We tell ourselves stories in order to live. The princess is caged in the consulate. The man with the candy will lead the children into the sea. The naked woman on the ledge outside the window on the sixteenth floor is a victim of accidie, or the naked woman is an exhibitionist, and it would be “interesting” to know which. We tell ourselves that it makes some difference whether the naked woman is about to commit a mortal sin or is about to register a political protest or is about to be, the Artistophanic view, snatched back to the human condition by the fireman in priest’s clothing just visible in the window behind her, the one smiling at the telephoto lens. We look for the sermon in the suicide, for the social or moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices. We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the “ideas” with which we have learned to freeze the shifting phantasmagoria which is our actual experience.
Didion's is one of my favourite passages about writing, about why we write. Maybe we don't write to live in a literal sense, and yet we write in the attempt to find meaning in a world that is meaningless. Last night, I was watching Slings and Arrows a "dramedy" about a troup of Shakespearing actors who, in season 2, present MacBeth. Some of them see a production of MacBeth at a local elementary school. And as his wife goes mad, MacBeth thinks something like "I don't understand life. It just goes on and on." And as Didion points out, the attempt to find a narrative thread in our existence is the attempt to follow the thread or clue that could lead to some sort of meaning, we are searching for what MacBeth feels he's missing. And "story" is a way to do so. I always think this is so powerful and says so much not just about why we write but why we read and why the study of literature is important. This seemed to be worth sharing.




