Category Archives: the unknown

How do we understand another person?

Some years ago, reading a book of systemic psychology, I came across the idea of “the enigmatic episode.” The idea is simple enough. Two people from quite different backgrounds meet and become involved in a relationship. Attracted erotically perhaps, each fascinated by the other, they become good friends. Then something occurs—meeting the other’s parents perhaps, participating in a political movement, contemplating some particular sexual activity—that reveals to them that they have quite different outlooks on life. Not just that they don’t agree, but that they don’t, as we say, understand where the other is coming from; the other person’s position is inexplicable, perhaps threatening.

In her book Semantic Polarities and Psychopathologies in the Family, the Italian psychologist Valeria Ugazio draws on two characters in Milan Kundera’s novel The Unbearable Lightness of Being to explain the idea:

[Franz and Sabina’s] relationship is marked from the very beginning by enigmatic episodes: Kundera calls them “words misunderstood” and develops a short glossary of them…

 

Sabina asked Franz at a certain point: “Why don’t you sometimes use your strength on me?” Franz replied: “Because love means relinquishing strength.” And Sabina realized two things: firstly, that Franz’s words were noble and just; second, that with these words Franz disqualified himself in her eyes as a sexual partner.

 

Franz often told Sabina about his mother, perhaps with a sort of unconscious calculation. He imagined that Sabina would be attracted by his capacity for faithfulness and thus would have been won over by him. Franz did not know that Sabina was attracted by betrayal, and not by faithfulness.

 

When Sabina told him once about her walks in cemeteries, Franz shuddered with disgust. For him, cemeteries were “bone and stone dumps,” but for her they provided the only nostalgic memory of her country of birth, Bohemia.

 

Franz admired Sabina’s homeland. When she told him about herself and her Czech friends, Franz heard the words prison, persecution, tanks in the streets, emigration, posters and banned literature, and Sabina appeared even more beautiful because behind her he could glimpse the painful drama of her country…. Sabina felt no love for that drama. Prison, persecution, banned books, occupation and tanks were ugly words to her, devoid of the slightest romantic intrigue.

 

For Franz and Sabina to go on being a couple beyond the first phase of intense erotic attraction, each will have to open up and change, learn to see the world differently. But since, as Ugazio, points out, not everyone is eager to step outside the positions they have grown up with, many relationships will founder on the hazards of “words misunderstood.” So Franz and Sabina eventually break up. Yet that is not quite the end of the matter. After they have parted, Sabina begins to miss Franz. In the Montparnasse Cemetery she suddenly finds herself able to see, perhaps even to feel, cemeteries the way Franz did. To understand where he was coming from. Then she wishes she hadn’t been so impatient with him. The enigmatic episode has prompted a moment of growth.

Tim Parks, The Books We Don’t Understand, The New York review of Books , August 15 2017

(from here) 

The Books We Don’t Understand

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The unseen part of us

“Clarissa had a theory in those days – they had heaps of theories, always theories, as young people have. It was to explain the feeling they had of dissatisfaction; not knowing people; not being known. For how could they know each other? You met every day; then not for six months, or years. It was unsatisfactory, they agreed, how little one knew people. But she said, sitting on the bus going up Shaftesbury Avenue, she felt herself everywhere; not ‘here, here, here’; and she tapped the back of the seat; but everywhere. She waved her hand, going up Shaftesbury Avenue. She was all that. So that to know her, or any one, one must seek out the people who completed them; even the places. Odd affinities she had with people she had never spoke to, some women in the street, some man behind a counter – even trees, or barns. It ended in a transcendental theory which, with her horror of death, allowed her to believe, or say that she believed (for all her scepticism), that since our apparitions, the part of us which appears, are so momentary compared with the other, the unseen part of us, which spreads wide, the unseen might survive, be recovered somehow attached to this person or that, or even haunting certain places, after death. Perhaps – perhaps.”

Virginia Woolf, Mrs Dalloway 

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The incentive for writing

Viet Thanh Nguyen’s assertion (Critic’s Take, April 30) that a writing workshop “can be a hostile place for women and people of color” no doubt has its degree of truth, but I want to say it can also be a place where the ideas of the very same people are treated with careful attention and respect.. . . women and minority writers, even in hostile cultures, have burdens similar to those the rest of us have: to discover what they didn’t know they knew, and to make something memorable out of whatever it is that’s important to them, whether it’s an act of revenge or a walk in the woods.

Stephen Dunn, May 12 2017 Letter to the Editor The New York Times from here

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A universal truth to be reckoned with

[There is] a truth that sits beneath the surface of the twin, universal facts of our beginnings and endings: the unequivocal triad of mother-father-self. Whether that triad is sturdy or broken, bonded by biology, affection or both, it’s one that most of us must reckon with, in some shifting fashion, all of our lives.

Cheryl Strayed on Richard Ford’s Masterly Memoir of His Parents May 1, 2017 The New York Times (from here) 

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The most difficult things to tell

The writer  pushes ‘the protagonist much farther than I thought I myself, writing, could bear.

Leda says:” The most difficult things to tell are those which we ourselves can’t understand.”

It’s the motto — can I call it that?— which is at the root of all my books.

Writing should always take the most difficult path. The narrating “I” in my stories is never a voice giving a monologue; she is writing — that is, struggling to organize in a text what she knows but doesn’t have clear in her mind.’

Elena Ferrante, Frantumaglia: A  Writer’s Journey, p 257

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Giving up control

My general approach to writing fiction is that you try to have as few conceptual notions as possible and you just respond to the energy that the story is making rather than having a big over plan. I think if you have a big over plan, the danger is that you might just take your plan and then you bore everybody. I always joke that it’s like going on a date with index cards. You know, at 7:30 p.m. I should ask about her mother. You keep all the control to yourself but you are kind of insulting to the other person.

In this book, [Lincoln in the Bardo]  the only thing I knew at the beginning was that Lincoln had to come and hold Willie’s body and then he had to stop doing that. And that it had to happen in one night. Then the whole thing became more about orchestrating the motion through the graveyard, and the motion through the graveyard would tell me who could talk and who you encountered. Something like that. (from here)  George Saunders interviewed by Kate Harloe in The Rumpus Interview , Feb 20, 2017

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Doubt in literature

. . . all the most convincing works of literature must possess an element of doubt. That is the calling card with which they delicately persuade us to open our doors to them; it is the proof that they do not intend to deceive us. And if this is true at the beginning of a novel, a story or a poem, it is even more noticeably true  at the end. A question will always hover over the authoritative author’s conclusions, so that they are not merely conclusions, but also an opening out, a releasing of other possibilities.

Wendy Lesser, Why I Read, p 100

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The fertility of doubt

 . . . . she “trumpets doubt and ambiguity, not because we are incapable of knowing things,” but because “doubt is fertile.”

Vivien Gornick , reviews Siri Hustvedt’s, A Woman Looking at Men Looking at Women in The New York Times, December 16th 2016

(from here)

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The holder of secrets

[A hospice chaplain reflects]

There are so many secrets out there in the world. I carry around some of them, secrets that have  been entrusted to me by patients and family members. Most of them are personal secrets about the teller, secrets about things they did, things they thought or felt or wished, things they didn’t think they could ever tell. Things that happened to them, things done to them when they were small, or helpless, or desperate. Secrets about the self.

But some of the secrets I’ve been privy to were elaborate, family-held secrets. Secrets with multiple participants and levels of understanding. Secrets held across generations that demanded that children be complicit in their own shame. . . .

Because that’s what secrets are about — shame.  (p 37)

Kerry Egan,On Living , Penguin 2016

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Story

‘On a Swiss holiday in 1937, Liz Jenson’s grandmother and nineteen-year-old uncle had a row. He stormed out and vanished. Four days later, she was found dead. Eighty years on, the family is still in the grip of the mystery.’ The Guardian 26 September 2016

‘In his book Into the Silent Land, the neurologist Paul Broks writes: “When we see the brain we realise that we are, on one level, no more than meat; and on the other, no more than fiction.”

More than ever, I feel the truth of that. Death is rarely the end of any story. The dead are silent – yet they speak to us. Stories are born of our attempts to answer the questions they provoke. Where there is a void, our brains rush in to create a truth. As if by doing so we can bring back the missing, resurrect the dead’

Liz Jenson, Death in The Alps: A Double Family Puzzle. (from here) 

https://www.theguardian.com/lifeandstyle/2016/sep/24/death-in-the-alps-a-double-family-puzzle

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