Tag Archives: Kurt Vonnegut

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Meat and more: You are more, but not less than, your body… and Christmas shows why ‘meat’ matters

“People need to realise it doesn’t matter what living meat skeleton you’re born into; it’s what you feel that defines you.” — Victor (in the video below)

This is Victor. Victor identifies as non-binary, and this BBC video features Victor explaining a little bit of life from a non-binary perspective. It did the rounds on social media recently. It’s an interesting and increasingly common account for what it means to be human. Victor’s account of what it means to be human is this: you are a feeling mind with a meat skeleton; but the real you is the ‘feeling mind’ part — your consciousness — and your body might get in the way. If that happens then feelings (your choice) trump meat (an unchosen thing you’re born with).

It’s true that we are both mind and body, maybe even ‘soul’ and body… and our accounts of what it mean to be human need to reconcile these two realities in a way that helps us make sense of our experience of the world, and in a way that helps us figure out what to do when our bodies and minds seem to be in conflict.

One of the things I’ve spent this year reading about, thinking about, and writing about is how Christians can respond with love and understanding to the growing conversation about gender identity and gender fluidity. A paper our Gospel In Society Today committee (a thing I’m on for the Presbyterian Church of Queensland) has put together on this issue will be released soonish, but this video was one of the stranger and more worrying parts of what is a complicated issue where one’s gender identity is not necessarily as simple as a binary view of either physical sex and gender makes out. Being human is not quite as simple as Victor suggests. Extrapolating an understanding of humanity and what a flourishing human life looks like — what shape our identity takes — from the experience and feelings of particular individuals (or any individuals) is not a great way to do anything (this is also true from the direction of ‘cis-gendered’ people backwards too, where ‘cis’ is a pre-fix for those whose physical sex and gender identities line up). We often have a tendency when dealing with the complexity of human existence to assume our experience is both normal and should be ‘the norm’ and that’s dangerous.

The view of what it means to be human that Victor in this video puts forward is an unfortunate extrapolation from the real felt experience of the few to the many. Your body isn’t just a ‘meat skeleton’ with the real you somehow immaterially enshrined in this skeleton; you are your body. There’s something a bit appealing to this idea, not just as it applies to the gender conversation but because our bodies are limiting when it comes to what we imagine flourishing to look like. I want to be healthy and fit; but my body lets me down in that I get sick and injured. I want to be able to go wherever I want, whenever I want, but my body can only occupy one place at any given moment, and my moments are limited. I want to be immortal, but my body is on the timeline to decay. I do want to be able to escape the constraints of my body; humans yearn for that; particularly we want to escape from the bits of our bodies that are broken and dying. It’s nice to believe that our minds are somehow the real us; that the real us doesn’t decay, disappoint, or die; it’d be nice if our bodies were just meat skeletons that we could augment or change based simply on how we feel without that impacting ‘the real us’ (except as we bring them in line with the real us).

But this idea that we’re just our ‘feelings’… that our bodies don’t really matter… This is the gnostic heresy of the secular age. And it’s not necessarily a great ‘secular’ solution to issues like gender dysphoria or gender identity either (though solutions that don’t deal with us as ’embodied beings,’ the idea that our bodies are able to be ‘unbroken’ via our minds, or that someone can simply ‘think themselves’ into a solution aren’t very useful either, but that’s a rabbit hole for another time). Victor also assumes a radical disconnection between our bodily experience and our minds that doesn’t seem to stack up with modern neuroscience (which suggests what we do with our bodies impacts our minds) either, but again, that’s another rabbit hole.

The secular age is a label philosopher Charles Taylor uses to describe our current western world’s grand organising narrative; its ‘myths’; its account for what human life is; and thus what a flourishing life looks like. The secular age involves the death of the soul as a concept, because it involves switching a view of the world where both the spiritual (or transcendent) and material (or immanent) are real and important for a world where only the material matters. This leaves us with an interesting account of our human experience and what it means to be really human. Our new post-soul way of understanding the world from this immanent viewpoint replaces the ‘soul’ with the mind. We now see ourselves as immanent creatures and any gap, or conflict, between mind and matter in our experience will be left for us to figure out as we come up with a story that explains how to be human.  In this video with Victor it seems this movement involves creating a new duality between mind and matter — or your feelings and your body (how you feel things apart from your senses and the chemical make-up of your brain (and how that might be influenced by the activities of your body) is something not totally fleshed out in Victor’s anthropology).  Victor’s story is a story like this; in Victor’s account human history has been oppressive because we’ve understood physical sex (matter) and gender (mind) as being things that are best held together; or understood as being a single thing when real enlightenment allows us to see them as they truly are — different — so that true freedom is somehow found in transcending our ‘matter’ so that our sense of ourselves is found in our mind. Only, because the transcendent no longer exists as a spiritual account of reality that overlapped the material so that both were true and held in tension;  this transcendence comes from making one part of us less meaningful as we make the other bit more meaningful. Victor sees the material and the mind being, at times, in competition, and as a result says “you are defined by what you feel.”

Gnosticism was an early Christian heresy built from Plato’s understanding of reality. Plato taught there is a ‘spiritual’ world of ‘ideals’ and a ‘material’ world of ‘forms’ and the truest reality is the spiritual one, and the physical stuff is broken, and non-ideal, and to be transcended. Gnostics applied this to Christianity and came up with the belief that our bodies are utterly broken and sinful and awful and dirty and to be transcended. It taught that you were a soul; and that you were lumped with a body. The soul trumped the body. The body was a meat skeleton to be escaped from.

It’s the same story Victor is telling; this idea that you’re much more than a meat skeleton, if you’re even a meat skeleton at all. This ‘meat skeleton’ phrase reminds me of a couple of passages from three of my favourite ‘secular’ stories by three secular age writers; William Gibson, Kurt Vonnegut, and David Foster Wallace.

William Gibson’s Neuromancer which explores what might happen if we rely on technology to replace the transcendent. In Neuromancer you can get a chip implanted in your head that allows you to jack-in to cyberspace so that your body exists in the physical world (meatspace) while your mind is in cyberspace. Prostitutes in this world can hire out their bodies while their minds are occupied in the cyber world; so they’re called ‘meat puppets’… which isn’t so different from Victor’s ‘meat-skeleton’ only in Victor’s account your mind is the puppeteer, in control of your meat, not someone else. Case, the protaganist, was a cyber-cowboy (a hacker) who lost his ability to be part of cyber-space but is given it back in order to complete a big hack; he’s torn between two worlds; two realities; the transcendent reality of cyber-space and the physicality of meat-space; without spoiling things too much this para is from near the end of the book:

“No,’ he said, and then it no longer mattered, what he knew, tasting the salt of her mouth where tears had dried. There was a strength that ran in her, something he’d known in Night City and held there, been held by it, held for a while away from time and death, from the relentless Street that hunted them all. It was a place he’d known before; not everyone could take him there, and somehow he always managed to forget it. Something he’d found and lost so many times. It belonged, he knew – he remembered – as she pulled him down, to the meat, the flesh the cowboys mocked. It was a vast thing, beyond knowing, a sea of information coded in spiral and pheromone, infinite intricacy that only the body, in its strong and blind way, could ever read.” — Neuromancer

Somehow Gibson is convinced that the body matters. Kurt Vonnegut explores the idea that we’re both ‘meat’ and ‘soul’, and that the key to happiness (and to seeing others properly) is about understanding each, then aligning them, in his novel Bluebeard. The main character, artist Rabo Karabekian, moves from this almost gnostic belief that they’re separate and irreconcilable; but that the soul is the true self to something that sees them as working together. So there’s this dialogue, where :

“I can’t help it,” I said. “My soul knows my meat is doing bad things, and is embarrassed. But my meat just keeps right on doing bad, dumb things.”

“Your what and your what?” he said.

“My soul and my meat,” I said.

“They’re separate?” he said.

“I sure hope they are,” I said. I laughed. “I would hate to be responsible for what my meat does.”

I told him, only half joking, about how I imagined the soul of each person, myself included, as being a sort of flexible neon tube inside. All the tube could do was receive news about what was happening with the meat, over which it had no control.

‘”So when people I like do something terrible,” I said, “I just flense them and forgive them.”

“Flense?” he said. “What’s flense?”

“It’s what whalers used to do to whale carcasses when they got them on board,” I said. “They would strip off their skin and blubber and meat right down to the skeleton. I do that in my head to people—get rid of all the meat so I can see nothing but their souls. Then I forgive them.”

At this point Rabo is operating with the belief that the soul is the ‘true’ self and the meat gets in the way… but he’s brought back to reality (or to real reality) in the closing words of the book; when he’s forced to see that when he makes art it’s actually his soul and meat working together (in a passage where the critique of trying to hold body and soul apart is a bit similar to some stuff Irenaeus wrote against the Gnostics in the second century). His art studio is a potato barn.

”Your meat made the picture in the potato barn,” she said.

“Sounds right, “ I said. “My soul didn’t know what kind of picture to paint, but my meat sure did.”

“Well then,” she said, “isn’t it time for your soul, which has been ashamed of your meat for so long, to thank your meat for finally doing something wonderful?”

I thought that over. “That sounds right too,” I said.

“You have to actually do it,” she said.

“How?” I said.

“Hold your hand in front of your eye,” she said, “ and look at those strange and clever animals with love and gratitude, and tell them out loud: ‘Thank you, Meat.’”

So I did.

I held my hands in front of my eyes, and I said out loud and with all my heart: ‘Thank you, Meat.’”

Oh happy Meat. Oh happy Soul. Oh happy Rabo Karabekian.

David Foster Wallace explores the relationship between the body and something more than the body at the heart of our humanity through the lens of learning to play tennis in both his celebrated essay on Roger Federer published as “Roger Federer as Religious Experience” in the New York Times (but as the title essay Both Flesh and Not in that collection of his articles and essays), and in his novel Infinite Jest which features a tennis playing prodigy as one of the protaganists. Wallace was, himself, a competitive junior tennis player so you sense that some of his insights into what it means to be meat are autobiographical; what’s a bit different is that Wallace seems to assume that you are first your physical body; that meat matters, and even that anything more that is out there is fed and cultivated by what we do with our ‘meat’… what we give ourselves to. With tennis as a bit of a metaphor for the life well lived, he explores the idea that transcendence is found by pushing our well-trained muscle-memoried bodies to new heights via the imagination; our bodies somehow show our minds what is possible because they act as some sort of sub-conscious us. 

“Tennis’s beauty’s infinite roots are self-competitive. You compete with your own limits to transcend the self in imagination and execution. Disappear inside the game: break through limits: transcend: improve: win. Which is why tennis is an essentially tragic enterprise, to improve and grow as a serious junior, with ambitions. You seek to vanquish and transcend the limited self whose limits make the game possible in the first place.” — Infinite Jest

Then when Hal, the tennis prodigy, is being coached. His coach says the key to a sort of ‘flourishing humanity’ starts with our ‘meat’; that we’re meat first:

“‘Boys, what it is is I’ll tell you it’s repetition. First last always. It’s hearing the same motivational stuff over and over till sheer repetitive weight makes it sink down into the gut. It’s making the same pivots and lunges and strokes over and over and over again, at you boys’s age it’s reps for their own sake, putting results on the back burner, why they never give anybody the boot for insufficient progress under fourteen, it’s repetitive movements and motions for their own sake, over and over until the accretive weight of the reps sinks the movements themselves down under your like consciousness into the more nether regions, through repetition they sink and soak into the hardware, the C.P.S. The machine-language. The autonomical part that makes you breathe and sweat. It’s no accident they say you Eat, Sleep, Breathe tennis here. These are autonomical. Accretive means accumulating, through sheer mindless repeated motions. The machine-language of the muscles. Until you can do it without thinking about it, play… The point of repetition is there is no point. Wait until it soaks into the hardware and then see the way this frees up your head. A whole shitload of head-space you don’t need for the mechanics anymore, after they’ve sunk in. Now the mechanics are wired in. Hardwired in. This frees the head in the remarkablest ways. Just wait. You start thinking a whole different way now, playing. The court might as well be inside you. The ball stops being a ball. The ball starts being something that you just know ought to be in the air, spinning. This is when they start getting on you about concentration. Right now of course you have to concentrate, there’s no choice, it’s not wired down into the language yet, you have to think about it every time you do it. But wait till fourteen or fifteen. Then they see you as being at one of the like crucial plateaus. Fifteen, tops. Then the concentration and character shit starts. Then they really come after you. This is the crucial plateau where character starts to matter. Focus, self-consciousness, the chattering head, the cackling voices, the choking-issue, fear versus whatever isn’t fear, self-image, doubts, reluctances, little tight-lipped cold-footed men inside your mind, cackling about fear and doubt, chinks in the mental armor. Now these start to matter. Thirteen at the earliest. Staff looks at a range of thirteen to fifteen. Also the age of manhood-rituals in various cultures. Think about it. Until then, repetition. Until then you might as well be machines, here, is their view. You’re just going through the motions. Think about the phrase: Going Through The Motions. Wiring them into the motherboard. You guys don’t know how good you’ve got it right now.” — Infinite Jest

One of the more powerful things about Infinite Jest is that it explores how the addictions that shape our bodies ultimately shape our humanity; and this sort of tennis training is a sort of ‘rightly directed’ addiction (or is it); it seems better than being addicted to drugs or entertainment… two of the other pictures of meat-shaping (or miss-shaping) habits in the novel.

Somehow, for Wallace, we are inextricably embodied; our meat matters because it shapes everything else about who we are and how we flourish; and when we’re ultimately flourishing it’s because our meat and our minds are meeting; intuitively. When everything comes together in this tennis-as-a-metaphor-for-life thing we no longer notice the ‘dual’ reality.

You’re barely aware you’re doing it. Your body’s doing it for you and the court and Game’s doing it for your body. You’re barely involved. It’s magic, boy. — Infinite Jest

And in a moment on the court where things go wrong; when one’s body betrays you and you slip and fall… that’s when we know that our meat matters; that it’s not something to be left behind when we achieve these magical, transcendent, moments, but part of those moments.

It was a religious moment. I learned what it means to be a body, Jim, just meat wrapped in a sort of flimsy nylon stocking, son, as I fell kneeling and slid toward the stretched net, myself seen by me, frame by frame, torn open. — Infinite Jest

For Wallace our bodies, our ‘meat skeletons’, are actually the key to transcendence; not in departure from them but in that they are the key to truly understanding ourselves. He returns to tennis as a lens for that in his Federer essay, where he explores the idea that watching a tennis player who has achieved the sort of bodily self-mastery described in the novel is actually a religious experience as much as the one that he describes in the injury-inducing slip above, but in the opposite direction. We touch something radically true about ourselves when our bodies are vehicles for something more than just ‘the physical’; when our bodies and souls are in sync.

“Beauty is not the goal of competitive sports, but high-level sports are a prime venue for the expression of human beauty. The human beauty we’re talking about here is beauty of a particular type; it might be called kinetic beauty. Its power and appeal are universal. It has nothing to do with sex or cultural norms. What it seems to have to do with, really, is human beings’ reconciliation with the fact of having a body.” — Both Flesh and Not

In the footnotes he gives us this exploration of this embodied understanding of our humanity.

There’s a great deal that’s bad about having a body. If this is not so obviously true that no one needs examples, we can just quickly mention pain, sores, odors, nausea, aging, gravity, sepsis, clumsiness, illness, limits — every last schism between our physical wills and our actual capacities. Can anyone doubt we need help being reconciled? Crave it? It’s your body that dies, after all.

There are wonderful things about having a body, too, obviously — it’s just that these things are much harder to feel and appreciate in real time. Rather like certain kinds of rare, peak-type sensuous epiphanies (“I’m so glad I have eyes to see this sunrise!,” etc.), great athletes seem to catalyze our awareness of how glorious it is to touch and perceive, move through space, interact with matter. Granted, what great athletes can do with their bodies are things that the rest of us can only dream of. But these dreams are important — they make up for a lot. — Both Flesh and Not

This sort of ‘reconciliation’ he’s talking about is the realisation that we’re not simply minds who have meat attached; but rather that our bodies are inevitably part of our humanity (and part of the limits of our humanity in this secular age), and the best vision of human flourishing he can arrive at from that point is not that real flourishing is about detachment from the body, but rather the body and soul working together to make beautiful tennis. Even if those moments are only fleeting and finite.

Genius is not replicable. Inspiration, though, is contagious, and multiform — and even just to see, close up, power and aggression made vulnerable to beauty is to feel inspired and (in a fleeting, mortal way) reconciled. — Both Flesh and Not

For Wallace, watching peak-Federer was a vision of the best that could be achieved in our material world; and hinted at something more. Wallace, more than any other secular age writer, was haunted by ‘the gnawing sense of having had and lost some infinite thing’ (as he put it in This Is Water). Somehow, in Federer and his embodiment (and go read the essay) he finds some sort of solace when it comes to questions of bodily malfunctions, like those we’re confronted with in a broken world filled with broken bodies, like the kid with cancer who tossed the coin in the match he’s writing about, somehow this glimpse of transcendence through the body working in sync with the ‘soul’ and flourishing, somehow that helps Wallace understand what being human; body, mind, and soul, looks like. And it doesn’t come from transcending your ‘meat’ but achieving some sort of transcendence ‘as meat’…  

“[Federer] looks like what he may well (I think) be: a creature whose body is both flesh and, somehow, light.” — Both Flesh and Not

These writers offer a nice ‘secular’ critique of Victor’s belief that we’re minds who need to transcend our meat skeletons. But the Christmas story is an even better critique; and one that affirms the good and true things Gibson, Vonnegut and Wallace are grasping for as they affirm the importance of our ‘meatiness’.

Christmas (and Irenaeus) as the answer to this modern ‘gnostic’ dilemma

The Christmas story is fundamentally the story of God meeting us in our meatiness… in meatspace… to provide this sort of ‘reconciliation’ between body and soul, and between the transcendent and immanent; this isn’t just ‘reconciliation’ in the David Foster Wallace sense of those fleeting moments in this world where things feel right; but a permanent fix that means that feeling isn’t just fleeting. It’s the sort of change that brings the transcendent, supernatural, ‘soul’ reality and the immanent natural material world of our bodies back into harmony in a way that deals with both our impending meaty death, and the ‘gnawing sense’ of having lost the infinite.

The Christmas story was the answer to old fashioned gnosticism; and is the answer to the fears of the secular age and its searching for a way to make sense of our ‘meat’ and our feelings in some sort of ‘reconciled’ order.

The Christmas story, what Christians call ‘the incarnation’ — where the divine ‘word of God’, Jesus, a person of the Trinity, permanently takes on human flesh — has always been the answer to gnostic tendencies; to our desire to find some key to escape the limits of our dying bodies.

The Christmas story — the story at the heart of Christianity; and indeed the heart of what Christians believe it means to be human and to flourish is a radical critique of both gnosticism and this new ‘mind over matter’ vision of the human body as a ‘meat skeleton’ to transcend.

The Christmas story teaches us that to be truly human is to have a body, and a soul. In the Christmas story we meet the truest human. You’re not just a soul with a body either; despite that apocryphal quote reputedly from C.S Lewis. You’re both. Paradoxically. Always.

The Easter story promises us that one day all our Christmases will come at once and our bodies will be made new, reconciled, and paired perfectly, with our souls. We’ll be flesh and light. And we get a taste of that now as we live out, and live in, the story of Jesus. This is the promise of the Christian story, one Paul writes about in 1 Corinthians 15.

The first man Adam became a living being”; the last Adam, a life-giving spirit. The spiritual did not come first, but the natural, and after that the spiritual. The first man was of the dust of the earth; the second man is of heaven. As was the earthly man, so are those who are of the earth; and as is the heavenly man, so also are those who are of heaven.  And just as we have borne the image of the earthly man, so shall we bear the image of the heavenly man.” — 1 Corinthians 15:46-49

This isn’t to disparage our human bodies and the reality of life where our souls and bodies feel conflicted; but to point us to where real reconciliation is found; it’s in the death of death and in our bodies and souls being joined in an imperishable and harmonious way that lines up with the ‘heavenly man’; the one born as a meaty human at Christmas, and raised as a meaty human at Easter.

Gnosticism is actually pretty terrible news for us as humans; it leads to all sorts of awful self-hatred because being ‘meat’ is actually fundamental to our experience of the world and our ability to know things. It’s soul crushing even in its attempt to free us to simply ‘be a soul’… it isn’t a particularly helpful or possible vision of human flourishing whether it’s being pushed by Plato, or the gnostics of the early church (who denied the incarnation because their vision of God wouldn’t be caught dead in a dirty human body), or a modern day ‘non-binary’ philosopher like Victor. We can’t simply escape our bodies or pretend we are something other than our flesh, because we are actually ‘both flesh and not’…

There are very good reasons that gnosticism was viewed as a heresy; it’s actually the same reason that for many years the pre-secular age western world has seen our physical reality and a more transcendent reality both being parts of being truly human. It’s a very good reason it hasn’t been understood as being ‘oppressive’ to link our physical sex with our gender (even if our physical sex is sometimes non-binary, and some individuals do experience gender as less binary than we might). To be human was to be both body and soul; not just a soul with a body. The answer to the experience of individuals with non-binary sex or gender is not to ‘reconcile’ this divide by simply dismissing our bodies as meat to be transcended (or ignored); but rather to hope for soul and body to be brought back together; for those Federer-like moments to be permanent. This was the hope Irenaeus, a guy who wrote Against Heresies as the most substantive critique of gnosticism relied on in countering the belief that the human task was for the soul to leave the dirty body behind.

Irenaeus understood the present human condition as being one where our souls and bodies are ‘separate’ and where our impending death (and constant decay) are part of what creates this divide. His hope was for ‘recapitulation’ or a ‘re-creation’ — an intervention by God to address this divide so that our souls eventually find their right home in a re-created immortal body (Against Heresies Book 2 Chapter 34). We don’t reconcile this separation by denying the reality of body, or soul (or feelings), but by hoping for this re-aligning of the two where the alignment has been affected in our broken world, and the key to this reconciliation is not our own self-mastery of our bodies ala Wallace’s Federer, but the master of body and soul, the maker of our bodies and souls, meeting us in meat space and providing a path to reconciliation with the divine life. That’s the Gospel story; the Christmas story; the story that speaks into what it means to be truly human (even if this all sounds like some weird wizardry or hocus-pocus in our secular age). This was a story the western world took very seriously in understanding what it means to be human for a very long time.

For it was for this end that the Word of God was made man, and He who was the Son of God became the Son of man, that man, having been taken into the Word, and receiving the adoption, might become the son of God. For by no other means could we have attained to incorruptibility and immortality, unless we had been united to incorruptibility and immortality. But how could we be joined to incorruptibility and immortality, unless, first, incorruptibility and immortality had become that which we also are, so that the corruptible might be swallowed up by incorruptibility, and the mortal by immortality, that we might receive the adoption of sons? — Irenaeus, Against Heresies Book 3 Chapter 19

Since the Lord thus has redeemed us through His own blood, giving His soul for our souls, and His flesh for our flesh, and has also poured out the Spirit of the Father for the union and communion of God and man, imparting indeed God to men by means of the Spirit, and, on the other hand, attaching man to God by His own incarnation, and bestowing upon us at His coming immortality durably and truly, by means of communion with God—all the doctrines of the heretics fall to ruin. — Irenaeus, Against Heresies Book 5 Chapter 1

Irenaeus fairly boldly declared that the Gospel story properly understood was enough to ‘ruin’ the gnostic account of humanity; and I think the Christmas story, the story of God-becoming-meat, is enough to answer Victors idea that our meat skeletons are unimportant when it comes to who we really are. You are a body. You are a soul. That these two parts of you aren’t always working in harmony doesn’t mean you need to escape your meat; it might mean that your meat and your soul need some work to reconcile them in a way that allows you to ‘flourish’…

We all feel bereft and have that ‘gnawing sense’ that these dead bodies aren’t delivering for us whether we experience that in the form of our gender not lining up with our sex, or the myriad other things that make our bodies feel like less-than-home; but for Irenaeus the answer to the gnostic desire to escape our meat was the picture of God becoming meat to meet us in our humanity and chart a way forward to our ‘meat’ being redeemed and made immortal; his hope is for the time promised by that first Christmas, when our bodies and our souls would be brought in harmony by the one who made both. Our problem is that the human default after our rejection of God’s design for us is this dying brokenness, where our souls and our matter don’t line up. Christmas, the incarnation, is the first step towards the death of death and the reconciling of our bodies and souls… it’s not tennis that gets us there; though tennis might point us there and be a taste of what’s to come.

Hope for humanity, in Irenaeus response to ancient gnosticism, in the Gospel story, and in a response to Victor’s modern attempt to free us to be truly human by separating ‘meat’ and feelings, isn’t found in departing from our meatiness, but in both being ‘reconciled’ and made new without the presence of death, decay, and disappointment. Without the sense of us not being at home in our broken and dying bodies. That’s the hope of Christmas, where the God who made us takes the first step towards having a human body broken and dying for us…

Here’s a bit more Irenaeus to plough through…

“But if the Lord became incarnate for any other order of things, and took flesh of any other substance, He has not then summed up human nature in His own person, nor in that case can He be termed flesh. For flesh has been truly made [to consist in] a transmission of that thing moulded originally from the dust. But if it had been necessary for Him to draw the material [of His body] from another substance, the Father would at the beginning have moulded the material [of flesh] from a different substance [than from what He actually did]. But now the case stands thus, that the Word has saved that which really was [created, viz.,] humanity which had perished, effecting by means of Himself that communion which should be held with it, and seeking out its salvation. But the thing which had perished possessed flesh and blood. For the Lord, taking dust from the earth, moulded man; and it was upon his behalf that all the dispensation of the Lord’s advent took place. He had Himself, therefore, flesh and blood, recapitulating in Himself not a certain other, but that original handiwork of the Father, seeking out that thing which had perished. And for this cause the apostle, in the Epistle to the Colossians, says, “And though ye were formerly alienated, and enemies to His knowledge by evil works, yet now ye have been reconciled in the body of His flesh, through His death, to present yourselves holy and chaste, and without fault in His sight.” He says, “Ye have been reconciled in the body of His flesh,” because the righteous flesh has reconciled that flesh which was being kept under bondage in sin, and brought it into friendship with God.” — Irenaeus, Against Heresies Book 5 Chapter 14

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3 essays you should read that will help you understand media and the world better

I know. I know. Not much happening in these parts at present. But this isn’t just a token effort. I’ve been reading a bit around that Facebook series I still have to finish (with, incidentally, a list of recommended reading). Anyway. I love long form writing – the sort of thing that is shorter than a book, but longer than your typical magazine feature, and I’ve found these essays particularly useful for thinking about media, and thus, thinking about the world explained by the media people produce. None of these are new. But they are good.

David Foster Wallace, E Unibus Pluram: Television and U.S. Fiction, 1993

This is a fun essay from one of my favourite writers that looks at what an addiction to irony in pop culture does to public discourse. It was written way back in 1993. David Foster Wallace, like Kurt Vonnegut and Nicholson Baker (who essentially ‘reviewed’ wikipedia, and who also reviewed a book about a guy who wrote a book about reading the dictionary), can make a book review of a dictionary something entirely readable and enjoyable (PDF).

E Unibus Pluram is part celebration of post-modern pop culture conventions, part navel gazing, but it is chock full of insights about our relationship with the screens in our lives.

After providing a brief survey of the nature of sit-com humour (back in the 90s), DFW makes this interesting point that gels with all the media ecology stuff you might have paid attention to in that mega-long Facebook series (the premise – the media we consume shapes us in ways we don’t always notice).

“If television can invite Joe Briefcase into itself via in-gags and irony, it can ease that painful tension between Joe’s need to transcend the crowd and his status as Audience member. For to the extent that TV can flatter Joe about “seeing through” the pretentiousness and hypocrisy of outdated values, it can induce in him precisely the feeling of canny superiority it’s taught him to crave, and can keep him dependent on the cynical TV-watching that alone affords this feeling.”

He puts on his prophetic hat a little – remember this is pre-smart phone, pre-flat screen, pre-internet TV…

“The appeal of watching television has always involved fantasy. Contemporary TV, I’ve claimed, has gotten vastly better at enabling the viewer’s fantasy that he can transcend the limitations of individual human experience, that he can be inside the set, imago’d, “anyone, anywhere.” Since the limitations of being one human being involve certain restrictions on the number of different experiences possible to us in a given period of time, it’s arguable that the biggest TV-tech “advances” of recent years have done little but abet this fantasy of escape from the defining limits of being human.”

Neil Postman, Five things we need to know about technology, 1998

Neil Postman wrote a book called Amusing Ourselves to Death which is something of an extended treatment of these aforementioned ideas from David Foster Wallace, combined with a connection to the work of Marshall McLuhan (who coined the term “the medium is the message” – amongst other things).

Postman wrote this nice warning against whole-heartedly embracing technological developments without paying heed to the cost. His ideas, in sum:

“First, that we always pay a price for technology; the greater the technology, the greater the price. Second, that there are always winners and losers, and that the winners always try to persuade the losers that they are really winners. Third, that there is embedded in every great technology an epistemological, political or social prejudice. Sometimes that bias is greatly to our advantage. Sometimes it is not. The printing press annihilated the oral tradition; telegraphy annihilated space; television has humiliated the word; the computer, perhaps, will degrade community life. And so on. Fourth, technological change is not additive; it is ecological, which means, it changes everything and is, therefore, too important to be left entirely in the hands of Bill Gates. And fifth, technology tends to become mythic; that is, perceived as part of the natural order of things, and therefore tends to control more of our lives than is good for us.”

The fifth point is the most interesting.

“Our enthusiasm for technology can turn into a form of idolatry and our belief in its beneficence can be a false absolute. The best way to view technology is as a strange intruder, to remember that technology is not part of God’s plan but a product of human creativity and hubris, and that its capacity for good or evil rests entirely on human awareness of what it does for us and to us.”

J.R.R Tolkein, On Fairy Stories, 1947

This one is a slight change of pace. I hadn’t heard of it until I read a footnote in TheoMedia, but it has come up a couple of times since. It’s worth a read, partly our of curiosity, but partly because if you want to be a story teller it pays to learn from master story tellers… What I really like about this essay (and about the others above) is the link they make between media-making, and media-consumption, and what it means to be human. DFW was an Atheist, Neil Postman was Jewish, and Tolkein a Catholic – but each has something profoundly true to say about our humanity and how it is shaped by what we consume and create.

“Mythology is not a disease at all, though it may like all human things become diseased. You might as well say that thinking is a disease of the mind. It would be more near the truth to say that languages, especially modern European languages, are a disease of mythology. But Language cannot, all the same, be dismissed. The incarnate mind, the tongue, and the tale are in our world coeval. The human mind, endowed with the powers of generalization and abstraction, sees not only green-grass, discriminating it from other things (and finding it fair to look upon), but sees that it is green as well as being grass. But how powerful, how stimulating to the very faculty that produced it, was the invention of the adjective: no spell or incantation in Faerie is more potent. And that is not surprising: such incantations might indeed be said to be only another view of adjectives, a part of speech in a mythical grammar. The mind that thought of light, heavy, grey, yellow, still, swift, also conceived of magic that would make heavy things light and able to fly, turn grey lead into yellow gold, and the still rock into a swift water. If it could do the one, it could do the other; it inevitably did both. When we can take green from grass, blue from heaven, and red from blood, we have already an enchanter’s power—upon one plane; and the desire to wield that power in the world external to our minds awakes. It does not follow that we shall use that power well upon any plane. We may put a deadly green upon a man’s face and produce a horror; we may make the rare and terrible blue moon to shine; or we may cause woods to spring with silver leaves and rams to wear fleeces of gold, and put hot fire into the belly of the cold worm. But in such “fantasy,” as it is called, new form is made; Faerie begins; Man becomes a sub-creator.”

 

“The human mind is capable of forming mental images of things not actually present. The faculty of conceiving the images is (or was) naturally called Imagination. But in recent times, in technical not normal language, Imagination has often been held to be something higher than the mere image-making, ascribed to the operations of Fancy (a reduced and depreciatory form of the older word Fantasy); an attempt is thus made to restrict, I should say misapply, Imagination to “the power of giving to ideal creations the inner consistency of reality.”

Ridiculous though it may be for one so ill-instructed to have an opinion on this critical matter, I venture to think the verbal distinction philologically inappropriate, and the analysis inaccurate. The mental power of image-making is one thing, or aspect; and it should appropriately be called Imagination. The perception of the image, the grasp of its implications, and the control, which are necessary to a successful expression, may vary in vividness and strength: but this is a difference of degree in Imagination, not a difference in kind. The achievement of the expression, which gives (or seems to give) “the inner consistency of reality,” is indeed another thing, or aspect, needing another name: Art, the operative link between Imagination and the final result.”

Those bits are good. These bits are absolute gold.

To many, Fantasy, this sub-creative art which plays strange tricks with the world and all that is in it, combining nouns and redistributing adjectives, has seemed suspect, if not illegitimate. To some it has seemed at least a childish folly, a thing only for peoples or for persons in their youth. As for its legitimacy I will say no more than to quote a brief passage from a letter I once wrote to a man who described myth and fairy-story as “lies”; though to do him justice he was kind enough and confused enough to call fairy-story-making “Breathing a lie through Silver.”

“Dear Sir,” I said—Although now long estranged,

Man is not wholly lost nor wholly changed.
Disgraced he may be, yet is not de-throned,
and keeps the rags of lordship once he owned:
Man, Sub-creator, the refracted Light
through whom is splintered from a single White
to many hues, and endlessly combined
in living shapes that move from mind to mind.
Though all the crannies of the world we filled
with Elves and Goblins, though we dared to build
Gods and their houses out of dark and light,
and sowed the seed of dragons—’twas our right
(used or misused). That right has not decayed:
we make still by the law in which we’re made.”

Fantasy is a natural human activity. It certainly does not destroy or even insult Reason; and it does not either blunt the appetite for, nor obscure the perception of, scientific verity. On the contrary. The keener and the clearer is the reason, the better fantasy will it make. If men were ever in a state in which they did not want to know or could not perceive truth (facts or evidence), then Fantasy would languish until they were cured. If they ever get into that state (it would not seem at all impossible), Fantasy will perish, and become Morbid Delusion…

 

Fantasy can, of course, be carried to excess. It can be ill done. It can be put to evil uses. It may even delude the minds out of which it came. But of what human thing in this fallen world is that not true? Men have conceived not only of elves, but they have imagined gods, and worshipped them, even worshipped those most deformed by their authors’ own evil. But they have made false gods out of other materials: their notions, their banners, their monies; even their sciences and their social and economic theories have demanded human sacrifice. Abusus non tollit usum. Fantasy remains a human right: we make in our measure and in our derivative mode, because we are made: and not only made, but made in the image and likeness of a Maker.

His epilogue is insanely good. I’ve already quoted heaps of him. I know. But this is eminently quotable, and I am guessing you’re not going to click the link and read the whole thing, so here is an only ever-so-slightly abridged version of his concluding remarks.


Probably every writer making a secondary world, a fantasy, every sub-creator, wishes in some measure to be a real maker, or hopes that he is drawing on reality: hopes that the peculiar quality of this secondary world (if not all the details) are derived from Reality, or are flowing into it…

The peculiar quality of the ”joy” in successful Fantasy can thus be explained as a sudden glimpse of the underlying reality or truth. It is not only a “consolation” for the sorrow of this world, but a satisfaction, and an answer to that question, “Is it true?” The answer to this question that I gave at first was (quite rightly): “If you have built your little world well, yes: it is true in that world.” That is enough for the artist (or the artist part of the artist). But in the “eucatastrophe” we see in a brief vision that the answer may be greater—it may be a far-off gleam or echo of evangelium in the real world. The use of this word gives a hint of my epilogue. It is a serious and dangerous matter. It is presumptuous of me to touch upon such a theme; but if by grace what I say has in any respect any validity, it is, of course, only one facet of a truth incalculably rich: finite only because the capacity of Man for whom this was done is finite.

I would venture to say that approaching the Christian Story from this direction, it has long been my feeling (a joyous feeling) that God redeemed the corrupt making-creatures, men, in a way fitting to this aspect, as to others, of their strange nature. The Gospels contain a fairystory, or a story of a larger kind which embraces all the essence of fairy-stories. They contain many marvels—peculiarly artistic, beautiful, and moving: “mythical” in their perfect, selfcontained significance; and among the marvels is the greatest and most complete conceivable eucatastrophe. But this story has entered History and the primary world; the desire and aspiration of sub-creation has been raised to the fulfillment of Creation. The Birth of Christ is the eucatastrophe of Man’s history. The Resurrection is the eucatastrophe of the story of the Incarnation. This story begins and ends in joy. It has pre-eminently the “inner consistency of reality.” There is no tale ever told that men would rather find was true, and none which so many sceptical men have accepted as true on its own merits. For the Art of it has the supremely convincing tone of Primary Art, that is, of Creation. To reject it leads either to sadness or to wrath.

It is not difficult to imagine the peculiar excitement and joy that one would feel, if any specially beautiful fairy-story were found to be “primarily” true, its narrative to be history, without thereby necessarily losing the mythical or allegorical significance that it had possessed. It is not difficult, for one is not called upon to try and conceive anything of a quality unknown. The joy would have exactly the same quality, if not the same degree, as the joy which the “turn” in a fairy-story gives: such joy has the very taste of primary truth. (Otherwise its name would not be joy.) It looks forward (or backward: the direction in this regard is unimportant) to the Great Eucatastrophe. The Christian joy, the Gloria, is of the same kind; but it is preeminently (infinitely, if our capacity were not finite) high and joyous. But this story is supreme; and it is true. Art has been verified. God is the Lord, of angels, and of men—and of elves. Legend and History have met and fused.

But in God’s kingdom the presence of the greatest does not depress the small. Redeemed Man is still man. Story, fantasy, still go on, and should go on. The Evangelium has not abrogated legends; it has hallowed them, especially the “happy ending.” The Christian has still to work, with mind as well as body, to suffer, hope, and die; but he may now perceive that all his bents and faculties have a purpose, which can be redeemed. So great is the bounty with which he has been treated that he may now, perhaps, fairly dare to guess that in Fantasy he may actually assist in the effoliation and multiple enrichment of creation. All tales may come true; and yet, at the last, redeemed, they may be as like and as unlike the forms that we give them as Man, finally redeemed, will be like and unlike the fallen that we know.

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The shape of stories (and preaching)

This little exercise of turning longform radio story-telling ala the internet intelligentsia’s favourite This American Life and others into a scribbles on napkins is nice. Because thinking about how to structure stories is an interesting exercise – for those who like telling stories, reading stories, or, I would argue, preaching. If a significant part of the material we preach from is narrative – and if we have a view of the Bible that sees it as one overarching and intricate narrative telling the story of Jesus from creation to new creation, where we’re invited to pick a side as we read – then why isn’t more of our preaching “narrative” flavoured? I’m not actually sure what that looks like – but I’m pretty sure it’s not a list of three propositions presented propositionally.

Anyway. The napkins. I haven’t listened to any of these (other than This American Life). But they are helpfully described in the post…

“Napkin #1″ is Bradley’s drawing for This American Life, a structure Ira Glass has talked about ad infinitum: This happened. Then this happened. Then this happened. (Those are the dashes.) And then a moment of reflection, thoughts on what the events mean (the exclamation point).”

 

“It starts with a straight line. That’s the opening scene where the reporter introduces listeners to a character often in action. Bradley gives the example of a story about ticks he produced for ATC. In the opening minute or so of the piece, we meet a biologist plucking ticks from shrubs in Rhode Island.

The dip down and up is what Bradley calls ‘the trough.’ “Throw whatever reporting you have into this middle section,” he says. In the “trough” of the tick story, Bradley included info on tick biology, lyme disease, and lyme disease research.

Then, the final line is a return to the original scene. Perhaps time has passed and  the character is doing something new. But, it’s like book-ending a story — end close to where you started. Bradley’s tick story ended back out in the woods with the biologist.”

“The e” is what the Village Voice reporter drew for Bradley many years ago. The beginning of the line is the present or somewhere near the present. (Frankly, you can start wherever you want in terms of time, but the present or recent past is fairly common.) And, typically, there’s a character doing something — a sequence of events.

Then, at the point where the e loops up, the story leaves the present and, perhaps, goes back in time for history and or it widens for context.

When the loop comes back around, you pick up the narrative where you left off and develop the story further to the end. Somewhere in that second straight line the story may reach it’s climax then the denoument or resolution of the story.”

“The first line is the opening scene. Then, it’s followed by history, context…. a widening of the story. Then, a return to the opening scene only further along in time. Then, that’s followed by several characters each of whom have a connection to the story. That’s what the horizontal lines on the right represent.

When I spoke to Bradley about how a story might play out using this structure, he suggested considering a story about Lutheran ministers advocating for same-sex marriage in the church. In the first line, we meet a minister who is in favor same-sex marriage and he’s in church preaching. In the “V” we learn about the history of the issue in the church and the proposed changes. We return to the minister, perhaps at a meeting where he’s advocating his position and that’s where we meet several people linked to the issue and their perspectives.”

 

I also love this Kurt Vonnegut lecture about the shape of stories, which became a nifty infographic.

And then, of course, there is the classicly overthought Dan Harmon – creator of Community – who in order for his show to be so very meta, needs to have a firm grasp not only of how he wants to repackage stories and tropes, but needs to know how the stories he is dissecting work. He reckons there’s one universal story structure. His best tip from this series of posts about his story circle (part 1part 2part 3part 4) is this one, about finding a relatable hook for your audience so they can take part in the story and be moved by it:

sooner or later, we need to be someone, because if we are not inside a character, then we are not inside the story.”

The Circle

Storytelling comes naturally to humans, but since we live in an unnatural world, we sometimes need a little help doing what we’d naturally do.

  1. A character is in a zone of comfort,
  2. But they want something.
  3. They enter an unfamiliar situation,
  4. Adapt to it,
  5. Get what they wanted,
  6. Pay a heavy price for it,
  7. Then return to their familiar situation,
  8. Having changed.

Simplified, his 8 steps look like:

  1. When you
  2. have a need,
  3. you go somewhere,
  4. search for it,
  5. find it,
  6. take it,
  7. then return
  8. and change things.

Harmon reckons almost all good stories follow this pattern – and, in fact, that it is innate.

“Get used to the idea that stories follow that pattern of descent and return, diving and emerging. Demystify it. See it everywhere. Realize that it’s hardwired into your nervous system, and trust that in a vacuum, raised by wolves, your stories would follow this pattern.”

Descent and Return

Why this ritual of descent and return? Why does a story have to contain certain elements, in a certain order, before the audience will even recognize it as a story? Because our society, each human mind within it and all of life itself has a rhythm, and when you play in that rhythm, it resonates.

Now you understand that all life, including the human mind and the communities we create, marches to the same, very specific beat. If your story also marches to this beat- whether your story is the great American novel or a fart joke- it will resonate. It will send your audience’s ego on a brief trip to the unconscious and back. Your audience has an instinctive taste for that, and they’re going to say “yum.”

The return bit is the most important…

“We need RETURN and we need CHANGE, because we are a community, and if our heroes just climbed beanstalks and never came down, we wouldn’t have survived our first ice age.”

 

Some story telling tips

Step 1 – Establish a (relatable) Protaganist:

“How do you put the audience into a character? Easy. Show one. You’d have to go out of your way to keep the audience from imprinting on them. It could be a raccoon, a homeless man or the President. Just fade in on them and we are them until we have a better choice… If there are choices, the audience picks someone to whom they relate. When in doubt, they follow their pity. Fade in on a raccoon being chased by a bear, we are the raccoon… The easiest thing to do is fade in on a character that always does what the audience would do.”

“He can be an assassin, he can be a raccoon, he can be a parasite living in the racoon’s liver, but have him do what the audience might do if they were in the same situation.”

Step 2 – Demonstrate a need: We’re being presented with the idea that things aren’t perfect.”  

“This is where a character might wonder out loud, or with facial expressions, why he can’t be cooler, or richer, or faster… This wish will be granted in ways that character couldn’t have expected.”

Step 3 – Crossing the threshold: “What’s your story about?”

“The key is, figure out what your “movie poster” is. What would you advertise to people if you wanted them to come listen to your story? A killer shark? Outer space? The Mafia? True love? Everything in grey on that circle, the bottom half, is a “special world” where that movie poster starts being delivered, and everything above this line is the “ordinary world.” Step 1, you are the sheriff of a small town. Step 2, strange bites on a murder victim’s body. Step 3… it’s a werewolf.” 

Step 4 – The Road of Trials: preparing for the task at hand…

“Hack producers call it the “training phase.” I prefer to stick with Joseph Campbell’s title, “The Road of Trials,” because it’s less specific. I’ve seen too many movies where our time is wasted watching a hero literally “train” in a forest clearing because someone got the idea it was a necessary ingredient. The point of this part of the circle is, our protagonist has been thrown into the water and now it’s sink or swim.

Step 5 – The opposite of comfort: The climax at the bottom of the circle

“Imagine your protagonist began at the top and has tumbled all the way down here. This is where the universe’s natural tendency to pull your protagonist downward has done its job, and for X amount of time, we experience weightlessness. Anything goes down here. This is a time for major revelations, and total vulnerability. If you’re writing a plot-twisty thriller, twist here and twist hard.

Twist or no, this is also another threshold, in that everything past this point will take a different direction (namely UPWARD), but note that one is not dragged kicking and screaming through these curtains. One hovers here. One will make a choice, then ascend…

Step 6 – heading back up: symmetrical redemption.

“When you realize that something is important, really important, to the point where it’s more important than YOU, you gain full control over your destiny. In the first half of the circle, you were reacting to the forces of the universe, adapting, changing, seeking. Now you have BECOME the universe. You have become that which makes things happen. You have become a living God.”

Step 7: Bringing it back home: This is how the character ends up back where they started, having experienced the rollercoaster (and having been changed by it).

“For some characters, this is as easy as hugging the scarecrow goodbye and waking up. For others, this is where the extraction team finally shows up and pulls them out- what Campbell calls “Rescue from Without.” In an anecdote about having to change a flat tire in the rain, this could be the character getting back into his car.

For others, not so easy, which is why Campbell also talks about “The Magic Flight.””

Step 8: Showing the Change: This is where the protaganist is confronted with an opportunity to show that the ‘journey’ they have been on is worth it.

In an action film, you’re guaranteed a showdown here. In a courtroom drama, here comes the disruptive, sky-punching cross examination that leaves the murderer in a tearful confession…the protagonist, on whatever scale, is now a world-altering ninja. They have been to the strange place, they have adapted to it, they have discovered true power and now they are back where they started, forever changed and forever capable of creating change. In a love story, they are able to love. In a Kung Fu story, they’re able to Kung all of the Fu. In a slasher film, they can now slash the slasher.

One really neat trick is to remind the audience that the reason the protagonist is capable of such behavior is because of what happened down below. When in doubt, look at the opposite side of the circle. Surprise, surprise, the opposite of (8) is (4), the road of trials, where the hero was getting his s*** together. Remember that zippo the bum gave him? It blocked the bullet! It’s hack, but it’s hack because it’s worked a thousand times. Grab it, deconstruct it, create your own version. You didn’t seem to have a problem with that formula when the stuttering guy (4) recited a perfect monologue (8) in Shakespeare in Love. It’s all the same. Remember that tribe of crazy, comic relief Indians that we befriended at (4) by kicking their biggest wrestler in the nuts? It is now, at (8), as we are nearly beaten by the bad guy, that those crazy sons of bitches ride over the hill and save us. Why is this not Deus Ex Machina? Because we earned it (4).”

 What’s cool about this model is that it actually works for telling the story of Jesus. I think. And for telling our own stories. Like I said at the top – I have no idea what this does for preaching – I do believe we’re culturally hard wired for receiving stories, and I think that part of being God’s image bearers means being story tellers, if God is the master story teller who arranged the whole of creation and human history to tell his story, and then arranged for it to be masterfully told in a text that has lasted thousands of years, then something of that is essential to us. We all process our lives and new information through something like a master story too, events are incorporated into this narrative and interpreted through it (that’s why Biggest Loser contestants keep banging on about their journey).

 

Style guide

Kurt Vonnegut was a writer of some repute. His guide to stylish writing is worth familiarising yourself with.

  1. Find a subject you care about
  2. Do not ramble
  3. Keep it simple
  4. Have guts to cut
  5. Sound like yourself
  6. Say what you mean
  7. Pity the readers

Good tips for blogging I reckon.

Tip 6 came with this little gem… for more detail about the other points read the article.

My teachers wished me to write accurately, always selecting the most effective words, and relating the words to one another unambiguously, rigidly, like parts of a machine. The teachers did not want to turn me into an Englishman after all. They hoped that I would become understandable — and therefore understood. And there went my dream of doing with words what Pablo Picasso did with paint or what any number of jazz idols did with music. If I broke all the rules of punctuation, had words mean whatever I wanted them to mean, and strung them together higgledy-piggledy, I would simply not be understood. So you, too, had better avoid Picasso-style or jazz-style writing, if you have something worth saying and wish to be understood.

He’s also written eight tips for writing short stories:

  1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
  2. Give the reader at least one character he or she can root for.
  3. Every character should want something, even if it is only a glass of water.
  4. Every sentence must do one of two things—reveal character or advance the action.
  5. Start as close to the end as possible.
  6. Be a Sadist. No matter how sweet and innocent your leading characters, make awful things happen to them—in order that the reader may see what they are made of.
  7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
  8. Give your readers as much information as possible as soon as possible. To hell with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.