Tuesday, December 9, 2014

HEAVENLY LIAISONS


Relationships are made in heaven, beginning as the sweet promise of a new beginning and progressing into a perplexing entanglement.
 ‘Relationship’ is such a bland word. What we mean by it is really quite modern. We are aware of what goes on psychologically between people in a way our grandparents never were, so there are no old fashioned synonyms for the modern meaning of ‘relationship’. Our forefathers had no language and therefore no insight into the subtleties we perceive. Relationships were defined socially, not psychologically: you were a wife, a husband, a mother, a cousin – and that was that. Only the perceptive Victorian novelist gave us more subtle views.
Since, say the 1950s, many social categories began to break down, which left us in something of a muddle. Couples were living together in all kinds of arrangements. The categories gone, we were force to look more at the nuances that hold people together or spit them apart.
The human psyche is a vast vortex of unfathomable depths, constantly changing. Indifference and kindness, meanness and generosity vie with each other in the hidden caverns of my soul. But in close relationships my darker shades wake up with hints of passion and hate that I have never encountered before, surprising both of us.
More than anything else, relationships are where the great drama of childhood dependency is reenacted and played out. Of course, relationships are also much more than this. But the hidden reemergence of childhood dependency and the infant determination to get what I want triggers the turmoil with our loved one, most often without our realising the connection with the past.
A child comes into the world with two basic requirements. The first is to grow and develop in the way it needs to; the second is to be protected and looked after as it does so. The first is the need for freedom; the second is the fact of dependency.
To be free and grow in my own way means to be independent and self sufficient. And so, as I grow up, anything that reminds me of depenancy is likely to be suppressed and denied – “I wish Mum would stop fussing over me.” But there is another aim of childhood that persists throughout my life: and that is to be safe, to have someone that I can depend on. Safety in childhood essentially means the confidence that I will be looked after and cared for no matter what – what we know as unconditional love.
So, in my early years I have two basic ‘wants’ in opposition: to be free and to be dependant. These basic necessities are once again restimulated by coming into an intimate relationship later in life. The old longings are fuelled by new hope and desire which have all the power of those first vital connections – and all the conflicts and disappointments too. The sweet promise is that I will be unconditionally loved and also given the freedom to be myself.
Our actual experience in childhood meets the inevitable frustrations of those expectations; and it all gets fired up again in later-life’s intimate relationships. The very same patterns develop.
Both grown-up parties in a relationship have the same basic urge: how to be independent and free and, at the same time demanding care and love. How we get along together depends on how we both unconsciously negotiate this problem. I say ‘unconsciously’ because the dynamics of both ‘pasts’ are involved below awareness. Each person lives in the bubble of their past, limiting their perception of the other.
If a relationship is lucky it might survive long enough for the long process of adaptation. This is a process where states of muddle and clarity, conflict and resolution, alternate until there is a settling down where the old demands and conflicts of childhood begin to lessen.
There are some interesting aspects to this coalescing dynamic where couples adjust to each other. For example, one partner, lets say the woman, may be in therapy and the other, the man, is resistant to the idea. Eventually, the woman’s progress in therapy has a beneficial effect on him. He is forced to change, to begin to look at himself, without any direct attempt to change him.
 What changes him is who his partner is becoming.
He discovers that it is no longer possible to control her in the way he used to. He cannot secretly secure his need to be looked after by keeping her in the role of surrogate mother. The woman begins to experience the freedom to grow in the way she needs to. He goes through all his old rage and fear of abandonment, but eventually, when he breaks through, he too will have a similar sense of freedom.
Lucky are the couple who get thus far – but it takes persistent psychological work on someone’s part.
Why is it, I ask myself, that we seldom find the opposite situation: i.e. where it is the man who seeks change in the relationship and the woman who resists. Why is it so rare for a man to seek change by promoting communication as a solution?
Let me guess an answer: perhaps as a rule men are more afraid of self exposure.  A man might more easily take the plunge into another relationship as a way out, seeking freedom and love elsewhere. Perhaps a man is more likely to suddenly choose this route rather than talking things out and risk the exposure of his dependency that this might entail, an exposure that could fatally erode his ego-image. As John Kirwan said, ‘All Blacks Don’t Cry’ – a sad hint of what it means to be a man.
Self exposure is harder for a man who has spent his life rejecting the weakness and the dependency aspect of his personality. For it is true that deeper communication, such as person-centred work, exposes one’s weaknesses.
Fear of self-disclosure is not the prerogative of men. A woman can just as easily be stifled, uneasy about self disclosure because of early abuse or rigidity of upbringing, precipitating a protective shell around them.
Whatever the individual patterns, the process of self-disclosure and exposure is what is needed in both partners if the relationship is to work.

contact: stanrich@vodafone.co.nz

ON YOU ROGER, SHAME !


A complaint of sexual harassment from a staff member to the State Services Commission has led to the resignation of Canterbury Earthquake Commission’s CEO, Roger Sutton. His major offence, it seems, was to address a woman on the staff as ‘sweetie’.
Everyone agrees that Sutton has done excellent work in the difficult job as CERA’s CEO. His decision to resign is regretted by Brownlee, Minister responsible for CERA, and I would guess most of his staff. He struck the public of Christchurch as a good man. His wife agrees with him: “He's a really good man - he's far nicer than I am. He's far more compassionate than I am, but he's also really silly. And that's kind of what I love about him. I think he kind of forgot that he was the leader of a public service; and he's too informal, he's too relaxed ... but that's who he is. That's what makes him amazing, and why his staff, the CERA staff, love him." She was an advocate, she said, of men and women being safe in the workplace, but added: "I just wish this could have been done in a less public, less hideous way."
One cannot but agree it would have been better if the offended staff member could have approached Sutton personally. He would have responded positively, I’m sure.
 I can remember myself, oh! – it must have been 25 years ago, a woman at a party offered me a plate of sausage rolls. I said: “No thanks dear, I think I’ll give those a miss tonight.” Whereupon she flashed at me: “Don’t you call me dear – I’m not your dear.” I didn’t have time to respond before she sped away with her sausage rolls. How should she have known that I am an old fashioned Cockney from the East-end where a bus conductor can inform a passenger: “Tooting Common next stop dear; or the local butcher can address a customer: “What will it be today dear – some nice sirloin?” The epithet ‘dear’ is common parlance in London Eastend. But then, my unfortunate use of the word was in New Zealand.
Times and sensitivities change – a little towards over sensitivity at times, as when the word Golliwog (a soft doll with a black face and fuzzy hair) in a  children’s story book can lead to protests of racial insensitivity.
contact: stanrich@vodafone.co.nz

AM I DEAF OR SOMETHING?



Arabians learn Arabian with the speed of summer lightning.
And Hebrews learn it backwards,
which is absolutely frightening.
But use proper English you're regarded as a freak.
Why can't the English,
Why can't the English learn to speak?

So sang Rex Harrison as Professor Higgins in the musical My Fair Lady, a 1956 Broadway musical based on Bernard Shaw’s play Pygmalion. The professor has made a bet with a friend that he can transform a cockney flower girl, Eliza
Doolittle, played in the film by Audrey Hepburn, into a lady he can pass off in society simply by teaching her how to speak. The professor gets himself very involved and empresses his exasperation with the inability of the English to speak properly.
Rex Harrison was an excellent choice for the part because he was one of the old school like Ralph Richardson, John Gielgud and Laurence Olivier whose skill had been honed in the theatre, where one had to project one’s voice in order to be heard in the stalls, never mind the gallery. An actor had to speak out; otherwise the audience would be literally left in the dark.
In 1951 Marlon Brando mumbled his way across the silver screen in the film of Tennessee Williams’ Streetcar Named Desire. He used something called Method Acting, a technique developed by Constantin Stanislavski, a Russian actor and director. In this method the actor aims at a complete identification with the person he is portraying. Unfortunately, Brando set a style that inarticulate mumbling under the breath is a sign of realistic acting and the traditional style came to be thought of as old fashioned and theatrical.
Whether they are consciously applying Stanislavsky’s method or not so many modern actors today are bedeviled by the need to mumble under their breath, especially in initiate love scenes. It seems they believe that to speak clearly would somehow violate the intimacy. And so the love scene becomes an exchange of inaudible whispering between the lovers in which the audience is left out.
Am I old fashioned to want to know what is going on in a movie or a novel? A certain amount of mystification I can stand. It’s not only that actors don’t speak English, but the action is too fast or the plots over-mystify. So many mystery series like Midsummer Murders start off quite easy to follow, but gradually winds themselves into such a tangle of complications that I literally lose the plot.
With the forced idleness of recuperation – I have been sick for a few months now – I am discovering my difficulties with television. Audibility and articulation is certainly a problem. I wonder, perhaps if, with US shows, it might help to introduce sub-titles for English speaking audiences !
Shakespeare knew that the play’s not the thing, the audience is the thing. That’s why his characters would often speak asides directly to the audience so that they were included. A play is for the sake of the audience. A play is not to show off the actors or clever directors or fabulously ingenious plots. A play is to enchant the audience; and an audience has to be able to comprehend, to be included, in what is going on.
When being entertained by a play, like most people I’m sure, I have this childish desire to be included in what is going on, to be able to identify with the characters and their lives. Drama as we know it originated in ancient Greece where the audience was very much included. Everyone knew the myths which the theatre dramas played out. There was no mystification. The actors spoke their lines from behind masks and had to project their voices into the open air theater. Moreover, seated in the Greek thearon, everyone knew what was happening to Oedipus in Sophocles’ play – the whole point of the story was that Oedipus didn’t know. He was ignorant of where fate was leading him, but not the audience. They knew in advance his tragic destiny and could be thoroughly involved as it was gradually revealed. But they knew every step beforehand. They knew the story; and as every child will tell you, you have to know how the story goes. Otherwise the whole thing is spoiled.



contact: stanrich@vodafone.co.nz
(03) 981 2264












DARWIN’S COMPLAINT



“Up to the age of 30 or beyond it, poetry of many kinds gave me great pleasure, and music very great delight. Even as a schoolboy I took intense delight in Shakespeare. But now for many years I cannot endure to read a line of poetry: I have tried to read Shakespeare, and found it so intolerably dull that it nauseated me. My mind seems to have become a kind of machine for grinding general laws out of large collections of facts, but why this should have caused the atrophy of that part of the brain alone, on which the higher tastes depend, I cannot conceive. The loss of these tastes is a loss of happiness, and may possibly be injurious to the intellect, and more probably to the moral character, by enfeebling the emotional part of our nature.”1

What an amazingly insightful admission!
Astonishing that Darwin, probably the greatest scientist of modern times, should see so clearly that his powerful analytical mind has cut him off from his soul, and the awful cost that entails. He has lost his ‘aesthetic sense’, which we take to mean the feeling emotion and sensation as opposed to pure intellectuality.
Darwin recognises that the loss of the aesthetic sense can be detrimental to our ‘moral character’ - a rather old-fashioned expression, better stated as ‘kindness, gentleness and sensitivity. Indeed, these qualities only come into being when I am aware of the other as a person, only when the other person is as real to me as I am to myself. I need the presence of another subject, a first-person singular who can be addressed, implored, reasoned with, and loved. Without the aesthetic sense there is no subject-to-subject encounter. The other person isn’t actually there.  I ride rough shod over them and end up with a distorted version of how they actually are.
Also Darwin sees how the enfeebling of our emotional nature could be ‘injurious to the intellect’.  True. The intellect also fails without the esthetic sense. You have to feel what is there before you can think about it. Without the aesthetic sense you tend to ‘intellectualise’, dismissive of small, but vital details, again riding rough shod over discrepancies in order to bully reality into being what you want it to be.
The intellect begins with curiosity – and curiosity is very careful with details. Observation becomes a magical enthrallment with the finer points of how things actually are – nothing missed or overlooked. Only then can you afford to think.
The aesthetic sense is not interested in theories and structures but in the immediacy of sensation, the flow of life with all its muddle and indeterminacy. But the analytical mind wants a world that can be relied upon. All the facts and observations that Darwin has collected must be reduced to rational truths and so he grinds out general laws that sideline the confusion – very successfully.
This urge to abstract precise principles from the confusion of the world has been called ‘reductionism’. Booming, bustling nature gets explained away. Consistency is the watchword. Oddities get ignored. When something is odd we rush to a general principle to explain it away.
The urge to diminish confusion drives the compulsion to have things shipshape, like in the household where everything has its place.  ‘The fruit go there and the loose veggies there’. Everything in its place and a place for everything. Have you ever been in a household where absolutely nothing is out of place? It’s kind of scary. There is no flow, no confusion, no untidiness – everything is anesthetized and static. That’s interesting, isn’t it: an-esthetized means a loss of sensation - precisely what Darwin was complaining of.
It’s understandable that Darwin should lose his love of poetry and music, but why should it nauseate him. His analytical mind has become so overdeveloped by concentration on establishing principles that his soul has become ‘atrophied’, as he says. But why should poetry now turn his stomach, making him feel sick?
 I will hazard that there is something about the thinking mind, the analytical mind, that is against poetic feeling. The analytical mind doesn’t just neglect the aesthetic sense, but actually feels threatened by it. The naked world is too much, too overwhelming. The analytical mind feels terribly unsafe when confronted by primitive nature. That’s why every morning you forget your dreams. They don’t fit and so get put down.
Aldous Huxley suggested that the analytical mind is like a reducing valve.
 ‘Each person is at each moment capable of remembering all that has ever happened to him and of perceiving everything that is happening everywhere in the universe. The function of the brain and nervous system is to protect us from being overwhelmed’. 2
No wonder Darwin felt sick – and I’m not feeling too well myself !



1 The Autobiography of Charles Darwin 1809-1882.   Collins, London 1958
2   Huxley, Aldous. The Doors of Perception, 1952



contact: stanrich@vodafone.co.nz
(03) 981 2264