Section 13

How do you work with confession, Writer?

Extract from fiction writer G. M. Untervants:

“I had this supervisor who was blind. He called himself blind, not vision-impaired, so he was OK with me saying the word ‘blind’. Frankly, it still makes me feel a little co-opted, like I’m going to get a social frowny no-no every time I say it; anyway, he’s blind.

He used to see. I never asked what happened. In fact, I tried to talk to him as little as possible. I tried hard to not talk to him, especially alone. He gave me the creeps. I know you’re not meant to say stuff like that but the truth is, he did. He was creepy like a fiddling uncle or someone who never washes with soap because they think natural body odours are, you know, ‘natural’.

One afternoon he turned up to the team project meeting. He had the blur of a liquid lunch and stank like a midday beer mat. He turned up but his pants didn’t. His withering legs dangled in faded boxers and if you looked, he was poking through. I saw it but not because I was trying to see. I was just sitting in this meeting and someone said, ‘Craig mate, where are your trousers?’ I turned and it was in my line of view. Craig wasn’t embarrassed or anything. He said, ‘It’s my goal to get through this week without wearing trousers.’

Eleanor, she’s the same level as me but has a different supervisor, she was horrified. I was too, but I already knew how creepy Craig was. So, Eleanor, after the meeting, she complains to HR. Fair enough, right? You shouldn’t have to see penis in a team project meeting. HR hired an ‘independent investigator’. It was a big deal. Everyone got asked questions and recorded on camera. Turns out, Eleanor got charged with harassment for complaining about Craig. I stopped buying guide dog raffle tickets at Christmas and left the public service.”

Untervants, G. M. 2023. Confessions of the Pubic Servants APS2 to APS6. Melbourne: Rough Edge Press

Pernicious Enemies of Art

In Stanislavski’s diary he wrote that his teacher, Arkadi Tortsov, spoke to the class against pernicious enemies of art. He said, “‘You must fight them as hard as possible, and, if that does not work, then they must be driven off the stage. And so,’ he turned to Varya once more, ‘make up your mind once and for all. Did you come here to serve art and make sacrifices for it or to exploit it for your own personal ends?’” (Stanislavski 2008:35).

Serve art. Make your sacrifices, Writer.

Stanislavski, K. 2008. An Actor’s Work. A Student’s Diary. Trans. Jean Benedetti. London: Routledge: From Konstantin Stanislavsky, 1950. Rabota Aktera nad Soboi [The Actor’s Work on Oneself] Moscow: Iskusstvo

Sturm and Drang

Goethe’s life-long Faust project was not written as performable drama. From the early work of Urfaust, incorporated into the Fragment of 1790 and then Faust Part 1, we are offered not a ‘script’ but a cosmological framework that surrounds the story and adventures of the hero.

Dissent in content and form, Writer.

On the Fire Department

There’s always a reason.

“When talking about this, Brandi felt very ashamed, holding her stomach and almost doubled over with shame. She thought the first fire was ‘just gonna take care of it and forget about it … but it didn’t stop is all.’ She ‘thought she could leave it alone.’ She ‘doesn’t remember when the second one was.’ She connects her setting fires to times when she and Louie would get in arguments. They had a fight when she asked him to help pay her car insurance. She had been doing everything around the house and repairing all his vehicles. He responded ‘Why should I take care of your bills?’ Brandi says that she set fires ‘to get back at him … make the fire department look bad … he was on the fire department 30 years’” (Kinsler and Saxman 2007:91-2).

Seek the reasoning, find the reason, Writer.

Kinsler, P. J and A. Saxman, 2007. ‘Traumatized Offenders’ in Quina and Brown (Eds.) Trauma and Dissociation in Convicted Offenders, pp. 81-95

Quina, K. and L. S. Brown (Eds.) 2007. Trauma and Dissociation in Convicted Offenders. New York: Haworth Medical Press

Non-pecuniary Impacts

“It is trite but true to say that the government should, in all its legal endeavours, be seen to uphold the law.

One of the fundamental ethical duties owed by a lawyer is the avoidance of any compromise to their integrity and professional independence. A lawyer must not act as the mere mouthpiece of their client. The actions of government lawyers take on extra significance because the government is a client which has powers and obligations that far exceed those of the normal citizen” (Holmes 2023:519).


You have obligations, Writer. They matter.

Holmes, Catherine 2023. Royal Commission into the Robodebt Scheme Vol.2 Canberra: Commonwealth of Australia

Ein Buch für Alle und Keinen

Ich wandle unter Menschen als den Bruchstücken der Zukunft: jener Zukunft, die ich schaue.

Und das ist all mein Dichten und Trachten, dass ich in Eins dichte und zusammentrage, was Bruchstück ist und Räthsel und grauser Zufall.

Und wie ertrüge ich es, Mensch zu sein, wenn der Mensch nicht auch Dichter und Räthselrather und der Erlöser des Zufalls wäre!

Die Vergangnen zu erlösen und alles „Es war“ umzuschaffen in ein „So wollte ich es!“ — das hiesse mir erst Erlösung!

(Also sprach Zarathustra, Von Friedrich Nietzsche)

 

Gathering by writing creates unity from the pain and chaos. Zarathustra claimed this as his rescue, his deliverance. Let that power into your words today writer. Turn every fact of the past into the acquiescence of your command. Be brave. Make it so.

 

“I walk among people as among the fragments of the future: the future into which I glance.

And it is with all my poetry and aspiration that I write into unity, as I gather the fragments and the riddles, and the terrible accidents.

And how can I endure being human, if each person were not also a poet and a riddle-reader and the Redeemer of accidents!

To redeem the past and to change everything from ‘It was’ into an ‘I wanted it so!’—that alone means redemption to me!

(Thus Spoke Zarathustra, from Friedrich Nietzsche)

Παραθαρσύνω: embolden and encourage

Writers need tactics. Tactics is the only known surviving work of philosopher Asclepiodiotus (c. 1 BCE – unknown). The text focuses on the titles and formation needed in the phalanx, including the use of chariots and elephants. Chapter V details the character and appropriate size of arms including the use of bronze shields and spears of varying lengths.

“And the Macedonians, men say, with this line of spears do not merely terrify the enemy by their appearance, but also embolden every file-leader, protected as he is by the strength of five…”

καὶ Μακεδόνες μὲν οὕτω τῷ στοίχῳ, φασί, τῶν δοράτων οὐ μόνον τῇ ὄψει τοὺς πολεμίους ἐκπλήττουσιν, ἀλλὰ καὶ τῶν λοχαγῶν ἕκαστον παραθαρσύνουσι πέντε δυνάμεσι πεφρουρημένον

The things you fear in your writing, the things you are afraid to write are also the things that give you courage. Your greatest enemy, writer, may be you. Embolden yourself.