written and posted by members of Lancashire Dead Good Poets' Society

Showing posts with label control. Show all posts
Showing posts with label control. Show all posts

Friday, 27 May 2022

Memory Spins False Worlds


Our fame is as storytelling creatures. Arguably, this is the dividing line between animal and humankind. Our ability to displace ourselves from the present moment even though we inexorably occupy it, and to dwell instead in the folds of the past or fret upon the unfolding of the future – this is what makes us human. It is our birthmark; an almost-irremovable spot that can be the cause of distress or celebration, depending on how we choose to wear it.

You’ve likely noticed it by now. When you pass by people in the street. How some walk with their heads bowed, eyes to the ground, brows tortured by thought, aware of your being only at the minimum level of attention necessary. They are not really where their bodies are situated at all. Their physical surroundings periphery to their actual point of concentration. Auto-pilot episodes, elsewhere minds, bodies locked in cruise control.

Wanderers on some material plane, apparently loose parts in an external, objective world that, for all our understanding, goes on changing largely independent of our inner states. And yet we consistently superimpose our inner states upon this objective, external world.

If the eyes are the windows to the soul, then perhaps we are souls under house-arrest, peering through the looking glass. All too often, our vision is fogged or otherwise restricted. There are only so many angles of perception we can hold at any one time. No matter how we might crane and stretch to attain a better view, we will always have our blind spots.

And there are parasites in our houses too.

Consorts of endlessly transmuting energies and disembodied voices. You cannot outrun them, for you are locked inside this house with them. And to rage against them is also no use. With either strategy, you only succeed in inflating your enemies, helping their shadows loom larger on the wall.

Where we attempt to exterminate one family of thought, we succeed only in ensuring the multiplication of its offspring. It is the myth of Heracles fighting the Hydra. In decapitating one head, several more are sure to sprout in its place. The only proper solution is to face the head of each snake directly and to properly cauterise the wound. But this, it’s a conversation for another time.

If you’re an ordinary human being, the chances are that you’ve been living under this sort-of house arrest like the rest of us. Worse still, you’ve been living there so long, you might have no understanding of your identity beyond the walls which contain you. At its most extreme, this means you cannot separate yourself from where you reside, you might mistake who you are for the very house itself and everything contained within it. This means the disembodied voices - the ghosts haunting its many rooms - are also haunting you.

These unresolved voices of the past become the chorus that fabricate our stories and repeat them back to us. And we become little more than hosts possessed by this echo-chamber, navigating our limited space and time according to the framework set upon us by our store of past experiences. We become aware of our blind reactions only in the playing-out of their consequences, and realise all too late the wisdom in the saying: what you own ends up owning you.

Who controls the past controls the future: who controls the present controls the past.

This, of course, a slice from Orwell’s 1984: a warning about the dangerous mutability of information. It’s an admission from the novel’s totalitarian Big Brother government, otherwise known as the Party, which recognises that in order to exert control over its population they must continually weave a story to which all past evidence corroborates. All evidence of which exists only in records and human memory. The Party must therefore be in full control of all records – doctoring or outright eradicating them when necessary – and also be in full control of the minds of its people – also doctoring or outright eradicating them when necessary.

Implicit in this process is an appreciation that past events have no objective existence. The past is dead and lives on only in the mind. All that truly exists is the present. The Party understands this. Whoever recalls the past has the ability to alter its shape, which – as the majority of people behave according to their past – grants whomever manipulates past events the power to manipulate behaviour in the present. And behaviour in the present creates a predictable pattern for behaviour in the future. Put otherwise, you act in your present according to your past: your present actions build your future. Be cautious therefore, which version of the past you choose to live with.

However, there is an escape hatch here, if you will, a get-out-of-jail-free card. I could tell you, that you, like the Party, are also the governing body with the power to manipulate past events, thereby determining your behaviour in the immediate now. But this seems to be an unnecessary exhaust of energy. Wouldn’t it be better instead to live entirely unburdened by the past?

Read again the statement closely.

‘Who controls the past controls the future: who controls the present controls the past.’

Now, reverse-engineer the equation.

For the past to determine the future, the present must be the direct consequence of the past. Without such a present, the past can have no bearing on the future. It seems to me then, that the present moment is everything, the fulcrum on which a life experience is continuously determined. There is an acknowledgement in this equation: absolute power belongs to whomever dominates the present moment.

And guess what? This anonymous ‘whomever’, that person, is you.

The erudite truth is that you are always occupying the present moment. Though your elsewhere mind might convince you otherwise, you cannot remove yourself from the unceasing now, no matter how hard you try. Whether you realise it or not, your relationship with the present moment is the most significant determinant of your life experience. You can be the victim of circumstance or the manufacturer of circumstance. That choice, ultimately, is yours.

A slight modification of the Party’s statement seems unavoidable for my purposes here. Forgive me, Orwell: I’m aware I’m taking you out of context. But let us say that whilst ‘Who controls the present controls the past’ is indeed true, we can also elaborate, and choose to say: ‘who surrenders to the present is uncontrolled by the past.’

Memories spin false worlds. Unburden yourself. Remove the shackles of the past – loosen them at the least – and your future will become increasingly unconditioned; an infinite sea of potentiality.

Thanks for reading, Josh.

Tuesday, 8 January 2019

What If - Everything Vanishes

 

A Happy New Year to you.

One thing after another has prevented me from being an active blogger in recent weeks. I’m very happy to be back.

I over-think things. I worry. My head is full of the crazy imaginings of ‘worst case scenarios’ and if the thoughts were visible it might look like a flow chart of What Ifs. Actually no, because flow charts are organised and logical, and my mind is not.

The cruel What Ifs are currently busy. Recent health issues made me give in and reluctantly visit the doctor. Tests, then more tests and a hospital referral to reassure me, only it doesn’t  reassure, the prospect is something I find scary and full of What Ifs. These particular What Ifs, dormant during my busy day, line up and take turns to confront me when they are magnified by my tiredness.

A saying from childhood keeps coming back to me, ‘If ifs and ands were pots and pans there’d be no work for tinker’s hands’. I don’t know what it really means, feel free to enlighten me, but I think it’s telling me not to worry about things I can’t control.

Our fourth grandchild, a girl, is days away from being born. She could decide to arrive any time and we are excited to meet her. Our daughter and her partner want me to be there at the birth, as I was for their boys, and I hope I can be. This is another set of What Ifs, dearie me, but these are nice ones.

Here are a few of my worrying thoughts.
 

What if I lose the desire to write?

What if I don’t have the power to fight?

What if the words start refusing to rhyme?

What if I find I’m running out of time?

What if I go off Italian food?

What if my mood is forever subdued?

What if I can’t have Tia Maria?

What if I can’t feel my loved ones are near?

What if I can’t hear the music I choose?

What if there’s no Mozart or Moody Blues?

What if I forget all that I have known?

What if I forget all that I was shown?
 
  
Thanks for reading, Pam x

Monday, 23 April 2012

Guilty Pleasures


Trevor's Living Doll

An irrational fear of pins became a tool for Trev,
who held Barbie each night of their relationship -
from the night at The Hound on that very first date
held her closer than close, as his God given right.

The mucky white van bearing ‘I wish my wife
was as dirty as this’ traded meat from the car park
with girls for all tastes, best in town for the price.

His eyes, like piss holes in snow reduced options
beer goggles meant choices of Exotic or White
were lost on his cash clutching hands in the car park
it was Barbie this time, Barbie caught the most light.

One night as he threw her about, he discovered
crashing through the lampstand forced a peep from her frame
The squeal of sorts met with delight from her master
as he forced the limp torso to play his cruel game. 

The fear was tweaked almost nightly. Curtain poles were swung,
blades brushed and pins; The smallest of pins could prize fear from her lips-
drunken Trev felt as man-God, drunken God-man did this.

The van in the car park became known to the locals
A popular haunt for 'promiscuous sorts'
the dollies were passed hand to hand, girls like Barbie-
guilty pleasures, made for nothing but mass intercourse.




---------------------------------------------

The theme this week is Guilty Pleasures. I was thinking Shakespeare all day, April 23rd being his recognised birthday and all but, it just wasn't working for me. We all know the thing I like doing the most that I don't tell people straight away is poetry and so what other way to indulge that than to write and share something so new it hasn't even made it off the printer yet. There are various shifts in pace, tone and tense to iron out. There are lines to chop, edit and rewrite entirely. There are also some fairly loose ideas knocking about in the piece that I would like to tighten up. This poem will probably be edited into a piece vastly different to what is written here but, as the evening fast approaches, I needed something to share with you guys. 

Cheers for reading,
Shaun.






Sunday, 4 December 2011

A Way of Gaining Control.

05:20:00 Posted by Lara Clayton , , , , , 4 comments

By Heather Peterson


Superstition
BY MARIN SORESCU TRANSLATED BY MICHAEL HAMBURGER


My cat washes
w
ith her left paw,
there will be another war.

For I have observed
that whenever she washes
with her left paw
international tension grows
considerably.

How can she possibly keep her eye
on all the five continents?
Could it be
that in her pupils
that Pythia now resides
who has the power
to predict
the whole of history
without a full-stop or comma?

I
t’s enough to make me howl
when I think that I
and the Heaven with its souls I have
shouldered
in the last resort
depend
on the whims of a cat.

Go and catch mice,
don’t unleash
more world wars,
damned
lazybones!


This poem by Marin Sorescu, a Romanian poet, explores superstition as a need to feel control in a life ruled by chaos and forces far out our hands. Superstition comes from a need to feel that we control our destiny. If we wear our hat tipped at this angle, our team will win. If we wear black socks, our plane won’t crash. Chaos is the only thing encompassing everything, and it is the thing we fight most. Through trivia and habit we try to convince ourselves that we have agency – that our fates are in our hands. Sacrifices to the gods, songs, and prayer: all are efforts to harness the wind, call the rain, weaken our enemies and strengthen our armies.

Superstition comes from a thirst for agency in a world bigger than we are. Notice, though, that while the narrator of this poem begins by saying that the cat can predict war, he comes to blame the cat for her predictions, as if she is causing the war with every lick of her paw. This cat’s “whims” come to decide the fate of all five continents; in this way, the cat becomes like God, on whose caprice all of our destinies are said to rest.

At the end, Sorescu begs the cat to go catch mice, calling her a “damned lazybones”. In a way, superstition is laziness. Rather than making active attempts to change our futures, we imbue minutiae with the power to decide our destinies. Sorescu sits and watches his cat lick her paw rather than doing something.

The word “hubris” comes from arrogance in the face of the gods. Oedipus’ parents, in attempting to manipulate their fate, actually sealed it; had they not left Oedipus in the woods, he would have known them as his mother and father, and Freud would have had to come up with something else to blame for all of our problems. In a way, superstition is a form of arrogance. We believe that some small effort on our parts can have some kind of cosmic effect on the world. We think that dancing with a stick will bring the weather we need, that kissing our finger and tapping the roof of the car will get us safely through the yellow light. But we are just tiny human beings on a giant piece of rock hurtling through space, and wearing our lucky underwear won’t change that.

Religion comes from the need to feel in control, as does art. The early humans painted horses and bison on the walls of barely reachable caves. They didn’t do this for decoration – they did it because they felt that capturing the likeness of something helped give them power over it. Knowing a horse well enough to replicate it on a wall meant knowing it well enough to catch it.

In a similar way, writing is about control. When we can describe something perfectly, so that someone else can read it and know exactly what we mean, we have a certain power over it. By exploring the mysteries of life through words, by capturing the world in all its complexities on the page, we feel we are somehow shrinking it to a manageable size. In Absalom, Absalom! William Faulkner compares life to a horse. We might have the illusion of control as we ride atop it, feeling the reins in our hands, but in the end the horse is stronger than we are: if it decides to throw us off, there is nothing we can do. In the meantime, though, we just sit tight in the saddle and tell ourselves everything will be all right.


Today’s guest post was written by HEATHER PETERSON. Heather recently received an MA in Creative Writing from Lancaster University, and is currently studying for an MFA in Fiction from the University of Florida.