel that you have witnessed (and truly, participated in) a terrible struggle.
In the middle of a cruel and seemingly interminable war, amid personal tragedy, and in the face of resistance and hostility, even from his allies, Lincoln struggles to secure passage of the 13th Amendment, to abolish slavery. The film details the deals, the personal appeals, the compromises, the shaky alliances, and the strange bedfellows that went into producing a victory for the pro-amendment side. Mr. Spielberg has emphasized that he is a filmmaker, not a historian, so I don't necessarily assume complete faithfulness to actual events. But I think the spirit of the times, and the flavor of the struggle, as incendiary and divisive as it must have been, has been captured in this somber portrait of the era.
Of course, there is a lot of mythology surrounding Lincoln, as with any great leader. He embodies the hero archetype, and although he appears as a near saint in this portrayal, with his patience, wisdom, and compassion, he no doubt had his faults as a human being. Political expediency was a reality, and others did not always view him as "trustworthy." It appears he was not above using whatever means he could find to accomplish what seemed to him a necessary end.
As is usually true of myth, Lincoln's story is timeless, having parallels in our own recent struggles as a nation to carry on in spite of great polarization. Although we do not perhaps have an issue as momentous as slavery dividing us, we have to contend with differing ideas about the proper course for our country and the best way to achieve prosperity. Again, the two major political parties frequently lock horns and fail to connect when it counts, and the public, too, is divided.
I don't think the divisions we have today create an impassable road block, any more than they did in Lincoln's time. Reasonable people may disagree on the best way to move forward; no one has a monopoly on virtue, intelligence, or truth. One thing I know about conflict resolution is that the way to start is to find the common ground, the place where everyone can stand and say, yes, we all agree on this. It may not be as difficult to find this place as it appears. Some disagreements are more superficial than they might seem to be at first.
I was moved to look up some of Lincoln's writings today, which happens to be the 149th anniversary of the Gettysburg address (and the occasion of Spielberg's commemorative speech in honor of the day at Soldier's National Cemetery). Even if we did not remember Lincoln as a great president, we would have to remember him as a great writer, poetic and eloquent even in the face of tension and opposition. From the First Inaugural Address: "We are not enemies, but friends. We must not be enemies. Though passion may have strained it must not break our bonds of affection. The mystic chords of memory, stretching from every battlefield and patriot grave to every living heart and hearthstone all over this broad land, will yet swell the chorus of the Union, when again touched, as surely they will be, by the better angels of our nature."
From the Gettysburg Address: "Fourscore and seven years ago our fathers brought forth on this continent a new nation, conceived in liberty and dedicated to the proposition that all men are created equal."
From the Second Inaugural Address: "With malice toward none, with charity for all, with firmness in the right as God gives us to see the right, let us strive on to finish the work we are in, to bind up the nation's wounds . . . to do all which may achieve and cherish a just and lasting peace among ourselves and with all nations."
What I gather from his words and actions was Lincoln's faith in his country and the ability of those within it to come together (and also to come together with the citizens of other countries). Another archetype emerges from all of this, that of wholeness and integration -- what we experience as the Self, present in our sense of relating to something larger than ourselves (though we also experience wholeness within). I think most people would still agree that we are stronger together than we are apart, whether we are talking of families, communities, nations, or the world at large.
I wish I had written the phrase, "the better angels of our nature," but I didn't. However, that may not stop me from borrowing it for my title, with full credit to Abraham Lincoln. It's in the public domain, so it belongs to all of us now.
Sunday, November 11, 2012
Out West
O Wedding-Guest! this soul hath been
Alone on a wide wide sea:
So lonely 'twas, that God himself
Scarce seemed there to be.
-- Samuel Taylor Coleridge, "The Rime of the Ancient Mariner"
Once upon a time (two and a half weeks ago) I decided to take a fall break and drive to the West Coast and back. All I can say is it seemed like a good idea at the time. I've never actually driven that far (and it's doubtful ever I'd do it again, not alone, anyway), but at the time, the thought of a little California sunshine was very appealing, and driving seemed the way to go.
If I had known what kind of a trip it would be, I would never have left home. The day I left, it was sunny, hot, and pleasant here, but I went through a number of climate changes before I got back and soon realized I was smart to have packed so many layers (though the two bathing suits I included never got any use). I left in the afternoon, at first driving a familiar stretch of interstate between Lexington and St. Louis, and then stopping for the night about an hour west of the latter. I got a clue that this wouldn't be a normal trip when the desk clerk at the Holiday Inn* (see comments below) did a double-take on seeing me and said that another guest who looked just like me (and was dressed like me, apparently) had just gone up in the elevator. Of course, that was a bit strange, but . . . what the heck. Coincidences happen!
Driving across unfamiliar stretches of Missouri, Oklahoma, and the Texas panhandle, and encountering increasingly unpopulated segments of road, I decided getting through quickly was the best plan, so I drove all night through New Mexico and found myself in Arizona the next morning. Looking for a hotel in the town of Holbrook at first seemed sensible, but on closer examination, I decided a more touristed area would be safer, so I drove on to Flagstaff, where finding a suitable hotel proved challenging. Looking up one that sounded reliable, I discovered it was outside of town, and I drove through miles of forest and desert only to somehow miss it and end up napping in the back seat of my car next to a residential area, waking in the middle of the night and discovering, on the way to get gas, that I had literally been almost next door to a Best Western. I checked in and spent the rest of the night in bed.
Although I was close to the Grand Canyon (which I have never seen, except from the air), I had by that time decided that to get where I was going was highly desirable, and that perhaps I would see the Grand Canyon on the way back. Pressing on, I crossed the state of Arizona, not before discovering in Kingman that my passenger side door had been unlocked (probably while I was at the Best Western). Since I had lost my keys (at home) back in the summer, that gave me pause, but by a strange twist of fate, it was actually lucky for me that this happened because I had just accidentally locked the driver's side door (with the motor running) and was thus equal parts perplexed and overjoyed to find the passenger door unlocked. After somehow getting on the interstate going the wrong way for 20 minutes (Arizona, your signage?), I righted myself and headed for the California border at Needles.
Now I have spent considerable time in California, but driving across the desert in a car was totally new to me. I had been here before on a train, but everything looks quite different when you're in a car, especially by yourself. By this time, it was dark and a little scary. An unexpected light moment came when the border guard, prior to giving me an inspection pass, asked if I had any live animals with me. I'm not sure why that was funny (three days in a car, and you get a little punchy), but I laughed and told him, "Just me."
I drove to Ventura County, almost home ground for me since I went to school next door in Santa Barbara County. I hadn't realized finding hotels in October could be such a challenge, but evidently October is high tourist season in some parts of the West. I ended up staying in Santa Paula, a nice town though a small one, but checked out of my hotel on Sunday, earlier than planned, to head down to L.A.
All I wanted was a good night's sleep in a decent hotel, and a little sightseeing the next day. I thought of going to the Getty Center. When I got to Santa Monica, I started to stay at one of the fancy hotels near the beach, but a trip to my room convinced me otherwise. I was stuck in a remote corner of the hotel, out of sight of anyone else, with a lock that didn't seem to quite work (this became a theme on the trip). I hauled my suitcase back down to the desk and told the clerk I didn't like the room. She offered to reassign me, but having gotten a bad vibe from this experience, I told her I'd look elsewhere.
I can't honestly say why, but I was no longer sure I really felt comfortable in L.A. I drove around for a while, decided to go down to San Diego, did so, tried to find a hotel district, and somehow found myself on the residential side of town, no hotels in sight. (Finding a hotel in the dark when you're tired isn't always as easy as you might think, along with the fact that experiences of the last couple of days had me leery.) Since I knew no one in San Diego, I decided after all to drive back to L.A.
The next day's adventures included going for what was intended to be a short walk, getting dehydrated, not being able to find my car, almost deciding to fly home in panic and frustration, and finally locating my car with the aid of the police. The police helped me look through my things to discover if anything was missing and told me to call the next day if I discovered anything amiss later on. After they left, I noticed once again that my passenger side door was unlocked. Wow! After spending the night at a favorite hotel in Santa Monica, I called in to report this the next day.
Could the trip get any stranger? Well, yes, actually, it could. After I ate lunch in Malibu, bad fish forced an emergency stop in Santa Barbara. I was ready to call it a night, and the hotel seemed nice enough, but after taking a shower and lying down for a while, I became increasingly uneasy about the door -- which did not have a dead bolt lock -- and the open transom above the curtains. I checked out that night, and after driving north in search of another place to stay, I suddenly wanted to be gone and decided to head home.
On Halloween, I found myself crossing the wide open spaces of Nevada, trying with difficulty to reach friends and family on my cell phone. Since this saga has already gone on too long, I won't go into detail about my unsuccessful attempt to see family in Idaho, the invitation from a friend in San Francisco to come and visit, my drive back to California and the Hotel of the Windy Corridors in Stockton, the impossibility of finding a parking space in San Francisco on a Friday night, and an overnight stay in Morgan Hill with a hotel full of lacrosse players. Heading east the next day, I experienced one of the few moments of joy and ease on this trip as I passed through the fertile hills around Gilroy, where they grow many things, including garlic -- whose scent suffused the air. The hills were enveloping and welcoming, and I was sorry to leave them behind, reminders of happier times on previous trips.
The scenery from Bakersfield to Barstow, and then on to Needles, across the mountains and down to the desert, was magnificent, but I felt like I was viewing it distantly, on a very small television. It was like something out of an old Western, especially the closer I got to Needles. I have heard that California is many states rolled into one, and I certainly had proof of it on this trip. I saw parts that I had never seen before, or had never seen by car, which makes a big difference; even the familiar parts looked strange, as if they had been flipped upside down. As a child, I remember once or twice experiencing a strange sense of disorientation, in which suddenly directions seemed to have reversed themselves when I came to a familiar place from a different angle. That sensation was something like what I experienced on this trip.
I stopped not long after dark in Kingman, Arizona, where I ended up in a room with a loose safety latch; traveled on the next day to Amarillo, Texas, where I had the identical problem with a safety latch in a different hotel chain; and finally decided I was getting home no matter what, so that I drove carefully and methodically across parts of five states before crossing back into Kentucky and collapsing at a Sheraton on the outskirts of Lexington. I took what was almost a semi-vacation that last day, going to the mall, buying chocolates, and shopping. I came back to my apartment the next day, Wednesday, and thought about kissing the door frame once I was inside. (I was so tired, I forgot.)
I could (and will) call this trip "The Vacation That Wasn't" or "I Dreamed a Dream of Driving to California, But This Was Not It." I could also call it "The Magical Mystery Tour," though my use of the word "magical" isn't meant to connote anything positive. I could call it "Into the Wild," though that title, too, has been taken. Or with the Grateful Dead, I could truthfully say, "What a Long Strange Trip It's Been," and be perfectly accurate.
One moment of great clarity stands out: I was driving west on I-80 in Nevada, whose harsh and immense landscape might as well have been the surface of the moon, when a great loneliness came over me. The only thing I could think of was my own apartment, my books on the shelves, and how much I wanted to see them. I was so far from anyone I knew, or anything familiar, and all I wanted was to get back home. And so I did, eventually. And here I am.
Like Dorothy, who wanted to leave Kansas so badly, I find myself, at the end of the yellow brick road, back where I started, if a little worse for wear. I was looking at a picture of myself that I took after getting home and thought, "Wow, the wear and tear is kind of showing." It brought to mind what Indiana Jones famously said: "It's not the years, it's the mileage" (literally).
On the other hand, it may not be anything that a good night's sleep and a little moisturizer can't cure. Check with me in a couple of days.
And if you yourself are on the road, drive safely.
Alone on a wide wide sea:
So lonely 'twas, that God himself
Scarce seemed there to be.
-- Samuel Taylor Coleridge, "The Rime of the Ancient Mariner"
Once upon a time (two and a half weeks ago) I decided to take a fall break and drive to the West Coast and back. All I can say is it seemed like a good idea at the time. I've never actually driven that far (and it's doubtful ever I'd do it again, not alone, anyway), but at the time, the thought of a little California sunshine was very appealing, and driving seemed the way to go.
If I had known what kind of a trip it would be, I would never have left home. The day I left, it was sunny, hot, and pleasant here, but I went through a number of climate changes before I got back and soon realized I was smart to have packed so many layers (though the two bathing suits I included never got any use). I left in the afternoon, at first driving a familiar stretch of interstate between Lexington and St. Louis, and then stopping for the night about an hour west of the latter. I got a clue that this wouldn't be a normal trip when the desk clerk at the Holiday Inn* (see comments below) did a double-take on seeing me and said that another guest who looked just like me (and was dressed like me, apparently) had just gone up in the elevator. Of course, that was a bit strange, but . . . what the heck. Coincidences happen!
Driving across unfamiliar stretches of Missouri, Oklahoma, and the Texas panhandle, and encountering increasingly unpopulated segments of road, I decided getting through quickly was the best plan, so I drove all night through New Mexico and found myself in Arizona the next morning. Looking for a hotel in the town of Holbrook at first seemed sensible, but on closer examination, I decided a more touristed area would be safer, so I drove on to Flagstaff, where finding a suitable hotel proved challenging. Looking up one that sounded reliable, I discovered it was outside of town, and I drove through miles of forest and desert only to somehow miss it and end up napping in the back seat of my car next to a residential area, waking in the middle of the night and discovering, on the way to get gas, that I had literally been almost next door to a Best Western. I checked in and spent the rest of the night in bed.
Although I was close to the Grand Canyon (which I have never seen, except from the air), I had by that time decided that to get where I was going was highly desirable, and that perhaps I would see the Grand Canyon on the way back. Pressing on, I crossed the state of Arizona, not before discovering in Kingman that my passenger side door had been unlocked (probably while I was at the Best Western). Since I had lost my keys (at home) back in the summer, that gave me pause, but by a strange twist of fate, it was actually lucky for me that this happened because I had just accidentally locked the driver's side door (with the motor running) and was thus equal parts perplexed and overjoyed to find the passenger door unlocked. After somehow getting on the interstate going the wrong way for 20 minutes (Arizona, your signage?), I righted myself and headed for the California border at Needles.
Now I have spent considerable time in California, but driving across the desert in a car was totally new to me. I had been here before on a train, but everything looks quite different when you're in a car, especially by yourself. By this time, it was dark and a little scary. An unexpected light moment came when the border guard, prior to giving me an inspection pass, asked if I had any live animals with me. I'm not sure why that was funny (three days in a car, and you get a little punchy), but I laughed and told him, "Just me."
I drove to Ventura County, almost home ground for me since I went to school next door in Santa Barbara County. I hadn't realized finding hotels in October could be such a challenge, but evidently October is high tourist season in some parts of the West. I ended up staying in Santa Paula, a nice town though a small one, but checked out of my hotel on Sunday, earlier than planned, to head down to L.A.
All I wanted was a good night's sleep in a decent hotel, and a little sightseeing the next day. I thought of going to the Getty Center. When I got to Santa Monica, I started to stay at one of the fancy hotels near the beach, but a trip to my room convinced me otherwise. I was stuck in a remote corner of the hotel, out of sight of anyone else, with a lock that didn't seem to quite work (this became a theme on the trip). I hauled my suitcase back down to the desk and told the clerk I didn't like the room. She offered to reassign me, but having gotten a bad vibe from this experience, I told her I'd look elsewhere.
I can't honestly say why, but I was no longer sure I really felt comfortable in L.A. I drove around for a while, decided to go down to San Diego, did so, tried to find a hotel district, and somehow found myself on the residential side of town, no hotels in sight. (Finding a hotel in the dark when you're tired isn't always as easy as you might think, along with the fact that experiences of the last couple of days had me leery.) Since I knew no one in San Diego, I decided after all to drive back to L.A.
The next day's adventures included going for what was intended to be a short walk, getting dehydrated, not being able to find my car, almost deciding to fly home in panic and frustration, and finally locating my car with the aid of the police. The police helped me look through my things to discover if anything was missing and told me to call the next day if I discovered anything amiss later on. After they left, I noticed once again that my passenger side door was unlocked. Wow! After spending the night at a favorite hotel in Santa Monica, I called in to report this the next day.
Could the trip get any stranger? Well, yes, actually, it could. After I ate lunch in Malibu, bad fish forced an emergency stop in Santa Barbara. I was ready to call it a night, and the hotel seemed nice enough, but after taking a shower and lying down for a while, I became increasingly uneasy about the door -- which did not have a dead bolt lock -- and the open transom above the curtains. I checked out that night, and after driving north in search of another place to stay, I suddenly wanted to be gone and decided to head home.
On Halloween, I found myself crossing the wide open spaces of Nevada, trying with difficulty to reach friends and family on my cell phone. Since this saga has already gone on too long, I won't go into detail about my unsuccessful attempt to see family in Idaho, the invitation from a friend in San Francisco to come and visit, my drive back to California and the Hotel of the Windy Corridors in Stockton, the impossibility of finding a parking space in San Francisco on a Friday night, and an overnight stay in Morgan Hill with a hotel full of lacrosse players. Heading east the next day, I experienced one of the few moments of joy and ease on this trip as I passed through the fertile hills around Gilroy, where they grow many things, including garlic -- whose scent suffused the air. The hills were enveloping and welcoming, and I was sorry to leave them behind, reminders of happier times on previous trips.
The scenery from Bakersfield to Barstow, and then on to Needles, across the mountains and down to the desert, was magnificent, but I felt like I was viewing it distantly, on a very small television. It was like something out of an old Western, especially the closer I got to Needles. I have heard that California is many states rolled into one, and I certainly had proof of it on this trip. I saw parts that I had never seen before, or had never seen by car, which makes a big difference; even the familiar parts looked strange, as if they had been flipped upside down. As a child, I remember once or twice experiencing a strange sense of disorientation, in which suddenly directions seemed to have reversed themselves when I came to a familiar place from a different angle. That sensation was something like what I experienced on this trip.
I stopped not long after dark in Kingman, Arizona, where I ended up in a room with a loose safety latch; traveled on the next day to Amarillo, Texas, where I had the identical problem with a safety latch in a different hotel chain; and finally decided I was getting home no matter what, so that I drove carefully and methodically across parts of five states before crossing back into Kentucky and collapsing at a Sheraton on the outskirts of Lexington. I took what was almost a semi-vacation that last day, going to the mall, buying chocolates, and shopping. I came back to my apartment the next day, Wednesday, and thought about kissing the door frame once I was inside. (I was so tired, I forgot.)
I could (and will) call this trip "The Vacation That Wasn't" or "I Dreamed a Dream of Driving to California, But This Was Not It." I could also call it "The Magical Mystery Tour," though my use of the word "magical" isn't meant to connote anything positive. I could call it "Into the Wild," though that title, too, has been taken. Or with the Grateful Dead, I could truthfully say, "What a Long Strange Trip It's Been," and be perfectly accurate.
One moment of great clarity stands out: I was driving west on I-80 in Nevada, whose harsh and immense landscape might as well have been the surface of the moon, when a great loneliness came over me. The only thing I could think of was my own apartment, my books on the shelves, and how much I wanted to see them. I was so far from anyone I knew, or anything familiar, and all I wanted was to get back home. And so I did, eventually. And here I am.
Like Dorothy, who wanted to leave Kansas so badly, I find myself, at the end of the yellow brick road, back where I started, if a little worse for wear. I was looking at a picture of myself that I took after getting home and thought, "Wow, the wear and tear is kind of showing." It brought to mind what Indiana Jones famously said: "It's not the years, it's the mileage" (literally).
On the other hand, it may not be anything that a good night's sleep and a little moisturizer can't cure. Check with me in a couple of days.
And if you yourself are on the road, drive safely.
Sunday, October 14, 2012
Stories of the Wind
This afternoon I heard a strong wind in the trees outside, and it made me think of a paper I wrote a few years ago about the role of the wind deities in Navajo and Greek mythologies. I remember how strongly the wind blew that week, whistling through the cracks of the window in my room as I was writing. It was a cold, blustery December wind, fierce and shrill, an uncanny but appropriate backdrop to my scholarly efforts.
The wind I heard this afternoon had a different timbre. It was an autumn wind through and through, like the one Shelley addressed as "O Wild West Wind, thou breath of autumn's being," "sweet though in sadness." It was an expectant wind, unlike the storm winds of winter and summer, which somehow seem just part of the season, striking not a new note but blending into the overall effect. An autumn wind is restless and heralds change.
In many mythologies, wind is the life force of creation, the breath of the divinity. In some cases, it is the speaking of a word by a god (whose divine breath shapes the word) that creates the world and its humans. I was especially charmed by the conception of the wind in Navajo stories, in which the wind is present not only in nature and the gods but in each individual. Wind plays a central role in creation as well as in the ongoing relations between humans and deities. It sometimes takes the form of a helpful god appearing to an individual in times of trouble or need. At these times it takes the guise not of a powerful storm but of a quiet companion, whispering advice and wisdom. Not quite a guardian angel or a conscience, it's more like a sage friend. The Navajo call this wind deity Nilch'i.
Nilch'i plays an important part in the adventures of Reared Within the Mountains, the hero of The Mountain Chant. He appears to the hero at crucial times, issuing guidance, giving warnings, and teaching him how to access and use his own power. Although Nilch'i is a deity, the life force in him is the same force that animates Reared Within the Mountains and all other people. Nilch'i is much like an inner voice, inspiration (from Latin, "to breathe upon or into") that arises when the individual pays attention to its sometimes subtle utterances.
I was struck by the contrast between the role of the wind in the Navajo stories and the Greek myths. Heroes in the Greek myths are often at odds with the winds, which appear as tools of the gods, used to manipulate or punish humans; Odysseus and Agamemnon battle the winds on several occasions, usually coming out the worse for wear. Once, the god Aeolus tries to make Odysseus a present of the winds by tying them up in a bag, but Odysseus's men set them free, whereupon they blow the ship wildly off course, displaying the tricksterish nature that is often their hallmark.
The portrayal of the winds in both traditions is complex, but I see a fundamental difference between them centered on the issue of power and control. In Greek mythology, humans often seem to be at war, either with nature or each other. They are guided by the principle of Arete, "excellence," often in military and athletic pursuits that involve competition or strife. In Navajo mythology, the key concept is Hozhooji, living in harmony and beauty. Strife and discord are a part of the scene, but an individual seeking Hozhooji learns to live in balance with contending forces. Anyone can do this; you are not dependent on the whims of the gods or the impersonal workings of Fate but rather on your own ability and desire to live in tune with nature and other people.
In the Navajo stories, even a wild or destructive wind has its place and purpose in the overall scheme. It may cleanse the world and prepare it for a new season, like the wind blowing leaves around my apartment building this afternoon. It may come as a whirlwind, drilling a hole in which the hero shelters from his enemies. Or it may simply bring needed rains.
To me it seems that the wisdom in this Native American tradition has been trumped too many times by forces thriving on antagonism, but it's always possible to change course. I love the Greek myths but have always thought it would be tough to actually inhabit the world they portray (though in a way, we do inhabit the world they portray). I can better imagine living within the boundaries of the Navajo universe. Life is still difficult there, and certainly the winds still blow. But how different it would be to be measured not by the length of your sword or the size of your ship but by how well you listen.
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