On drugs and drug laws.

On drugs and drug laws.

Humans have been ingesting dimethyltryptamine, a potent psychedelic, for over a thousand years.  We’ve been using cocaine even longer.  Marijuana was used medicinally in China thousands of years ago; soon after, celebrants in India began to ingest it as a psychedelic to potentiate religious experience.  Mind-altering experiences were so prized in ancient Greece that prophets huffed narcotic vapors.

The Oracle of Delphi.

Our ancestors began intentionally brewing alcohol nearly 10,000 years ago.  We’ve been using opium as a sacrament – not just a painkiller – for perhaps 3,000 years.

Drugs are very important to our species. 

Not all drug use is good, obviously.  Narcotics like opium, heroin, oxycontin, et al., can latch onto a person’s mind and compel continued use at any cost.  Somebody told me recently, “I knew I was gonna get caught.  I’m on probation, they drug test me all the time.  I mean, I was thinking about it while I was cutting it up: if I do this, they’re gonna catch me.  I was thinking about it while I was loading the syringe: if I do this, they’re gonna catch me. I thought I’d only have to do a week, though, and that seemed okay. Which is insane! I know it’s insane, but that’s what I was thinking.  I guess I was wrong. I’ve been here three weeks and I still haven’t had my court date.”

Even fish, if they get hooked, will risk their lives for another dose.  When human parents are snared by addiction, they endanger their children. The man whom I quoted above? He’d managed to stay sober for almost seven months, but relapsed the night of his son’s second birthday. His wife had to break down the bathroom door. After the ER, they brought him straight to jail.

In class together, we read Josh Rathkamp’s “Single Father,” in which the narrator fears that his diabetes will cause him to fall out and be unable to help his daughter.  Several parents recognized their own dread. Then we read “Daddy Wake Up” by local poet Travis Combs. Combs loves his son, but, like a diabetic, a person suffering from opiate addiction might find himself paralyzed, “a mass of mess.”

DADDY WAKE UP

Travis Combs

I hear the sound of his little feet running

down the hall, I look to make sure the door

is locked, I pull the plunger back, I hear

his joy as he yells, I’m superman.

       I do the shot

                      thinking What if?

       What if I fall out, what if he finds

me here, what if his little fingers have to

press 911, something we all teach them to do.

The fear in his voice when he says Daddy

won’t get up.  The pain in his heart when

he shakes me, yelling daddy wake up, daddy

wake up.

              Then I do wake, the needle

still in my arm, I feel his tears on my chest

as he lays there hugging me, crying, daddy

wake up.

Psychedelic drugs are safer.  They tend to be non-addictive. Most are relatively non-toxic. And a single dose can initiate self-discovery that buoys a person’s spirits for six months or more.

But psychedelic drugs are tightly controlled.  Despite thousands of research findings to the contrary, they’re classified by the U.S. government as having no accepted medical treatment use.  Possession is a felony.

Perhaps this shouldn’t seem surprising.  Spiritual drug use has been prized by our ancestors for thousands of years, but most cultures closely regulated which people would be privileged with access to those sacraments.  Depending on the time and place, only wealthy people would be allowed to use drugs, or only people born to a certain caste, or only men.

In the United States, cocaine was rightfully recognized as a wonder drug for decades, but then a cadre of white supremacist politicians claimed that cocaine would turn black men into monsters.  Prohibition was mediated through racism.

It’s true that cocaine is dangerous – both psychologically and physiologically – if you’re ingesting the purified compound.  But coca tea is no more dangerous than earl grey.  Indeed, if you decided to purify caffeine from tea leaves and snort it, you might die.

Marijuana was also legal in the United States until the racist propaganda machine started spinning stories about what would happen when people from Mexico smoked it.

And even now, wealthy people throughout the Bay Area blithely use psychedelic drugs.  Authors like Ayelet Waldman and Michael Pollan openly publicize their experiences flaunting the law.

Yet when people in Denver supported a ballot initiative that reduces the legal risk of possessing psilocybin-containing mushrooms, Pollan wrote an editorial denouncing the initiative.  Yes, there is some nuance; Pollan states that

No one should ever be arrested or go to jail for the possession or cultivation of any kind of mushroom – it would be disingenuous for me to say otherwise, since I have possessed, used and grown psilocybin myself.

And he claims, oddly, that the ballot initiative would be merely symbolic, citing as evidence the fact that only 11 psilocybin cases have been prosecuted in the last three years, out of approximately 150 arrests.  I personally have never been prosecuted for a crime, nor even arrested, but I’ve been told that it’s a very traumatic experience.  I’ve heard this from very reliable sources, men who have been through all sorts of horrific trauma in addition to their arrests. 

For all the people subject to this trauma – not to mention everyone more deterred than Pollan himself by the current legal status of this medicine – the initiative would have very meaningful consequences.

Michael Pollan. Photograph by Sage Ross on Wikipedia.

Instead, Pollan centers his cautionary argument on the idea that psilocybin “is not for everyone.

That idea is true enough, as far as things go.  Some people probably shouldn’t use psilocybin.  Some people feel traumatized by the bad experiences they go through while under its influence.  But I would argue that arrest is more traumatizing, and that the very illegality of the substance increases the likelihood that someone will go through a bad trip.

And the regulations seem absurd compared to how we treat other drugs.  For instance, someone with a predisposition to develop schizophrenia could be pushed closer to this condition by ingesting psilocybin.  The drug can hurt someone who uses it.  But alcohol, which is totally legal for most U.S. citizens over 21 years of age to purchase and consume, causes a huge amount of harm even to people who abstain.  Alcohol is the psychoactive drug that causes the most harm to others. 

Graph made by Tesseract2 on Wikimedia.

It’s unlikely that our sitting Supreme Court justices would have sexually assaulted anyone while using psilocybin for a meditative journey of self-discovery.  Indeed, that sort of experience might have led someone to develop much more empathetic political views. 

Because alcohol consumption is so likely to lead to poor decision-making and violence, it’s illegal for people on probation to drink.  Many have to check in at “blow & go” breathalyzer stations once or twice a day, which is really tough for people whose drivers’ licenses are suspended.  But, still, we passed this law to keep other people safe.

Or consider antibiotics.  Every time you use antibiotics, you make the world a little worse.  With every dose, there’s a risk that the bacteria you’re hoping to kill off will instead evolve to resist them.

And yet, even though using antibiotics hurts everybody else, they’re regulated much less than other drugs.  If you take psilocybin, it’s not going to hurt me at all.  But if you take an antibiotic – or, worse, if you decide to manufacture huge quantities of antibiotics and them inject 80% of them into cows, pigs, and chickens, all of whom are being raised in fetid conditions – you’re making it much more likely that I will die.

In the past, somebody might get scratched by a cat … and die.  Any infection could turn septic and kill you.

In the future, a currently-treatable infection might kill me.  Or kill my children.

Because we’ve allowed people to be so cavalier with antibiotics, medical professionals expect that within a generation, more people will die from bacterial infections than from cancer.

Obviously, this terrifies me.

But we’re not stopping the meat industry from using them.  We’re not using our legal system to protect all of humanity from their misuse.  Instead we’ve outlawed psilocybin, a compound that could usher you through a spiritual experience that helps you become a kinder, happier person.

Is that reasonable?

On vengeance and Ahmed Saadawi’s ‘Frankenstein in Baghdad.’

On vengeance and Ahmed Saadawi’s ‘Frankenstein in Baghdad.’

We are composite creatures, the edifice of our minds perched atop accumulated strata of a lifetime of memories.  Most people, I imagine, have done wrong; remembrance of our lapses is part of who we are.  And most of us have been hurt; those grievances also shape our identities.

We struggle to be good, despite having been born into an amoral universe and then subjected to innumerable slights or traumas as we aged.

Goodness is a nebulous concept, however.  There’s no external metric that indicates what we should do.  For instance: if we are subject to an injustice, is it better to forgive or to punish the transgressor?

There are compelling arguments for both sides, and for each position you could base your reasoning on philosophy, psychology, physiology, evolutionary biology …

Intellect and reasoning can’t identify what we should do.

A wide variety of cooperative species will swiftly and severely punish transgressions in order to maintain social order.  Misbehavior among naked mole rats is generally resolved through bullying and violence, which ensures the colony does not lapse into decadence.  (As with humans, shared adversity like hunger generally compels threat-free cooperation.)

Archaeologists suggest that the belief in vengeful gods was coupled to the development of complex human societies.  The Code of Hammurabi prescribed immediate, brutal retribution for almost any misdeed.

The compulsion to punish people who have hurt us arises from deep within our brains.

But punishment invites further punishment.  Every act of revenge can lead to yet another act of revenge – the Hatfield and McCoy families carried on their feud for nearly thirty years.

Punishment is fueled by anger, and anger poisons our bodies.  On a purely physiological level, forgiving others allows us to heal.  The psychological benefits seem to be even more pronounced.

But forgiveness is hard.  Sometimes people do terrible things.  After her mother was killed, my spouse had to spend her entire afternoon prep period on the phone with a family member and the prosecutor, convincing them not to seek the death penalty.

The attack had been recorded by security cameras.  Apparently it was horrifying to watch.  The assailant’s defense lawyer stated publicly that it was “the most provable murder case I have ever seen.

And incidents in which dark-skinned men hurt white women are precisely those for which prosecutors typically seek the death penalty; after my mother-in-law’s death, the only national news sites that wrote about the case were run by far-right white supremacists trying to incite more hatred and violence toward innocent black people.  (I’m including no links to these, obviously.)

At the time, I was working on a series of poems about teaching in jail. 

Correction (pt. ii)

My wife’s mother was murdered Saturday –

outside at four a.m., scattering birdseed,

smoking a cigarette, shucking schizophrenic

nothings into the unlistening air.

Then a passing man tossed off a punch,

knocking her to the ground.

He stomped upon her skull

till there was no more her

within that battered brain.

Doctors intubated the corpse &

kept it oxygenated by machine,

monitoring each blip of needless heart

for days

until my wife convinced

a charitable neurologist

to let the mindless body rest.

That same afternoon

I taught another class in jail

for men who hurt someone else’s mother,

daughter, or son.

The man who murdered,

privacy-less New York inmate #14A4438

with black hair & brown eyes,

had been to prison twice,

in 2002 & 2014,

caught each time

with paltry grams of crack cocaine.

Our man received a massive dose

of state-sponsored therapy:

nine years of penitence.

Nearly a decade of correction.

Does Victor Frankenstein share the blame

for the murders of his creation,

the man he quicked but did not love?

Or can we walk into a maternity ward

and point:

that one, nursing now, will be a beast.

Are monsters born or made?

My mother-in-law is dead, & our man is inside again,

apprehended after “spontaneous utterances,”

covered in blood, photographed with

a bandage between his eyes.

And we, in our mercy,

will choose whether

our creation

deserves

to die.

#

Victor Frankenstein becoming disgusted at his creation. Fronts-piece to the 1831 edition.

I have always stood firmly on the side of Frankenstein’s creation.  Yes, he began to kill, but misanthropy was thrust upon him.  The creature was ethical and kind at first, but the rest of the world ruthlessly mistreated him.  Victor Frankenstein abandoned him in the laboratory; he befriended a blind man, but then the man’s children chased him away.

Victor Frankenstein’s fiancée did not deserve to be strangled – except insofar as we share blame for the crimes of those we love – but I understand the wellspring of the creature’s rage.

In Ahmed Saadawi’s Frankenstein in Baghdad, a junk dealer’s attempt to honor the anonymous victims of Iraq’s many bombings gives rise to a spirit of vengeance.  The junk dealer acts upon a grisly idea – most victims could not receive proper funerals because their bodies were scattered or incinerated by the blasts.  But what if many stray pieces were collected?  An charred arm from Tuesday’s explosion; a ribcage and lower jawbone from Wednesday’s; two different victims’ legs from Thursday’s.  The city is so wracked by violence that there are plenty of body parts to choose from.  And then the junk dealer could take his creation to the police and say, Look!  Here is a body, victim of the attacks.  Here is a dead man we can honor properly.

In truth, the junk dealer’s plan was never terribly well thought out.  Once he completes the corpse, he realizes that using his creation as a locus for lamentation would be no better than all the empty coffins.

And then the corpse springs to life, seeking vengeance on any and all who wronged its component parts.  In the creature’s words (as translated by Jonathan Wright):

“My list of people to seek revenge on grew longer as my old body parts fell off and my assistants added parts from my new victims, until one night I realized that under these circumstances I would face an open-ended list of targets that would never end.

“Time was my enemy, because there was never enough of it to accomplish my mission, and I started hoping that the killing in the streets would stop, cutting off my supply of victims and allowing me to melt away.

“But the killing had only begun.  At least that’s how it seemed from the balconies in the building I was living in, as dead bodies littered the streets like rubbish.”

Soon, the creature realizes that the people he attacks are no different from the dead victims that he is composed of.  He can chase after the terrorist organizations that orchestrate suicide bombings, but the people in those organizations are also seeking revenge for their dead allies.  The chain of causality is so tangled that no one is clearly responsible.

Car bombing in Baghdad. Image from Wikimedia.

United States forces have been inadvertently killing innocent civilians ever since invading Iraq … an attack that was launched in retribution for the actions of a small group of Afghani terrorists.

Some people thought that this sounded reasonable at the time.

To seek vengeance, we need someone to blame.  But who should I blame for my mother-in-law’s death?  The man who assaulted her?  That’s certainly the conclusion that the white supremacist news sites want me to reach.  But I sincerely doubt that this poor man would have hurt her if a prosecutor hadn’t ripped him from his friends and family, condemning him to ten years within the nightmarish violence of America’s prisons, all for participating in a small-scale version of the exact same economic transaction that allowed Merck to become a $160-billion-dollar valued company.

Do I blame the racist white legislators who imposed such draconian punishments on the possession of the pure amine form of cocaine, all while celebrating their pale-skinned buddies who snerked up the hydrochloride salt form?

Do I blame myself?  As a citizen of this country – a wealthy citizen, no less, showered with un-earned privilege – I am complicit in the misfortunes that my nation imposes on others.  Even when I loathe the way this nation acts, by benefiting from its sins, I too share responsibility.

I have inherited privilege … which means that I also deserve to inherit blame, even for horrors perpetrated well before I was born.

Forgiveness is hard, but revenge would send us chasing an endless cycle of complicity.  The creature in Frankenstein in Baghdad is flummoxed:

In his mind he still had a long list of the people he was supposed to kill, and as fast as the list shrank it was replenished with new names, making avenging these lives an endless task.  Or maybe he would wake up one day to discover that there was no one left to kill, because the criminals and the victims were entangled in a way that was more complicated than ever before.

“There are no innocents who are completely innocent or criminals who are completely criminal.”  This sentence drilled its way into his head like a bullet out of the blue.  He stood in the middle of the street and looked up at the sky, waiting for the final moment when he would disintegrate into his original components.  This was the realization that would undermine his mission – because every criminal he had killed was also a victim.  The victim proportion in some of them might even be higher than the criminal proportion, so he might inadvertently be made up of the most innocent parts of the criminals’ bodies.

“There are no innocents who are completely innocent or criminals who are completely criminal.”

Header image: an illustration of Frankenstein at work in his laboratory.

On Brett Wagner’s “Apocalypse Blaze.”

On Brett Wagner’s “Apocalypse Blaze.”

A friend of mine, whom I first met when he was a student in my poetry class, was writing a post-apocalyptic novel.  There’s nuclear fallout; civilization crumbled.  A few people who haven’t yet caught the sickness are traveling together, fantasizing that they could restart the world.

When the bombs fell, governments collapsed.  Not immediately, but within the year.  The idea of government is predicated on people getting things done: fire fighters who might rescue you, police officers who might protect you, agencies who maintain the roads and ensure the water is safe to drink.  All of which requires money, which the government can print, but those slips of paper don’t mean much if no one will accept them in exchange for food or a safe place to sleep.

“Hangrith,” that’s a beautiful word.  It’s archaic, means a realm in which you can expect security and peace.  Literally, “within the grasp of the king’s hand.”  While you are here, the government will protect you.

Within the grasp. Image by Enrico Strocchi on Flickr.

My friend was skeptical of the concept.  The king’s hand wasn’t cradling him, nor wielding a protective sword to keep orcs at bay; instead, my friend felt the gauntlet at his throat.  We’d met in jail, where he’d landed for addiction.  We volleyed emails after he left, while he was working on his novel.  And then he was in my class again.  Failed check-in.  Once you’re on probation, you’re given numerous extra laws to follow – people on probation don’t have the rights of other citizens, and minor transgressions, like missing a meeting or late payment for a fine, can land you back in jail.

And so it wasn’t difficult for my friend to imagine a world in which there was no government to rely upon.  To reach their destination, his heroes have to barter.  Which meant that, suddenly, my friend’s skills might be treated with respect.

After all, what would people be most willing to trade their food for in a world where waking life was a ravaged nightmare?

I took a patch with me underground when shit hit the fan.  Grew it hydroponically.  Cared for that shit like a baby.  Gave me something to do while I was in that shelter.  Weed is my money.”

Rampant economic inequality, fractured communities, and the spread of attention-grabbing toys that prevent us from making eye contact with one another – these have all contributed to the increase in drug use and addiction in contemporary America.  But the world could be worse.  After the blast, everyone would share the stress and trauma that people in poverty currently weather.

Methamphetamine lets people keep going despite crushing hopelessness and despair.  Meth use is widespread in many hollowed-out towns of the Midwest.  It’s a problematic drug.  At first, people feel good enough to get out of bed again.  But methamphetamine is metabolized so slowly that users don’t sleep.  Amphetamines themselves are not so toxic, but lack of sleep will kill you.  After five, ten, or twenty days awake, vicious hallucinations set in.  The drug is no longer keeping you alert and chipper enough to work – static crackles through your mind, crustacea skitter beneath your skin, shadows flit through the air.

They walked on, their path lit by the moon, among the wreckage of cars and piles of trash and useless electronics that were heaped up until they came to a concrete slab with a manhole in it.

This is my crib, where I sat out that day.”

Image by Joe Shlabotnik on Flickr.

After the fall, experience in the drug trade lets people carve out a living.  And experience on the streets lets them survive.  All the ornate mansions, people’s fine wood and brick homes, have fallen into disarray.  Their inhabitants caught the sickness, or else died in the initial blast.

The survivors were people who slept outdoors, protected by thick concrete.  Not in bunkers; the blast came too suddenly for that.  Beneath bridges, tucked into safe alcoves, or down on dry ledges of the sewers.

My friend understood what it meant to make shelter where you could find it.

After Pops gave me the boot, I had to find a way to support myself; that’s when I learned my hustle.  And Penny here was one of my biggest customers.”

You used to be her dealer?”

Damn, dude, you make it sound dirty.  Weed ain’t no drug, it’s medicine.”

The heroes plan to go west, aiming for San Francisco.  When I was growing up, I had that dream too – I’d read a little about the Merry Pranksters and failed to realize how much the world might have changed.  People living around the Bay Area are still interested in polyamory and psychedelic drugs, but that doesn’t mean they’re nice.  It was heartbreaking to see how racist and ruthless the people there were, especially since I’d expected to find a hippie paradise.

And so my spouse and I moved back to the Midwest. 

But I understand the dream – we’re surrounded by a lot of retrograde cudgleheads, here.  The only problem is that people are pretty similar everywhere else. 

An agrarian based society.  Where everyone works to grow what they eat.  The soil might be okay.  We won’t know all the affects of the radiation until later.”

Well, I know for sure it’s mutated animals near the hit zone.  I’ve seen all kindsa freaky shit.  People too.  It’s like the wild west again, where we’re going.”

The actual “wild west,” in U.S. history, was horrible.  Racism, genocide, misogyny.  But the ideal – a lawless land beyond the hangrith where a person’s ingenuity reaps fortune instead of jail time – might be enough to keep someone going.

And it worked, for a while.  My friend carved out months of sobriety.  He was volunteering at the community food kitchen.  In the late afternoons, he’d type using a computer at the public library.  He was always a very hopeful person; while he was in jail, he asked me to bring physics textbooks so he could use the time productively.  You can get a sense of his enthusiasm from his poetry:

“BIRD TOWN, TN”

by Brett Wagner

Picture this young boy

whose favorite color was the blank white

of a fresh page.  We went running once

on the spring green grass.

As I’ve heard it said,

“There’s nowhere to go but everywhere”

so we ran anywhere in this

jungle gym world.

Somewhere the clouds didn’t smother us

and the hills didn’t exhaust us,

where robins, blue jays, and cardinals sing

like boddhisattvas that have taken wing.

But then he slipped.  A first drink led to more.  He’d been in sober housing; he was kicked out, back onto the streets.  A friend, another New Leaf volunteer, gave him enough money for a few days in a hotel.

We had several cold snaps this winter.  Two nights after his hotel money ran out, temperatures dropped. 

We’d made plans for my friend to join us for a panel with Dave Eggers, where we’d discuss storytelling and incarceration. 

Instead, at 29 years old, Brett Wagner froze to death.  His novel is unfinished; his heroes will not build a new agrarian society.

They had grim odds.  Nuclear fallout is a killer.  But my friend was felled by the apocalypse that’s already upon us.

Header image for this post by akahawkeyefan on Flickr.

On storytelling and social justice.

On storytelling and social justice.

Recently, Dave Eggers joined four local panelists (Lindsey Badger, Michelle Brekke, Max Smith, and me) to discuss writing and incarceration, especially the role of storytelling as a force for social justice.

When I discuss poetry with people in jail, we often get sidetracked into conversations about outer space, pharmacology, neuroscience … as it happens, the latter is particularly relevant to any discussion of storytelling.  Because your consciousness has evolved to create stories.

When you choose to do something, like picking up a pen, the first thing that happens is that, unconsciously, your brain will send signals toward your muscles.  You will begin to act.  Then, once you are already in motion, your consciousness will be informed of your decision.  Thats when your brain generates a story to explain why you chose to pick up the pen.

First, we act, then we concoct a narrative.

A human consciousness will typically create a story explaining why we chose to do something even if it wasn’t really our choice.  If a researcher sways someone’s action through the use of transcranial magnetic or direct current stimulation, most people will still offer up a coherent explanation explaining why they chose to act that way.

Personally, I think this sort of research into free will and mind control is fascinating.  I could continue rattling off more facts.  By reading this essay, you might learn something.  But it probably wouldn’t change how you act.  Knowledge doesn’t spur behavior, emotions do.

In Mama’s Last Hug, Frans de Waal writes that:

The Portuguese-American neuroscientist Antonio Damasio reported on a patient, Elliot, with ventromedial frontal lobe damage.  While Elliott was articulate and intellectually sound, witty even, he had become emotionally flat, showing no hint of affect in many hours of conversation. 

Elliott was never sad, impatient, angry, or frustrated.  This lack of emotion seemed to paralyze his decision making.  It might take him all afternoon to make up his mind about where and what to eat, or half an hour to decide on an appointment or the color of his pen. 

Damasio and his team tested Elliott in all sorts of ways.  Even though his reasoning capacities seemed perfectly fine, he had trouble sticking with a task and especially reaching a conclusion.  As Damasio summarized: “The defect appeared to set in at the late stages of reasoning, close to or at the point at which choice making or response selection must occur.” 

Elliott himself, after a session in which he had carefully reviewed all options, said “And after all this, I still wouldn’t know what to do!”

After all, there is no way to prove, mathematically, how to be good.  Your intellect will invariably fall short.  Only by trusting your emotions can you decide that one course of action is better than another.

And that is the value of stories.

Eggers, who devotes much of his time to teaching young people, says that you could provide them with huge quantities of information – about mass incarceration in the U.S., or how we mistreat undocumented workers, or Muslim Americans after 9 / 11 – and it wouldn’t change anything.  “But,” Eggers said, “if you give them even a 15-page first-person narrative, they become activists.

By way of example, my co-panelists discussed several local stories that could be presented in a variety of ways.  For instance, the kid who recently died in our local jail because the jailors stopped providing his medication after his eighteenth birthday.  I’ve written about his ordeal previously; Max Smith had become close friends with him while they were confined in a small cell together; Lindsey Badger met with his mother after he died to preserve stories about his life that depict him more accurately than the terse denunciation he received from our local newspaper.

Michelle Brekke added that, although she hadn’t read the article about this young man, she knows that when she was sentenced, “If you were to look me up online, on a database or whatever, you would see that I’m a drug addict, you would see that I’m an intravenous drug user, you would see that I’m a drug dealer, but today, and even then,  that’s not who I am.  I’m actually a very kind, loving, caring person, who has had a really crappy way of life shoved onto me, so that’s the way of life I chose to take.  I’m an overcomer, and I’ve been able to overcome that.

Luckily I was on the inside when I got arrested because I’m sure that the things that were said on social media, there couldn’t have been anything good.

During her time in prison, Brekke began to write, which allowed her to tell the whole truth.  She refused to let other people dictate the narrative of her life.  “To be able to tell your story, or to hear somebody else’s story, you get the beginning, the middle, and the now.

The last prompt from the audience was, “I’m curious about each of the panelists’ perspectives on how writers can hurt readers in a way that’s inspiring for people to act.”

Smith and Brekke answered for the panel (perhaps you could argue that Eggers has already provided an answer in his books – by intermixing levity with pain you can create stories that are sufficiently fun that they’ll reach an audience, but still convey a spark of indignation that compels people to work to change the world.  After two hundred pages of comic antics in The Parade, Eggers concludes with an incandescent flash of horror).

Smith said, “Unfortunately for many of the people who are incarcerated, just being true to their experience hurts readers.  It’s a horrible, horrible experience that is hard to imagine if you haven’t been exposed to it.” 

And Brekke added, “I would want a reader to feel my own hurt, through the writing.  To not feel sorry for me, but to be able to feel the truth and the pain that I once felt.

The written word does not accomplish much if a tale is too unpalatable to reach its audience, but when the sorrows come from a place a deep integrity, or when the hurt is leavened with a touch of humor, readers might trust an author enough to continue. 

And I am grateful that so many deeply committed people are willing to share hard stories in a way we can appreciate.  Because we’ll need the emotional wallop of powerful stories to compel us to change the world.

Featured image: Max ribbing me. From a recording of the panel created by Jeremy Hogan.

On octopus art.

On octopus art.

When we were in college, my roommate and I spent a train ride debating the merits of Andy Warhol’s art (she was a fan, I was not).  In the end, we not only failed to change each other’s opinions, but realized that we didn’t even agree what art was.  She double majored in Biomedical Engineering and Art Theory & Practice, and her view was much more expansive than my own.

In retrospect, I can admit that she was right.  My view of art was narrow-minded.  If I had to proffer a definition of “art” today, I might go with something like:

Art is an intentionally-created module that is designed to reshape the audience’s neural architecture.

By this standard, the big images of soup qualify.  So do the happenings.

Andy Warhol’s “Campbell’s Soup Cans,” 1962. Image by Wally Gobetz on Flickr.

I recently read a book that analyzed board games using the tools of art criticism and narratology.  Obviously, I now think that board games can be art.  They’re carefully designed; their creators often seem to have a goal for how each game should make players feel; the combined effects of text, visual components, and even rules can all work toward conveying those feelings.

One drawback to my newfound open-mindedness, though, is that I could probably be convinced that almost any designed object qualifies as art.

For a piece of art to “fail” to change your neural architecture, it would have to be mnemonically invisible – immediately after seeing it, you could look at it again and it would be as though it were the first time.  You’d never be able to recall its content or meaning.

Actually, I have read some esoteric, convoluted poetry like that.  Words that skimmed over my mind as though each synapse were coated with teflon. 

I wasn’t keen on the experience.  Minutes had passed, but, because I couldn’t remember anything that I’d read, I’d accomplished nothing.  I don’t need to actually understand a poem, I just want for it to make me feel somehow different after I’ve read it.  Like Will Alexander’s “The Optic Wraith,” which triggers a mysterious sense of unease even though its meaning squirms away from me:

The Optic Wraith

Her eyes

like a swarm of dense volcano spiders

woven from cold inferno spools

contradictory

consuming

clinging to my palette

like the code from a bleak inventive ruse

now

my understanding of her scent

is condoned as general waking insomnia

as void

as a cataleptic prairie

frayed at the core

by brushstrokes of vertigo

then mazes

As Alexander’s words lure me along, I lose my grasp.  But although I might not recall any specific lines, if you asked me at the end of its six pages, “So, what did you feel?”, I’d certain know that something inside my brain was different from who I’d been five minutes before.

When I was in college, I felt strongly that art needed to be beautiful.  I was wrong.  But I still believe that art works better when it’s aesthetically pleasing, because this allows it to more readily infiltrate someone’s mind.  If two paintings are both intended to convey the same ideas, but one is more pleasurable to look at, then we can assume that it will be looked at more, and thereby convey the idea more.  A charming form helps the piece achieve its function of spreading the creator’s intended message.

And, in terms of judging the quality of art, I obviously still think that the quality of message is important.

For instance, a chair.  Every chair you’ve ever sat in was designed by somebody.  If you wanted to argue that the chair is a piece of art, I suppose I’d agree with you.  And maybe it’s a very good chair: comfortable to sit in, perfectly balanced, pleasing to see when the rising sun illuminates it in the morning.  But that doesn’t mean it’s good art.

Joseph Kosuth’s “One and Three Chairs,” 1965. Photo by Kenneth Lu on Flickr.

Indeed, a chair that is bad at being a chair is more likely to be a good artwork.  A chair that’s too small or too large, conveying the discomfort of trying to make your way in a world that is primarily concerned with the comfort of bodies unlike your own.  Or a gigantic bronze throne that affords you the chance to perch in Baphomet’s lap; it would be an unpleasant place to sit, but perhaps you’d reflect more on Lucifer’s ethic of “speaking truth to power, even at great personal cost.

When we humans make art, we try to engage the emotions of our audience.  Emotionally-charged situations are more memorable; while feeling awe, or anger, or joy, human minds are most likely to change.

And human art is almost always made for a human audience.  Our brains evolved both from and for gossip; our prodigious intellect began as a tool to track convoluted social relationships.  We’re driven to seek narrative explanations, both because a coherent story makes gossip easier to understand, and because our consciousness spins stories to rationalize our actions after we perform them.

If we considered the world’s most intelligent animal species – like humans, dolphins, crows, elephants, chimpanzees – most have evolved to gossip.  Large brains gave our ancestors a selective advantage because they were able to track and manipulate their societies complex social relationships in a way that bolstered survival and breeding opportunities.  Indeed, the average elephant probably has more emotional intelligence than the average human, judging from neuron counts in the relevant areas of each species’ brains.

Elephants at a sanctuary. Image by Gilda on Flickr.

And so, if an elephant were given the freedom to paint (without a trainer tugging on her ears!), I imagine that she’d create art with the intention that another elephant would be the audience.  When a chimpanzee starts drumming, any aesthetic message is probably intended for other chimpanzees.

But what about octopus art?

Octopuses and humans haven’t had any ancestors in common for half a billion years.  Octopuses are extremely intelligent, but their intelligence arose through a very different pathway from most other animals.  Unlike the world’s brilliant birds and mammals, octopuses do not gossip.

Octopuses tend to be antisocial unless it’s mating season (or they’ve been dosed with ecstasy / MDMA).  Most of the time, they just use their prodigious intellect to solve puzzles, like how best to escape cages, or find food, or keep from being killed.

Octopus hiding in two shells. Image by Nick Hobgood on Wikipedia.

Humans have something termed “theory of mind”: we think a lot about what others are thinking.  Many types of animals do this.  For instance, if a crow knows that another crow watched it hide food, it will then come back and move the food to a new hiding spot as soon as the second crow isn’t looking.

When we make art, we’re indirectly demonstrating a theory of mind – if we want an audience to appreciate the things we make, we have to anticipate what they’ll think.

Octopuses also seem to have a “theory of mind,” but they’re not deeply invested in the thoughts of other octopuses.  They care more about the thoughts of animals that might eat them.  And they know how to be deceptive; that’s why an octopus might collect coconut shells and use one to cover itself as it slinks across the ocean floor.

A coconut octopus. Image by Christian Gloor on Wikimedia.

Human art is for humans, and bird art for birds, but octopus art is probably intended for a non-octopus audience.  Which might require even more intelligence to create; it’s easy for me to write something that a reader like me would enjoy.  Whereas an octopus artist would be empathizing with creatures radically different from itself.

If octopuses weren’t stuck with such short lifespans, living in the nightmarishly dangerous ocean depths, I bet their outward focus would lead them to become better people than we are.  The more we struggle to empathize with others different from ourselves, the better our world will be.

On empathy.

On empathy.

Mark Salzman wrote a beautiful memoir about growing up as a nerdy, well-off, suburban white kid.  Lost in Place is charming, and I’d recommend it highly to anyone who likes memoirs and to parents raising children in the suburbs.

Salzman loves to write, and he was lucky enough to make a career out of it.  But, as a well-off white male, he does not have the lived experience to know intimately every sort of character who might populate his books.  Even while writing Lost in Place, he was forced to imagine the experiences of an other – Salzman the adult was writing the book, but he was attempting to recreate the world of Salzman the child.  He was forced to empathize with the (occasionally foolish) thoughts and experiences of the youth he once was; I’d argue, based on the emotional impact of the book, that he succeeded.

The experiential distance between Salzman the adult author and Salzman the youthful protagonist is probably much smaller than the distance between, say, Salzman and an epileptic female nun, or the distance between Salzman and a troubled Latino teen.

Salzman’s Lying Awake, a book about faith and the sacrifices we’re willing to make to maintain it, includes both such characters.  But when he sent a first draft to his editor, she was less than thrilled.  In Salzman’s words (from his memoir True Notebooks):

Carlos was a minor character in the story, a juvenile delinquent with a terminal illness.  Although I had given Carlos tattoos and a bald head, he failed to impress my editor.  She thought he needed a personality.  And “please please please,” she urged in one of her notes, “give him a different name.”

Los Angeles is the youth gang capital of the world, so I figured [my friend] Duane, [who writes for the Los Angeles Times,] must have had to write about them at some point.  I asked if he could recommend any good books about juvenile delinquents that I could use for research.  He thought about it, then answered, “Not really.”

I figured that was the end of that, but then he said, “But I volunteer down at juvenile hall twice a week.  I teach a writing class there.  If you’d like to come down and visit sometime, the guys could tell you more than any book.”

Salzman knew that he was too ignorant to properly empathize with the perceptions of his character, and so he opened himself to the world in order to learn more.  He visited the juvenile detention center.  Soon, he began to teach his own writing class there.  He became friends with several students; hoping to provide moral support, he attended every court date of a young black male who’d shot and killed another kid during a violent altercation in a movie theater.

All writing draws upon empathy.  Even to create nonfiction, a writer must empathize with the reader, puzzling out which words will best allow others to understand whatever it is that the writer hopes to convey.  And with fiction, unless we expect authors to populate each and every novel with clones of themselves, a writer must ponder the ways that a character – and people similar to that character – would perceive the world.

And then, after learning to empathize with characters, a writer must find ways to share that growth.  When it’s done well, understanding spills from the page, which is presumably why reading literary fiction has been experimentally shown to increase empathy.

The world benefits, for example, when the neurodiverse among us write about their lives, giving us firsthand insight into their experience of the world.  But we as a people also benefit when people without autism are allowed, or even encouraged, to consider what the world feels like for others

Imagining what it would be like to inhabit the hearts and minds of others compels us to fight injustice; without these experiences of empathy, we might be complacent to focus only on our own circumstances.

Obviously, there are times when a apparent attempts at empathy fall short.

But there’s a difference between recognizing that some artists don’t empathize enough, and the idea that artists shouldn’t attempt to empathize with others at all.  In the New York Times editorial “In Defense of Cultural Appropriation,” author Kenan Malik writes that:

In 1955, Emmett Till’s mother urged the publication of photographs of her son’s mutilated body as it lay in its coffin.  Till’s murder, and the photographs, played a major role in shaping the civil rights movement and have acquired an almost sacred quality.  It was from those photos that Ms. Schutz began her painting.

To suggest that she, as a white painter, should not depict images of black suffering is as troubling as the demand by some Muslims that Salman Rushdie’s novel The Satanic Verses should be censored because of supposed blasphemies in its depiction of Islam.  In fact, it’s more troubling because, as the critic Adam Shatz has observed, the campaign against Ms. Schutz’s work contains an “implicit disavowal that acts of radical sympathy, and imaginative identification, are possible across racial lines.”

Image by LA2 on Wikimedia Commons.

In order to convincingly include a troubled youth in his novel, Mark Salzman immersed himself in several young people’s lives.  He allowed his heart to grow.  And he, as a person, was changed.  When he first began teaching, he saw those kids as the sort of bullies who’d harassed him when he was growing up.  After a few years, he saw them as friends, many (if not all) of whom had been forced to endure more trauma as children than other people weather in a lifetime.

They weren’t monsters, they were people.  And he found a way to write about them such that readers, too, would recognize their shared humanity.

And perhaps, perhaps, feel outraged enough by his characters’ circumstances that readers, too, would work toward changing the world.  Because the world is clearly in need of change.  And empathy is the only force powerful enough to compel us to do it.

Header image from a letter sent to me by a former student, as featured in the essay “Asymmetry and the Hatred of Poetry.

On happiness and mind control.

On happiness and mind control.

Many of us would like to feel happier.

In the United States, people are having sex less often.  And between alcohol, marijuana, recreational painkillers – not to mention anti-depressants and anti-anxiety medication – we take a lot of drugs. 

Many of us work long hours at jobs we dislike so that we can afford to buy things that promise to fill some of the emptiness inside.  The most lucrative businesses are advertising companies … one of which, Facebook, is designed to make you feel worse so that you’ll be more susceptible to its ads.

The suicide rate has been rising.

From Dan Diamond’s Forbes blog post
Stopping The Growing Risk Of Suicide: How You Can Help.”

It might seem as though we don’t know how to make people happier.  But, actually, we do.

Now, I know that I’ve written previously with bad medical advice, such as the suggestion that intentionally infecting yourself with the brain parasite Toxoplasma gondii could make you happier.  This parasite boosts dopamine levels in your brain (dopamine is a neurotransmitter that conveys feelings of pleasure and mirth) and makes you feel bolder (in controlled laboratory experiments, infected mice show less stress when making risky decisions, and observational data suggests the same to be true for infected humans).  You also might become more attractive (infected rodents have more sex, and portrait photographs of infected human men are perceived as more dominant and masculine).

There are drawbacks to Toxoplasma infection, of course.  Infected rodents are more likely to be killed by cats.  Infected humans may become slower as well, both physically and intellectuallyToxoplasma forms cysts in your brain.  It might increase the chance of developing schizophrenia.  It can kill you if you’re immunocompromised.  And the surest way to contract toxoplasmosis, if incidental exposure hasn’t already done it for you, is by eating cat excrement.

My advice today is different.  No feces required! 

And I’m not suggesting anything illegal.  I mentioned, above, that people in the United States take a lot of drugs.  Several of these boost dopamine levels in your brain.  Cocaine, for instance, is a “dopamine re-uptake inhibitor,” ensuring that any momentary sensation of pleasure will linger, allowing you to feel happy longer.

But cocaine has a nasty side effect of leading to incarceration, especially if the local law enforcement officers decide that your epidermal melanin concentration is too high.  And jail is not a happy place.

Instead, you could make yourself happier with a bit of at-home trepanation, followed by the insertion of an electrode into the nucleus accumbens of your brain.  Now, I know that sounds risky, what with the nucleus accumbens being way down near the base of your brain.  But your brain is rather squishy – although you’ll sheer some cells as you cram a length of conductive wire into your cranium, the hope is that many neurons will be pushed out of the way.

The nucleus accumbens tends to show high activity during pleasure.  For instance, cocaine stimulates activity in this part of your brain.  So does money — tell research subjects that they’ve won a prize and you’ll see this region light up.  If rats are implanted with an electrode that lets them jolt their own nucleus accumbens by pushing a lever, they’ll do it over and over.  Pressing that lever makes them happier than eating, or drinking water, or having sex.  They’ll blissfully self-stimulate until they collapse.  From James Olds’s Science paper, “Self-Stimulation of the Brain”:

If animals with electrodes in the hypothalamus were run for 24 hours or 48 hours consecutively, they continued to respond as long as physiological endurance permitted.

Setup for Olds’s experiment.

Perhaps I should have warned you – amateur brain modification would carry some risks.  Even if you have the tools needed to drill into your own skull without contracting a horrible infection, you don’t want to boost your mood just to die of dehydration.

After all, happiness might have some purpose.  There might be reasons why certain activities – like eating, drinking water, having sex … to say nothing of strolling outdoors, or volunteering to help others – make us feel happy.  After discussing several case studies in their research article “How Happy Is Too Happy,” Matthis Synofzik, Thomas Schlaepfer, and Joseph Fins write that using deep brain stimulation for the “induction of chronic euphoria could also impair the person’s cognitive capacity to respond to reasons about which volitions and preferences are in his or her best interests.

When an activity makes us feel happy, we’re likely to do it again.  That’s how people manage to dedicate their lives to service.  Or get addicted to drugs.

And it’s how brain stimulation could be used for mind control.

If you show me a syringe, I’ll feel nervous.  I don’t particularly like needles.  But if you display that same syringe to an intravenous drug user, you’ll trigger some of the rush of actually shooting up.  The men in my poetry classes have said that they feel all tingly if they even see the word “needle” written in a poem.

For months or years, needles presaged a sudden flush of pleasure.  That linkage was enough for their brains to develop a fondness for the needles themselves.

If you wanted to develop a taste for an unpalatable food, you could do the same thing.  Like bittermelon – I enjoy bittermelons, which have a flavor that’s totally different from anything else I’ve ever eaten, but lots of people loathe them.

Still, if you used deep brain stimulation to trigger pleasure every time a person ate bittermelon, that person would soon enjoy it.

Bittermelon. Image by [cipher] in Tokyo, Japan on Wikimedia.

Or you could make someone fall in love. 

Far more effective than any witch’s potion, that.  Each time your quarry encounters the future beloved, crank up the voltage.  The beloved’s presence will soon be associated with a sense of comfort and pleasure.  And that sensation – stretched out for long enough that the pair can build a set of shared memories – is much of what love is.

Of course, it probably sounds like I’m joking.  You wouldn’t really send jolts of electricity into the core of somebody’s brain so that he’d fall in love with somebody new … right?

Fifty years passed between the discovery of pleasure-inducing deep brain stimulation and its current use as a treatment for depression … precisely because one of the pioneering researchers decided that it was reasonable to use the electrodes as a love potion.

In 1972, Charles Moan and Robert Heath published a scientific paper titled “Septal stimulation for the initiation of heterosexual behavior in a homosexual male.”  Their study subject was a 24-year-old man who had been discharged from the military for homosexuality.  Moan and Heath postulated that the right regimen of electrode stimulation – jolted while watching pornography, or while straddled by a female prostitute whom Moan and Heath hired to visit their lab – might lead this young man to desire physical intimacy with women.

Moan and Heath’s paper is surprisingly salacious:

After about 20 min of such interaction she begun [sic] to mount him, and though he was somewhat reticent he did achieve penetration.  Active intercourse followed during which she had an orgasm that he was apparently able to sense.  He became very excited at this and suggested that they turn over in order that he might assume the initiative.  In this position he often paused to delay orgasm and to increase the duration of the pleasurable experience.  Then, despite the milieu [inside a lab, romping under the appraising eyes of multiple fully-clothed scientists] and the encumbrance of the electrode wires, he successfully ejaculated.  Subsequently, he expressed how much he had enjoyed her and how he hoped that he would have sex with her again in the near future.

The science writer Lone Frank recently published The Pleasure Shock, a meticulously researched book in which she concludes that Heath was unfairly maligned because most people in the 1970s were reticent to believe that consciousness arose from the interaction of perfectly ordinary matter inside our skulls.  Changing a person’s mood with electricity sounds creepy, especially if you think that a mind is an ethereal, inviolable thing.

But it isn’t.

The mind, that is. The mind isn’t an ethereal, inviolable thing.

Zapping new thoughts into somebody’s brain, though, is definitely still understood (by me, at least) to be creepy.

Discussing the contemporary resurgence of electrical brain modification, Frank writes that:

In 2013, economist Ernst Fehr of Zurich University experimented with transcranial direct current stimulation, which sends a weak current through the cranium and is able to influence activity in areas of the brain that lie closest to the skull. 

Fehr had sixty-three research subjects available.  They played a money game in which they each were given a sum and had to take a position on how much they wanted to give an anonymous partner.  In the first round, there were no sanctions from the partner, but in the second series of experiments, the person in question could protest and punish the subject. 

There were two opposing forces at play.  A cultural norm for sharing fairly – that is, equally – and a selfish interest in getting as much as possible for oneself.  Fehr and his people found that the tug of war could be influenced by the right lateral prefrontal cortex.  When the stimulation increased the brain activity, the subjects followed the fairness norm to a higher degree, while they were more inclined to act selfishly when the activity was diminished.

Perhaps the most thought-provoking thing was that the research subjects did not themselves feel any difference.  When they were asked about it, they said their idea of fairness had not changed, while the selfishness of their behavior had changed. 

Apparently, you can fiddle with subtle moral parameters in a person without the person who is manipulated being any the wiser.

The human brain evolved to create elaborate narratives that rationalize our own actions.  As far as our consciousness is concerned, there’s no difference between telling a just so story about a decision we made un-aided, versus explaining a “choice” that we were guided toward by external current.

Frank believes that Heath was a brilliant doctor who sincerely wanted to help patients. 

When bioethicist Carl Elliott reviewed The Pleasure Shock for the New York Review of Books, however, he pointed out that even – perhaps especially – brilliant doctors who sincerely want to help patients can stumble into rampantly unethical behavior.

The problem isn’t just that Heath pulsed electricity into the brain of a homosexual man so that he could ejaculate while fooling around with a woman.  Many of Heath’s patients – who, it’s worth acknowledging, had previously been confined to nightmarish asylums – developed infections from their electrode implantations and died.  Also, Heath knowingly promoted fraudulent research findings because he’d staked his reputation on a particular theory and was loathe to admit that he’d been wrong (not that Heath has been the only professor to perpetuate falsehoods this way).

Elliott concludes that:

Heath was a physician in love with his ideas. 

Psychiatry has seen many men like this.  Heath’s contemporaries include Ewen Cameron, the CIA-funded psychiatrist behind the infamous “psychic driving” studies at McGill University, in which patients were drugged into comas and subjected to repetitive messages or sounds for long periods, and Walter Freeman, the inventor of the icepick lobotomy and its most fervent evangelist.

These men may well have started with the best of intentions.  But in medical research, good intentions can lead to the embalming table.  All it takes is a powerful researcher with a surplus of self-confidence, a supportive institution, and a ready supply of vulnerable subjects.

Heath had them all.

It’s true that using an electrode to stimulate the nucleus accumbens inside your brain can probably make you feel happier.  By way of contrast, reading essays like this one make most people feel less happy.

Sometimes it’s good to feel bad, though.

As Elliott reminds us, a lot of vulnerable people were abused in this research.  A lot of vulnerable people are still treated with cavalier disregard, especially when folks with psychiatric issues are snared by our country’s criminal justice system.  And the torments that we dole upon non-human animals are even worse.

Consider this passage from Frans De Waal’s Mama’s Last Hug, discussing empathy:

[University of Chicago researcher Inbal Ben-Ami Bartal] placed one rat in an enclosure, where it encountered a small transparent container, a bit like a jelly jar.  Squeezed inside it was another rat, locked up, wriggling in distress. 

Not only did the free rat learn how to open a little door to liberate the other, but she was remarkably eager to do so.  Never trained on it, she did so spontaneously. 

Then Bartal challenged her motivation by giving her a choice between two containers, one with chocolate chips – a favorite food that they could easily smell – and another with a trapped companion.  The free rat often rescued her companion first, suggesting that reducing her distress counted more than delicious food.

Is it possible that these rats liberated their companions for companionship?  While one rat is locked up, the other has no chance to play, mate, or groom.  Do they just want to make contact?  While the original study failed to address this question, a different study created a situation where rats could rescue each other without any chance of further interaction.  That they still did so confirmed that the driving force is not a desire to be social. 

Bartal believes it is emotional contagion: rats become distressed when noticing the other’s distress, which spurs them into action. 

Conversely, when Bartal gave her rats an anxiety-reducing drug, turning them into happy hippies, they still knew how to open the little door to reach the chocolate chips, but in their tranquil state, they had no interest in the trapped rat.  They couldn’t care less, showing the sort of emotional blunting of people on Prozac or pain-killers. 

The rats became insensitive to the other’s agony and ceased helping. 

You could feel happier.  We know enough to be able to reach into your mind and change it.  A miniscule flow of electrons is enough to trigger bliss.

But should we do it?  Or use our unhappiness as fuel to change the world instead?