Quintains of the Red Death

And Darkness and Decay and the Red Death
held illimitable dominion over all.

At the last midnight ever to fall,
the clock’s brazen lungs swelled full
and exhaled twelve sonic ebony sighs
that shuddered against the welded gates
and made the airtight abbey shake.

The dancers halted stupefied
and the music hobbled to a hush
at the advent of the uncanny guest
in his cadaverous eyeless mask
clad in the vesture of the grave.

Who presumes, who makes so bold?
Who dares dishonor this masquerade
of laughter and Terpsichore
and lotos-devouring lunacy
with uninvited grief and thought?

So cried the Prince, chasing the stranger
through his seven suites bedight
in lapis blue and lavender,
in emerald and tangerine,
in ivory and heliotrope,

until, in a chamber of sable velvet
glowing vermillion by fiery braziers
shining through panes of tinted glass,
the Prince cornered and challenged him,
guise to guise and mask to mask.

You! Profaner of mockeries,
delinquent in mandatory scorn—
kneel before your sovereign lord;
prepare your flesh for my dagger’s delight,
your blood to quench these stones!

But neither stones nor knife were sated,
and the Prince ached with unbidden sorrow.
How strange, he thought, that any mischance
should visit so noble a potentate,
so wise, so frugal, and so great.

Why, he wondered, should he be sad,
sequestered with his chosen kindred
while the Red Death raged outside?
He gazed upon the faceless stranger,
whose very silence made reply.

You fail to recognize me, sire?
Does the Prince deny his faithful son?
I’ve been too long from home, I fear.
But how could you forget a child
hatched fully grown from your lifeless heart?

You nourished me at your barren breast;
I learned all things at your cruel feet;
all that you are, so I must be;
what your will would have, so I must do;
thus I have served you throughout your realm.

No soul survives in Greed’s dominion;
No children play in the empire of Hate.
No life throbs in the kingdom of Conceit.
Do I appear in the guise of Death?
I am yourself—manifest, incarnate.

The privileged revels now all ended,
the stranger crumbled into dust.
The Prince retraced his wending steps
through the mute particolored suites
and found his merry throng all slain.

But tender no tears for the Prince;
rather you may envy him,
for Hell is Heaven for the Damned.
He abides in welded, airtight bliss
within his castellated walls

roaming among those putrid remains
(worthy companions at long last!)
sheltered forever from all he dreads—
new buds, new blossoms, new hopes, new laughter,
all bourgeoning amid death’s decay.

—Wim

Illustration of Prince Prospero confronting the “Red Death” by Arthur Rackham, 1935

Why do artists …?

Working in isolation and without an ordinary outlet seems to be uncomfortable to lots of people, but might be more familiar for artists and writers. Why have we been doing that kind of thing for so long? The question reminded me of an essay from some years back that took the form of a conversation among people waiting for an art class to begin, as told by a first-person narrator. It was the only piece accepted for this anthology that was told in a creative form.

Here are some lines from the ending of my essay “Reveyesed I’s,” written for the publication Creativity:

Just as Roger and Rose Ellen are leaving together, Roger turns back and looks at Marie. “Why did they persist? Why do you?” he asks.

“What?” asks Marie.

“Why do artists insist on making art, without pay or recognition?” Roger asks.

“Why is art made, when the artist is no longer employed to fill the needs of church or king? Why, when there are no animals to be entranced, no hunting spells to weave by firelight deep beneath the earth? When images can more quickly be made by other means?” the model chants.

“When there is no clear use for what they do?” Roger asks.

“The artist needs to get the intuitions of the mind outside, and see what they look like. Or hear what they sound like,” Marie answers.

“Thoughts grow and change as they emerge. The process of getting the images down is a process of knowing them better. It’s a way of coming to terms with the shifting and expanding nature of reality,” the model says.

“What does creativity have to do with reality?” Kay asks.

“I think that the relationship of art to reality lies in the creative act itself. It’s not in the images or other results produced. The creation of images is part of the learning process, not something carried out after it,” says Marie.

“Just for themselves, then?” asks Roger.

“Oh, no. The response of others adds to the meaning. When readers and viewers make their own meanings, they are also involved in the process,” says Marie. …

“But what does all of that have to do with living in the real world?” Kay asks.

“It is by focusing on the process of creating works of art, and by drawing the viewer into that process, that our arts represent the real world. They reflect the way that we function in that world,” says the model. She returns to her place among the still-life items.

The model sits still for a long moment, then shifts her position. She speaks slowly, “‘No longer to receive ready-made a world completed, full, closed upon itself, but on the contrary to participate in a creation, to invent in his turn the work and the world, and thus to learn to invent his own life.’” She says nothing more. But that last, I am sure, was a quote from Robbe-Grillet. I shall have to look it up.

Marie nods. She gets slowly to her feet and gathers up her belongings. “My grandson is coming for me after class. But that’s still a long time off.”

“I’ll give you a ride home,” says Karen.

“Are there artists now, discovering?” asks Olivia.

“I hope so. I trust there must be,” says Marie. Once more, we glimpse through her glasses the multiple lights reflecting off her eyes.

Karen and Marie go out together. Kay and Olivia remain for a short time, talking quietly. Am I mistaken, or do I see there a slight glitter, a hint of a change in the eyes?

Then they, too, go out into the dark.

(See our Books and Downloads page for the whole essay.)

Pat

The Show Goes On …

Troubled times often lead to exciting innovation in the arts. Right now, creative people are dutifully quarantining themselves, just like the rest of the public. And yet at the same time, they’re refusing to sit back and wait for some kind of magical “all clear” signal before going back to work. This is especially true in the performing arts. Although bricks-and-mortar theaters and other performance venues have gone dark and dormant, there has been an explosion of virtual performances.

Songwriters, musicians, and other performers are going digital and online to reach out to a public that is hungrier than ever for artistic experience. Billboard, Grammy.com, Creative Capital, and other sites keep ongoing, updated lists of online digital artistic events.

I am excited and honored to be involved in an upcoming live, digital theater event. Project Chrysalis 2.0, an evening of staged readings of scenes from new plays, is going to take place online. An excerpt from my award-winning play The Shackles of Liberty will be one of five new works featured. For both rehearsals and performances, participants are working as an ensemble while remaining safely quarantined in their homes. I’m enjoying these unique, innovative, and rewarding rehearsals and am excited about the upcoming performance.

Hosted by the Cary Playwrights Forum, these scenes will will be broadcast live via Facebook Live on Saturday, April 11, at 7:00 p.m. Afterwards, the audience will vote on which play will get a full production. Please join us for this exciting and special event!

Collaboration and Creativity

I’m admiring the RC James song post of Wim’s poem, and other related pairs that show up on the Open Arts Forum (great place for creative people showing work and exchanging ideas). Collaboration can be like a conversation … Hey, is this what you meant? or How about this in addition to/instead of …? That can contribute mightily to creative experience when creativity is understood as not just a search for a way to express something understood but as a way of discovering more about whatever you’re reaching for. Probably musicians, especially jazz-inclined, get this better than those of us who use more stationary media. Not that either way of working replaces the other, but collaboration can open up possibilities in the process. Maybe it also readjusts our sense of how we function in the world.  — Pat

 

Three Double Takes

by Wim Coleman

1 allegretto

A zebra with a party
horn and hat has crashed
your thirtieth. This
creature was your friend
when you were three
and lived beneath the
checkered tablecloth
and would come up
from time to time
to munch with you on
globes of milk-drenched
Too-Sweets, but this
was not to be expected.

Hear the horn &
knit your brow &
turn & see &
nod as if you
understand &
turn away.
Your eyes pop out,
you turn right back
& stare amazed.

*

2 allegro

Her husband has
come back again
as you were raising
up your glasses
in a toast to
one another
naked in white
sparkling wine
swapping an
indecent ripe
Greek olive
faintly tinged
with feta. He
called her from
Tibet an hour ago.
This was not
to be expected.

Hear & turn.
Look & nod.
Turn away.
Beat. Beat.
Face react.
Turn again.
Stare afraid.
Beat. Beat.

*

3 presto

Death
has come
in a fake
tuxedo
t-shirt
with a
chainsaw
while you
were adding
a rhythm
section to
St. Matthew’s
Passion.
He calls
you by
a name
you can’t
pronounce.
This
was not
to be
expected.

Hear. Turn.
Look. Nod.
Turn. Six.
Seven. Eight.
Eyes pop.
Turn. Gape.
Stare. Six.
Seven.

Cold-Blooded Kindness …

Did anybody need a reminder that we’re living through mean times? Whether we needed it or not, we’re getting one right now, as states enact anti-abortion laws that have virtually nothing to do with protecting human life and a everything to do with controlling women’s lives and bodies. What has gone so terribly wrong with our culture?

Aime-Morot-Le-bon-Samaritain

The Good Samaritan by Aimé Morot (1880).

Perhaps our collective empathy is failing us. I’ve certainly thought so for quite some time. So did then-Senator Barack Obama back when he gave a 2006 commencement speech at Northwestern University in which he warned graduates of America’s “empathy deficit” …

[W]e live in a culture that discourages empathy.  A culture that too often tells us our principal goal in life is to be rich, thin, young, famous, safe, and entertained. A culture where those in power too often encourage these selfish impulses.

It’s gotten worse since 2006, as I’m sure Obama would agree. Incivility rears its head all over the place, from hate-filled Trump rallies to petty name-calling and ad hominem attacks on social media. Sometimes it feels like the whole world is descending into what the Indian writer Pankaj Mishra calls the “Age of Anger.”

But is “cultivating empathy,” as Obama proposed, some sort of magic bullet? Maybe—but maybe not. Lately some writers have been suggesting that empathy has its limitations—and also its dangers.

Hanna Rosin recently wrote about the ideas of Fritz Breithaupt, the author of the book The Dark Side of Empathy. Breithaupt turns some of our conventional notions of empathy upside down. For example, while we routinely think of terrorists as lacking in basic human empathy, Breithaupt suggests that they are instead afflicted with an “excess of empathy. They feel the suffering of their people.” Their empathy drives them to commit vicious acts against those whom they suppose to be responsible for inflicting that suffering.

I almost balk at this idea. Still, I’m afraid there’s something to it. Even those of us who are not terrorists can fall into narrow tribalism. It is easy to empathize with people who are like us, and near and dear to us; it is harder to empathize with people who are different and farther away. And this is dangerous. By giving ourselves over to divisive and selective empathy—the kind of empathy that excludes and persecutes the other—Breithaupt suggests that “basically you give up on civil society at that point. You give up on democracy.”

Paul_Bloom_no_Fronteiras_do_Pensamento_Florianópolis_2014_(15062511061)

Paul Bloom
photo by José Luis Somensi

Also, because empathy focuses on individuals, it is just about impossible to exercise in the abstract—which is to say, on any truly large human scale. Empathy is like a spotlight that blinds us to widespread suffering. In his controversial and provocatively-titled book Against Empathy, Psychologist Paul Bloom comments on this “spotlight” problem …

[S]potlights have a narrow focus, and this is one problem with empathy. It does poorly in a world where there are many people in need and where the effects of one’s actions are diffuse, often delayed, and difficult to compute, a world in which an act that helps one person in the here and now can lead to greater suffering in the future.

Bloom is fond of citing a question posed by the Chinese philosopher Mencius: If you are out walking and see a child drowning, what would prompt you to rescue her? Would it be empathy? I can certainly imagine feeling empathy for the child’s pain and terror, and also for her parents’ grief and sorrow should their daughter drown. But when it comes to actually rescuing her, I suspect that Bloom is right in suggesting that I’d rescue the girl because it is simply the right thing to do.

According to Bloom, this may not be an empathetic decision, but it is definitely a compassionate one. We’re not used to making a distinction between empathy and compassion, but they’re really not the same. Bloom quotes a paper by Tania Singer and Olga Klimecki

In contrast to empathy, compassion does not mean sharing the suffering of the other: rather, it is characterized by feelings of warmth, concern and care for the other, as well as a strong motivation to improve the other’s well-being. Compassion is feeling for and not feeling with the other.

Bloom describes this sort of “non-empathetic compassion” as “a more distanced love and kindness and concern for others.” Such compassion involves a level of caring that empathy doesn’t necessarily engage. And because it isn’t easily exhausted, compassion also facilitates sustained, positive action to remedy human suffering.

I can remember my own outrage when the crisis of family separations began at the U.S./Mexico border. Like many Americans, I was devastated by images, videos, and audio recordings of terrified children. But I’ve also experienced a feeling of gnawing helplessness at the sheer number of children who remain separated from their families. My tears did those children no good—but perhaps my modest contributions to the ACLU did. That organization’s tireless effort to reunite children with their families is a task for which empathy seems ill-suited, but for which the more distanced, diffuse, and nuanced emotions of compassion and kindness are essential.

Such thoughts about empathy vs. compassion aren’t exactly new. Zambian writer Namwali Serpell compares Bloom’s notion of non-empathetic compassion with Hannah Arendt’s theory of “representative thinking”

Hannah_Arendt_1924

Hannah Arendt

I find that the best way to grasp the distinction between “representative thinking” and emotional empathy is Arendt’s lovely phrase, “one trains one’s imagination to go visiting.”

I’ve noticed that new developments in neuroscience seem to bear out these ideas. The hormone oxytocin has lately gained what I’m tempted to call “celebrity status.” Because it facilitates empathy, trust, and social bonding, and is released during sex and childbirth, it is popularly known as a “love drug” or “cuddle chemical.” But as sociologist Christopher Badcock points out, oxytocin has a dark side. The empathy that it generates seems to be limited to one’s own group and can actually stir up hostility toward outsiders.

Nevertheless, recent experiments with oxytocin suggest some intriguing possibilities—and maybe even potential therapies. When administered as a nasal spray to human subjects, oxytocin alone does not change preexisting attitudes toward, say, refugees and foreigners. But if a dosage is accompanied by “peer influence” promoting the value of tolerance, subjects show increasing generosity even toward outsiders.

In other words, when administered with a spoonful of advocacy for positive social behavior, oxytocin might help transform “mere” empathy into robust and inclusive compassion. According to researcher Rene Hurlemann, “Given the right circumstances, oxytocin may help promote the acceptance and integration of migrants into Western cultures.”

That’s a tall order. I find it hard to imagine Americans lining up at clinics to get inoculated against xenophobia. Also, the mystique of empathy is so strong that people probably won’t easily give up their unquestioning faith in it. Even when it is painful, empathy makes us feel good about ourselves, promotes a desirable self-image. But there’s a difference between feeling good and doing good, and even between righteousness and doing what’s right.

bernard-shaw-on-self-effacement

Bernard Shaw

I’m reminded of the words of playwright Bernard Shaw, who could be notoriously unemotional—even chilly—in both his life and his writings …

The only aim that is at all peculiar to me is my disregard of warm feelings. They are quite well able to take care of themselves. What I want is a race of men who can be kind in cold blood.

—Wim