Archive for January, 2010

What can you learn from your life?

January 21, 2010

Five years ago I began writing down stories from my life. Actually, the process began earlier, when I tried to write the stories of my parents and grandparents (and even great-grandparents).  Newly retired from the full time practice of psychiatry, I had time to explore old photos, letters and records, and to interview surviving relatives.  I wrote about some of what I discovered and sent it to family members.

But, I realized the one person I knew the most about was myself, mostly in the form of jumbled half-memories.  So, I decided to write my life experience as an autobiographical story, and attempted to discern patterns and lessons for myself, and perhaps for my children and grandchildren.  The more I wrote, the more memories I recovered and, as I tried to put them in story form, the more sense they made.  I saw connections between events, people and feelings I hadn’t appreciated before.

Five years later, I have a 250 page book, with 18 chapters, covering 65 years.  And I have learned a lot.  For example:  I am a product of multiple generations of struggle to survive and thrive, including various traumatic events that affect me still; I suffer from some degree of survivor syndrome, with the attendant guilt and impulse to rescue others; my repeated attempts to rescue loved ones have generally failed, but my career helping others has provided some compensatory satisfaction and redemption; my love for, and attachment to, my wife, children, and grandchildren has been enhanced by the process of self-examination; I am beginning to learn what is most important and meaningful in life; I can celebrate my own courage in facing some formidable obstacles; I hope, now, I can draw on this courage as I face challenges ahead.

Why am I telling you this?  To suggest that you, too, may benefit from writing your life story, even if no one else ever reads it.  Don’t have a clue how to begin?  Here are some resources that have helped me (and there are many others):

An update on the history and current status of memoir as literature:  “But Enough About Me” in The New Yorker.

An inspiring book about a way to conceptualize your life:  The Writer’s Journey

Two practical books on how to start your own memoir:

Your Life as Story

Writing Life Stories

Writing as a way of self-healing:  Writing as a Way of Healing

How to write funny stuff about your life:  What Are You Laughing At?

A website containing useful articles and tips about memoir writing (type “memoir” in the site’s search box):  Guide to Literary Agents Blog


Big blue creatures with no body fat

January 8, 2010

I liked the movie Avatar (in 3D); even saw it twice. It is an amazing technical and visual experience and very well cast. Some of the story elements, such as the paraplegic hero and the way the avatars and their human operators work, are really clever. I’d see it again.

However, the story does have a “cringe factor” and this column by Brooks sums it up well:

January 8, 2010
Op-Ed Columnist

The Messiah Complex

Every age produces its own sort of fables, and our age seems to have produced The White Messiah fable.

This is the oft-repeated story about a manly young adventurer who goes into the wilderness in search of thrills and profit. But, once there, he meets the native people and finds that they are noble and spiritual and pure. And so he emerges as their Messiah, leading them on a righteous crusade against his own rotten civilization.

Avid moviegoers will remember “A Man Called Horse,” which began to establish the pattern, and “At Play in the Fields of the Lord.” More people will have seen “Dances With Wolves” or “The Last Samurai.”

Kids have been given their own pure versions of the fable, like “Pocahontas” and “FernGully.”

It’s a pretty serviceable formula. Once a director selects the White Messiah fable, he or she doesn’t have to waste time explaining the plot because everybody knows roughly what’s going to happen.

The formula also gives movies a little socially conscious allure. Audiences like it because it is so environmentally sensitive. Academy Award voters like it because it is so multiculturally aware. Critics like it because the formula inevitably involves the loincloth-clad good guys sticking it to the military-industrial complex.

Yet of all the directors who have used versions of the White Messiah formula over the years, no one has done so with as much exuberance as James Cameron in “Avatar.”

“Avatar” is a racial fantasy par excellence. The hero is a white former Marine who is adrift in his civilization. He ends up working with a giant corporation and flies through space to help plunder the environment of a pristine planet and displace its peace-loving natives.

The peace-loving natives — compiled from a mélange of Native American, African, Vietnamese, Iraqi and other cultural fragments — are like the peace-loving natives you’ve seen in a hundred other movies. They’re tall, muscular and admirably slender. They walk around nearly naked. They are phenomenal athletes and pretty good singers and dancers.

The white guy notices that the peace-loving natives are much cooler than the greedy corporate tools and the bloodthirsty U.S. military types he came over with. He goes to live with the natives, and, in short order, he’s the most awesome member of their tribe. He has sex with their hottest babe. He learns to jump through the jungle and ride horses. It turns out that he’s even got more guts and athletic prowess than they do. He flies the big red bird that no one in generations has been able to master.

Along the way, he has his consciousness raised. The peace-loving natives are at one with nature, and even have a fiber-optic cable sticking out of their bodies that they can plug into horses and trees, which is like Horse Whispering without the wireless technology. Because they are not corrupted by things like literacy, cellphones and blockbuster movies, they have deep and tranquil souls.

The natives help the white guy discover that he, too, has a deep and tranquil soul.

The natives have hot bodies and perfect ecological sensibilities, but they are natural creatures, not history-making ones. When the military-industrial complex comes in to strip mine their homes, they need a White Messiah to lead and inspire the defense.

Our hero leaps in, with the help of a pack of dinosaurs summoned by Mother Earth. As he and his fellow freedom fighters kill wave after wave of Marines or former Marines or whatever they are, he achieves the ultimate prize: He is accepted by the natives and can spend the rest of his life in their excellent culture.

Cameron’s handling of the White Messiah fable is not the reason “Avatar” is such a huge global hit. As John Podhoretz wrote in The Weekly Standard, “Cameron has simply used these familiar bromides as shorthand to give his special-effects spectacular some resonance.” The plotline gives global audiences a chance to see American troops get killed. It offers useful hooks on which McDonald’s and other corporations can hang their tie-in campaigns.

Still, would it be totally annoying to point out that the whole White Messiah fable, especially as Cameron applies it, is kind of offensive?

It rests on the stereotype that white people are rationalist and technocratic while colonial victims are spiritual and athletic. It rests on the assumption that nonwhites need the White Messiah to lead their crusades. It rests on the assumption that illiteracy is the path to grace. It also creates a sort of two-edged cultural imperialism. Natives can either have their history shaped by cruel imperialists or benevolent ones, but either way, they are going to be supporting actors in our journey to self-admiration.

It’s just escapism, obviously, but benevolent romanticism can be just as condescending as the malevolent kind — even when you surround it with pop-up ferns and floating mountains.