Toughness

This Week’s Bit of String: The power of pinching

“You know something I’m good at?” a Year 11 girl says, raising her eyebrows at me over her Jacqueline Wilson book. “Pinching.”

She proceeds to list all the boys she pinched good and hard in Year 7 to keep them in line. She’s often the only girl in the lowest-set class, and maybe her talent for pinching has been key to her thriving in potential chaos. I don’t condone it, but I understand where it comes from.

In first and second grade, I was good at getting pinched. I thought it proved my mettle, and built my tolerance. A couple of boys in my class obliged me by pinching the back of my hand, the tiniest amount of skin to cause the sharpest pain. 

“This hurt?” they’d ask, and I’d shake my head, lips pressed together. I was quietly proud of my fingernail-shaped scabs.

As a small human, I was terrified of doing wrong and earning punishment. Because of abuse in my extended family, I knew what kinds of pain were out there and I knew that loved ones could inflict it. When aware of struggles in my immediate family or in the wider world (I was pretty self-absorbed, as kids often are), I internalised and worried about that, too. 

Inviting pain, consenting to it, made me feel more powerful. It made me feel tough rather than sensitive. 

I look back on this because I’m still prone to concern and deep feeling. Many of us creative types are. Now, my sensitivity is spread across a broader field; I’m aware of so many more problems and wrongs and agonies, many that are worse than my own. 

Perhaps just as a pinch is less painful when gripping a wider section of skin, empathy cripples us less when cast over a greater area. 

Reinvestigating Empathy

I’ve just finished reading Octavia E. Butler’s dystopia/ sci-fi classic The Parable of the Sower. The narrator of the story is a teen girl called Lauren, a hyperempathic ‘sharer.’ If she sees anyone injured, she will feel their pain, genuinely, sometimes to an incapacitating degree. (This is revealed in the beginning of the story—I’m avoiding spoilers.)

Because it can give her the appearance of weakness among a desperate population, Lauren tries to hide her ‘sharing.’ When she has to fight, she strikes to kill because then she won’t feel her enemy’s pain. Her empathy could make her a target, but it also forces her to be tough, and that’s quite a fascinating juxtaposition. 

And our heroine’s empathy makes her wary. Tuned into, and rightly frightened of, the world’s suffering, Lauren educates herself and prepares for disaster. I love how Butler uses Lauren’s empathy as a catalyst for wisdom, combining heart and head, so to speak. 

How often do we see our empathy as kind of a drag, as something exhausting? It’s a bit like writing. We actually have a tremendous gift, and when not in its throes we can consider how to let it steel and prepare us.

Resilience

We can only take so much, and when we hear stories, we have limits to how much we can stand to feel them. Or maybe it’s not limits. Maybe it’s more of an inoculation.

My most heart-breaking moment as a teaching assistant (and there is some competition here) was a Monday morning exchange with a Year 7 boy. He’d been allowed to see his mum at the weekend and then returned to his foster home. He said to me in a wavering voice:

Can a good heart still be tough as rocks?

“Miss, you know how usually, when you cry yourself to sleep, it stops by the morning? Well… this time it didn’t.”

He was refusing to go into the classroom because he didn’t want to risk crying in front of the group and looking weak. But his feelings were big enough to slay me where I stood. He wielded a power without knowing it.

This happened a decade ago and I carry it as a reminder that no matter how much aggravation my students cause, their inner turmoil is so much worse. When they don’t want to work, it’s often because they’re anxious about failure. If they’re disrespectful, it’s often because they want to impress their peers. They are frightened and often in pain. 

Awareness of their angst inoculates me against taking things personally and becoming overwhelmingly discouraged. Likewise, empathy for those who suffer bereavement or chronic illness makes us appreciate those around us and our own ability to keep functioning (such as it may be). Like Lauren in Butler’s Parable of the Sower, we can combine empathy with awareness to make us stronger.

How does your empathy serve as a strength?

Welcome to Dystopia?

This Week’s Bit of String: The students are revolting

I used to support a class of Year 8s who rebelled Hunger Games-style during lessons. A teacher might be talking them through French prepositions or long division, when one after the other, the students would slowly, dramatically raise their hands and whistle the three notes of the mockingjay’s song, until the group was giggling and thoroughly disrupted.

As revolutionary causes go, I wasn’t impressed with theirs. The education they objected to was nowhere near as oppressive as the government from Susan Collins’ fictional Capital, nor as ruthless as many real-life governments around the world and throughout history.

You’ve probably noticed the ever surging interest in dystopian literature,  evidenced this week by increased sales of George Orwell’s classic, 1984. I find books like this fascinating, but I also wonder whether this attraction to dystopian fiction is constructive at a time like this. Are we just sensationalising our peril?

The Appeal of Dystopian Fiction

Leaving aside the amazing narrative talents of George Orwell, Margaret Atwood, Lois Lowry, Patrick Ness, Cormac McCarthy, and other authors of great dystopian tales, what do we get from these stories?

Abandoned cabin in New Hampshire
Then there’s the mysterious beauty of contemplating ruined things…

The Huffington Post published an  essay on the sub-genre’s merits. These stories warn us about the insidious ways governments and/ or technology could usurp our rights. Certainly that must have been Orwell’s intent. With Winston’s experiences at the hands of the unfeeling, super-controlling Big Brother and the Thought Police, Orwell warned not only against fascists like Hitler’s and Franco (Orwell fought in the Spanish insurgency), but also against hyper-ideological dictators like Stalin. After all, according to this BBC New Magazine article, Orwell saw his comrades in Spain killed by rival pro-Communist groups as well as by Franco’s soldiers.

Dystopian fiction arms us. It shows us scenarios in which protagonists’ survival skills are tested to the maximum, forcing us to ask, albeit with stakes much lower than those the characters face, whether we ourselves would be up to the same job.

Current Relevance

To me, it seems a bit late to be brushing up on totalitarian governments with the help of 1984. Shouldn’t people have done that before voting? And—SPOILER ALERT—it doesn’t carry a message of hope, so it’s possibly not an ideal choice to galvanise a resistance movement.

I also worry that dystopian fiction skews our perspective. Our world hasn’t gone completely mad…yet. Places like Syria and the refugee camps, and the many areas worldwide that have been corrupt and impoverished for centuries—those are dystopias.

Those aren’t reasons to stop reading the genre, though (especially since there are so many gripping stories on offer; I love the sound of John Joseph Adams’ dystopian anthology Brave New Worlds, as described at the end of this Kirkus Reviews essay). It just means we need to read it for the right reasons. We should read with vigilance and appreciation, and with enough spirit to go implement the messages given.

Statue of 1555 Gloucester Martyr John Hooper
Gloucester statue commemorating Protestant John Hooper,  killed in 1555 under Catholic Queen Mary. Let’s not go back to religion-ruled dystopias, please.

With 1984 in particular, I think a striking lesson is this: the regime in that book wants to be loved. It wants to control every thought. And as anyone who’s ever been a teenager will attest, the need to be loved can drive one to dangerous lengths. The current leader of the free world, with his obsession over crowd (and hand) size and his compulsive tweets, shows some of those traits. How do we combat that uncontrollable insatiability?

Writing Dystopia

Even while realising that hell hasn’t fully broken loose yet, some of us find ourselves writing in the dystopian sub-genre more. I’ve written three dystopian short stories in my life, including The Apocalypse Alphabet, and they were all products of the last six months.

I checked with other writers on Twitter to see how they feel about dystopian literature. Rita Gould shares my concern that immersion in it may ‘feed the fear.’ Megan Manzano extols its ability to kindle emotion. ‘They make us sad, hopeful. They anger us. These books show us what we can do. If 17yr olds can create change, why can’t we?’  M.K. Anders notes,  ‘Seeing it portrayed is validating, even if the good guy loses.’

All very good points. When the world seems dark, we can’t deny our artistic urge to create something, hyperbolic or not, out of it. This may involve feeling more scared for a time, while we confront worst-case-scenarios burning in our imaginations. But then we locate what makes the characters keep going, like Hannah’s love for her son Jack in The Apocalypse Alphabet, and that helps in real life.

“‘Close your eyes and imagine fireworks,’ Hannah whispers, and Jack obeys, his fingers woven together in front of his shins, his eyelids almost translucent, spidered with delicate veins.”

I emerge from writing and reading these with fresh determination. We’re not alone. People have survived worse. We have a lot worth fighting for. Right, people?