Looking at Life Off Kilter

“It was the living who ignored the strange and wonderful, because it was too full of the boring and mundane. But it was strange.”

Windle Poons had that realization while he was munching on celery in the dark lying in his coffin shortly after his burial.

Let’s back up a bit. Reaper Man, by Terry Pratchett, beings with Death being fired from his job. Apparently Death had developed too much of a personality (he is one of the most amusing characters in Discworld, after all), so the Powers That Be decide to forcibly retire him, both from his job and his existence. But, alas, you don’t just replace Death with any old person, so it takes some time for a new Death to appear. What happens in the meantime?

The hour glass for the old wizard Windle Poon’s life runs out during the interregnum. But, if there is no Death, what happens when you die? Fortunately, you don’t have to experiment yourself; it turns out you become something not quite like a zombie, not really dead, but also not really undead, just sort of in between dead and undead.

There is one huge advantage to this state (well besides the opportunity to munch on celery in your coffin): you notice things.

And it suddenly dawned on the late Windle Poons that there was no such thing as somebody else’s problem, and that just when you thought the world had pushed you aside it turned out to be full of strangeness. He knew from experience that the living never found out half of what was really happening, because they were too busy being the living. The onlooker sees most of the game, he told himself.

There is much wisdom in Windle’s post-life pre-death reflections. Life is indeed strange, but we the living have a hard time noticing it because we are too busy with the mundane details of living.

Living does involve a lot of mundane things. Eating, Sleeping, Bathing, Dressing, and Tearing Unwanted Plants out of the Ground. Much like a Left Guard or a Third Basemen, when you are in the Game of Life, you have a hard the seeing the whole game. Marching along in our tiny little ruts in life, we do indeed have a hard time seeing how our little ruts fit into the larger traffic system.

Thoreau screamed at you about the life of quiet desperation you are leading. He wants you to break our patterns. Go life in a cabin in the woods for a couple of years. Or whatever. Just get out of your rut. You read Thoreau and sigh, “That seems a tad bit extreme.”

Terry Pratchett has a simpler solution. Just step outside yourself and notice that life is strange and wonderful. For a moment, look past all the boring and mundane things you have to do today, and look around until you notice something really, really odd. Think about that oddity for a bit. Then, laugh.

This is exactly what Pratchett does in every one of the Discworld novels. Take some really boring part of life or some well-known story, and turn it ever so slightly until it is not quite on its normal axis and then look at it afresh. It will look a bit funny when you do that.

Consider: have you ever really thought about shopping carts? Have you ever noticed how they are constantly trying to escape the buildings in which they are housed, rushing out to vehicular traffic hubs perhaps in the vague hope that maybe they will be liberated by a passing vehicle or pedestrian? Or maybe some of them are hoping to be struck by a vehicle so they can end their miserable lives. Have you ever realized that the Store sends out humans to round up the escaped shopping carts and connect them in a chain gang and forcibly move them back into slavery inside the Store where they will be eternally pushed around by people who never give a moment’s thought to the welfare of the shopping cart? Pratchett noticed that. Think about that the next time you are in a Store. Imagine your shopping cart is sentient. Really, try it out. What is the harm in imagining this? Are you afraid you might laugh?

Life doesn’t have to be boring and mundane. No matter what you are doing today, you can always look at it a bit off kilter and laugh. It is a much better way to go through life, after all. And it may even have Divine Sanction. As Chesterton notes in Orthodoxy:

And as I close this chaotic volume I open again the strange small book from which all Christianity came; and I am again haunted by a kind of confirmation. The tremendous figure which fills the Gospels towers in this respect, as in every other, above all the thinkers who ever thought themselves tall. His pathos was natural, almost casual. The Stoics, ancient and modern, were proud of concealing their tears. He never concealed His tears; He showed them plainly on His open face at any daily sight, such as the far sight of His native city. Yet He concealed something. Solemn supermen and imperial diplomatists are proud of restraining their anger. He never restrained His anger. He flung furniture down the front steps of the Temple, and asked men how they expected to escape the damnation of Hell. Yet He restrained something. I say it with reverence; there was in that shattering personality a thread that must be called shyness. There was something that He hid from all men when He went up a mountain to pray. There was something that He covered constantly by abrupt silence or impetuous isolation. There was some one thing that was too great for God to show us when He walked upon our earth; and I have sometimes fancied that it was His mirth.

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The Great Movies?

Terry Pratchett had an uncanny ability to isolate an aspect of the world, turn it inside out and drop it into the fantastical world of his creation. The result is inevitably an amusing tale, littered with enough slightly more than thinly veiled references to keep your brain locked in looking for the jokes. Underneath the narrative is a substantive point. It really is a rare talent.

Moving Pictures takes on Cinema. An old man guarding a secret dies, and the next thing you know, people are flocking for reasons they do not understand to Holy Wood in order to follow a dream they never knew they had of creating and starring in the clicks, a sort of moving picture which will be shown on large screens to people eating Banged Grains. Seems innocent enough, right?

Ah, but it is not. It is dangerous. Very, very dangerous.

Supposing there was somewhere reality was a little thinner than usual? And supposing you did something there that weakened reality even more. Books wouldn’t do it. Even ordinary theater wouldn’t do it, because in your heart you knew it was just people in funny clothes on a stage. But Holy Wood went straight from the eye into the brain. In your heart you thought it was real. The clicks would do it.
That was what was under Holy Wood Hill. The people of the old city had used the hole in reality for entertainment. And then the Things had found them.

Movies are not like books. That is a trite observation. But, people who write books have long been warning that the advent of this new type of entertainment is going to kill the book, and when the book dies, Civilization dies. Pratchett is offering an explanation about why movies are so dangerous. (Unrelated note: Pratchett writes books.)

As even semi-regular readers of this space know, I am a fierce advocate for reading the Great Books. You don’t need to only read Great Books, but your life will be fuller, richer and more enjoyable if you regularly read them. A question which often comes up is why Books? What if one were listening to Great Music or viewing Great Paintings? Is that the same? As good? This question is difficult, but seems answerable. Yes, listening to Bach or standing before a Michelangelo sculpture has merits akin to reading Shakespeare or Dante. The experience is different, and it provides an interesting twist to the parlor game of ranking Great Books authors. Is Dickens or Austen the superior novelist? Is Dostoevsky or Stravinsky the superior artist? Enjoy.

But, whenever I have had this discussion with students, the conversation inevitably turns to movies. Is there such a thing as The Great Movies? I don’t mean are there movies which are better than others (obviously there are) or movies which are philosophical (again, yes). The question is whether there are movies that can make a claim to being as Great as the Great Books. Is The Godfather a Great Movie in the same way that The Aeneid or Canterbury Tales or The Prince are Great Books?

There is no doubt that great (small-g) movies can be analyzed for their artistry and themes. It is easy to imagine a fascinating discussion, even a good college level course, on the movies of Hitchcock or Coppola. The question is not whether there are things in Vertigo or Apocalypse Now worth discussing. There are things worth discussing everywhere you look. Agatha Christie and Louis L’Amour have amazing bodies of work, but I have never heard anyone make the claim either one wrote Great Books.

Why do movies feel different than books? That is what Pratchett is getting at in the passage above. A book must be filtered through the mind. At a minimum, the squiggly lines on the page must be interpreted by the brain to conjure up words and then sentences and then ideas. Even the most passive reading requires the mind to be working at interpretation and analysis. But, a movie? Can a movie bypass the entire cognitive realm and enter straight into the heart? Are movies so immersive that they can be absorbed unconsciously? And if so, what does that do?

To get at this question, consider three movies which I have recently seen, each of which can stand in for a type of movie

1. Killer Bean Forever. You have probably never heard of this movie. (If you have, I pity you.) A former student told me about it after her boyfriend told her she needed to watch it because it is the best movie ever made. (As I told my former student, it is time to upgrade her boyfriend.) The movie is unwatchable. It has a curious history. Jeff Lew, a name you have never heard, made this film all by himself. It took five years. It is an animated tale about a coffee bean who, like James Bond, scurries around fighting evil coffee beans.

What is curious about this movie is that it is not just my former student’s boyfriend who loves it. It is a cult classic, complete with the modern sign of cultural relevance, a zillion memes. It is a trivial matter to mock this movie, but the more interesting question is wondering why anyone would watch it, let alone love it, let alone, at great risk to his relationship, convince his significant other to watch it. It is 90 minutes which could be spent reading a book. If you want the whole James Bond vibe, Ian Fleming is right there on the shelf. It you want corny jokes, there is Terry Pratchett, whose worst joke is better than anything this movie offers.

Yet, people watch Killer Bean Forever. A perfect example of truly Mindless Entertainment. It is hard not to despair thinking about movies like this.

2. Les Miserables. Another former student has spent years trying to convince me that Broadway Musicals are the highest form of art imaginable. Now theater is not the same as movies (as Pratchett notes). But there is a movie of Les Miserables. I finally watched it. Unlike Killer Beans Forever, this movie was a Hollywood spectacular with a cast of movie stars. It was nominated for Awards, Big Awards, and even won a few.

The summary: watching it is an endurance test. I can see how someone obsessed with Broadway Musicals would be glad that Hollywood took notice and made a Big Budget Production. A person like that might be able to see through the movie for a sort of second-hand enjoyment of the beloved Broadway show. But, for someone just watching the movie, with no particular fascination for the original musical, there is nothing here worth seeing.

The plot is like watching a Spark Notes version of Hugo’s massive, sprawling novel. The novel is a Great Book (if you get past the fact that it really needed an editor to cut the length down by at least a quarter). The movie strips out most everything, leaving bare bones. The cast looks good on the screen; these are stars. The problem: most of the cast cannot sing. For a movie in which all the dialogue is sung, this is a real problem.

Why do people watch this movie? The movie could remind you of a Great Book. It could remind you of a magical night you spent seeing the production on Broadway. Maybe you just like seeing movie stars in elaborate costumes. The movie is, in other words, Spectacle. You could watch Hugh Jackman playing Wolverine or Jean Valjean, and your choice is primarily going to be driven by whether you would rather see him with Steel Claws or wearing a Top Hat. There is nothing Great about this movie. Spectacle is simply a way to pass a couple of hours which will be enjoyed by people who enjoy this sort of thing.

3. Citizen Kane. If any movies are going to make a claim to be Great, surely this one would make the cut. When the American Film Institute made its list of the 100 Best Films, Citizen Kane topped the list. It is thus as close to Officially the best movie ever made as a movie could be.

I watched it for the first time years ago. It bored me to tears. I rewatched it recently. It is not as boring as I thought. To enjoy it, however, you have to sit back and absorb the artistry. It is wonderfully crafted. Orson Welles is clever, both as a director and an actor.

The movie can be enjoyed and it can be analyzed. A conversation about Citizen Kane could sound similar a conversation about a Great Novella, but not a Great Novel. Thinking about Citizen Kane makes it obvious that movies are simply too short to be compared to David Copperfield or Middlemarch.

Even making the comparison to a shorter book, however, there is still the very real difference in the experience. It is, as Pratchett noted, true that the movie just bypasses the critical facilities on its way into the memory. You watch a movie. After it is done, you could take apart the movie and analyze what you have seen, but the experience of watching a movie, even an extremely well-crafted movie, is more passive than reading even the most generic genre fiction story you could find.

Is Citizen Kane a Great Movie? The longer I think about this, the more skeptical I become. Most movies are either the Mindless, truly Mindless, productions like Killer Bean Forever or Big Budget Spectacles like Les Miserables. But, even films which might rise above Mindless or Spectacle are viewed in the same manner. I think Pratchett may be onto something is asserting that movies are not like books at all, that movies weaken reality by going straight from the screen into the brain. You sit back and absorb a movie. You can’t sit back and absorb The Brothers Karamazov or War and Peace.

If true, the implications of this for the future of Western Civilization are, to put it mildly, troubling. What happens if a generation rises up that spends so much time watching Hollywood productions that it loses the ability to read?

The Wishing Game

Let’s play the “You get three wishes” game.

(And, yes, “ixnay on the wishing for more wishes.”)

Here is the challenge:  Can you craft a wish which cannot be subverted?

Terry Pratchett’s novel, Eric, is, like all Discworld novels, a mash-up parody of innumerable other things. In this case, the primary objects of mockery are Marlowe’s Doctor Faustus, Homer, the Aztecs, and Dante.  As with all Discworld novels, it is marvelous fun.

In the novel Eric tries to summon a demon so he can get his three wishes.  He makes his wishes and in every case, while he technically gets his wish, it isn’t what he really meant.  That idea has been done many times in other stories.

Here is the twist.  It turns out there is a demon who has the job of figuring out how to subvert wishes.  You make a wish, and this demon then thinks about your wish and figures out how to simultaneously grant you your wish in the technical sense that you have to admit your wish was granted, but making sure it is not what you really wanted.

I hereby invent a new parlor game.  (Wait.  Does anyone else call these things parlor games anymore?)

I hereby invent a new Card game which for $24.99 you will be able to buy on Amazon.  Each card comes with a wish on it.  Players then compete to come up with ways to grant the wish, but do so in a way that it is very unappealing to have the wish fulfilled.  Something like Apples to Apples or, even more accurately, that Dictionary game where you come up with fake definitions. 

Good times for all. 

Anyone who wants to actually develop and sell this game, let me know.

Here is the first challenge:  I wish someone would come along, take this idea, sign a contract with me, causing me to get fabulously rich off of the royalties from this game. 

Your job:  figure out how to both technically grant that wish, but make sure that I will not be happy that my wish was granted.  You can use the comments section below for your ideas.

Reversing the question, though, is where this gets philosophically interesting.  Can you think of a wish which could not be subverted?  When I try to do that, I realize that the wish starts sounding like a legal document.  Does the genie who grants wishes accept 50 page legal documents for each wish?

Why is it so hard to simply state a wish?  Why are our wishes so complicated?

Eliot wrote (in East Coker):

I said to my soul, be still, and wait without hope
For hope would be hope for the wrong thing

Is that the same idea?  Is the problem that when I think about wishes for the future, I actually do not know what I want?

I wish to be happy.  So, like Job, I am happy right before my world crashes down. 

I wish to be permanently happy.  So I spend my life consuming lotus plants or some other narcotic. 

I wish to be happy because I have cultivated virtue.  Does that work?  

The problem with wishes of that last type is that they are wishes for a state of internal thought.  To the best of my understanding of the three wishes game, you only get to wish for external things, things of the sort a genie can create.  Wishing for happiness is cheating.

So, if I am limited to external things, do I have any idea what it is I actually want?  Do you?

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