Hello Darkness, My Old Friend

I don’t know why or what precipitated it, but recently I had a realization about my favorite childhood stories that seemed worthy of exploring. Namely, that my go-to movies as a child were . . . kinda dark.

The four movies I remember watching the most — like we’re talking an almost constant rotation — are

  • Watership Down (1978)
  • The Last Unicorn (1982)
  • The Lion, the Witch and the Wardrobe (1979)
  • The Neverending Story (1984)

We had each of these movies on VHS. If memory serves, only Watership Down was a VHS my parents actually purchased for me. The others were taped off TV whenever a free trial of HBO had appeared on the cable box. (I now have all but one of them on DVD or Blu-Ray.)

This is not to say I didn’t watch Disney movies (which were almost always quite dark in their own way, especially the old ones) or Looney Tunes (also dark . . . there are more suicide jokes than you’re remembering). But when push came to shove and I was watching something on my own, these are the four movies from which I picked. My sister would join in on The Lion, the Witch and the Wardrobe, and occasionally on The Neverending Story, but she had little patience at the time for talking rabbits and unicorns.

And if I wasn’t watching those movies, I was watching nature documentaries on VHS from National Geographic, which are, quite naturally, filled with hunting and death and infant mortality and hardship of many kinds.

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Darkness pervaded my reading life as well, in the form of books like A Wrinkle in Time, which my son made me stop reading aloud to him when Meg sees the stars being swallowed up by The Black Thing, and Island of the Blue Dolphins, which my husband made me stop reading aloud to him when the girl’s little brother dies.

This all came to me at once one day so that I knew I ought to mark it in some way. I thought that it might make a blog post, but then I didn’t write anything for weeks and weeks and weeks. Because I didn’t know what to say about it.

What did it mean? A few possibilities seemed to drift across the transom of my mind.

Perhaps these things seem dark because they were relics of an earlier age in entertainment. In the 1990s, the self-esteem movement began and children’s programming turned into variations on the innocuous message that “everything’s okay.” I’m okay. You’re okay. Problems are small and the world is bright and everything is bubble-gum and cotton candy and irritating little pop songs that make me want to kill, kill, KILLLLLLL!!! Miss Hannigan style.

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Perhaps because my life was easy and simple and full of light the only way to experience the full range of human emotions was to experience it vicariously through the travails of cartoon rabbits and animatronic luck dragons.

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Perhaps I was simply drawn to the great drama of good against evil. (Starting, again, in the the 1990s, nothing was evil. It was just misunderstood, and so you were supposed to feel bad for it, not fight against it.)

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Whatever the reason, I apparently couldn’t get enough of this…

Or this…

Or this…

Or especially this…

I’ve been thinking about and writing this post for days now, days when I am also reading Irish author Sara Baume’s second novel, A Line Made by Walking. In one of my newsletters, I wrote about when I read her first book, Spill Simmer Falter Wither. I love that book. That rather dark book. And this newest one is dark as well — not in the suspensy-serial-killer-murdery sort of way, or the shape-shifter-vampire-paranormal-apocalypse sort of way, but in the real-life-and-all-its-complications-and-sorrows sort of way.

In A Line Made by Walking, the narrator is trying to work out her depression at her dead grandmother’s home (and a better description of clinical depression I don’t think I have ever or will ever read). Frankie takes pictures of dead animals, thinking that she can form it into some kind of artistic statement (she is a former art student). She’s unhappy and anxious and occasionally near despair during the entire book. And yet, to me her story isn’t depressing.

Dark is not necessarily depressing, though I can see why some people would look at my perhaps-odd choices in entertainment and think that they were. To me, dark is a necessary component of life on this earth, and it is the way in which we know light.

A photo with too much light and not enough dark and you lose the detail in the lighter elements.

A photo with too much dark and not enough light and you lose the detail of the darker elements.

It’s when the light and the dark are at complementary levels that we get the clearest picture of reality, isn’t it?

One of the reasons I write is to understand people in general and myself in particular. I want to understand the darkness that exists within us and the light we are striving toward. I want to understand why people do terrible things to each other. I want to see them reconciled. Without serious conflict, reconciliation is meaningless. Without deep hurt, forgiveness is meaningless.

So I suppose it’s natural that, even as a child, I read books where children died and worlds were snuffed out by some dark power, and I watched movies where entire civilizations were consumed by The Nothing and countless souls were imprisoned in the sea by a maniacal king.

Because of course, in the end, there is always a ray of hope.

A single grain of sand that will become a new land.

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A time of peace and prosperity when weary souls can rest and enjoy the result of their terrible sacrifices.

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The release of a kingdom from the grip of an everlasting winter.

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The freedom of the captives.

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There are, in all of these stories, whispers and echoes of the ultimate story — the fall and redemption of humankind.

When A Line Made by Walking came to an end, Frankie was not “fixed” and “happy.” That kind of ending would have betrayed the work itself. But there was something on which to hang just a little bit of hope for her. For all of us.

Adventures in Shameful American History

If I’ve been absent from the blog lately, it’s because I’m steadily checking things off my end-of-year to-do list, including much reading. I’m finishing up preliminary research for my novel and have spent much of the last six months exploring the very violent history of race in America, from pre-Civil War through the 1960s. And despite having minored in US history in college, it has been jaw-droppingly eye opening.

In school, we generally learn about the slave trade, the escalation of slavery with the advent of the cotton gin, the Civil War and Emancipation Proclamation (whose 150th anniversary we have recently noted in this country), and the very beginnings of the period known as Reconstruction (maybe). During this time we learn to love Frederick Douglass, the former slave who ran in white circles, and to appreciate, but be slightly suspicious of, the more dangerous-sounding W.E.B. Du Bois. We then briefly consider the Industrial Revolution before we plunge into a string of wars overseas–the Spanish American War, WWI, WWII, the Korean War, and Vietnam.

Finally we circle back around to the race question. How have the descendants of those freed slaves been faring all this time we’ve been focused on lands across the oceans? Apparently poorly. So we read about the Civil Rights Movement and learn to love a pacifist preacher named Martin Luther King Jr. and learn to be wary of people who preach revolution like Malcolm X. At least, that’s how it went when I was in my mostly white high school.

We get the arbitrary bookends of a struggle, as though Civil War were the beginning and Civil Rights were the end, which, obviously they weren’t. But even if they were the beginning and the end, what happens when we read just the first and last chapter of a book and nothing in between? We might be able to figure out what happened at the end, but we won’t understand why. Most importantly, we will not have had any way to identify with or even develop much empathy for the protagonist because we haven’t seen his struggles clearly. We’ll be given a clue here and there in the last chapter, but we won’t really know what those clues truly mean.

This is what happens when educators and media focus on the grand moments in history (like the anniversary of the Emancipation Proclamation or Martin Luther King Jr.’s “I Have a Dream” speech) and yet neglect to help people fully understand the very long story that connects them, the frighteningly grim realities that tie those singular pretty moments together. We watch the stage being set and we see the moments before the final curtain, but while the play is being lived out on stage, we’re standing outside the theatre having a smoke.

So what happened while we weren’t paying attention? What happened in the years between Emancipation and I Have a Dream? That’s what I’ve been reading about. Day after day, week after week, I’ve been reading. And I have been stunned at all I never really allowed to sink in.

As a young student, my understanding of the Civil Rights Movement of the 1960s was that it was about fairness. It wasn’t fair for one group to be treated as second class citizens. I never really understood how far beyond “separate but equal” or belittling speech or dirty looks the issue really went. The photos in our history books of “Whites Only” and “Colored Only” signs cannot begin to help a person understand the sheer magnitude of the continuous suffering of black people in America.

Our books should have shown children picking up severed toes and fingers of lynching victims as souvenirs. Because that happened.

Our books should have shown people strung up and tortured for nothing more than baseless accusations or because they were nearest person with dark skin that the crowd had handy. Because that happened, at one point every four days.

Our books should have shown close-ups of anguished faces of bereft mothers, wives, children, and brothers. Because that happened with heartrending regularity.

Instead, we saw blurry figures seated at counters or standing in lines or walking down the street. Always from a distance too great to see the expressions on their faces.

And what could never be shown in a photo, but that can be drawn–slowly–from 1,000+ pages of interviews, statistics, newspaper clippings, and historical inquiry, is the psychological terrorism that lay beneath the outright terrorism. The confused and hurt minds of children growing up under a cloud of invisible and arbitrary rules, worried that even the smallest infraction could be the catalyst to their own death or the deaths of loved ones. The utter lack of any sense of self-worth that generation upon generation must have felt. The hopelessness.

But we don’t have time for real history. We only have time for soundbites and headlines. And so we don’t understand times past and thus we don’t understand the present time. We think, “Why are they so angry? Why can’t they just be patient? Why can’t they let things right themselves naturally?”

The more I’ve read, the more I realize that, had I been alive and black in the 1960s, I almost certainly would have been militant. I now understand those figures in history that I had been subtly taught to stand in judgment of for their confrontational writings and speeches. I think I would have admired Martin Luther King Jr.’s ability to organize a nonviolent movement, but I would have found it hard to undertake personally. And I now have even more respect for the incredible individuals who did take part in peaceful civil disobedience and did not retaliate when they were attacked, hosed, bombed, and beaten–an almost supernatural forbearance.

There is no denying that the history of this country is one steeped as much in violence and oppression as any other in the history of the world. We like to believe that we are different. But we aren’t. We are not somehow above it. We pretend we are and we sit in judgment of societies that make no attempt to hide their violence. We decry genocide while we recently (in my parents’ lifetime) often stood but a hair’s breadth away from it. We focus on ideals and gloss over realities.

When you take the time to read deeply about slavery, Civil War, Reconstruction, Jim Crow, lynch mobs, the Great Migration, race riots, and all the many political maneuverings carried out in order to subjugate, separate, and even annihilate the descendants of slaves in America, you see the awful truth: our history isn’t pretty.

But, you may argue, my ancestors never owned slaves, never lived in the South, never this, never that. I know. I can say the same about mine. Many of mine weren’t even Americans until the 1940s. The reality is, though, that if you live in America, its history is your history. We cannot avoid being formed by it. The present realities of our lives and our relationships with those people who look different than us are partially a product of that cumulative history, whether or not we had anything to do with it.

The thing is to not ignore it. Pretending violence and racism and subjugation do not exist does nothing to negate them. It is simply refusing to acknowledge the flames even as the house burns down around you. We should be able to learn about the past, talk about the past, and use the past to inform the future. A better future.

As I finish my initial research (right now I’m reading the incredibly readable and fascinating The Warmth of Other Suns about the Great Migration) I am sobered, stunned, stupefied by the past–and yet I’m looking forward to working through our history with fiction. Sometimes the best way to display the truth in such a manner that others grasp it and allow it to change them is through stories. And I have a story to tell.

I only hope I am up to the task.