Category Archives: the unknown

The need for stories

We all find in others, as we find in ourselves, certain moments of being unreal, of floating free, of not getting to grips. In some people we find it as a whole affliction, someone detached at the very root of existence. We recognise them in the workplace as people with vast schemes that never come to fruition; in relationships, as those who won’t commit to one life path over another. From the parents’ group to the football club, such people, after a period of assessment, are quietly worked around. It is part of the continuous whole-personality assessments we all make of each other, building models, revising them. The fact that we can be “wrong” about someone is a demonstration of the process.

We build such narratives of character all the time. We build them in art, in high culture and popular, and we can go back and forth between the great and the small. As well as the rule of England, Shakespeare’s Henry VI is obviously about the running of a small theatre company – you can hear Shakespeare’s bitching about how hard it is to bring it all together all the way through. The Office, a bitter plaint at the life wasted by time commodified, is about the failure of democratic socialism, from Harold Wilson to the coming of Thatcher.

People have been doing it about Malcolm Turnbull for months now, making stories that explain him out of the things they know. Turnbull is the wanker from head office, the bloke who sold them a timeshare, the guy who seems to have an agenda, teeth-clenched, bearing all before him.

Guy Rundle, Character actors, The Saturday Paper, November 18-24

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The unconscious

It’s hard to escape the conclusion that the unconscious is laboring under a moral compulsion to educate us. (Moral compulsion? Is he serious?) . . . . The unconscious is concerned with rules but these rules will require your cooperation. The unconscious wants to give guidance to your life in general but it doesn’t care what toothpaste you use. And while the path which it suggests for you may be broad it doesn’t include going over a cliff. We can see this in dreams. Those disturbing dreams which wake us from sleep are purely graphic. No one speaks. These are very old dreams and often troubling. Sometimes a friend can see their meaning where we cannot. The unconscious intends that they be difficult to unravel because it wants us to think about them. To remember them. It doesn’t say that you can’t ask for help. Parables of course often want to resolve themselves into the pictorial. When you first heard of Plato’s cave you set about reconstructing it.

….The unconscious is just not used to giving verbal instructions and is not happy doing so.

. . . The unconscious seems to know a great deal. What does it know about itself? Does it know that it’s going to die? What does it think about that? It appears to represent a gathering of talents rather than just one. It seems unlikely that the itch department is also in charge of math. Can it work on a number of problems at once? Does it only know what we tell it? Or—more plausibly—has it direct access to the outer world? Some of the dreams which it is at pains to assemble for us are no doubt deeply reflective and yet some are quite frivolous. And the fact that it appears to be less than insistent upon our remembering every dream suggests that sometimes it may be working on itself. And is it really so good at solving problems or is it just that it keeps its own counsel about the failures? How does it have this understanding which we might well envy? How might we make inquiries of it? Are you sure?

Cormac McCarthy, The Kekulé Problem:  Where did language come from? Nautilus , 20th April 2017 (from  here) 

 

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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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