I have
been thinking on this topic for a long time now, and for the most part, I felt
like I was having some valuable insights and maybe that I’ve stumbled upon
something really important. I felt like I was doing good work, really blazing
some philosophical trails.
That
was a very grand story I was telling myself. At the recommendation of a friend,
I picked up a copy of Jonathan Gottschall’s The
Storytelling Animal: How Stories Make us Human for inspiration on this
post, and quickly realized this is a subject that has been fascinating mankind
for hundreds of years.[1]
There is no small shortage of scholars, scientists, poets, novelists, and
film-makers. On NPR even as I write this, there is a story talking about a
storybook and what messages it conveys to children. There has been no small
amount of thought put into the question of why stories hold so much value for
us humans, and I stand humbly beside the mountain of their work, with but a
pittance to add and probably unoriginal observations at that.
Still…
I want to get some of this stuff out.
So obviously,
my trade as a historian means that above all, I am a purveyor of stories. It’s
right there in the word. It’s the part about being a historian that I relish.
All the hours I spend at the library reading, all the time in the stacks researching,
all the time translating… all of it ultimately boils down to prep work for
telling the best story that I possibly can.
While
my chosen field doesn’t exactly offer the most economically secure career path
in the modern world, I am comforted by the fact that many of the people that I
talk to, after asking me what I do, will tell me “oh I loved history in school!”
Even though there are individual histories that can be extremely dull (for my
favorite chocolate-loving Master’s adviser I once had to read a 300 page
history of coin hordes archeologists dug up in pre-Kievan Russia and what they
largely could only guess that it told us about their society—blech), most of
the time there is just something fascinating about the lives of our
predecessors that is enough to peak our interests. Stories of heroic sacrifice,
injustice and betrayal, good and evil... they are occurring all of the time,
all throughout human civilization. What’s more, they all were real human
experiences, LIVED by their actors, unlike the heroes and villains of our
fictions.
But I
think I may have put the chicken before the egg here. I think the only reason
that people care at all about history stems from the human brain’s desire, it’s
NEED for stories. We start ingesting them almost compulsively from the moment
we have the cognitive capacity to put them together. Children, unprompted, will
create lavish fantasy worlds from scratch from even the slightest of stimuli—a stick
on the ground? It’s a gun, I’m a cop, and you’re a robber. Or maybe it’s a
wand, and I’m a witch, and you’re lost in the woods and I’m going to try to eat
you. Look at me and my friends on a Sunday afternoon: I’m Darian Halfmoon, the
Half-Elf Paladin, the Knight of Sapphires and Champion of the House Sephardim,
and with the help of my friend Janjo Lampte and my frenemy Steris Hardplow, we
will delve the depths of the Repository of Vecna beneath Greyhawk City! (yes,
this was my actual D&D character and plot of the game I was in this summer).
Who knows when stories became such an integral part of the human condition, but
I’m willing to bet it plays a large part in mankind’s evolutionary success
story.
Because stories, it turns out, are
good for a lot of things. They expand our imaginations, help us classify and
share our experiences, store our memories, and, through the timeless dichotomy
of “good” versus “evil,” define our moral compass. The shared experience of a
story can be something that binds us to our neighbors, or to justify our
aversion to outsiders. The way we relate to the world around is largely defined
by the lessons we take from the stories we’re told (and tell ourselves).
Many who know me have probably heard
me rave at one point or another about the work of Neil Gaiman—the author behind
the truly epic Sandman series of
graphic novels, as well as many beloved fantasy books—American Gods, Coraline, and Stardust,
just to name a few off the top of my head (all of which have been deemed worthy
enough by the English pop culture machine to warrant film adaptations). Gaiman
is the Sorceror Supreme of modern storytelling—every one of his works contains
absurd depth and appreciation for the art form. He uses his stories to tell
even more stories, creating a fractal fiction that spans well beyond the pages
on which they are printed. In fact, one of the major themes that runs
throughout his works is the power inherent in stories. It’s through our belief
in their legends that gods draw their power, and only by consciously accepting
the role of the hero that his characters triumph.
One of my favorite pages in all of
Gaiman’s works comes from Sandman,
when the titular character, Dream of the Endless, is talking with prodigal
brother, Destruction, about the nature of their family. The scene is set as the
two walking through a moonlit field above the sea, the two men merely dark silhouettes
against a brilliant and beautiful night sky. The brothers talk as they walk,
headed for an ancient gazebo overlooking the seemingly endless waters of the Mediterranean,
the cool breeze from the East whipping against their clothes. Destruction,
who has tried to leave behind the duties of the Endless (being the embodiments of Destiny, Death, Dream, Destruction, Desire, Despair, and Delirium), is
reflecting on what he has learned from his self-imposed exile. There is a need
for Death, he explains, because without her there could be no appreciation of
life—without Desire, there can be no contentment; without Despair, there can be
no happiness. Destruction himself, though he had grown weary of being the
embodiment of chaos and ruin, realized that he could not simply cease to be, as
then there could be no creation. Dream, forever cynical, asks his younger
brother what he must be the reverse of. Destruction, with the faintest hint of
a smile, turns his gaze to the heavens and answers “Who knows? Reality?”
The idea that the very universe,
that all matter and the laws the govern it, can only be defined by what it is
not (fantasy), has always stuck with me. I hope that my crude rendering of the
scene above, even if you don’t have the context of the greater story in which
it is set, had a certain power to it as well. But I think more than just as a
poignant device in the saga of the Lord of Dreams, Gaiman has pointed to
something extremely crucial. As humans, our realities are invariably shaped by
our fantasies. The world around us is meant to conform to the familiar forms of
story, and we struggle, we REALLY STRUGGLE when it doesn’t. When we can’t make
sense of our reality, our storytelling brains kick into overdrive until we land
on something that makes sense.
While
attending a wedding this year, held in a church. Because the liturgy long ago
lost interest for me, I was instead passing the time gazing at the chapels’
stained glass windows. From a strictly historical perspective, beautiful art
and churches go together hand and hand, because it was much easier to convince
an illiterate peasantry of the glory of god through images rather than words.
It occurred to me for the first time though, while gazing at these visual
representations of stories from the gospel, that it is almost exclusively in
stories in which we express contact with the divine. “The Divine” not as a
specific entity (God, Allah, Christ, Vishnu, what have you), but the Divine in
the sense of the spiritual, of the perfected reality that we assume exists
beyond our world despite the fact that we will never see, hear, or feel it (at
least in the conventional sense).[2]
It occurred to me then that the Divine can ONLY be conveyed in stories—weaved
throughout texts, sermons, images, and even music. It is through stories that
divinity is defined, understood, and passed on to us lowly mortals. It’s an
impulse we as humans have developed in every society or human civilization that
has ever existed, from Lightning=Zeus to Lenin=Socialist Jesus.
This
was the connection that I started to allude to in last month’s post, and that I
knew I would need this post to properly explain. If divinity can only exist and
be experienced through story, I think it stands to reason that we start to look for the divine in stories, even
when those stories are actually histories—real events, real people. The idea of
the revolutionary value structure that places the defense of the revolution at
the top of all priorities has linked the revolution to the divine, just as
kings and queens and God-Emperors have done for centuries before. The
revolution becomes paramount as only it can lead to the realization of paradise
(again, a concept of the Divine) on Earth. Its stewards, like Lenin and later
Stalin, become interpreters of the Divine will, and are therefore above
reproach. This of course is not meant to be put forward as a universal
interpretation accepted unquestioningly by all Soviet citizens, but for
devotees of the party? Of the socialist ideal? Of the divine mission of the
Bolshevik party? These connections hold weight. No matter how much a good
Marxist can believe that “religion is the opiate of the masses,” as
story-hungry human beings we are hard wired to look for a connection with the
Divine, or at least a sense of purpose greater than ourselves, wherever we can
find it…
Despite our belief that it could be
otherwise, the world is still a confusing place, and the stimuli we’re forced
to make sense of just won’t stop coming. Here’s the part of our program where I
sneak in one last story from my days as a construction worker (which have thankfully
now past). I put this here not to deride a person or their beliefs, but to
prove a point—OK, I’m lying: this person was for a short time my supervisor who
I harbor an extreme dislike for. I am most certainly going to gleefully poke
fun at him on the internet, but please don’t let that detract from the point I’m
trying to make.
While
riding with this individual in awkward silence between job sites, I made a
comment about the surprising amount of rain the KC area had gotten over the
weekend, enough to flash flood the Westport bar district. I had hoped to find a
common subject to make small talk about, as I knew he lived somewhere north of
downtown. My supervisor then replied “Oh
yeah, that was crazy! And you know, my wife told me saw CHEM TRAILS in the sky
above town before the rains hit.”
Queue
my stunned silence, as I try to process the information that a seemingly
rational and sane individual is actually a conspiracy theorist.
He
continued: “Do you know about chem trails?” This is a difficult question to
answer. It’s like a Jehovah’s Witness showing up at your door and asking “have
you gotten to know Jesus Christ our Lord and Savior?”—how do you explain that
yes I was raised in the church but no I do not under any circumstances want to
continue this conversation with you because I know where it’s going. Instead of
answering “why yes I am aware of the conspiracy theory known as chem trails!” I
opted to get really interested in something on my phone. Not deterred, the
person whose directions I am supposed to follow then filled me in on how the
government has a machine that can control the weather (possibly connected to
chem trails), and that FEMA death camps have been popping up all around the US
in the last 10 years. Why, you ask? (I didn’t): because “they” are gearing up
for a “massive population extermination.” There wasn’t the trace of doubt in
his mind. These are all stories he actually believed.
“Really
makes you think, right?” he asked. It did, but not in the way he intended. It
got me thinking about just how powerful our belief in stories can become.
The power of stories can be so
easily be used for ill as well as for good. Our willingness to believe in a
compelling story can be a major crutch of the human condition. One thing I’ve
learned from 2016 it’s that we as a society have a hard time dealing with
obvious falsehoods, simply because the way our media strives to tell stories is
through a tone that is perceived as “fair” or “balanced” or “objective.” When
Donald Trump tells a blatant and abject falsehood, reporters have been all too
complacent in disseminating his exact words, allowing his lies to spread openly
(both with and without contention), through what we understand to be
legitimate channels of information. The effect is viral, apparently, because the
proto-fascist elements of American society are all too welcome to accept them
as truth. Here’s a thought, news media: let’s just preface things with the fact
that it is a lie. “Donald Trump then lied about the birther movement being started
by the Clinton campaign.” Don’t let a story form. Just acknowledge the man is
lying. Don’t let him tell a story that we then have to go back and undo.
Stories have power. “His side of the story” has a lot more inherent power than “this
is a lie deliberately told for personal gain.”[3]
Just to see this in action, I’m
going to link a bit the Daily Show did this last week, asking questions to
Donald Trump supporters to find out just what they actually believe. The
results were, of course, horrifying.
So, we’ve
established a few things: stories are inescapable, we as human beings cannot
seem to live our lives without them. Stories also have a discernible effect on
us, though usually not on a conscious level, and have the power to shape the
way we view reality. They can inspire us to shape the world toward an ideal,
Divine state or just as easily turn the world into a horrifying nightmare
scenario. The language we use to describe the world as we see it is couched in
stories, drawn from tales of good versus evil in which we set ourselves as the protagonist!
What exactly does that mean for us to know these things, especially if there’s
really very little we can do to stop it from happening?
For me,
it means trying to think ever more critically, both of the stories I am are
constantly being told to me by the news, by society, by advertisements, and
perhaps most importantly, the stories I tell myself. It means being aware of
the power inherent in the stories that I will tell, especially as I start
teaching my class this quarter and as I write my dissertation, and being
careful in how I try to wield that power. It also means keeping a close eye on
the “good” I hope to do in the world, and realizing that the concept is
subjective, and can therefore always be refined in relation to the “good” as it
is understood by others.
Most
simply though, it means that I’m going to keep rolling dice, developing complex
characters, and constructing massively intricate fantasy worlds in my head in
my free time, because D&D is extremely fun. Who knows? Maybe if telling
histories doesn’t work out for me I can try my hand at fantasy…
Until next time, comrades.
[1]
Special thanks to friend and WSP reader Jordan Robbins for this recommendation
during one of our weekly post-work happy hours. Redeem this footnote for one
beer, if you remind me.
[3]
Side note, this can obviously said about Hilary Clinton, and probably any
politician worth their salt. I choose to single out Trump because I do not like
fascists.