We’re all after the truth. It’s programmatic to any inquiry. But it can often take a back seat to alter-narratives. Self-preservation is a basic instinct; inciting action often through a paralysis of comportment. This has become intrusively put to me as circumstance challenges my default mode…ad infinitum….
can be none, but grows as inevitably upon itself
as the truth does upon itself,
of the earth does.
—But it must be realized;
spirit of man? or in the meat and blood?
myself, I see that there are really no liars or lies
what are called lies are perfect returns,
has preceded it,
much as space is compact,
the truth—but that all is truth without excep-
It’s funny how language conjures emotions quite unexpectedly. I say “mummy,” and my eyes swell with tears, and yet “mom,” “mother,” sit in chambers of detachment, leaving me quite prepared to deal with loss.
August, 13, 2018 10:45 am mom passed. She had been ill for quite some time, and I’d hoped for her suffering to end sooner rather than later. Ratiocinated comportment never prepares you for loss, however. One simply learns to live with it.
Mom had her demons, and not always the easiest life. She did, however, teach my brother and I compassion, especially for the “underdog.” She was an exceptionally beautiful woman – turquoise eyes, deep black hair, and a figure to die for (she was often confused for Elizabeth Taylor, in fact). Strangely, she never owned it. Like most things mom had an air of confidence somehow intermingled with a palpable sense of self-doubt. She was the greatest mom for a teen, for though she had a rather parochial and conservative upbringing, she pushed the envelope and was …well, counter-cultural!!!! She was especially sensitive to the plight of women and the first to introduce me to Simone de Beauvoir’s The Second Sex. My mom, as most women in Greece of her generation, didn’t finish high school, so I was especially proud when she returned to university to complete her Bachelor’s in Music at Concordia Univeristy and her MA in teaching at McGill University. Later we’d relocate to Greece where she opened her own Music School and later acquired her certification in Music Therapy. She volunteered for decades at the Dafni Psychiatric ward in Athens and worked with addicts, and Down’s children whose lives were significantly altered. I’d, in fact, witnessed the results of a number of so-called “lost cases” she treated privately over many years, and again, I was left in a state of awe. She had an uncanny way of being able to enter the psychic world of intra-personal anguish and translate that musically. It was remarkable to witness.
My best memories are of mom with a guitar in her hands, and me sitting on the floor in front of her, listening and singing along. She’d teach me to sing the second voice to a song, and we’d practice, joyously, hours at a time. Often the convo turned cerebral and mom would play a classical piece, or one of her own, and she’d ask me to affix a narrative that matched the mood. We’d analyze the meaning and consider the human condition through music. It was a wonderful introspective exercise that brought us close.
The proliferation of ideas since the invention of the printer has aided the task of informing and moving people to action, but we are only now beginning to see the infectious dangers of bogus and hateful distortions of current affairs, philosophical ideas and the history of human understanding that the world-wide-web has brought.
There are thousands of websites on or related to Stoicism today, but not all are created equal. One in particular was brought to my attention by Pharos, Stoicschool.org (see Stoic School), which deploys Stoicism to insidiously moralize some of the most questionable views related to White Supremacy. My issue, Pharos’s issue, is not (at least not today) with White Supremacy per se, but with the exploitation, and distorted application of Stoic philosophy to support their agenda.
But you make up your own minds.
Here’s a link to Pharos’ post Stoic Philosophy Masking Hate
I’m missing you before i go. There’s nothing quite as profound as the experience of loss in moments of completeness. i know you like to say that “everything happens for a reason,” and are disturbed when i bring an entourage of philosophical claims to dismantle your hopes, but know this: i often feel that everything that has happened in my life was so that I’d find you! Enduring life without you only makes sense when i remind myself that real love is not lived out in the everyday, trite and mundane. The Dionysian before the Apollonian – as my Dionysis reminds me! For all possible worlds…
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of being and ideal grace.
I love thee to the level of every day’s
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for right.
I love thee purely, as they turn from praise.
I love thee with the passion put to use
In my old griefs, and with my childhood’s faith.
I love thee with a love I seemed to lose
With my lost saints. I love thee with the breath,
Smiles, tears, of all my life; and, if God choose,
I shall but love thee better after death.
(Elizabeth Barrett Browning)
I’d posted this on LinkedIn:
Is it not outrageous that we baffle over the transparent and innocuously purport to narrate the opaque?
To which I received the reply:
Elly, this is rather opaque.😌
And I thought; Perfect! It’s perfect because the surface reading of my post is accusatory in tone; specifically, exhortative with regards to those who are obscurantists, and yet, it is a species of it’s kind; i.e. it is itself opaque. The meaning of the fist part of the phrase then alters in meaning such that, in fact, no assertion is transparent; everything is subsequently a matter of interpretation. Accepting this, the original accusatory tone withers to make room to a host of multiple meanings negotiated for dialogical partners.
The larger picture tells the story of how “there are no facts, everything is interpretation,” leaving the transparent conspicuously opaque. What is it about linear, economized language, that suggests transparency; a single, objective rendering of truth? There is danger in this presumptive paradigm for unlike poetic verse that leaves unconcealed its opacity, begrudging those of simpler, more literal tastes, the scientific, fact-imploring, modality conceals its metaphysical landscape from view, as if unapologetic-like, truth is its proprietary alone. Is this exposition itself also evaluative, leaving therefore a resurgent relativism to contend with? There is a way in which ‘everything is relative,’ but that is only uninterestingly so; i.e with a spatial-temporal stamp. Everything that is anything is something because we make it so. What we see is not a mechanical representation of the world as is. This has been obvious to philosophers since Thales; I might even say it was obvious to my children by the time they were ready to talk; i.e. they were quite equipped to address the discrepancy between appearance and reality, believing and knowing. Still how we entertain this seemingly obvious set of binaries is where all the conversation is being had.
Philosophers are pretty much in agreement that the world out there as is, is beyond human understanding. I’ve gone over this debate in other posts, so I’ll resist repeating myself. Instead, I’d like to address the style of calibration defined by the word. I like the way Danto puts it in his analysis of Nietzsche – From Reading Nietzsche.
The psychology of the metaphorical address is, since metaphor is a rhetorician’s device, that the audience will itself supply the connection withheld by the metaphor, so that the rhetorician opens a kind of gap with the intention that the logical energies of his audience will arc it, with the consequence of having participated in the progression of argument, that audience convinces itself. There is another but comparable psychology of the aphorism, namely that once heard it is unlikely to pass from recollection, so its pointed terseness is a means of ensouling the messages it carries, and to counteract the predictable deteriorations of memory. So it is a natural instrument of the moralist.
Jennifer Fox’s documentarian style drags our visceral intuitions (or, at least she did mine) from a safe distance, alert, transfixed into that intra-personal dialogical space, fluid, personalized. The space is translucent as it navigates between the phantasmal and the real, the past and the present, the child and the adult. It’s a story within a story embedded in a story; multiple perspectives drawn from this intra-personal dialogue resentful of those inter-personal inquisitions (mostly with her partner) seemingly standing objective privy to a clear sighting of sexual abuse. Nietzsche says, ‘perspectivity is the fundamental condition of life,’ and by this I suspect he meant more than just that “we tell ourselves stories in order to live.” We all see things, adopt or acquire a perspective from a relative vantage point.
The parable of old tells a telling tale of its own. Blind men come to “see” this ‘elephant’ from their perspective, privy to only fragments of its physical instantiation in the world, and each goes away exclaiming what they had found: “it’s a spear!,” “it’s a fan,”, “it’s a wall,” “it’s a rope,” “it’s a tree,” “it’s a snake”! Self-limiting in our engagement, only a God’s eye view could ever become acquainted with the infinite possible perspectives from which it would be experienced. And yet, this is only part of the story ( 😉 ). The foreground alerts us not only to selectivity, but also to a modality of meaning, without which no thing ever experienced would be anything at all. Someone can be heard saying: “get things into perspective,” suggestive of a narrow stance, and with it the implicit accusation that “however things may come to be perceived relative to your engagement, some perspectives are better than others.” Optical perspectivism seems uncomplicated and only obviously true, except when one takes seriously the exclamatory claims: “it’s a snake!,” “it’s a tree!,” and so on. Indeed it is the very thing Plato would plant in our minds to have us question the relationship between what one says and how things are. After all, it is an elephant that each in her turn only fragmentarily perceives from her vantage point, coming to the mistaken viewpoint that the object that she has on her hands is a snake and not an elephant. The illustration is misleading, however. Any sensible object is tied to its background or context – there is no Godly view from which one could possibly take in all infinite perspectives – and the nexus of meaningful relations amongst other objects in the world, including oneself. Perceptual experience is always interpreted within a rich context of signs that signal a perspectival view of the the world. Why is breaking up frames of experience at the outlined periphery of said elephant more true of how the world is experienced than breaking it up at the outmost regions of one’s perceptible frame such that what you see in not an elephant at all but a landscape?
Optical perspectivism is similar to perspectivism tout court which argues that there are many possible conceptual frameworks or perspectives from which judgments of truth or e-valuations can be made. In the absence of “objectivity” or any definitive way in which the world can be said to be, is there a measure of “truth”?
Nietzsche, as others that mount some relativistic or contextualized view, argues both against all arrogant attempts at delineating what is objectively true, and in favour of more sophisticated, perspectival versions of the truth.
“Perspectivism.” It is our needs that interpret the world; our drives and their For and Against. Every drive is a kind of lust to rule; each one has its perspective that it would like to compel all the other drives to accept as a norm. (F. Nietzsche, The Will to Power, §481)
The Tale is a narratival story that finds confident, successful, unorthodox Jennifer (played by Laura Dern) for years hibernating in a parable little Jenny (played by Isabelle Nelisse), her 13-year old intra-dialogical partner, schemed. She was one of 5 children, the eldest, and essentially invisible in a home wrecked with havoc. Bill (played by Jason Ritter) – her assailant – and Mrs. G (played by Elizabeth Debicki) – co-conspirator (?) – opportuned her rite of passage into womanhood, and at long last centre stage to her own life, she no longer experienced herself as a spectator inadvertently marginalized.
Jenny’s essay, tells the Tale that comes to unravel Jennifer who’d been left with an idyllic story of her first sexual experience with an older man. Later she’ll accuse little Jenny for leaving her to believe it was “a good thing”. Scenes of a caring man, Bill, patiently and lovingly (?) preparing little Jen for full penetration leave one feeling uneasy, especially when the face, the look, of this child and her tiny body are perceived underneath his full-figure. At first Jenny felt seen, visible for all the attention. She thought she’d been singled out; that she was special. They treated her like an adult, and she found strength and composure in that. Jennifer, reluctant, yet nonetheless discombobulated, turned suspecting when seeing the child-like figure of her 13-year old self was actually quite petite, still wearing the “innocence” of childhood. Jennifer looked to unravel the meaning of her Tale, for it was clear to her adult sensibilities that things were not quite as the story was told. Her mother was instrumental in moving Jen-nifer to face her assailant; but Jennifer wasn’t looking to accuse or condemn anyone. She wanted to understand why these people were so important to her, she wanted to unravel her story. For if there is one thing that rang true, it was that she was not a victim. She was not taken advantage of; she was not mistreated, she was not demeaned, she was not raped. When her mother asked, ill-heartedly but somehow prompted by the (seeming?) voluntary nature of her daughter’s sexual relation-ship, “did you enjoy it?,” Jennifer in a state of uneasiness, was clear that she did not. “I was a kid. I got something else. Love. I wanted to feel special,” she said. Her body knew first; her mind would only follow 30 years later. Hours of fornicating were followed by nights hanging over the toilet, vomiting through the night, until exhaustion would take her. Soon her wariness would turn existential nausea, and prompted by suspicions of a planned threesome, a weekend away together with Bill and Mrs. G, was cancelled. The day after we see Jenny, full-faced, serious, confident, talking directly into the camera: “I’ve made a decision. I am taking my life in my own hands.” She would end things with Bill. She called to inform him she wouldn’t be seeing him again, severing ties with both Bill and Mrs. G. She tells of how he begged her, cried, and she imagined that he’d never get over her, sending postcards to her deep into her adult years. This is the story she told herself. And so, the summer spent on the farm was described as heaven.
What did wee Jen have at her ready? What inventory of truths might Jennifer unravel to draw out the perspective she’d entertained? Jenny will come to tell Jennifer that the Tale was only a version of the truth. Premonitions voiced by adult Jennifer coming in as if a sage to caution her younger self could not be heard. Of course not. This was not Jenny’s truth, not even any of multiple intra-personal versions of her truth. For how could it be? Jenny’s horizon of meaning was indeed that of a precocious teen, self-affirming in her advocacy of self, yet emotionally starved.
“The claim that truth is found and that ignorance and error are at an end is one of the most potent seductions there is. Supposing it is believed, then the will to examination, investigation, caution, experiment is paralyzed…“Truth” is therefore more fateful than error and ignorance, because it cuts off the forces that work toward enlightenment and knowledge.” (F. Nietzsche. The Will to Power
Inexperienced Jenny, Jennifer would be heard saying, was a child of the 70s, a time sex was not moralized, “forced” penetration not demonized. The perspective coasts the waves of sexuality from within a fluid movement of self-expression, exploration, mind-expansiveness, openness, and contra-labeling attitudes. Bill would be patient and loving (I know this is not what readers will find easy to hear as they want to shout “Rapist!,” but it is not how Jenny experienced herself. It would be negligible, I suspect, even within the context of mental health and personal development, to impose an exhaustively simple narrative on Jenny) as he prepared her both emotionally and physically for intercourse. She would be the one to plead with her parents to spend weekends alone with her “assailants.” She’d experience herself as grown up and in charge of her life, for that is how Bill and Mrs. G would speak to her. Bill would entreat her to question the conventionalism of marriage and the like as a species of social tyranny (too strong?). She’d see herself as counter-cultural in her affairs, distinct, empowered, authorially driven. First vocalized in due difference to her family, and later as she severed ties with Bill, climaxing in The Tale she would tell – she would not experience herself as anything short of autonomous!
It is, as with all things, a matter of negotiation. For short of discursive fluidity, that beautiful, charming, magical force of energy coagulates, eventually becoming dense, hard matter that in time builds walls. “A lie is an outward expression of a falsehood one inwardly knows to be false, meaning the liar can still know the truth. A conviction, on the other hand, is an inward certainty one has attained the truth, and thus in many cases, gives way to an arrogance that enmeshes one in a web of delusion and falsehood, and cuts one off from the possibility of moving towards knowledge” (unknown source 😦 ). Was Jenny violated? Was she actually taken advantage of? Did she in her desperation to be seen confiscate autonomy to do her bidding? Of course, but also not at all! 13-year old Jenny’s perspective experiences herself within a paradigm of constructs that nurtured a sense of authentic emancipation from literally marginalizing and alienating circumstance. She did not, could not, experience herself as Jennifer now 30 years later could. We may certainly speak to the delicate age of Jenny, circumstance that made her vulnerable to the likes of Bill, but that would also only be to hear the story from Jennifer and our own adult, particularized sensibilities, leaving Jenny quite invisible all over again. An imposed silence upon her carefully crafted script is not to emancipate Jenny from extrinsic forces but to leave her quite without voice. To Jennifer. Does she now within her adult comportment experience herself, through this visceral reenactment of her youthful self, as violated? She’d struggle through the entire film with answering that question for herself.
In an aphorism entitled “To What Extent The Thinker Loves His Enemy,” from Dawn of Day, Nietzsche advised:
Make it a rule to withhold or conceal from yourself anything that may be thought against your own thoughts. Vow it! this is the essential requirement of honest thinking. You must undertake such a campaign against yourself every day.”
Tiny revelations contrary to that more idyllic picture would eventually come to canvass a grander/eur perspective and a Truth, a Tale, that could no longer be squandered, snuffed out by paradigms so inhospitable to what she’d seemingly known all-along.
Jennifer would finally piece the puzzle together. She’d find her assailant. Mrs. G, once a stunning woman of elegant composure and vibrancy, now a rag-doll of questionable lucidity, would tell her nothing. She’d have to put her journalistic expertise to the quest and extract the truth from detractors, restrainers, and oppressors of the truth. Clues brought her to a young woman recruited to enjoin the threesome, now turned preschool teacher, who would, herself shocked to know Jenny was but a child (the school age of her students) at the time, reveal the true dynamics of the affair. Mrs. G was the recruiter who’d bring conquests to Bill’s bed. Neither overtly criminal in demeanour. Both, in fact, ingratiating, mentoring, caring. It is only her adult sensibilities that see the sinister undertow enveloped in preying upon the gullibility of the emotionally frail. Bill’s warmth is chillingly experienced by adult viewers, but Jenny would not want to betray the respect they’d shown her by bowing out of this adult affair, and behaving, as it were, as a child!!!!!! This Jennifer would slowly, shrillingly, come to experience in herself, reaching a climax in a very public confrontational scene with Bill where, desperate for closure, would seek to understand how Bill (a grown man), with her present-day, now adult, sensibilities, could possibly prey upon the youthful innocence of a trusting little girl! Closure would not come as he’d insist, telling his own tale, that she was a willing participant! Shrunken and defeated, she would find no restitution in her tale.
My take away is that we all hibernate in perspectives weaved into our living lives, making it our Truth, our Tale. Glimmers of light sneaking in illuminating what lies beneath seems inescapable, even when repressive impulses may continue to win the day. For Jennifer it was her mother, The Tale, penned by her younger self, that awoke her to the fable she’d learned to call home. I suspect, the Tale, shall be retold many times over, when life experience occasions retrieval and renegotiation in that lifelong process of recalibration!
I stand with a cast-away heart and a delicate psychical world firmly in the act of incertitude that everything is a miracle. The standard price for authenticity? Inner turmoil! I’ll take it! To Nietzsche: I shall ‘make it a rule never to withhold or conceal from myself anything that may be thought against my own thoughts. I vow it! This is the essential requirement of honest thinking. I aim to undertake such a campaign against myself every day.’ (F. Nietzsche, Dawn of Day)