Feeling Weird?

"Nighthawks" by Edward Hopper (1942)

There are many words which deal with feelings of strangeness and estrangement. Freud and Heidegger both talked of Unheimlichkeit or the feeling of the uncanny and there are innuendos of esthetic distance that are applicable to these terms. Robert Heinlein’s novel about an earthman raised on Mars is Stranger in a Strange Land, but the artist may purposefully seek out the condition of being a stranger in a familiar land. He or she may intentionally attempt to treat the world of familiar objects from the point of view of a visitor who's seeing them for the first time. Anomie, a term coined by the French sociologist Emile Durkheim in Suicide (and a license plate Mike Nichols' used on his Mercedes) and alienation are two other words that are often use to describe the feeling of being apart. Bertolt Brecht employed the estrangement or Verfremdungseffek  in his plays, eschewing the kind of identification that leads to catharsis; he preferred his audience to think rather than emote in response to the historical or existential disquisitions put forth in his works. There are times, of course, when there’s no redeeming purpose to feeling isolated and alone. A recent Times piece describes a calling center in England that deals with older people who suffer from involuntary estrangement and isolation (“Researchers Confront an Epidemic of Loneliness,” NYT, 9/5/16). The side effects of senescence  (dementia, and Alzheimer’s) can naturally create the kind of alienation that’s unlikely to be a fuel for creative endeavors. Edward Hopper or Georgio de Chirico may have explored barren and empty landscapes in their paintings, but when they were done with a day’s work they were free to return back to their lives.

Suicide

Emile Durkheim

“In l738, a journalist (possibly Samuel Richardson) claimed that suicide was England’s 'new religion,'” Freya Johnston remarks a TLS review of three tomes on suicide, Kelly McGuire’s Dying to be English, Paul Seaver et al, editors, The History of Suicide in England, 1650-1850 and Richard Bell’s We Shall Be No More (“Suicide Watch,” TLS, 1/18/13). “Melancholy seemed to infect everyone and everything: even a sedan chair, narrating the history of its life and adventures in London in l757, admits that it has flirted with self destruction: ‘Since my reparation, I have had a very particular dejection of spirits. Whether I am almost tired of a foolish and ridiculous world, I can’t tell…’” Shakespeare reflects the suicidal British temperament. Hamlet was suicidal, Ophelia drowns (and there has always been a debate about whether it was suicide or accident), Othello did it along with both Romeo and Juliet. Of course another English great, Virginia Woolf, would drown herself. Hume, Johnston points out, condoned suicide while “Samuel Johnson’s Dictionary of the English Language (1755) condemns the act in its definition of “SUICIDE:” “Self-murder, the horrid crime of destroying one's self.” Not that the English have any monopoly on suicide, which has been particularly prevalent amongst American poets including Anne Sexton, John Berryman and Sylvia Path. Amongst the Italians Primo Levi survived Auschwitz only to take his life after the war (although there are those who have cast doubts on whether his fall from his Turin residence was suicide or not).  Cesare Pavese, a noted editor and writer, also killed himself. And speaking of melancholy Danes, the Swedes were always known for their high incidence of suicide despite all the entitlements of the welfare state. Albert Camus famously began The Myth of Sisyphus by saying, “There is but one truly serious philosophical problem and that is suicide.”And the French sociologist, Emile Durkheim, wrote a book on the subject tersely titled Suicide, in which he attempted to isolate factors such as religious belief, marital status, sex and education, which contributed to suicide. Protestants he concluded were more likely to commit suicide than Catholics or Jews.

Salt of the Earth

Salt of the earth people can’t complain. Don’t ask how they are if you are complaining about the malignity of the universe, because they invariably “can’t complain.” Salt of the earth people are always elbowing each other as a gesture of understanding. Nudge nudge. They don’t like “troublemakers.” Salt of the earth people, or SOTES, don’t care that there are cohesive forms of social organization (mostly made up of what the famed political philosopher and former Vice President Spiro Agnew referred to as the effete) that are not predicated on the idea that SOTES hold so dear, ie that ordinary folk are better than those who try to be somebody. SOTES tend not to agree with Oscar Wilde’s quote from The Picture of Dorian Gray: “It is only shallow people who do not judge by appearances.”

   

What is this love of the ordinary, this fascination with belonging, indifference, and self-possession, that makes the SOTE such an object of curiosity? Thomas Mann alluded to this in his story Tonio Kröger, in which alienation brings with it a certain longing. SOTES don’t talk about their anhedonia, their loss of interest in things, or their feelings of longing. Madame Bovary was definitely not a SOTE. In a way, even Sinclair Lewis’s Babbitt, the quintessential SOTE, might not have finally qualified, due to the ironies in which the author embedded him.

   

But here are some rules. If you ever pull into town in one of those moods where you’re tired of reading Hermann Hesse’s Steppenwolf and want to hang with the local SOTES, if there’s a glaring sun, don’t say how Main Street reminds you of the first line of Camus’s L’Etranger: “Aujourd’hui, maman est morte. Ou peut-être hier, je ne sais pas.” Definitely don’t mention Emile Durkheim’s classic sociological tome, Suicide, and don’t start to talk about Elizabeth Kubler Ross’s On Death and Dying. Pretend you’ve never heard of the word “dystonic.” Don’t let on that you don't know a guy named Will, the local bartender and pundit, a bully and sadist everyone in town has loved since he was an evil little boy. Don’t try to become one of the boys by imitating the derogatory tones they use to talk about the fairer sex. What sounds mildly sexist to you will end up making you seem like a serial killer. Everyone will look at you and eventually you will be run out of town.