A Movie’s Gorgeous Take on Time, Place, Loss & Gain

February 9, 2021 By David Griesing Leave a Comment

As a kid, I was a digger. Always outside in the meadow that ran the back of my house, in the woods that huddled behind the half-circle of homes down the hill, or even in the less visited recesses of my yard, I was always looking for something “down there.” But I never found anything like the spines of the Anglo-Saxon long ship that were unearthed in the picture above.

In a post from December called Digging for a Sense of Place, I described how I didn’t really find anything you’d call “archeological” until I got to Philadelphia and came upon what might have been an 18^th century kitchen dump beneath our magnolia tree out back. (My home is a block and a half from an historical marker that tells of British troops camping here before the Battle of Germantown, so I suppose the pottery shards I found there could also have been left behind when these very soldiers moved to their next encampment.) Anyway, while thinking about my relationship to the places where I’ve lived, I also saw some of the roots of my commitment to and indifference about the ravages of climate change—and how I might get that wavering to settle down into something more like steady resolve.

Because our plots of land are relative strangers to us, we don’t embrace them with the same protective bonds that draw us, to say, a child under threat. Instead, they are… little more than addresses, places to arrive at or depart from but not necessarily learn more about, even while we’re spending most of our time there.

Maybe because I’d written this post so recently, I couldn’t believe the coincidence when a British filmmaker presented his movie, called The Dig, on Netflix this week. Told with unsettling beauty, it’s a story about the quixotic excavation of an ancient burial mound on a manor estate in southeast England. With remarkable restraint, it uses its Dark Age discoveries to throw the early bombing raids over Britain during World War II (whenThe Dig takes place) into bold relief.

These bombers, like heavy, lumbering cows, crisscross the skies above the excavation site, falling down to earth on one occasion while simultaneously calling more young Englishmen up into the clouds to risk their lives. Much like them, we also need the memories of our place in the world to anchor an uncertain future. With new viral strains announced almost daily and the need to inoculate an entire planet before “normal” or “safe” can return, it still remains unnervingly unclear how any of us will come out the other end. As with the pilots and diggers of rural England in the 1940s, it might get us thinking about what we’d most like to carry with us–what we’d most like to preserve–as we too face the unknown.

This trailer for The Dig will give you the flavor of its juxtapositions on time, place, loss as well as the kind of gain that becomes possible when you seize the day.

Among many other things, this is an actors’ movie, particularly for Mulligan, Barnes and Fiennes.

Mulligan’s Edith Pretty is weighed down by the emotional and physical ailments that have increasingly burdened her since her husband, a soldier himself, died shortly after they married and their son was born. It is her estate that houses the ancient burial mounds, she’s always wondered what secrets they might hold, and perhaps because of her own dwindling, she finally resolves to find out. Mulligan’s startling performance pushes Edith to the boundaries of her fragile condition and to small bursts of vitality beyond it.

Edith finds the complement she needs “for a dig” in Basil Brown, “a self-taught excavator” who knows “everything there is to know” about the ground and soil of Suffolk since, as he takes pains to explain, his hands have been combing through it for over sixty years. A hard-working man, he learns how to find common ground with Edith across the gapping class divides of rural England in a dance of blunt and sometimes comical exchanges. Basil Brown is played by Ralph Fiennes, who has inhabited everyone from Voldermort to Jonathan Steed (the TV Avengers protagonist) and the English Patient in his years playing leading men on the big-screen. Given those marquee roles, his understated Basil is a departure.

When interviewed about it, Fiennes (himself a Suffolk native) said he spent weeks riding an old bike along the country roads of southeast England to refresh his feelings for the place and its rhythms before filming began. In other interviews The Dig’s creative force, Simon Stone, said he encouraged his actors to ad-lib the script when it felt right to them. For the character of Basil in particular, deep knowledge of the land and the freedom to be spontaneous produce a kind of honest power that is evident throughout this performance, which is the best of his that I’ve seen in his long career.

The eight (or so)-year-old actor Archie Brown plays Edith’s son Robert. A dazzling counterpoint to the mumbling Basil and his frail mother, Robert brings the fireworks of childish excitement and gushing enthusiasm to this dig for buried treasure. In their small community quest, he also discovers a father figure, awakening in Basil the best kind of paternalism when the old codger least expects it. A sequence where Robert takes off from home on his bike in search of Basil is gorgeously realized and almost unbearably sad in its desperate longing. But while the buried treasures here are frequently emotional, there are also splendid discoveries to be made as this ragtag band carves its way beneath the ground.

What The Dig’s spirited amateurs discover became known as the Sutton Hoo Treasure, stored in the buried hull of a sixth-century Anglo-Saxon ship to honor a Dark Age king. As a long-time believer in buried treasure, if I have a complaint about this movie it’s that we get to see too little of this magnificent horde—mostly as it temporarily rests on the mossy beds of wooden crates that are placed, one after another, under Edith’s bed, near a suitcase that had been her husband’s.

She ultimately gives the Sutton Hoo Treasure to the British Museum despite sniveling among the “professional” archeologists and museum curators that provide the film’s suspense (“What will become of this magical discovery at a time when we all need to feel the joy of it?”) Representing an almost entirely unknown chapter of the nation’s memory, there is never really any doubt where it’s headed. The Sutton Hoo Treasure will go to the place where the greatest number of Edith’s and Basil’s countrymen and women can gather around its campfire and face whatever tomorrow holds together.

Well into The Dig, Basil’s bedrock of a wife wonders at his conviction and tenacity, over “just how he is,” not really asking as much as telling him: “Why else would you be playing around in the dirt while the rest of the country prepares for war?”

So it’s fitting that his and Edith’s quiet obsessions play out not in a “post-card pretty England” but in more of a dreamscape of grays and ochers during the day or in a nightmare when it’s dark and raining and Basil is trying to pull reluctant tarps over the excavation site despite being blinded by the spattering mud. What’s at stake here is not the rose-colored surfaces of England’s countryside but what supports that splendor underneath: its long buried past and the quiet furnaces that animate the men and women who have lived for centuries “closest to its ground.”

In an echo of the Anglo-Saxon ship that’s being unearthed, my favorite scene in the movie is of a contemporary sailboat drifting along the same nearby river that carried the burial chamber of an ancient king to what might have been his final resting place 1500 years before. It was like a message-in-a-bottle or maybe a promise of things to come. Like Basil for a moment, I could almost hear the past reverberating into the present and maybe even the future.

When you see The Dig, you’ll know what I mean about “how Basil is,” the silent quest that drives Edith, and how valuable spirit voices like theirs might be in each of us too as we worry and wonder about what’s worth preserving in our fragile world today so we can take it into the future.

This post was adapted from my February 7, 2021 newsletter. Newsletters are delivered to subscribers’ in-boxes every Sunday morning and occasionally I post the content from one of them here. You can subscribe too by leaving your email address in the column to the right.

Two Books Worth Reading

September 16, 2020 By David Griesing Leave a Comment

I’ve been reading quite a lot over the past couple of months, and want to recommend two books that have brought me immense pleasure during a challenging time. Each is noteworthy for different reasons.

The first is a page-turner that’s built upon the harrowing but also laugh-out-loud and stop-you-in-your-tracks details its author has unearthed and pieced together around the airborne bombing of London from May, 1940 to May, 1941. The book is Eric Larson’s The Splendid and the Vile, and it features the overheard statements and personal accounts of Winston Churchill (who, at 65, is Britain’s new prime minister when the book begins) as well as statements from his inner circle, family members, earshot diarists and a host of Londoners who were about to experience one of the worst and, on occasion, one of the best years of their lives. I found Larsen’s chronicle both bracing and timely as we absorb 2020’s assaults from a similarly vengeful host of external enemies and personal demons.

My second recommendation engrosses with its high-wire act of storytelling. Apeirogon by Colum McCann uses snippets (a line, a couple of paragraphs, sometimes a photograph) to tell at least 1001 interrelated stories that illuminate, in often magical ways, the central drama that unfolds here. It involves the coming together of a Palestinian and an Israeli father. Each has lost a child in the seemingly endless strife between tribal imperatives, but these extraordinary men somehow manage to find common cause for the sake of their pasts as well as their futures. Given America’s increasingly existential divides, Apeirogon also resonates deeply as we struggle to live and work together sanely today.

Both books are unfortunately titled. Neither what was “splendid” nor what was “vile” about this phase of World War II were nearly as extraordinary as the adaptability, courage, sense of humor, ambition, discipline, personality, or throbbing humanity of London’s inhabitants during the Blitz. For its part, “apeirogon” is a word that would stump even a crossword puzzler. It’s defined as a structure with too many sides to count, and therefore apt given McCann’s seemingly endless angles into his central story—but it too fails to suggest the emotional depths that he manages to reveal here. Don’t be put off by the titles of either book.

Here are a few more words about The Splendid and the Vile and Apeirogon that might convince you to dive into one or both of them.

It is personal diaries and memoirs, some of them newly available, that give The Splendid and the Vile (“The S&V”) it’s wonderfully intimate and telling point of view. For example, take this recollection from the early summer of 1940. Churchill is anticipating the fall of France from the advancing Nazi forces as well as the first bombing raids over Britain: “the softening up” that would precede the expected German invasion. Despite his worries about his nation’s ability to stand against the Nazis alone—the US is still publically proclaiming its neutrality and isolation—Churchill had no doubt whatsoever that if anyone can lead his country in its darkest hour it is him, and he revels in his self-confidence.

Some of the best passages inThe S&V interweave the worse forebodings and Churchill’s moody responses with startling periods of gaiety after a good dinner and rivers of champagne with senior advisors, family and friends at Chequers, the prime minister’s official residence. It is the place where Churchill could refortify himself today for whatever challenges will be coming his way tomorrow. It is also where his effervescence had its most emboldening effects on those who shared the weight of the war effort with him.

Churchill felt more at ease at Chequers, and understood that here he could behave as he wished, secure in the knowledge that whatever happened within would be kept a secret (possibly misplaced trust, given the memoirs and diaries that emerged after the war, like desert flowers after a first rain). This was, [Churchill] said a ‘cercle sacre.’ A sacred circle.

Sometime later Alan Brooke, who was the Commander in Chief of the Home Forces, recalled one of those nights. It was:

when Churchill, at two-fifteen a.m., suggested that everyone present retire to the great hall for sandwiches, which Brooke, exhausted, hoped was a signal that soon the night would end, and he could get to bed.
’But no!’ he wrote.
What followed was one of those moments often to occur at Chequers that would remain lodged in visitors’ minds forever after.
’He had the gramophone turned on,’ wrote Brooke, ‘and, in the many-colored dressing gown, with a sandwich in one hand and watercress in another, he trotted round and round the hall, giving occasional little skips to the tune of the gramophone.’ At intervals as he rounded the room, he would stop ‘to release some priceless quotation or thought.’ During one such pause, Churchill likened a man’s life to a walk down a passage with closed windows. ‘As you reach each window, an unknown hand opens it and the light it lets in only increases by contrast the darkness at the end of the passage.’

On another Chequers evening, when Churchill and others had spilled outside during an air raid–he loved to watch what was happening in the night skies–a similar display of confidence and personality led another high-ranking diary keeper to exclaim: “What a tonic he is!”

The S&V is a master’s assemblage of day-to-day recollections about Churchill as well as the general mood of the country from a cast of characters that extends from the Buckingham Palace to the East End. For example, there is Churchill family intrigue, as in the chapter Larson mischievously calls “White Gloves at Dawn” about Churchill’s wife Clementine or “Clemy” (“When angry, Clementine had a habit of wearing white gloves. She was wearing them now.”) In another chapter, we learn about the practical side of “defending the homeland” from a pamphlet which described, in detail, what to do if a Panzer tank suddenly appears in your neighborhood (“Jab a crowbar into the point where the tank’s steel tread passes over a guide wheel.”) And on the startling refreshment of a child’s clear eyes when everything else seems up for grabs, there is this:

The [nightly bombing] raids generated a paradox: The odds that any one person would die on any one night were slim, but the odds that someone somewhere in London would die were 100 percent. Safety was a product of luck alone. One young boy, asked what he wanted to be when he grew up, a fireman or pilot or such, answered:
’Alive.’

And we think we have problems homeschooling our children.

One reviewer said that this book provides “the kind of wrenching, carefully chosen facts that not only bring a story to life but also make a reader stop, look up and say to whoever happens to be nearby, ‘Listen to this.’” And she’s right! On nearly every page, The S&V brings perspective to our tribulations today, while revealing more of a life force in its parade of characters than seems humanly possible. I’d be surprised if you didn’t feel better about just about everything after reading it.

What distinguishes Apeirogon and accounts for its emotional wallop is the way that Colum McCann tells the story.

First of all, it’s not exactly fact and not exactly fiction, but a mix of the two. Interwoven in small fragments, there is a tremendous amount of information provided about the Israeli/Palestinian conflict over the years as well as about the political and natural history of the region. At the same time, a 1001 stories from the Arabian Nights, stories about legendary heroes who happened to be Jews or Arabs, and fragments of songs passed on through generations leaven “the facts” with more metaphorical ways of understanding what has happened and continues to happen in this ancient land.

The two fathers at the convergence of fact and fiction are Bassam, who is Palestinian, and Rami, an Israeli. In their grieving over the needless deaths of their daughters, Samadar and Abir, in different terror-driven incidents, these battle hardened men cautiously strive for a measure of forgiveness and reconciliation. Their story and the stories that surround it are assembled by McCann like you would a mosaic. For example, here are story fragments that he rubs up against prior lines and paragraphs about the use of slingshots in the Middle East, the apocryphal giant-slaying David from the Old Testament, and his daughter’s random death from thrown explosives:

169
The plutonium core of the Nagasaki bomb was the size of a throwable rock.
170
And we think the myths are startling.
171
Often Rami thinks of this: but for an accident of cloud vapor—a small defect in the weave of atmospheric weather—seventy-five thousand lives were lost in one place and preserved, then, in another.
172
But for a turn toward the book store. But for an early bus. But for a random movement on Ben Yehuda Street. But for a trip to Ben Gurion airport to collect her grandmother. But for a late sleep-in. But for a break in the babysitting routine. But for the homework to do later that night. But for the crush of pedestrians on the corner of Hillel Street. But for the hobbling man that she [Abir, his daughter] had to loop around.
173
Geography is everything.

His first magic trick is McCann’s ensuring that his readers never get lost in all of these counterpoints. For example, we already know how, where and when Adir was killed and that Rami obsessively replays the circumstances that took his daughter from him and can never bring her back.

In this author’s masterful hands, one piece in the mosaic plays off another—over and over again—providing larger and smaller understandings of what is happening to Bassam, Rami and the elemental forces that are swirling around them. That accounts for the second magic trick, which is how deeply we get immersed in the overlapping storylines about checkpoints, bird migrations, hawk hunting, surveillance drones, the importance of tunnels and of access to water in Israel and on the West Bank: seemingly everything that contributes to memories and anticipations. I spent time in Jerusalem a few years ago and was regularly amazed as I read along at how vividly the layers of the place were recalled for me.

According to one of Apeirogon’s reviewers, the unusual structure of its storytelling enables readers:

to move beyond an understanding of Rami and Bassam’s grief from the outside; [indeed] we begin to share it…. By replicating the messy nonlinear passage of time, by dealing in unexpected juxtapositions that reveal latent truths, it allows us to inhabit the interiority of human beings who are not ourselves.

There is never a single truth in any story, least of all stories that are as fraught and complex as the ones told in Apeirogon. But as different truths mix and flow over one another, the certainties around each of them begins to soften and something more nuanced and hopeful begins to emerge. At least for me, the alchemy that McCann performs in Apeirogon was always fascinating and sometimes astonishing.

This post was adapted from my September 13, 2020 newsletter. Newsletters are delivered to subscribers’ in-boxes every Sunday morning. You can subscribe too by leaving your email address in the column to the right.

The Other Wonder of Tourists and Survivors

April 5, 2020 By David Griesing Leave a Comment

Hello everyone. I’m mostly holding up and hope this finds you holding up too.

Recent weeks, but particularly this past one, have been like being in a foreign country while never entirely leaving the familiarity of home. I wonder if it’s been feeling disjointed like this to you.

When travel takes you to an entirely new place, you notice small differences that would normally escape your attention if you were still back home, things like the music that’s playing in the background, the odd rooflines you’re passing on the bus, or the kinds of shoes that people are wearing. With big things like a new language or culture telling you how far you’ve traveled, you can end up paying closer attention to the smaller differences too.

In an essay he wrote after bringing some of his American students to Ireland for the first time, Liam Heneghan noticed the power that tourists often bring to their observations.

A tourist generally has an eye for the things that, through repetitive familiarity, have become almost invisible to the resident… A tourist can [recognize] … the delicious strangeness of mundane things.

This past week, I’ve felt like a tourist in my suddenly strange country.

Of course, the larger changes and contrasts that shouted “Something new is afoot!” have been apparent for awhile now: how things have gotten quieter and slower, and how the promise of spring keeps contradicting the darker messengers on the news every day. But this kind of quiet and slow, when nearly everything but the march of nature has ground to a halt has, in its novelty, caused me to notice things that I either missed or took for granted as a local before. This week, it’s been surprisingly consoling and enabling to see my home country through a tourist’s wide eyes.

The first way that home had changed is how quiet the city has become. Tires skimming the streets, honking horns, helicopters over Route 1 and I-76, jets streaming towards the airport, sidewalk conversations, pedestrians on their phones, radio sounds—rap, R&B and talk shows mostly, delivery trucks, cars parking, home repairs, street repairs, neighbors coming and going, shouts from the high school’s baseball diamond, a track team running by, that ice cream truck beckoning 3d graders with its annoying song: these sounds that John Cage called the music of a city are no longer being offered in a continuous live stream, if they’re being offered up at all. Even the hourly bells from Penn Charter nearby have gone strangely quiet.

The sounds that survive are now framed by something like silence, as if puffs of snow had blanketed everything around them. For sure, it makes the sirens on rescue vehicles stand out even more, but it also delivers other bells, from that church in Germantown for example, the way they might have told an older city that it’s the middle of the day. Because kids are home from school, their laughing and talking excitedly gains my attention whenever it erupts. If I’m outside and close enough, I can hear the green light at the intersection of Fox and Midvale click. And like fleeing the urban glow can reveal the stars in a sky that’s suddenly gone dark, the bird songs and conversations have also leapt to the fore.

At the same time that we’re learning about essential and non-essential work, maybe the bells ringing, kids chirping, and birds singing are the essential sounds that were getting lost in the shuffle before.

The second way that my home has changed is how it’s turned in on itself.  What’s most familiar to me (my routines and “home-work”) have had to turn their backs, even more than usual, on everything that’s happening “outside.” It seems to me that you can view “sheltering in place” as either being banished from the wider world and losing what it has to offer or as finding a refuge and gaining something you didn’t have before. When the public world becomes a threatening reality, it almost invites you to see whether your private world can provide new sources of comfort: balms and salves that might always have been there but that you’d failed to notice.

I’d recently read that the best workshop (or kitchen or closet) is the one where you can see everything that you need to fix (or cook or wear). The advice was less Marie Kondo and more Yankee practicality, arguing that nothing that you need should ever be buried behind something else and effectively “unavailable.” In other words, the necessary tools and ingredients should always be visible and within easy reach so that they’re “on hand” when you’re ready for them.

Being a tourist in today’s strangeness has enabled me to see the necessities that had been buried in clutter until now and to identify the gaps in needed supplies that I still have to fill. With fresh eyes, I’ve been enabling a kind of preparedness when it comes to day-to-day living whose beauty had escaped me until now and (ironically) that also seems to have escaped many of our leaders as we face a respiratory pandemic without enough ventilators, protective equipment, test kits, hospital beds or medical staff “on hand” while being awash in almost everything that’s non-essential.

The sudden contrast between my public and private worlds has fostered another tourist-like appreciation too. The daily horror of a virus approaching from all directions along with our near helplessness to fend it off puts into bold relief the promise of spring that’s unfolding without any human assistance at all. With different eyes, daily miracles in the trees and on the ground that used to go unnoticed provide me with a deeper hope than even the acts of selfless heroes that life (although not as we’ve known it) will go on.

When the old, familiar world tries to return and the strangeness of the present one recedes, there will be blame enough for this to go around. The question, I suppose, is whether we all bear some of that responsibility and should get on to something that’s far more useful than finger pointing—starting right now.

As we shelter-in-place and social distance, there is another discrepancy between our old and new worlds that provides the ground for those insights. It is how much the familiar world that we used to know has slowed itself down.

There is nowhere to rush to in coming weeks and months; in a very real sense, many of us are already there. Aside from emergency medical and safety net workers, most of us have less paying work if we have any at all, which gives the days a molasses-like quality, concentrating and reserving some of our energy for later on, when it will be sorely needed to rebuild. Even with kids home from school and close quarters, we can still bring the curiosity of tourists to the slow task of contemplating how we’ll need to change our priorities if we’re to thrive and prosper in the next world.

There are easy fixes, like resolving to pay more for local workers (instead of factories overseas) to make essential supplies and then stockpiling these critical reserves. But there are more basic questions about what is, or should be, essential. If China, where the virus started, in fact suffers ten thousand deaths from this plague and America suffers a hundred or two hundred thousand, what does that say about our priorities and way of life and how we might change them going forward? In a democracy like ours, in all democracies, it is for us to decide on what we need most and how our free markets, awesome technologies and representative governments should manage our scarce resources to meet those needs.

Like foreign travel, a shared calamity like this one makes us curious about all manner of things we never seemed to notice when we trusted the familiarity of our old lives and work. Like travel, this virus and our responses to it have torn the blanket off, revealing facets of the ordinary we may have taken for granted while also forcing basic questions about how to move forward more effectively given the lessons we’re learning.

Because we’ve noticed the life force and inventiveness that some of our governors, nearly all of our essential workers, and many DIY by-standers have brought to this calamity, it’s only fair to ask whether we can find ways to harness their extraordinary energies to the energy we’ve been storing so we can build a society that can do a better job of sustaining us than the familiar one we’ve been seeing these last few weeks with different eyes?

Do we have, in Heneghan’s memorable phrase, enough of the tourist’s “other wonder” to imagine and then build a new world on this energetic foundation now that some of the fatal flaws of the world we’re leaving behind have been exposed?

Other-wonder may be this calamity’s greatest gift.  It would be a terrible shame to waste it whenever it arises during these suddenly quiet and slow days that—like the newly planted tree above—promise each of us so much.

Stay safe and in the game. I’ll see you next Sunday.

Now into the second month of this coronavirus, I’ve kept the weekly newsletter format here (from my April 5, 2020 newsletter) instead of adapting it for this post. Newsletters are delivered to subscribers’ in-boxes every Sunday morning and the contents of some of them later appear here. If you’d like to receive a weekly newsletter, you can subscribe by leaving your email address in the column to the right.

Trying On a Hero’s Perspective

January 20, 2020 By David Griesing Leave a Comment

One way to get out of the box that’s dominated by our value judgments is to make an imaginative leap, like taking on the perspective of someone we admire, and trying to see a situation—it can be any situation where we’re already convinced of our righteousness—through their eyes.

Value choices fuel our strongest commitments, but the deep, subconscious motivations behind them can also close off disagreeable viewpoints before we’ve ever had an opportunity to consider them rationally. Once my moral intuitions are engaged, feeling like I’ve actually made up my mind is just that—a feeling.

It takes an effort to keep yourself open for long enough that your rational side can go to work. In fact, it’s probably fair to say that your mind is never truly open unless you’re consistently making an effort to stay open-minded.

Trying on a truly admirable perspective further improves your chances of broadening the moral framework that determines what you think, feel and end up doing about it.

Being Open-Minded Rarely “Just Happens”

First off, you have to decide that you really want to see old things in a new way, a suitable endeavor for any new year. It’s being willing to leave the garden of moral certainty that you’ve created for yourself behind—this gated community where everything that you believe feels grounded in Truth, while looking well-tended and -considered to everyone whose opinion matters.

Truly inhabiting another’s perspective takes repeated reminders to keep your doors and windows open. Trust me, without these markers it’s easy to lose track of your ambition and get “bogged back down” in the prejudices you are trying to escape.

A nagging suspicion that your certainties no longer explain every corner of the world you’re experiencing is a catalyst too.

It also helps when you are opening yourself to the perspective of someone you already acknowledge as a moral leader, even though you suspect you might disagree with some (or even a great deal) of what he or she stands for.

In short, the promise of growth through openmindedness requires your will as well as your imagination. You have to be dubious enough about your own moral certainties and willing enough to see the world through, say, Martin Luther King’s eyes, that you’ll actually make the effort to do so.

Yes. My suggestion today, on this day before we honor him, is to try to see your judgments and convictions about life and work through Martin Luther King’s eyes.

But First, a Brief Look At Some of What MLK Stood For

Most who were alive when Martin Luther King was assassinated are now more than 30 years older than King was when he died. They remember him with teenage and grade-school memories because few who are alive today ever reached mature judgments about him while he walked among them.

As a result, in the years since his assassination in 1968, MLK has often been appropriated by those who have attempted to pour his life or words into what they stand for instead of what he did. Taking heroic figures from the past and making them serve current agendas often distorts their legacies. For example, while MLK spoke passionately about the white racism that held his people down, he also spoke about anti-social behavior in poor black communities, telling a black congregation in St. Louis that “we’ve got to do something about our moral standards” as well.

We know that there are many things wrong in the white world, but there are many things wrong in the black world too. We can’t keep on blaming the white man. There are things we must do for ourselves.

He repeatedly urged his young followers to assume responsibility for their actions despite the racial barriers they confronted. While not always succeeding, King always tried to be “color-blind” by holding every combatant in the struggle for civil rights accountable for what they said and did. He was also convinced that everyone–black and white–shared a basic decency, even when their words and deeds suggested otherwise.

This is why one black commentator lamented the divisive way in which at least some of King’s legacy is being distorted today:

A generation of blacks who have more opportunity than any previous generation are being taught that America offers them little more than trigger-happy cops, bigoted teachers and biased employers. It’s not only incorrect, but as King and a previous generation of black leaders understood, also unhelpful.

Why unhelpful? Because it denies that MLK saw “a unity among people” that goes deeper than their actions and provides the ground for hope that’s essential to problem-solving and reconciliation.

Another part of King’s legacy—and one that the passage of time has been less able to distort—is the power and eloquence of his conviction that better days are coming.

Martin Luther King (like Lincoln and Churchill before him) understood that people need to be stirred to appropriate action during times of upheaval. As much as anything, it was his beautiful words, beautifully delivered, that drove the Civil Rights Movement and continue to inspire us today. It’s a rare feat when you’re able to carry the hopes of a crowd or a nation on the shoulders of your words.

Another thing is also true of great leaders like MLK. It is never just about how to resist your personal fears or hostile forces that are beyond your control. It is also about how you and your opponents can recover so that you’ll both be strong enough to confront the aftershocks of your discord together.

While MLK never stopped challenging injustice, he also never waivered in his vision of a better America at the other end—a hope that he struggled mightily to personify. We remember his resistance today, but what we sometimes forget was his ability to balance his challenge to racial injustice with a restorative view of the future. For him, the anguish of non-violent protest and the hostility it unleashed were almost always relieved by his belief in human decency and our ability to overcome what divides us. It’s the dream that sustained him as he marched doggedly forward.

Martin Luther King’s charge that we should always face what’s coming “now,” “next” and “ultimately” reminds us of Lincoln during the slog of the Civil War and Churchill through the long nights when England was bombed during World War II. It was his ability to affirm our basic decency and resilience at each stage of his resistance that can continue to rally us today.

A Stirring Proposal

To get out of our moral comfort zones, the proposal is to try-on MLK’s perspective. As in these pictures from the sidewalks of NYC’s Upper East Side, the recommendation is for purposeful wandering beyond the confines of the tidy borders and careful gardens that our value judgments have arranged for us. In other words, you become (for awhile) the dogs and dog walkers in this scenario, sniffing around the edges of what we believe and finding out whether we can be more open to those who disagree with our views about what is right and true.

Trying on Martin Luther King’s perspective wasn’t my idea. It comes from Cornel West and Robert George, both at Princeton, where West teaches something called “the practice of public philosophy” and George teaches jurisprudence. In a “Houses of Worship” column of the Wall Street Journal, they wrote as follows:

One of us invokes “the radical King” in criticizing empire, capitalism, and white supremacy. The other recalls King’s principles in defending the unborn, Down syndrome and other disabled people, the frail elderly, and every life…
[Because of the range and depth of his views], in judging and acting, we must avoid sinning against King’s legacy by facilely claiming him for whatever policies we favor. A more fitting attitude, one consistent with what was truly radical about King, is to imagine him as a critic: “If Martin Luther King would be on the other side of where I happen to be on this question—why?”
This self-critical stance honors King by recognizing the centrality of his Christian faith to his work and witness…
King was truly radical in his literal reading of Jesus’ command that we love others unconditionally, selflessly and self-sacrificially. And by “others,” he meant everyone—even those who defend injustice. He believed in struggling hard, and with conviction, for what one believes is right; but he equally insisted on seeing others as precious brothers and sisters, even if one judges them to be gravely in error…
King saw himself as the leader of a love-inspired movement, not a tribe or “identity group,” and that is because his radical love ethic refused to divide people into tribes and identity groups.

You can read the West-George piece here. I also propose, with its authors, that you put MLK inside your head and imagine that he’s your interlocutor.

“If Martin Luther King would be on the other side of where I happen to be on this question—why?”

You might be surprised where this act of the imagination takes you, and how quickly the moral barriers between you and those you disagree with so fervently might start to come down.

More of King’s Words

What made me write about King today was seeing a new documentary about the days in Memphis before his assassination, hearing part of his last speech at the Mason Temple on April 3, 1968, and then sitting in one place and listening to everything he said that night, from start to finish.

It’s a long speech, almost 45 minutes, but the singles, doubles and triples he sends into the choir with that sonorous voice—like “if only he’d sneezed,” so close was the knife when someone tried to kill him once before—issue forth with a kind of inevitability until his final grand slam and onto that fateful next day. It’s magnificent.

And here’s why. Not only does it consistently bridge his now, his next and his ultimately with what he calls “a dangerous unselfishness,” it also demonstrates how much Martin Luther King was living his own words.

Little was going well for King in Memphis that week. There were constant death threats against him and it must have been unsettling for him to even go out his door every morning. It wasn’t just the courage that it took to march on the City’s mean streets, he also had to look brave when he knew that he might be dead by the end of the day. It was the oppressiveness of his mortality that elevated his last words—how he embodied it and then rose above it, right before the eyes of those who had come to see him.

If you want another reason to let Martin Luther King act as a voice in your head, listen to this speech. It’s a privilege to be in the same room with him just hours before he died, hearing him live the words that hitched his own fears to a sturdier promise.

A Walk Outside The Lines

The pictures above convey the wonderful orderliness of my moral perspectives too. What’s right and what’s wrong for me is always so certain, arranged and impervious to the lifted leg of anyone who falls outside of it.

I’m for this, so I also against that and that and that: all neat and comfortable and predictable. But isn’t life messier and more interesting than that?

My self-esteem depends on projecting the best moral viewpoint I can come up with so I can be proud of what I stand for and admired by my fellow believers for our shared truths. But doesn’t our self-esteem become ossified and brittle when we keep it in such tidy containers?

On this or this or that, how might MLK see “what I’m so sure about” quite differently than I do?

This post was adapted from one I wrote two years ago but wished, at the time, I had posted closer to Martin Luther King Day when this great man is already on our minds. In addition because I was so challenged by Cornel West’s and Robert George’s suggestion, I wrote about another one of their efforts to find unity despite our deepest disagreements last February. Here’s a link to it.

A newsletter that included this post was sent to subscribers on January 19, 2020. Newsletters go out every Sunday morning and, from time to time, I post the content here as well. If you want to subscribe to my weekly newsletter, please provide your email address in the column to the right.

We Find Where We Stand in the Space Between Differing Perspectives

September 16, 2019 By David Griesing Leave a Comment

When you hear an argument on Tuesday and its opposing argument on Thursday, it’s always a challenge to arrange a further date where you can line them up at opposite sides of the room while you sit in the middle to figure out what you think and feel about the issue. Rescheduling your attention like this always seems to get lost in the shuffle.

On the other hand, the opportunity to listen, process and react almost immediately to opposing points of view is what can make live debate and virtual encounters with discordant perspectives both clarifying and satisfying.

They may also be ways to move beyond the polarizing shouting matches that characterize much of American democracy today.

When an issue “gets joined” you can figure out where you stand either on the spot or while continuing the conversation with yourself and others immediately thereafter. All you have to do is build this new information and its subtleties into your own perspective once you’ve had the chance to sleep on it.

When it comes to processlng opposing views, time compression seems critical. Being part of a live audience interacting with live “actors” or encountering real people in a virtual world is too. Another factor is your decision “to make yourself available to their persuasion” by the physical act of showing up, something you rarely do when you’re watching people testify on the other side of a screen. On each of these “live” or “almost alive” occasions, you’ve chosen to immerse yourself in a world of different perspectives where you’re open to changing your mind.

A final factor is also critical. Theater that is built on counterpoint stories and virtual worlds that make us confront our own preconceptions are jarring experiences. Both demand that your thoughts and feelings connect across a broader waterfront than you recognized before. They challenge moral certainties and provide building blocks you can use immediately to construct a more nuanced point of view. Their wake-up calls can often make you behave differently too—impacting the jobs you do as community members or citizens. They offer highy engaging ways to figure out where you stand and what to do next.

All of these dynamics were apparent in a recent theater production in Portland Oregon, where actors playing members of the community and its local police force held the stage in front of an audience from that same community, told their distinctive stories and changed some minds.

Similar changes in perception became evident when people put on the virtual reality (VR) headsets that were recently developed by a California company. VR technology can take you places and put you among people you may think you know about until you are literally walking among them at Rikers Island prison, on the US-Mexico border, or in a Syrian refugee camp.

What used to seem black and white and came cloaked in moral certainties can be shaken into reconsideration by these “live” or “virtually alive” experiences. Abstraction and over-simplification are no longer quite as possible when issues that we thought we understood have faces. Once we’ve learned more and have the experience to know better, we may no longer wish to view ourselves (or be viewed by others) as being so cold in our certainties or so removed from the blood, sweat and tears of most people’s lives.

Do these kinds of experiences offer a way to move past the knee-jerk polarities that undermine our collective purpose?

Are they vehicles for helping at least some of the undecided and disengaged in this country to make up their minds and help build a future that they want instead of leaving their prospects to others?

Finding Shared Human Perspectives While Looking At and Listening To One Another

The chasms between diverse communities and the police who are charged with protecting them yawn widely across America. In Portland, some creatives in the performing arts and forward-thinkers in law enforcement came together to try and reduce them. Their approach: a stage adaptation of the dueling perspectives, only this time with several rarely heard points of view along the stark divide—including the witness provided by minority police officers who, in more ways than one, have come to embody it.

Much of this story about perspective building in the community, and all but one of the quotes here, come from a PBS NewsHour segment that ran on the same day in August that New York City police officer Daniel Pantaleo was fired for his involvement in subduing Eric Garner, an arrest that ended in Garner’s death.

Kevin Jones and Lesli Mones founded the August Wilson Red Door Project, a theater company, to provide a platform for addressing issues of importance to the City’s African American residents. The other driving force in this story is Robert Day, the former deputy chief of the Portland Police Bureau. Jones and Mones asked him to gather perspectives from policemen who serve in minority neighborhoods like theirs and he pursued their invitation with relish.

What ultimately came together in one performance were a series of monologues from two different plays. “Hands Up” was written by African Americans about their experiences being racially profiled by police. “Cop Out” tells the stories of individual police officers when they are wearing their uniforms as well as the lingering effects after they take them off.

Jones and Mones each described the intent behind bringing witnesses from both perspectives onto a single stage. Said Jones:

We’re not dividing the story into two sides, right, the good guys and bad guys. On both sides, we have a group of people who feel that their stories are not being told, that they’re being vilified, that they’re being shunned, that — and nobody wants to really hear their story.

For her part, Mones addressed early criticism she’d heard from the African-American community in an earlier interview with the Portland Mercury:

From a social power perspective, you can’t compare the experiences of the two groups of people. But from a shared human perspective, the feeling of being unseen, depersonalized, and stereotyped is something both groups can relate to. It’s in the DNA of Red Door to honor a multiplicity of viewpoints, because we know it’s imperative in producing a healthy racial ecology for the community.

Four excerpts from the monologues suggest the power of this “shared” and “deeply human” approach.

– Community member: ‘They slammed me to the ground. One of the officers had his foot on the back of my neck. Another officer pointed a gun to the back of my head and said, ‘Move one inch and I will blow your head off.’ Oh, I went into survival mode. I tried to convince them I was one of the good ones.’

` Policeman: ‘I used to think nothing about being a cop would shake me up. But when you arrive on scene and watch your partner pull an infant out of a microwave because his meth head father couldn’t stop the kid from crying, your lens gets colored.’

– [A community member asks everyone in the audience to raise their arms in the air]:

A voice representing the police: ‘Hands up.’

Members of the community: ‘Don’t shoot.’

A voice representing the police: ‘Hands up.’

Members of the community: ‘Don’t shoot.’

-Policewoman: ‘The only reason I carry a gun if for protection, primarily mine, sometimes yours, sometimes, in highly specific circumstances, like an active shooter, or –no, that’s about it.’

The theater company is hoping to take performances of these combined monologues across the country, starting later this year. However, the fundraising and logistical hurdles that need to be surmounted before the show can hit the road are daunting. But no one provides a better reason for persevering than former deputy police chief Day:

We’re touching on sort of the third rail conversations of race and policing. And I think they are conversations that are happening in African-American families in homes and communities, and I know they’re happening in police communities, because I have heard them, been a part of them, I have seen them.

But they’re not happening publicly, and they’re not happening generally across from each other, because of the sort of high-voltage nature of them. So, the theater allows us to put it all out there. We can speak what has been left unsaid.

Only when “it’s all out there” and being processed by the folks in the audience who are most impacted by it can there be any hope of actually “seeing the other,” identifying shared objectives, and pursing them together.

The Issues Are No Longer Vague. They Feel Like Lived Experiences

With VR or virtual reality, the divides aren’t personified on a stage and the processing doesn’t begin when you’re seated in front of it. Everything you need for your views to be jarred into a broader perspective is brought into the perceptual space “between your ears” by this advanced technology.

Emblematic is a VR studio that was founded by Nonny de la Pena and is based in Santa Monica. De la Pena was profiled as one of 2018’s top innovators by the Wall Street Journal, both for developing groundbreaking VR technology that enables you to feel like you’re moving through a real space (instead of just standing in it) and for the rationale behind her inventiveness.

The author of the profile explained her intentions this way:

The idea is to put people in places they wouldn’t normally find themselves, experiencing situations they would not normally experience. Often, these are related to urgent issues, issues that are, in their sprawling complexity, seemingly difficult to grasp or even care about. But suddenly, there you are, standing in a cell in solitary confinement, or at the foot of a melting glacier, or before a protest line outside an abortion clinic. When you are in these places—hearing the anguish of a prisoner, the calving of a glacier, the vitriol of the protesters—the issues no longer seem like issues, with vague names attached, like prison reform or global warming or women’s health. Rather, they seem like lived experience, like people you’ve met and places you’ve been—like memory.

Within Emblematic’s VR headsets, the perspective you’ve brought with you is jarred by the unfamiliar in “real” time and you’re invited to start responding immediately to the flood of new information that’s washing over you. Particularly when you enter environments with other people in them, it feels like you are entering a reality as it’s being lived by someone else, providing unprecedented opportunities for connection and empathy.

Before you put the headset on, you also know where you’re going and have made yourself available to broaden and deepen your point of view. You find a new place to stand in the neurological mindspace between your thoughts and feelings about this issue before and the virtual experience that you’re having now. As long as it’s programmed as an exercise of free will, this technology can help you to make up your mind or intensify your most important commitments.

Unlike the challenges of putting the “Hands Up/Cop Out” show on the road, the financial and logistical challenges for de la Pena and Emblematic are likely making their technology cheap enough and portable enough that it can someday travel on its own to wherever people are undecided or simply want to know more. They (and other monitors) will also need to mind the gap between its use for illuminating an increasingly complex world and simply manipulating our reactions to it.

Sometimes, groundbreaking innovations like de la Pena’s have their roots in childhood, and so it is with the story of how she first learned the value of differing perspectives–even when one of them is hers. The Journal’s profile of her actually begins with it:

When Nonny de la Peña was in junior high, in West Los Angeles, her math teacher wrote a note home to her parents. ‘It was about something I’d rebelliously done,’ she says. ‘It was something minor, like speaking up, or speaking too loudly.’ Her father read the note, then turned the paper over and looked at her. ‘This is what she says you do, he said to me,’ de la Peña recalls. ‘Tell me about her. What does she do?’ De la Peña listed some of her own unflattering observations about the teacher, and her father wrote them down on the back of the note, so that now the piece of paper contained two notes, two different perspectives. Then her father signed it. ‘So what does that make you do? Of course [says de la Pena], it makes you think about the structure of things…. Of how situations are multidimensional.’

Her father knew, and early on it seems that she came to know too, that the truth can usually be found somewhere in the space between perspectives.

+ + +

I’ve written before about the space “where we can make up our reasonable minds” because I’m concerned (and sometimes alarmed) about how our demonizing of those we disagree with has disabled us from building anything of consequence in America today. It also comes from how others’ “not caring enough to have points of view” further undermines “what those who do care enough” hold in common. These sentiments were behind my post on the remarkable public exchange between two academic friends, the left-leaning Cornel West and the right-leaning Robert George, and what we all gain (but seldom enjoy today) from politically charged conversations, as well as another about the clarifying nature of dissent.

These arguments (and the one today) feel personal to me.

When I abandon my reasoned points of view, or don’t bother to come up with them anymore, I cede control of my future and my family’s future to somebody who may know less and care less. As long as I hold this right and it has not been taken away from me by those who want to control my mind, I’d be a fool not to exercise it.

Where I decide to stand and what I decide to do about it in the work I do and the way I live are among the most valuable contributions that I can make to myself and others. As long as it’s mine, I’ll continue to find the space for evolving my perspectives because it’s part of feeling alive.

This post was adapted from my September 15, 2019 newsletter. When you subscribe, a new newsletter/post will be delivered to your inbox every Sunday morning.