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On the Other City

Note: This piece grew out of a long fascination of mine with what might be called the “night economy” — the network of bartenders, servers, managers, taxi drivers, and late-shift workers who keep a city alive after most people have gone home. If the daytime city is governed by office hours and commuter rhythms, the nighttime city runs on a different clock entirely.

The two figures mentioned here, Haku and Haru, are part of that world in Kyoto. Haku runs the bar at ING and seems to operate on a schedule that would puzzle most daylight citizens, opening in the evening and closing well into the small hours while somehow producing food, music, and atmosphere in a space not much larger than a good-sized living room. Haru manages a shisha lounge in eastern Gion and moves easily between the daytime and nighttime rhythms of that neighborhood, which has its own distinct ecosystem of bars, touts, and late-night wanderers.

The small bar Ishimaru Shoten, tucked down an alley off Pontocho in the Kiyamachi district, serves in the essay as a kind of neutral ground — one of those places where the various inhabitants of the nocturnal city briefly cross paths once their shifts end.

The central idea is simple enough: most cities contain two cities. The first is the one that tourists and office workers see during the day. The second comes into view only after midnight, when the people who keep the lights on, the drinks pouring, and the plates spinning begin their own quieter rounds.

Epigraph:

Last night, I told a stranger all about you
They smiled patiently with disbelief
I always knew you would succeed no matter what you tried
And I know you did it all
In spite of me

Morphine, In Spite of Me

Most people believe a city goes to sleep around midnight. This is not true. Around that time a city simply changes populations.

The day city winds down: office workers, shopkeepers, commuters heading home, lights switching off floor by floor. But another population wakes up. The bartenders. The shisha managers. The taxi drivers. The people who work the strange hours when the streets are quieter but the human drama is often louder.

This is the other city.

If you spend enough nights wandering around it, you begin to recognize its citizens. They are the people who actually know how the place works after midnight.

One of them is Haku.

Haku runs the bar at ING. He opens around seven in the evening and closes somewhere between three and four in the morning. Prep starts around six. By the time the first customers wander in, the night has already begun for him.

He has long greying hair and rotates through a collection of Rolling Stones T-shirts, something like twenty-eight of them. I have never seen him wear anything else. He smokes constantly, drinks Sapporo if he is drinking at all, and otherwise survives on black coffee.

Somehow he produces a full menu in a kitchen that appears to consist primarily of a Bunsen burner and sheer stubbornness.

Haku’s bar has rules. No Japanese music is the main one. The other rule is that the bar itself is reserved for singles. Groups can sit elsewhere. The bar is for individuals who have come out into the night alone.

But Haku’s real gift is music. He reads the room the way a card player reads a table.

If the crowd is German he might throw on Rammstein. If Scandinavians wander in the speakers might suddenly fill with black metal. Australians get The Saints. If I’m there he might put on My Morning Jacket. The world rotates through the speakers depending on who happens to be occupying the stools that night.

Simply and totally the original man.

Another citizen of the other city is Haru.

Haru manages the shisha lounge in eastern Gion, a part of town where the nightlife becomes a little more ambiguous. The streets there are full of micro-touts, men and women both, gently trying to guide passersby into Thai or Japanese dancer clubs. Small space heaters glow outside doorways and mama-sans smile from behind them like patient spiders.

I never go into those places, though the invitations are often persuasive.

Haru opens the shisha lounge most days at noon sharp. If she is not there, someone named B. or a long-haired young guy handles things until she arrives. She tends the charcoal, mixes my Malibu Milk, and quietly extends the session when the official time runs out.

She knows my habits well enough by now that when I head up the stairs she doesn’t assume I am leaving. She knows I am just stepping outside to smoke.

For a long time she existed in my mind simply as the shisha girl, one of the many figures who keep the other city functioning. But then one night I ran into her somewhere unexpected.

The place was Ishimaru Shoten, a tiny late-night bar down an alley just west of Pontocho in the heart of Kiyamachi. Outside the entrance hang bright red, green, and blue lamps that glow like a small carnival in the dark.

I first discovered the place at four in the morning on a very long night. I was broke that evening, absolutely skint, and there was a very aggressive Japanese guy at the bar who clearly believed the entire establishment belonged to him.

The bar woman, who is about forty-five and still hot as blazes, was batting her eyes at me with what seemed like professional enthusiasm. Meanwhile I realized with growing clarity that I did not actually have the money to pay for the large bottle of beer I had just ordered.

But men are predictable creatures.

I understood immediately that if I played my cards right the territorial guy would buy the drink for me. So I joked with him, gave him a friendly punch on the shoulder, made it clear I recognized him as the reigning emperor of the room. He razzed me a little but saw that I was no threat to his throne.

Sure enough, he covered the beer.

I stumbled home to the Royal Park Hotel on Sanjo Street as the sky was turning pale, crashing into bed around five-thirty in the morning.

Weeks later I returned to Ishimaru and found Haru sitting there.

I teased her gently about sometimes opening the shisha lounge five or ten minutes late when she bikes over from home. I suggested she must be hungover. She laughed, not the polite laugh people sometimes use for customers but a bright, real laugh.

She said she was happy to see me.

And that was when I learned her name. Haru.

We talked for a while. I drank a White Russian and ate dashi maki while she sipped something that might have been shochu or nihon-shu. I felt a strange rush of adrenaline the whole time, those goosebumps that run up both arms when the night suddenly opens into possibility.

Not necessarily romantic possibility. Just the larger sense that anything could happen.

Anything can come.

After twenty or thirty minutes she said goodnight and promised we would meet there again sometime. We did run into each other once more about a week and a half later, though the evening remained just as light and brief as the first.

But something had shifted.

She was no longer simply the shisha worker in my mental map of the city. She was Haru, a fellow traveler in the other city.

And that is the thing about the people who live their lives after midnight. They know parts of the city the rest of us never really see. They watch the celebrations and the arguments, the flirtations and the quiet breakdowns. They see who walks home alone and who finds someone to share the long dark streets.

Every city has two maps.

The one everyone uses during the day.

And the other one that only appears after midnight.

Dedication:

For the men and women of the night. Who keep the drinks coming and the plates spinning. It’s a rocky world, and you rock it baby.

Note: If you enjoyed this essay, you may also enjoy the two essays below, which also feature Kyoto and Osaka nightlife in all it’s beautiful glory.

Tuesday Kyoto Bar Crawl
The Night of Fucking Adam
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When the Taxi Driver Loses the Plot: A Poem

Note: This poem is a reconstruction. The original version appeared briefly on my first blog, Classical Sympathies, sometime around 2010, and like many things from that early site it was eventually lost in the digital shuffle. What remains here is an attempt to recreate the spirit of the piece from memory.

The poem itself is a mash-up of two real taxi rides that somehow fused together in recollection. One took place in Adelaide, Australia, during a ride from a hotel to the airport where the driver became thoroughly disoriented and began looping through unfamiliar streets. The other occurred years later in Kyoto, somewhere north of Sanjo, when a similarly confused driver managed to transform a short ride into a wandering tour of the nighttime grid.

Over time the two rides merged in memory into a single universal experience: the moment when a passenger realizes that the person holding the wheel may no longer fully know where he is going.

The result is presented here, perhaps a little mythologized, as a small recovered relic from the early days of the archive — a lost classic of the wandering taxi ride.

The haunted sweating taxi driver
took another right,
the meter ticking bravely
in the middle of the night.

The city slid past sideways
in a crooked grid of light,
and every turn he promised
somehow made the journey slight.

The haunted sweating taxi driver
muttered to the wheel,
as if the streets were hiding
some essential missing deal.

A restaurant we’d passed before
returned into my sight,
which meant the haunted driver
had again chosen wrong from right.

The haunted sweating taxi driver
took another right,
and wiped his brow dramatically
beneath the yellow light.

Now when your taxi driver loses the plot
this could go on all night,
because the man who holds the wheel
is captain of your flight.

You sit behind his kingdom
like a mildly troubled guest,
while every wrong decision
slowly multiplies the rest.

The haunted sweating taxi driver
leans forward in his seat,
as though the road might whisper
some confession through the street.

The meter ticks its steady hymn
to time and mortal plight,
while hostage to the haunted man
who’s searching for the right.

The haunted sweating taxi driver
takes yet another right,
and somewhere in the city
dawn prepares its quiet light.

But we remain in orbit
of his navigational blight—

for when your taxi driver loses the plot
this could go on all night.

Note: If you like this poem, you may also like the poems linked below. Happy reading!

An Open Book
The Respectable Man (A Poem)
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On Some Meetings and Close Encounters with Musicians II

Note: This is the second piece in our series “On Some Meetings and Close Encounters with Musicians.” You can find the first installment here.

The encounters described here span more than thirty years and several cities — from a first arena concert in Pullman, Washington in 1991 to small club shows in Cambridge, Osaka, and Kyoto over the decades that followed. As with many memories of live music, the exact setlists and dates blur, but the rooms themselves — the sounds, the atmosphere, the strange and fleeting meetings between artists and audiences — remain vivid. These sketches attempt to capture a few of those moments as they were experienced at the time.

Epigraph

No fears alone at night she’s sailing through the crowd

In her ears the phones are tight and the music’s playing loud

— Dire Straits, “Skateaway”

Live music produces strange meetings. Sometimes you meet the musicians themselves. More often you meet a moment — a room, a sound, a feeling that sticks with you for decades while entire years of ordinary life quietly disappear.

Here are a few such encounters.

I. Initiation

My first real concert was the On Every Street tour in 1991.

The band was Dire Straits, the venue was Pullman, Washington, and the company was the usual Spokane crew: Seth, Innes, Kelly.

I was the biggest fan in the car by far. The others liked the band well enough but I was the one who had studied the records, who knew the guitar parts, who was ready for the moment when the lights dropped and the first notes hit the arena. This was the On Every Street tour, which turned out to be their final record.

They played everything: Money for Nothing, Walk of Life, Sultans of Swing. It was a great show, and one of their last before retirement, though at the time I had no real way to judge such things. It was simply enormous — lights, volume, spectacle. I bought the black and blue tour shirt and wore it for five years.

At the time I thought concerts were supposed to be like that: huge, polished, and far away.

I would later learn otherwise.

II. Revelation

Several years later, during the Hamilton years, I saw Red House Painters at the Middle East in Cambridge.

I went with Ian. The room was small, maybe a few hundred people at most. Nothing about it resembled the arena in Pullman. And then, near the end of the set, Mark Kozelek began playing “Little Drummer Boy.” It lasted nine minutes. You could hear a pin drop in the room.

No spectacle. No lights. Just absolute concentration from everyone present. When the final notes faded the silence lingered for a moment before the applause came.

Afterward Ian and I drove back toward New York through the cold night with the windows cracked open, heaters flying out into the darkness, and Hell’s Ditch blasting through the car stereo to keep us awake.

That was the night I realized concerts could be something else entirely.

III. Chaos

Not every show produces reverence.

I once saw The Fall with Ian as well. The band’s leader, Mark E. Smith, seemed to be operating in his traditional mode of total hostility. The set was short — twenty-eight minutes by my estimate. Ian later checked the official record and insisted it was forty-three. Either way it felt brief and volatile. Smith barked into the microphone, glared at the band, and treated the entire enterprise with the air of someone barely tolerating the existence of the audience.

Which, to be fair, was exactly what many people had come to see.

IV. Theatre

The strangest performance I ever witnessed may have been Cat Power at Club Quattro in Osaka.

The evening began badly. An opening act — a woman in what appeared to be a fairy costume — sat at the piano and played for what felt like an eternity. Forty-five minutes at least. Perhaps longer. By the end of it the audience was openly confused.

Then Cat Power appeared.

Or rather she refused to appear in the conventional sense. Instead of remaining on the stage she wandered through the venue with a handheld microphone, singing and rapping while walking amongst the crowd, occasionally placing an arm around a patron or leaning against the bar.

At one point she came right up to where I was standing near the back rail and sang a line or two before drifting off again into the room.

The entire show felt less like a concert than a piece of improvised theatre.

V. Ritual

A few years later I saw Damo Suzuki at Club Metro in Kyoto. Damo had once fronted the legendary German band CAN, but this night bore no resemblance to those recordings. Nothing recognizable from the catalog appeared. And here he stood, just a few feet away from the audience with long black-and-grey hair flowing, bellowing and chanting over a constantly shifting improvisational band.

It was less a performance than a ritual.

Damo passed away not long ago. RIP and prayers up. I’m grateful I saw him when I did.

VI. Canada Night

Not all memorable shows are mystical.

Sometimes they’re simply loud.

One such evening occurred at Club Quattro in Osaka when Broken Social Scene and Death From Above 1979 came through town.

The Canadian ambassador was present and delivered a brief speech before the set explaining that Death From Above 1979 represented a fine example of Canadian enterprise because they were “only two men making so much noise.”

The room was packed with Canadian expats and the atmosphere was celebratory chaos. The ambassador was probably correct.

VII. Breakdown

Not every concert goes well.

I once saw Bonnie ‘Prince’ Billy at the small Kyoto venue Taku Taku. Something had clearly gone wrong with the lineup. The guitarist appeared to be brand new and could barely navigate the chords.

Will Oldham tried to push through but quickly grew frustrated and began openly calling the guitarist out from the stage. It was uncomfortable for everyone involved.

The show never recovered.

VIII. Redemption

Fortunately the story has a better ending.

Some years later I saw Bonnie “Prince” Billy again, this time at the beautiful Kyoto venue Urbanguild and everything worked great. Low benches and tables filled the room, Heartland beer bottles glowed green under the lights, and the band played a relaxed, confident set drawn mostly from the Bonnie “Prince” Billy catalog with a few Palace songs mixed in.

Opening the evening was an instrumental group called Bitchin Bajas whose sound reminded me faintly of early Phosphorescent if Phosphorescent had chosen to make instrumental records. After the show I found myself talking with three members of the band while they drank beer and ate fries. They were humble, friendly, and slightly surprised that anyone in Kyoto knew who they were. We talked for a while about touring and the constant challenge of trying to make a living as working musicians. Eventually the conversation drifted off and the room began to empty.

The music was over. The musicians were just people again, finishing their drinks and preparing to move on to the next city. And that, in the end, may be the most interesting encounter of all

Dedication

For live music fans everywhere. My true people. I love you baby.

Note: If you enjoyed this essay, you may also enjoy the essay below on the four time I met Yo La Tengo. Happy reading!

On the Four Times I Met Yo La Tengo
Posted on by Matt Thomas

On Coming Through

New Note: This essay sits roughly in the middle of my writing life online. By the time it was written I had already spent several years experimenting with ideas and forms in earlier blogs—first Classical Sympathies, which was more academic and literary in tone, and later Jungian Intimations, which tried to bring Jungian psychology, symbolism, and dream material into a more personal register. Both projects were attempts to understand the terrain of the mind and the pressures placed on a thinking person trying to live inside modern institutions.

“On Coming Through” belongs to that same line of inquiry, but it also marks a turning point. At the time I felt strongly that one phase of life—what might loosely be called early adulthood—was coming to a close. The essay reflects an effort to make sense of that closing: the roles I had played, the ambitions that had driven me, and the ways in which those ambitions both clarified and constrained the direction of my life.

The language of Jung, Hollis, and Rudhyar appears throughout the piece because those writers were the tools I was using at the time to think about cycles of development, identity, and what Jung famously called individuation. Looking back now, some of the terminology feels a little grand, but the underlying questions remain ones I still care about: how a person develops a provisional identity in youth, how that identity eventually exhausts itself, and how one finds the courage to begin again.

In hindsight this essay also foreshadows something that had not yet fully taken shape for me: the idea that writing itself might become the primary vehicle through which I would explore those questions. The project I mention near the end—“Where I’m Coming From: A Straight Answer to the Smart Kids”—was never completed in the form imagined here. But in another sense it never really went away either. Many of the later essays I would write over the following decade, including those that eventually appeared on The Kyoto Kibbitzer, are variations on that same impulse: to record honestly what it feels like to move through the world as a reflective person trying to make sense of culture, relationships, and the shifting terrain of the self.

For that reason I have left the essay largely as it was originally written. It captures a particular moment in the middle of the journey—after the early experiments of Classical Sympathies and Jungian Intimations, but before the more narrative, outward-facing voice that would later emerge. Seen from that vantage point, it reads less like a conclusion and more like a bridge between phases of thought and writing.

Original Note: This little piece is a lightly structured meditation on aspects of the past and clarification of intentions concerning the future.  It appends my previous statement of intent from four years ago (posted below).  Although there is some continuity of concern, specifically around the nature of the demands that playing a role or roles in society places on the individual actor, and some continuity of theory through the continued influence of Peter Berger and Thomas Luckmann, hopefully there is some new material and new thinking as well.  I should acknowledge a debt to several writers whom I have read intensively over the past four years: most especially this piece bears the fingerprints of Carl Jung, James Hollis, and Dane Rudhyar, and many of the ideas here would not exist, or at least not be as fully articulated, without their assistance.  I should also acknowledge that I have been experimenting with different means of writing, different approaches to producing a text, and to the extent that anything herein bears traces of the spirit I can claim no credit.

Epigraph:

“I wanna dedicate this to someone out there watching tonight, I know she knows who she is.”

Bob Dylan, spoken introduction to “Oh Sister.”  From the bootleg record “Songs for Patty Valentine.”

Today I feel as if I stand at the edge of a new world.  The journey through early adulthood has drawn itself to a close, in stages, over the past several years, and I am alive to the fact that a new journey must now be set out upon.  In order to face any new journey properly, with intelligence and intention, we are called upon first to recognize the altered nature of the landscape we will make our way across in the new phase.

The longer I live, the more I understand the words of Ecclesiastes, “to every thing there is a season, and a time to every purpose under the heavens.”  Each era of our lives, each season, sometime even each week or set of weeks, seems to take on a certain coloring and certain characteristics that differentiate it from what came before, just as each zone of time seems to require different things of us.  The strength of our intention and will, as well as the quality and effectiveness of our reactions and decision making, are forever put to the test in small ways, and large ones, and we are forced to define, if only to ourselves, the nature of our relationship to our surroundings, our community, our dharma, our fate.

When we are young, time seems to stretch on almost indefinitely.  The summer of my eighth year, for example, was experienced as a vast expanse of almost undifferentiated time; two or three weeks would pass in a barely conscious haze of biking around my parent’s property, hiking and collecting stones from quarries in the area, or sitting on the roof in the sun, a child in the flow of nature, without “problems” of his own.  Looking back on such a period today, it indeed has a coloring of a kind, and this coloring is so loaded with low-grade nostalgia and barely remembered circumstances that my memories exist not so much in the form of events, rather in the form of a “feel.”  I have a sense of what it felt like to be eight, a sense of the patterns into which life energy fell or was collected, pooled, also a sense of my budding interests, which would in time round into what we are pleased to call “personality.”  There was nothing specific that I was “up to,” and I never had the need to think more than a day or so in advance.  The expression of my energy was essentially aligned with the desires of my heart as much as at that age we can know these at all–or perhaps that is just the point, in a state of primitive unknowingness we are naturally and effortlessly aligned with the desires of our heart, and only when we begin to have to analyze or ask after these do we begin to lose connection with them.

As we grow, the process of socialization begins to crowd in on us, and no person, no personality, is wholly free from the pressures of socialization, of collective expectation, of the reactive categorizations and projections of the always slightly behind-the-curve zeitgeist.  Depending on our own type and manner of apprehending the world as it appears to us, we react and position ourselves in some relation to, at some angle toward, the categories and projections that surround us.  Indeed, both the conformist and the rebel define themselves in relation to and reaction to “the system,” and in many ways their respective positioning is far more similar than otherwise.  Dane Rudyhar makes this point clearly, as do, in more elliptical and elaborated terms, Berger and Luckmann.  Even those (myself for example) who purport or imagine to be able to live outside of collective expectations, to create their own life and write their own script, yet define themselves primarily through the categories that the zeitgeist makes available–it takes work, huge, lasting work, to even begin to transcend one’s era and circumstance in even the smallest part.

The first part of life is necessarily a struggle to find one’s footing in the swim of society, to demonstrate value, usefulness, and the ability to check whichever boxes one is asked to check.  Occasionally, we meet someone who in significant ways seems to have wrenched herself free of some of this static at an earlier age, but even such persons habitually define themselves in terms of existing categories and remain to some extent still a prisoner of them.  For most of us, the child turned young adult, buffeted by external events and demands, adjusts herself over a period of years by applying her core characteristics, tendencies, and abilities to the game as it seems to present itself, and in the process slowly relinquishes immediate touch with that inner voice that provided direction to the child of nature who knew instinctively what was and wasn’t good for her, what was and wasn’t desirable.

At the same time, the goals that one identifies for oneself in youth are not to be lightly dismissed.  They do often provide a symbol sufficient, to borrow Jung’s phrase, to drive libido up a gradient steeper than nature; one learns to accomplish “work,” and to appreciate both the material and ego-related satisfactions that comes from this accomplishment.  Jung says as much when he tells us that it is essentially heathy and necessary when a young person becomes “entangled with fate” which “(involves) him in life’s necessities and the consequent sacrifices and efforts through which his character is developed and his experience matured.”  This dance with fate leads us into a variety of positions and stances, some of which we may carry out with grace and ease, others of which require contortions which we preform without a clear sense of the relationship between the presented or required form and our ability to functionally engage with that form.

Under the pressure to make something of ourselves, to build a career, a business, an image, a body of work, to make more of time by trying to subdue it, we may come to feel that we have found the game, we are on the fast track, we are properly situated under the stage lights, playing the part as it is supposed to be played.  A little light, a little attention, these things classically and nearly inevitably lead to a degree of what Jung calls “inflation,” the expansion of ego-consciousness and the over-identification with the product of one’s work in the world as the summum bonum.  The small still voice of the spirit recedes, or expresses itself through fantasy and other forms of idle ideational free association–fantasies of setting out to sea, of starting over with a new name in an unknown land, of being orphaned and having to fend for oneself, intriguing as these dreams may be they most often serve to cement through counterpoint the existence we actually live out and the style, or lack thereof, in which we do so.

My favorite singer, Matthew Houck from Phosphorescent has a song called Los Angeles where he describes the deeply ambivalent relationship one can have toward one’s accomplishments in the world.  He sings:

The road is alive/ And everybody’s all here/ I’m closing my eyes/ Till the colours appear/ Oh me oh my/ Ain’t it funny up here/ To stand in the light/ Said I ain’t come to Los Angeles just to die

They told me my eyes/ Would never be clearer/ To hold on to mine/ Make good money out here/ They told me those lies/ Just a grinning from ear to ear/ They said ‘here is our offer, ain’t it fine’

Are you getting a lot of attention now/ Are you bleeding in every direction now/ Are they covering you up with affection now/ Are they giving you a lot of attention now…Said I ain’t came here to Los Angeles, baby, just to die

I know, in exquisite and painful detail, exactly what Houck means (or I know exactly what he means to me, which is all the audience can ever really claim to know).  He means that when you bring your interior goods, your art, your vision, your beauty and light, out into the public eye and when some part of that is seen as having value or serving the purposes of established interests, an offer is made whereby your specific value, your original genius and spark, is rewarded at the same time as it is strangled, rewarded through exposure and compensation, and strangled as established interests nearly always (but perhaps not absolutely always) want and need to tie you to a set of projections and definitions that have already taken external form and are recognized as valid, and therefore commodifiable, categories.

At the same time, the singer in this equation is not without culpability in the narrowing of his own genius.  He knows that the kind of attention he is getting is dangerous for him, that it threatens to bring out his worst tendencies, his tendency toward excess, and to distance him from the source of his own art, but he is getting a little addicted to the attention, to the light.  The paradox, or trap, turns out to be that it is very, very difficult for a younger person in the first flush of ego-development to stand in the stage lights for too long without beginning to mistake this external light for the light inside.  Although the singer is trapped, he recognizes the trap, recognizes that he is dying out there, and the song remains hopeful, hopeful that the singer will be able to relocate the reasons for coming to Los Angeles in the first place.  After all, if he didn’t come all the way to Los Angles just to die, he came for some other purpose.

However, what the singer maybe does not recognize is that sometimes a death is necessary in order for life to begin anew.  Most ancient cultures, perhaps all, practiced sacrifice, and the idea at the heart of sacrifice is precisely this–new life follows inexorably from the exhaustion of the old.  The ancients, being literal minded and without the ability to metaphorize as fully as humanity has since learned to, could only see this sacrifice as taking physical form–thus human and animal sacrifice entailed actual bloodletting.  The story of Issac in the Bible, as well as the story of Job, are in fact kind of metaphors for a psychological hinge point in the development of consciousness among the people of the ancient Eastern Mediterranean, a development which eventually led, among other things, to the dwindling of the use of such literal forms of religious sacrifice, but the core idea remains in our present culture in all sorts of places.  (Indeed, much of the Old Testament deals with the development of what we call “consciousness” and the alterations in the character of the Old Testament god mirror alterations in the fundamental psychological character and mentality of the swim of generations over a period of several hundred or a thousand years leading up to to the birth of Christ.)  That is kind of another story, so let us just say that all nature seems to be structured around cyclicality, not so much linearity.  From the ashes of the old comes the living spark of the new.  

The above outline of the first flush of adulthood and its inevitable compromises is not original to me, and those who have looked honestly and hard at the development of the human life have set out this process much more precisely.  James Hollis puts it this way: “What I have called the middle passage arises from the collision of the provisional personality–that group of behaviors, attitudes toward self and other, and reflexive responses which the child is obliged to assemble and manage its relationship with an all powerful environment–with the insurgency of the natural, instinctual Self (…) The passage is experienced as an enervation of the former way of seeing oneself or of one’s functioning in the world (…) The exhaustion of the old is the occasion for the advent of the new, though we are seldom pleased to suffer that death which is necessary for older values to be supplanted.  In fact, one may wander, alone and afraid, for a very long time in the great In-Between before a new psychic image will arise to direct libido into the required development channel.”  Enervation means weakening, loss of vigor, and what Hollis points to in his description of mid-life is a kind of inflection point that I think actually occurs periodically through life, a juncture where one is obliged to examine that agglomeration of the “provisional personality” and the diminishing returns it may be receiving.  Once again, constructing an effective set of behaviors and approaches to the work of life turns out not to be a fully linear process, rather it seems to be cyclical and to necessitate periods of emptiness and exhaustion as well as periods of zenith and culmination.

The last three years of my own life have been but stages toward the exhaustion of this provisional personality.  A character from the television show “The Wire,” explaining to another character that when he says he is ready he means it, says something to the effect of: “you have no idea what I had to do to get to where I am today.”  To the extent that I have embodied and carried out my statement of intent from 2010, I can with some justification say the same.  Being in a position to say this is not necessarily the most pleasant place to be, and I cannot really recommend my process and progress through the proverbial belly of the whale to anyone, certainly not to anyone with a faint heart.  However, along the way I have been blessed, there is no better word, to have met extraordinary people who have given me essential clues as to from where and in which direction my second journey would launch.  I have also been fortunate beyond all measure and worthiness to have received several “big dreams,” and if this indeed characteristic of the stellium in my astrological ninth house (Rudhyar writes that a ninth house person will be drawn to “whatever expands a person’s field of activity or the scope of his mind–long journeys, close contacts with other cultures and with foreigners in general, and (…) ‘great dreams'”) I will take it.  Finally, through periods of intense work and strain which have combined, sometimes combustibly and unpredictably with both great people and great dreams, my consciousness has pulsed or rippled open a fraction, in the process integrating to some extent my inferior functions, first feeling, and then, more challengingly, sensing.

Coming to terms with one’s inferior functions is an essential part of coming to terms with one’s limitations, as these are much the same thing.  However, in some mysterious way that I can barely begin to name, I feel as if I am carrying, and trying to pay off, a larger karmic debt of some kind.  To be honest, I don’t even know how to begin to write about this.  Two years ago, in the autumn, I consulted a humanistic astrologer based in the United Kingdom.  Very well known in her field, she turned out, over Skype, to be deeply learned as well as deeply open and generous.  Her reading was strong, interesting in every respect, but still it was a reading–she has a professional method which she applied with ease and confidence.  Except in one respect–twice during the reading she stumbled, paused, lot her train of thought and said that she couldn’t put her finger on something.  The first time was when she said that I was on the verge of leaving behind an ancestral inheritance 500 years in the making.  She didn’t know what this was, but said it was in my bloodline.  Thirty minutes later or so she cycled back to it, saying she couldn’t make it out but that I was poised to see something or break out of a way of reacting or thinking that had held back my ancestors for generations.  Her reading took place a few months after my inheritance dream, which occurred in the summer of 2011.  Here is the dream:

My father is due to receive an inheritance, and his acceptance of it somehow enables others (his extended family) to also share in the inheritance.  My mother is telling me this in a darkened bedroom with my father outside the door.  She doesn’t want him to hear that she is telling me this, and keeps lowering her voice.  I get the impression that my father’s portion of the inheritance is relatively small, but somehow his taking of it is key to everyone’s access.  While at first I think that it is only a medium sized inheritance, suddenly the television comes on and begins to give more backstory.  It turns out, according to the program, that my father is attached, in a roundabout way, to one of the largest fortunes in the world, and one that is intimately connected to shadowy political power in some unnamed European countries (perhaps Germany, Austria, but spilling westward as well).  The program is a fairly typical expose of networks and hidden hands behind the throne, but nonetheless absolutely riveting.  There is a single male figure at the center of this network, shown briefly in the dream standing behind a spokesman who is speaking into a microphone.  This takes place on a lawn in front of a large and well-to-do house, but both the male figure and the house appear relatively normal and not obviously terrifying or malevolent.  My father’s reluctance to take up his inheritance thus represents a reluctance to involve himself in the political power networks, but the program makes clear through implication that failure to take up the inheritance poses a danger both to himself, and perhaps to my mother and myself.  Much or all of the action in the dream takes place indirectly–through implication or (literally) through a screen.

Humankind being a pattern seeking animal, of course I immediately connected the two data points with a third, the moment in which Ruth Van Reken, the author of “Third Culture Kids” and basically co-founder of this field of study, told me in a hotel lounge in Singapore in March of that same year that god had a mission for me, and a fourth, a quiet but persistent inner voice telling me I had a gift that was not being fully given to others, a gift I was holding inside, that I had another gear, that perhaps I hadn’t come to Los Angeles just to die.

What, in hindsight, I was dealing with and trying to make sense of was in fact Hollis’ insurgent self, a self which was seeking a new psychic image, a new core myth around which a fresh tapestry of charged energy could be woven.  I was living Jung’s individuation, or it was living through me.  This quest was apparent as the subtext to the inheritance dream, and many others of that period.  After writing down the inheritance dream I commented as follows:

There is a lot of context for the dream, best summarized as a fluid and somewhat wild/ chaotic/ noisy social night scene.  This kind of backdrop is quite common in my dreams, so much so I am inclined to refer to my ‘long night dreams’.  These usually take place over several ‘hours’ and spill late into the night or early morning.  They generally build through escalating events/ imagery and crystalize in a single memorable and stirring image.  The dream about an inheritance is in this larger category, but the specific incident in question feels broken out of its immediate context and stands alone in the dreamspace.

Another memorable long night dream from a slightly earlier period culminated in a scene where I came upon a group of revelers around a bonfire, deep in the forest, swinging in hammocks or dancing unrestrainedly some hours after midnight–maybe two in the morning.  Although I was not, knew I was not, of them, I longed to join in their joyous communal frenzy.  This image of a revelry around a bonfire possessed an energetic charge that animated all that came into contact with it, in other words this image, the image of the inheritance, and other images buried late in these long night dreams, were presenting themselves as possible material for my personal myth.  I can imagine a life founded on the idea of an enormous inheritance or a communal dance just as the grail image has, as Robert Johnson convincingly argues, served as the founding myth for western masculinity for a thousand years.

Standing back a little, and thinking about how it is that I have the courage to face a new journey, certain steps, some fairly conventional, others rather more esoteric and specific, have been necessary for me to face the future with confidence and with nerve, to lay the past to rest, to open a new channel to life.  Life, sounds, smells, textures, colors, spill into me and swirl around as never before, and a multi-year process has certainly reached exhaustion, and cleared the way for a realized rebirth.  Rudhyar writes revealingly about the ending of a cycle: “Any person who has had to improvise a speech after a dinner party knows how difficult it is to bring his talk to a convincing and significant end.  When coming to the close of their speech many speakers fumble, repeat themselves, go from climax to anticlimax, and perhaps let their words die out wearily and inconclusively (…) The composer of music, the dramatist, and the novelist often find the same difficulty when confronted with the obvious necessity of bringing their works to a conclusion.”  He goes on: “the natural end of everything is exhaustion–one gets exhausted and so do the people around you.  The speech or the individual himself, dies rather meaninglessly of old age.  Unless the self, the spiritual being, takes control and, binding up all the loose strings of the great lifelong effort, gathers the most essential elements into an impressive and revealing conclusion, there is danger that the great moment will become obscured by the settling dust of the struggle.”

Here, Rudhyar seems to be talking about the end of life, but a little later it becomes clear that he is actually talking about all acts, all events: “The art of bringing every experience to a creative end is the greatest of all arts (…) What this art demands first of all is the courage to repudiate the ‘ghosts’ of the past.  It is this repudiation that is also called severance (…) One must have the courage to dismiss the things unsaid, the gestures unloved, the love unexperienced, and to make a compelling end on the basis of what has been done.”  In other words, a graceful ending acknowledges that there is a great deal more that could have been done, and nonetheless strives to encapsulate and put into perspective that which was done.

With exhaustion of the old comes, as we have seen, the first breath of the new.  In what areas, to what purpose, and up which gradient ought I to apply my newfound energies and intent?  I suspect that the paying off of whatever karmic debt I am holding is a necessary feature of taking up whatever inheritance is to be assumed.  Once again, Rudhyar gives us a hint when he writes of crossing the threshold of rebirth: if the individual “has absorbed and assimilated the darkness represented by the ‘Guardian of the Threshold’–the memories and complexes of the personal and collective Unconscious–then the Tone of the new cycle can ring out clearly.  The individual, conscious of his true Identity, is able to use for his purpose of destiny whatever conditions have been inherited from his past and the past of his race, from his parents and from humanity” (italics in the original).

I love this phrase, “the Tone of the new cycle,” capitalized Tone, (by which we could also understand to mean “style”).  If indeed I am saddled with some sort of baggage from centuries past, an idea which I do not advance lightly in the least, then clearly it is my duty as a future directed individual who simultaneously “believes” in cyclicality as a basic principle of human and natural operations, to transform the elements of this baggage, this ragged tune, into a new tone which can ring clear to anyone who might benefit in some way from hearing it.  My listeners, my audience, are those smart kids who, blessed and cursed with preciosity, struggle to make sense of the terrain of their own mind which, in the immortal words of Gerard Manly Hopkins has mountains, O the mind, mind has mountains.

In order to reach authentically another I need then to perform in my own style.  Arriving at an original style is the first great challenge for any artist; in the arts formally this generally entails assimilating the style of others with one’s own insurgent urge toward expression such that the resulting product is recognizably your own and resonates with your inner sense of what you are about.  The effort to live one’s life with style, to make of one’s life a work of art, is harder still, for instead of working toward a finished product, a song, a novel, poem, or canvas, we are instead seeking to infuse each moment, each encounter, each event pocket, with creative intent and energy.  This effort requires attention as well as imagination, and here attention and imagination exist in a delicate and precise balance. Without attention the mind quickly loses itself in projection, in maya, the mist of illusion and fantasy.  However, without imagination attention may be overly focussed in the immediately apparent and explicable.  Hollis quotes Gaston Bachelard: “Psychically, we are created by our reverie–created and limited by our reverie–for it is the reverie which delineates the furthest limits of our mind.”  The courage to imagine, to wander, and to bring back to and integrate into diurnal consciousness the imprints and impressions of our furthest wanderings, this is the courage we may need in order to live at the highest levels of creativity.

This essay is beginning to feel the pressure to make a compelling end.  The other evening, I ran into an acquaintance from an earlier incarnation and we started talking event theory.  He summarized his own view of events in five words: “an event should be eventful.”  The eventfulness of an event depends on both the arrangement and combination of space, time and energy to create an event arc with pockets of luminosity and on the willingness of the participant to experience eventfulness, to happen.  Oddly, happenings are neither entirely willed and created nor entirely received.  Instead, happenings and events transpire in the liminal band between will and fate, writer and muse, figure and ground.  Phosphorescent again: “See I was the wounded master/ oh then I was the slave/ my hands and my mouth, aw honey/ they would not behave/ See, I was the holy writer/ then I was the page/ I was the bleeding actor/ then I was the stage.”  Who are we in our journey through life, around, and back again?  Are we the maker, or the made?  The master, or the slave?  The writer, or the page?  The actor, or the stage?  The happening, or the happened to?  Are we in charge of our own destiny or awash and afloat in a current so much stronger than we are?  Are we all of these things simultaneously?  What is my mission on this new journey I am called to alight upon?  What is the mission of my young friends, a generation younger than I, who face the difficult transition to adulthood in the keening wind of the 21st century?

My deepest wish is simply this, that today’s smart kids may navigate the delicate relationship between their mind and their life during the first half of life in a more graceful and integrated manner than have I, that they receive, if only from a handful of people, compassionate help and understanding to this end, and that the experiences visited upon me may in some small way assist this integration, if necessary as a sort of sacrifice.  Perhaps in the end this makes me too an “established interest.”  However, I hope I have no specific requirements any more than I have specific requirements for myself, no program, no method, no dogma other than the welling hope that when they reach their own Los Angeles they are able to negotiate their own terms upon being asked to stand for a while in the light.

On the last page of Italo Calvino’s masterpiece Invisible Cities, the Great Khan and Marco Polo are concluding their conversation about Polo’s travels across the globe.

Already the Great Khan was leafing through his atlas, over the maps of the cities that menace in nightmares and maledictions: Enoch, Babylon, Yahooland, Butua, Brave New World.

He said: “It is all useless, if the last landing place can only be the infernal city, and it is there that, in ever-narrowing circles, the current is drawing us.”

And Polo said: “The inferno of the living is not something that will be; if there is one, it is what is already here, the inferno where we live every day, that we form by being together.  There are two ways to escape suffering it.  The first is easy for many: accept the inferno and become such a part of it that you can no longer see it.  The second is risky and demands constant vigilance and apprehension: seek and learn to recognize who and what, in the midst of the inferno, are not inferno, then make them endure, give them space.”

The philosopher Ludwig Wittgenstein, who worked at Cambridge, once advised a colleague to leave the university as there was “no oxygen” for him there.  Upon being asked why then he, Wittgenstein, stayed, the philosopher is said to have replied: “It doesn’t matter…I manufacture my own oxygen.”  While I am deeply grateful to those handful of people who have gone out of their way to give me space, in some ways I feel as if I have to too great a degree, had to manufacture my own oxygen.  Perhaps the atmosphere of the coming journey will consist of some other arrangement of elements such that oxygen, or whatever allows one to breath there, is made more freely available.  In the meantime, I intend to give the only gift that I have to whichever smart kids might take something away from it.  This gift is simply the truthful and open record of what it has been like for one relatively smart kid to navigate life, relationships, and his own psychology and mentality–a primer on the basic aspects of living the first half of life as a semi-ambitious introverted intuitive living between centuries and shuttling between east and west.

Before any new journey can be set out upon, passage must be secured–I know this because I have dreamt it.  Possessing no riches of my own, the price of the new journey will have to be paid by the brokering of an inscription, a text, of the old one.  This text will necessarily be partial, incomplete, subject to criticism for what it redacts, a map that barely begins to reflect the territory as was the dream text itself, as are all dream texts.  This has to be accepted at the outset; after all even the holy writer is perpetually bound by the constraints of form.  And even as we are writing the record of our coming through that earlier landscape, the greater work of embodying the living word such that the opulent and decorative higher floors of our co-constructed mansion are made manifest through our participation in reverie and revelry, of ascending the far-flung mountains of a new Aeon, will already have begun.

Dedication:

For all the smart kids.

Works Cited/ Referenced:

Peter Berger and Thomas Luckmann, The Social Construction of Reality.

Italo Calvino, Invisible Cities.

Ecclesiastes.

Gerard Manly Hopkins, “Mind Has Mountains (No Worst, There is None).”

James Hollis, Creating a Life: Finding Your Individual Path.

Julian Jaynes, The Origins of Consciousness in the Bicameral Mind.

Robert Johnson, He.

Carl Jung, On the Nature of the Psyche.

Van Morrison, “No Guru No Method, No Teacher.”

Phosphorescent, “Los Angeles,” from Here’s to Taking it Easy.

Phosphorescent, “Terror in the Canyons,” from Muchacho.

Dane Rudhyar, The Astrological Houses.

Andrei Tarkovsky, Stalker.

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Shotgun in Seth’s Ford Explorer

Note: This piece takes place in Spokane, Washington in the fall of 1991, during our senior year at St. George’s School. CDs were still a relatively new luxury item for teenagers, Zip’s runs counted as real excursions across town, and a hunter green Explorer in the school parking lot could serve as the center of an entire small social world.

Epigraph:

Out with the posse on a night run
Girls on the corner, so let’s have some fun
Donald asked one if she was game
Back Alley Sally was her name
She moved on the car and moved fast
On the window pressed her ass
All at once we heard a crash
Donald’s dick had broke the glass

Ice T

Seth drove a green Ford Explorer, which meant two things: he was always the driver, and John Innes almost always called shotgun.

Ours was a class of twenty-eight boys at St. George’s School, which meant the social landscape was less a battlefield than a small archipelago of cliques. Everyone knew everyone, and everyone more or less supported everyone else. Still, there were natural groupings. Seth, Innes, and I spent a good deal of time together, with Kelly sometimes orbiting the car and Richard Barkley frequently around as well.

The Explorer usually lived in the SGS parking lot behind the lower school. During the day it sat there waiting for the moment seniors could leave campus, which we could do whenever we wanted. When that moment came, Seth’s Jeep became a kind of small republic on wheels.

There were rules, or something close to rules. Seth drove. Innes called shotgun. He cared about it the most and therefore usually got it. Occasionally Barkley or I would challenge him, which would inevitably produce an argument about whether the call had been made properly or whether the timing had been unfair. The exact legal framework of shotgun was never fully settled, but the outcomes were usually predictable.

Inside the Explorer there were CDs everywhere. Not in a messy way—Seth kept the car pretty well—but there were dozens of them, probably stored in one of those large CD wallets that seemed to exist in every car in the early nineties. Seth would sometimes come back from Hastings with six or eight discs at a time. I remember watching those purchases with something close to disbelief. I could rarely afford a CD myself, so when I did manage to acquire something like Tindersticks or Billy Bragg’s Spy vs. Spy, it was a very big deal.

The music rotation in the Explorer was remarkably tolerant. Seth tended to favor Judas Priest and Metallica, while Innes leaned toward Ice-T. Joe Tyllia loved Cat Stevens and so Cat Stevens appeared frequently. I personally preferred Dire Straits at the time, which never quite made the regular rotation, so I generally waited for Warren Zevon or Cat Stevens to come back around. Nobody vetoed anyone else’s music. Whatever disc was in play generally stayed there.

The Explorer had a few regular destinations. State B basketball games were one. Another was Zip’s on the north side of town. Seniors could leave campus whenever they liked, and sometimes that meant simply deciding that a run across Spokane for burgers was necessary. Seth’s house was another stop, as was Hastings, where the CD acquisitions occurred.

Occasionally the driving extended further into the South Hill at night. Sometimes we would pass near Manito Park, though I remember doing those wandering drives more often with a slightly different crew—Dyche, Jonah, Karin, and Lisa. Once that group went to a show by They Might Be Giants, and afterward Kelly reported that the band had stiffed the opening act and paid them only ten dollars. Kelly knew this because his cousin was in the opening band.

The one time I ever took shotgun from John Innes without calling it came on the ride home from the state cross-country meet during our senior year. Our team had finished second by a single point, which felt at the time like the most unfair outcome imaginable. James Johnson had been our first runner, Cam Turner second, and I was third.

When we piled into the Explorer for the three-hour drive back to Spokane, I simply grabbed the seat. No call. No discussion. Just took it. And for that ride home I ran the decks.

For a while Seth’s Explorer was simply part of the landscape of our lives. It sat behind the lower school during the day, appeared at the Coleman house west of the South Hill at night, and carried us between games, fast-food runs, music stores, and wherever else we decided to go.

Then, like most small countries of teenage life, it quietly disappeared

Dedication: For my homies.

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The Night of Fucking Adam

Note: This piece is part of an informal series of essays and stories about nights out in Japan that begin innocently enough and gradually drift into something closer to accidental anthropology. The settings vary—Kyoto bars, Osaka clubs, late-night taxis, shotengai corridors—but the structure is often the same: a few friends meet for drinks, the evening unfolds without much planning, and somewhere along the way the ordinary rules of social behavior begin to loosen.

The events described here took place during a long evening wandering through Osaka, eventually ending in the nightclub district of Shinsaibashi. Like many such nights, it contained a mixture of small cultural misunderstandings, unexpected friendships, minor chaos, and the strange solidarity that sometimes develops among strangers in bars after midnight.

The character known here as “Adam” was a young British traveler we met that evening and never saw again. The nickname “Fucking Adam” reflects the affectionate exasperation with which the phrase was used throughout the night rather than any serious judgment about the person himself. Anyone who has spent time traveling, drinking in unfamiliar cities, or navigating the unpredictable social ecosystems of late-night nightlife will likely recognize the type.

The intention of the piece is not to document a perfectly accurate timeline of events—after fifteen or so drinks spread across many hours, accuracy becomes a flexible concept—but rather to capture the texture of a particular kind of night: the slow drift from casual afternoon drinks into the surreal territory that sometimes appears around two or three in the morning when strangers collide and small incidents escalate into memorable stories.

In that sense, Adam becomes less an individual than a type. Every city has them. Every traveler eventually meets one. Occasionally, if the night runs long enough, we become one ourselves.

Epigraph:

“A ruinous eyesore, oh what is a mind for?
Just a knife in a lake, just an arrow in space.”
—The Swans

We met around four in the afternoon near Osaka Station, the three of us: Philip, Jack, and me. The plan, such as it was, was simple—have a few drinks and see where the night took us. Osaka is good for that. The city doesn’t require much in the way of planning. If you just start walking and follow the lights, something eventually happens.

Our first stop was a subterranean craft beer joint somewhere beneath the station complex. One of those places down a set of anonymous stairs where the ceiling is low, the taps are numerous, and everyone looks faintly conspiratorial, like they’ve all agreed to drink underground together.

We had a couple rounds there and then drifted through the shotengai behind the Hilton. Early evening shoppers were moving through with that unhurried Osaka pace. Nothing felt like the beginning of a legendary night. It just felt like a pleasant afternoon.

From there we crossed over to a classic American hamburger joint opposite the station. Vinyl booths, neon beer signs, and a bartender who had tattoos running down both forearms like vines. American rock played softly in the background. It felt like a movie set version of America dropped into central Osaka.

We ate burgers, drank more beer, and talked about absolutely nothing of consequence.

At some point Philip announced that what he really wanted that night was to go to a middle-aged club. To be clear, Philip was not shy about his intentions. He was, as he put it, “looking for MILFs.”

So we took a taxi down to Shinsaibashi.

The middle-aged club, unfortunately, was closed. It was only about eight and apparently the MILF scene doesn’t really get going until later.

So we did what you do in that situation: we wandered.

For the next four and a half hours we drifted around Shinsaibashi, moving from bar to bar in that loose, happy way nights sometimes unfold. By midnight we had covered a lot of territory. Between the three of us we had consumed something like fifteen drinks over thirteen hours. And yet only Philip seemed even remotely affected by them.

Around 1:30 we arrived at Sam and Dave’s, a legendary dive of a nightclub tucked into the chaos of Shinsaibashi. The security guy at the door looked us over and shrugged.

“Maybe dead now,” he said. “But gets good later.”

Inside it was a haze of smoke and terrible techno beats pounding from the speakers. The crowd was an odd mixture of people who were extremely drunk and people who appeared to be completely sober and studying the situation with curiosity. It was cooking by one-thirty.

Somewhere along the way we met a jovial twenty-year-old British guy named Adam.

Adam and Jack bonded almost immediately. They were trading insults in that cheerful British way—“you tosser,” “you old wanker,” that sort of thing—and it seemed harmless enough.

Meanwhile a group of Filipino girls had arrived, one of whom—Beverly—was extremely drunk and getting progressively more chaotic. Her friends were trying, without much success, to keep things under control.

At this moment Philip stepped in.

Philip has a well-developed instinct for white-knighting in situations where white-knighting is absolutely not required. He began talking to Beverly, which quickly escalated into something resembling a full-scale courtship right there on the dance floor.

Meanwhile Jack and Adam had begun dancing.

The problem was that they gradually migrated off the dance floor and onto a small raised stage that contained a drum kit and various musical equipment.

Within seconds drums were tipping over. Tables were sliding. A cymbal crashed onto the floor.

Security arrived immediately.

They pushed Jack aside and dragged Adam feet-first off the stage and into what appeared to be a small holding room behind the bar where, judging by the noises coming out of it, Adam was receiving a fairly vigorous beating.

Things deteriorated quickly after that.

Philip decided to treat everyone to Irish car bombs. Unfortunately the bartender had no idea how to make one, so Philip instructed him. The Guinness component somehow disappeared from the process and we ended up with small glasses of Baileys and Jameson.

Adam drank one.

At this point Adam completely lost his mind. He began loudly explaining how terrible the UK was, how he wanted to die, how the American guy earlier had stolen the chesty nurse he loved, and a variety of other philosophical positions.

Security eventually threw us out with minimal ceremony.

Outside the situation became even stranger.

Philip was pouring champagne into Beverly’s mouth near the elevator while her increasingly frantic friends asked me if he was a good person. Jack was trying to figure out where Adam was staying so he could get him into a taxi.

Adam responded by pushing Jack into a decorative pond.

Then he began throwing a water bottle at him like he was Bob Gibson pitching in the World Series.

At this point it was around five in the morning.

Philip abruptly announced he was leaving to meet some Brazilians. Adam remained in the pond shouting curses about our mothers. Jack climbed out, soaking wet.

We left.

Mackenzie took a taxi back to his hotel by the river. I caught the first train home from Shinsaibashi as the sun was coming up, completely exhausted.

And that was the night of Fucking Adam.

We never saw him again.

Dedication:

For Fucking Adams everywhere.
Long may you burn.

Note: if you like this essay, you may also like the essay below. It covers a similar slice of nightlife, this time in Kyoto.

On a Guy Called Whit (with a Cameo from Ambassador Rahm Emanuel)
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On Julian Jaynes and the Origins of Consciousness: A Modern Look

Note: This essay is a reflection on the ideas of Julian Jaynes and his remarkable 1976 book The Origin of Consciousness in the Breakdown of the Bicameral Mind. Jaynes’ theory—that human beings once experienced divine voices guiding their actions before the emergence of modern introspective consciousness—remains controversial and widely debated. The purpose of this essay is not to prove or disprove Jaynes’ neurological model but to explore the enduring power of the questions he raised.

In particular, I am interested in two aspects of Jaynes’ work that remain deeply suggestive: his interpretation of early literature such as the Iliad, where modern psychological interiority appears strangely absent, and his observations about how mobility—travelers, shepherds, merchants, and wanderers moving between cultures—may have destabilized older systems of divine authority. These figures, operating in uncertain cultural terrain, may have been among the first people forced into the improvisational reasoning that resembles modern consciousness.

The essay also touches on institutions like the Oracle of Delphi and on the persistence of voice phenomena in modern contexts, ranging from hypnagogic states and exhaustion to more troubling historical cases such as the assassination of Robert F. Kennedy by Sirhan Sirhan. These examples are not presented as proof of Jaynes’ theory but as reminders that the boundary between internal thought and perceived external command may be more complex than we sometimes assume.

Finally, the brief personal anecdote involving an MRI scan is included not as evidence but as illustration: a small modern echo of the ambiguous mental territory Jaynes explored. Moments in which voices seem to arise from somewhere between the inner and outer mind remain part of human experience.

Whether Jaynes was ultimately correct in his sweeping historical claims is still an open question. But his work continues to provoke a fascinating possibility: that consciousness itself has a history, and that the modern reflective self emerged gradually out of older forms of human experience.

If nothing else, Jaynes reminds us that the human mind is not a finished structure. It is something still unfolding—shaped by culture, language, movement, and time.

“She keeps coming closer saying I can feel it in my bones
Schizophrenia is taking me home.”
— Sonic Youth

There are certain books that never quite disappear. They do not settle comfortably into the academic canon, nor are they fully dismissed. They linger. They circulate quietly among curious readers, occasionally resurfacing in conversation decades after publication, as if waiting for another generation to discover them.

One such book is The Origin of Consciousness in the Breakdown of the Bicameral Mind.

Its author, Julian Jaynes, was a psychologist who spent much of his career outside the central institutions of modern neuroscience. When the book appeared in 1976 it created an immediate sensation. Reviewers alternately described it as brilliant, bizarre, visionary, or simply impossible. The theory it proposed was breathtaking in scope. Jaynes suggested that the subjective, introspective consciousness modern people take for granted—the inner sense of “I,” the reflective voice narrating our own thoughts—was not an ancient human constant. It had emerged, he argued, only a few thousand years ago.

According to Jaynes, the minds of early civilizations functioned differently. People did not experience themselves as the authors of their own decisions. Instead they heard the voices of gods.

Not metaphorically. Literally.

Commands issued in auditory form—voices that appeared to come from outside the self—guided action. These voices, Jaynes argued, were generated by one hemisphere of the brain and experienced by the other as divine instruction. He called this earlier mentality the bicameral mind.

The theory has never been accepted in its full neurological form. Archaeologists, classicists, and neuroscientists have raised serious objections. And yet the book continues to circulate, discussed by philosophers, psychologists, historians of religion, and the occasional curious reader who stumbles across it in a used bookstore or late-night internet search.

Why?

Part of the answer is simple: Jaynes was asking a question that remains deeply unsettling.

What if human consciousness has a history?

What if the inner voice we experience as our own—our private mental narrator—was not always there?

I first encountered Jaynes sometime around 2012 or 2013, during a period when I was reading deeply in the work of Carl Jung and writing a small series of reflections that I called Jungian Intimations. Like many readers drawn to Jung, I was interested in symbolism, archetypes, and the strange persistence of mythic imagery in the modern psyche. I briefly considered enrolling in an online course with the Jungian analyst Michael Conforti, though in the end I took a class from his wife, Nancy Qualls-Corbett, on Jung and visual art. Around that time I read the slim but remarkable volume Jung on Art, which argues that artistic creation often emerges when archetypal material pushes through the individual psyche into symbolic form.

Jaynes appeared in my reading not long afterward. At first glance he seemed to be asking a related but far more radical question. Jung had treated mythic figures as symbolic expressions of the psyche. Jaynes suggested that the gods of ancient literature might once have been experienced as genuine voices—psychological events interpreted as divine command.

Whether or not one ultimately accepts his neurological model, Jaynes assembled a body of evidence that continues to provoke thought. In particular, he pointed to a striking feature of early literature. Characters in ancient texts often act without the kind of introspective self-reflection modern readers expect. Decisions appear suddenly, attributed not to inner deliberation but to divine intervention.

Nowhere is this more visible than in the world of the Iliad. When Achilles restrains himself from killing Agamemnon, it is not because he pauses to analyze his emotions. Athena appears beside him and tells him what to do. The boundary between divine command and human action is porous.

Jaynes argued that such passages were not merely literary conventions but traces of an earlier mentality.

Yet perhaps the most fascinating part of his theory lies elsewhere—in the margins of ancient societies, among the people least anchored to a single cultural world.

The wanderers.

Ancient civilizations were more mobile than we sometimes imagine. Even in the Bronze Age there were shepherds drifting across borderlands, merchants following caravan routes between cities, sailors moving from port to port across the Mediterranean and Near East. These figures lived at the edges of cultural systems that otherwise depended on stability and hierarchy.

For Jaynes, such wanderers may have played an unexpected role in the transformation of the human mind.

The bicameral system, as he described it, functioned best within tightly structured societies. Authority flowed downward through clear hierarchies: gods to kings, kings to priests, priests to ordinary people. Ritual, language, and shared myth reinforced the system. The divine voices guiding behavior were embedded within a familiar cultural environment.

But travelers moved beyond those environments.

A shepherd leaving his village might cross into territory where different gods were worshipped. A merchant arriving in a foreign city encountered unfamiliar laws, languages, and customs. A sailor might spend months among people whose rituals and social expectations bore little resemblance to those of home.

In such situations the guiding voices of one’s own culture could become unreliable.

If a divine command urged action in a place where the surrounding society operated under entirely different assumptions, the voice might cease to function as a stable guide. The traveler found himself in a new psychological situation—cut loose from the authority structures that had previously organized experience.

This was not a comfortable position.

To survive, wanderers had to develop different skills. They had to negotiate, observe, and interpret. They had to learn foreign languages and read unfamiliar social signals. They had to improvise.

In other words, they had to think.

Jaynes speculated that these mobile figures—shepherds, traders, sailors—may have been among the first people forced into something like modern reflective consciousness. The birthplaces of that consciousness may not have been temples or palaces but the messy contact zones of ancient trade: caravan routes crossing deserts, harbor towns where languages mingled, frontier markets where strangers bargained with one another under uncertain rules.

If the bicameral system required cultural enclosure to function, then mobility threatened its stability.

And the ancient world was becoming increasingly mobile.

Even as this transformation unfolded, remnants of the earlier mentality persisted in institutional form.

One of the most famous examples was the Oracle of Delphi. For centuries Greek leaders traveled to Delphi seeking divine guidance on matters of war, colonization, and political decision-making. The oracle’s pronouncements—often delivered in trance-like states by the Pythia—were treated as authoritative messages from the god Apollo.

From a Jaynesian perspective, institutions like Delphi may represent cultural technologies designed to preserve the authority of divine voices even as the underlying psychological system weakened. Kings and city-states continued to seek guidance from gods because the tradition of divine command remained embedded in social life.

Gradually, however, new forms of decision-making emerged.

Written law codes appeared. Philosophical reflection developed. Greek drama explored the tensions between divine authority and human responsibility. The shift was not sudden or uniform, but over time a new psychological landscape became visible—one in which individuals increasingly experienced themselves as authors of their own thoughts.

This transition was not simply intellectual. It may have been neurological, cultural, linguistic, and historical all at once.

Jaynes placed the decisive phase of the transformation during the turmoil of the late Bronze Age collapse, roughly between 1200 and 800 BCE—a period when many ancient societies experienced widespread disruption. Cities were destroyed, trade networks collapsed, and populations migrated. In the midst of this upheaval, older forms of authority may have faltered, forcing new modes of self-organization to emerge.

Whether or not Jaynes correctly identified the precise mechanism, he was surely right about one thing: consciousness as we experience it today may not be a timeless given.

It may be an achievement—fragile, historically contingent, and still evolving.

Yet if the bicameral mind truly vanished, one might expect the phenomenon of hearing commanding voices to disappear entirely from modern experience.

It has not.

Under certain conditions, people still report experiences remarkably similar to those Jaynes described. In states of extreme exhaustion, during moments of sensory deprivation, or in the liminal territory between waking and sleep, voices sometimes appear that are difficult to classify as either internal or external.

I had an experience of this kind several years ago while undergoing an MRI scan in a hospital.

Anyone who has had an MRI knows the strange psychological environment it creates. You lie alone inside a narrow tube, immobilized, while the machine produces a sequence of loud mechanical pulses and vibrations. The noise is rhythmic and relentless. There is little sensory input beyond the sound and the awareness of one’s own breathing.

Somewhere in the midst of that experience, a voice appeared.

It was not loud or dramatic. It was simply there—a calm male voice with the unmistakable tone of a father speaking to a child. The message itself was simple, almost reassuring. But what struck me most was the ambiguity of the experience. The voice did not feel exactly like a thought, yet it did not feel entirely external either. It occupied a strange borderland between inner and outer perception.

The moment passed quickly, but the memory lingered.

Experiences of this sort are not uncommon. Psychologists studying hypnagogic states—the transitional zone between waking and sleep—have documented similar phenomena. Auditory hallucinations appear in certain psychiatric conditions, most famously schizophrenia. Hypnotic suggestion can also produce experiences in which subjects perceive commands or messages that seem to originate outside their conscious control.

Jaynes believed such phenomena represented vestiges of the older bicameral mentality.

The voices of the gods, in his view, had not entirely vanished. They had simply retreated to the margins of modern consciousness.

Occasionally these phenomena intersect with darker episodes of modern history.

The assassination of Robert F. Kennedy by Sirhan Sirhan remains one of the most disturbing cases often discussed in connection with hypnosis and altered states of consciousness. Some researchers have argued that Sirhan may have been unusually susceptible to hypnotic suggestion, raising unsettling questions about the relationship between external influence and voluntary action.

It would be irresponsible to claim that Jaynes’ theory explains such events. Human behavior is far too complex for any single model to capture fully. Yet cases like Sirhan’s remind us that the boundary between autonomous decision and externally shaped impulse is not always as clear as modern assumptions suggest.

The mind remains a mysterious territory.

Half a century after its publication, The Origin of Consciousness in the Breakdown of the Bicameral Mind continues to provoke debate not because it solved the problem of consciousness but because it reframed it. Jaynes forced readers to confront the possibility that the human mind has undergone profound historical transformations.

Even if the details of his neurological model prove incorrect, the broader insight may endure. Literature, religion, and psychology all suggest that the experience of selfhood has changed over time. The ancient world did not necessarily perceive the mind in the same way we do.

Something was gained in the transition to modern consciousness.

We gained introspection, philosophical reflection, and the capacity to examine our own motives. We gained the intellectual freedom that made science, democracy, and modern literature possible.

But something may also have been lost.

In the world Jaynes described, human beings lived in a landscape animated by voices of divine authority. Decisions arrived not through anxious deliberation but through commands experienced as sacred guidance. That world may have been more constrained, but it may also have felt more certain.

Modern consciousness offers freedom, but it also brings doubt and solitude. The voices of the gods have largely fallen silent, replaced by the quieter and often less confident voice we call our own.

Perhaps the most we can say is that consciousness, like culture itself, continues to evolve. The wanderers of ancient caravan routes helped shape the first emergence of reflective thought. Today we inhabit a global world of constant movement, translation, and negotiation—a world not entirely unlike those early contact zones where cultures once collided.

We are all wanderers now.

And somewhere, perhaps, the faint echoes of older voices still remain.

Dedication:

For dreamers and wanderers everywhere.

Note: If you enjoyed this piece, you might also like the pieces below, which take up somewhat similar themes.

On Coming Through
Carl Jung’s Collected Works: I
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Stringer Bell: Middle Manager

Note: This essay reflects on the character of Stringer Bell from The Wire, one of the most carefully written figures in modern television drama. Like many viewers, I first experienced the show simply as a gripping crime story. Only later did I begin to appreciate how deeply it is really about institutions—how they work, how they resist reform, and how the people inside them often misunderstand the systems they inhabit.

The reflections here are not meant as a definitive interpretation of the series, but rather as one viewer’s attempt to think through what makes Stringer Bell such a haunting figure. His intelligence, ambition, and curiosity make him unusually sympathetic for a character who is also capable of ruthless decisions. That tension is part of what makes his story linger long after the episode ends.

If this essay encourages even a few readers who have never seen The Wire to give it a try, it will have done its job.

Epigraph

“Problems go away because someone does something about them.”
— Peter Drucker

“Are you taking notes on a criminal fuckin’ conspiracy?”
— Stringer Bell

When people first enter the world of The Wire, the Barksdale organization appears to be run by two men. Avon Barksdale and Stringer Bell. But the first time the audience—and the Baltimore Police Department—really sees the organization up close, it is not Avon who appears.

It is Stringer.

Early in the first season, Detective Jimmy McNulty begins digging into the Barksdale crew after the murder trial of D’Angelo Barksdale. The courtroom scene is deceptively quiet. The defense attorneys maneuver. Witnesses crumble. The case falls apart.

And sitting calmly in the courtroom, overseeing the entire operation, is Stringer Bell. Avon Barksdale is nowhere to be seen.

It takes McNulty, Kima Greggs, Lester Freamon and the rest of the detail several episodes just to figure out who Avon even is. The name circulates through the investigation like a rumor. The man himself remains hidden.

That arrangement is not accidental. Avon’s power depends on distance. He is the sovereign, and sovereigns are not meant to be easily found. Stringer, meanwhile, is everywhere.

He attends the meetings. He coordinates the lawyers. He moves through the organization like a senior executive walking the floor of a factory.

To the police, Stringer looks like the boss.

To the young dealers on the corner, Stringer looks like the boss.

But he is not.

Inside the Barksdale organization, Avon Barksdale is the sovereign.

Stringer Bell is the middle manager.

The Face of the Organization

One of the most fascinating dynamics in the early seasons of The Wire is the way the younger dealers perceive Stringer.

For Bodie Broadus, Poot Carr, and Wallace—the kids working the Pit—Stringer Bell is a kind of mythic figure.

When the SUVs pull up and Stringer steps out in dark glasses, the reaction is immediate. The security guys spread out. The conversations stop. Bodie and Poot straighten up.

It is like watching a celebrity arrive.

Stringer has the clothes, the posture, the quiet authority. He moves through the neighborhood with a calm confidence that suggests total control.

Avon inspires fear.

Stringer inspires admiration.

That difference matters.

Because for the people actually living inside the organization, Stringer looks like the boss.

But the real power structure tells a different story.

Avon is the sovereign.

Stringer is the administrator.

He handles the money. He organizes the meetings. He manages the supply lines. He solves the problems.

Stringer Bell, in other words, is the middle manager of a criminal enterprise.

And for a long time, the arrangement works perfectly.

The Wallace Problem

One of the earliest hints of Stringer’s managerial mindset appears in the tragedy of Wallace.

Wallace is young, sensitive, and increasingly disturbed by the violence surrounding the drug trade. After the brutal murder of Brandon, Wallace begins unraveling. He disappears from the Pit. When he eventually returns, he is clearly not the same person.

Stringer recognizes the problem immediately.

Wallace is unstable.

In a normal organization, instability might mean poor performance reviews or termination.

In the Barksdale organization, instability means something else entirely.

Wallace becomes a liability.

And liabilities are removed.

The decision that follows—Bodie and Poot carrying out Wallace’s execution—is one of the most haunting moments in the series. Wallace is not a rival. He is not a traitor. He is simply a young man who cannot psychologically survive inside the system.

Stringer sees the weakness clearly.

And acts accordingly.

It is a brutally rational decision.

It is also a glimpse of the darker side of managerial thinking: the moment when people begin to look like components in a machine.

The D’Angelo Decision

If Wallace’s death hints at Stringer’s managerial instincts, the fate of D’Angelo Barksdale reveals them in full.

D’Angelo is not just another soldier in the organization. He is Avon’s nephew. His position inside the crew is both familial and political.

But prison changes him.

Separated from the streets and increasingly disillusioned with the life he has been living, D’Angelo begins questioning the entire system. He reads books. He reflects. He talks openly about the violence and the futility of the drug trade.

From Stringer’s perspective, this creates an intolerable risk.

D’Angelo might talk.

D’Angelo might cooperate.

D’Angelo might bring the entire organization crashing down.

So Stringer makes a decision.

D’Angelo must be removed.

The murder in the prison library—staged as a suicide—is one of the most chilling scenes in the show. It is also the moment where Stringer Bell fully commits himself to the logic of the organization he hopes one day to escape.

D’Angelo becomes a problem.

And problems, as Peter Drucker might say, go away because someone does something about them.

Stringer does something.

The consequences will follow him for the rest of the series.

The Education of Stringer Bell

One of the most extraordinary details in The Wire is Stringer’s quiet pursuit of education.

While running one of the most powerful drug organizations in Baltimore, Stringer enrolls in community college economics courses.

The image borders on the surreal.

By day, he sits in a classroom discussing supply and demand curves.

By night, he oversees one of the city’s most lucrative heroin distribution networks.

But Stringer takes the lessons seriously.

He studies the language of markets. He begins speaking about product elasticity and supply chains. He becomes fascinated with the idea that organizations can be structured rationally—that chaos can be replaced with systems.

At one point he attempts to introduce Robert’s Rules of Order to a meeting of drug dealers.

The result is both comic and strangely admirable.

Stringer genuinely believes the world can be organized.

Violence is inefficient.

War disrupts business.

Stability produces profit.

These ideas will shape everything he attempts to build in the seasons that follow.

The Co-Op

By the third season, Stringer has begun putting his theories into practice.

Working with Proposition Joe, the careful and pragmatic East Baltimore kingpin, he helps create a cooperative arrangement among several drug organizations.

The goal is simple: stabilize the market.

Under the Co-Op system, competing crews share access to high-quality product and reduce unnecessary warfare. Prices stabilize. Territories become less important. Profits increase.

From a managerial perspective, it is a brilliant solution.

The Co-Op is essentially a cartel.

And it represents the closest Stringer Bell ever comes to successfully rationalizing the drug trade.

But the Co-Op also reveals the limits of Stringer’s power.

Because while Stringer is busy building alliances and managing markets, Avon is thinking about something else entirely.

Reputation.

Territory.

War.

Avon Returns

When Avon is released from prison, the delicate balance between sovereign and minister begins to collapse.

Avon quickly realizes that Stringer has been running the organization.

More troublingly, he has been running it according to rules Avon does not fully respect.

Negotiation instead of dominance.

Cooperation instead of conquest.

To Avon, this looks dangerously close to weakness.

The emergence of Marlo Stanfield only sharpens the conflict.

Marlo represents the future of the street—pure sovereignty, stripped of managerial compromise. His only concern is power and reputation.

Stringer sees Marlo as a business problem.

Avon sees Marlo as a challenge.

The difference is fatal.

Clay Davis

While this conflict is unfolding on the street, Stringer begins pursuing what he believes will be his final transition: legitimacy.

Through Proposition Joe, he enters the orbit of Baltimore politics and real-estate development. The meetings take place in offices rather than abandoned row houses. The language shifts from territory and product to zoning permits and development projects.

For Stringer, this looks like the next step.

The doorway out.

But the world he is entering operates according to rules he does not yet understand.

State Senator Clay Davis greets Stringer warmly. He speaks the language of political access and investment opportunities. He promises permits, influence, connections.

And Stringer believes him.

The moment of realization arrives slowly and then all at once.

The money is gone.

The development deals are illusions.

And Clay Davis responds to Stringer’s anger with one of the most surreal pieces of advice ever delivered in the series.

If Stringer wants to find the money, the senator explains, he should get himself some running shoes.

Because the faucet has already been turned on.

And the money has already flowed away.

The respectable world Stringer hoped to enter turns out not to be more rational than the drug trade.

It is simply corrupt in a different vocabulary.

A Small Recognition

Watching Stringer struggle with these systems, I sometimes feel a small flicker of recognition.

At one point in my own professional life I became deeply interested in the development of strong child protection policies in schools. From my perspective the issue seemed straightforward: the risks involved were serious, the international standards were clear, and the responsible course of action was to align institutional practice with those standards.

So I did what people like Stringer Bell often do when they encounter complicated systems.

I went looking for expertise.

I attended conferences and studied international best practices in child protection. One particularly influential experience was a conference at the Western Academy of Beijing, where I met the child protection expert Jim Hulbert.

I came away convinced that the issue was both urgent and solvable.

My assumption—naive, as it turned out—was that if I could simply demonstrate the seriousness of the issue and show how other institutions were addressing it through clear policies and professional standards, the system would naturally move in that direction.

That was not what happened.

Large organizations, like criminal enterprises, develop internal logics of their own. And once those logics become embedded in everyday practice, they can be remarkably resistant to rational reform.

Stringer Bell is discovering the same lesson, only under far more dangerous circumstances.

The Final Exchanges

By the end of the third season, the web of betrayals has fully formed.

Stringer gives up Avon’s location to Major Bunny Colvin, hoping the police will remove the sovereign whose instincts threaten the stability of the organization.

Avon, in turn, quietly provides Omar Little and Brother Mouzone with Stringer’s location.

And somewhere above them all, Clay Davis continues collecting money and smiling.

The systems Stringer tried to manage—street power, political corruption, organizational loyalty—close in around him.

The End of the Manager

In the final scene, Stringer stands alone in a half-constructed building.

Omar Little and Brother Mouzone walk slowly toward him.

For three seasons Stringer Bell tried to manage the world he lived in.

He studied economics.

He built alliances.

He created the Co-Op.

He tried to rationalize both the corners of West Baltimore and the offices of Baltimore politics.

But the systems he moved through were never built for management.

They were built for sovereigns.

And by the time Stringer Bell finally understands that lesson, the meeting is already over.

The middle manager has finally run out of problems he can solve.

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What Ever Happened to the ACLU?

Note: This essay reflects a personal memory of what the American civil libertarian tradition once represented to many people who came of age politically in the late twentieth century. Organizations evolve, and the American Civil Liberties Unionhas played an important role in many areas of constitutional law and civil rights over the past century.

The purpose of the piece is not to dismiss that legacy but to reflect on a perceived cultural shift in how civil liberties—particularly free speech—are understood within contemporary progressive politics. The older civil libertarian framework emphasized neutral principles that applied equally to all speakers, even those whose views were widely considered offensive or dangerous.

Whether that framework still holds the same cultural authority today is an open question. This essay is simply one observer’s reflection on how that shift has felt from the inside.

Epigraph:

F the CC

Steve Earle

When I was younger, the American Civil Liberties Union had a certain reputation among politically attentive Americans.

They had balls.

The ACLU was the organization that defended people nobody liked. Neo-Nazis marching in small Midwestern towns. Communists during the Cold War. Religious cranks, fringe activists, offensive speakers. The principle was simple and bracing: civil liberties matter most when they protect speech we find offensive.

I admired that. Many people did.

In the 1990s the ACLU seemed to embody a kind of austere civil libertarianism. The idea was that the Constitution protected everyone equally, and that civil liberties meant very little if they only applied to people we already agreed with.

And there were plenty of examples that made the point vividly.

The most famous was the controversy over whether a small group of neo-Nazis had the right to march in the Chicago suburb of Skokie in the late 1970s.

National Socialist Party of America v. Village of Skokie

Skokie was home to many Holocaust survivors, which made the proposed march especially painful and inflammatory. But the ACLU nevertheless defended the Nazis’ right to demonstrate, arguing that the First Amendment could not be applied selectively. Free speech, if it existed at all, had to apply even to people whose ideas were repellent.

That case became a kind of civic legend among civil libertarians.

There were many others.

During the Cold War the ACLU repeatedly defended the rights of individuals accused of Communist sympathies, arguing that political belief alone could not be grounds for government punishment. In later decades the organization defended the speech rights of controversial artists, religious minorities, and political extremists across the ideological spectrum.

Every once in a while a case would appear that tested the principle in uncomfortable ways. I remember reading about things like the aftermath of Ruby Ridge and the legal questions surrounding the government’s conduct toward Randy Weaver. Weaver himself was hardly a sympathetic figure to most Americans, but the civil liberties questions raised by the incident were serious enough that organizations committed to constitutional rights had to pay attention.

That, at least in my memory, was the ACLU’s zone of operation: defending civil liberties even when the individual involved was politically or culturally radioactive.

For a long time that seemed like the organization’s defining characteristic.

Then something began to feel different.

My moment of realization came around 2017 at a conference at Case Western Reserve University. The event was filled with what felt like an entire arena of fucking international liberals—academics, activists, policy types, the whole familiar ecosystem.

At one point a speaker took the stage and launched into a full-throated denunciation of Donald Trump.

Now, criticizing a president is of course perfectly legitimate speech. But as I sat there listening, something about the moment felt off.

The energy in the room was not about civil liberties. It was about political opposition. The speech had the tone of a campaign rally rather than a lecture about constitutional rights.

And I remember thinking very clearly: this is not the ACLU I admired in the 1990s.

Something about the mission had shifted.

To be fair, institutions rarely change because they suddenly become foolish. They change because the culture around them changes first.

The older civil libertarian tradition that shaped organizations like the ACLU grew out of a very specific intellectual climate. It emphasized neutral principles, distrust of government power, and a willingness to defend speech even when that speech was deeply unpopular.

The logic was austere but powerful: the moment we begin deciding which speech deserves protection, the principle itself begins to erode.

But the dominant strain of progressive politics today often approaches these questions differently. Instead of asking whether a principle applies equally to everyone, the question increasingly becomes whether a particular form of speech contributes to harm, inequality, or social injustice.

That shift in moral emphasis naturally changes how civil liberties are understood.

Speech that once would have been defended in the name of neutral principle may now be evaluated in terms of its social consequences. And organizations that operate inside a particular political culture tend to absorb the assumptions of that culture over time.

The ACLU did not necessarily set out to abandon its older civil libertarian posture. It may simply have followed the broader ideological current of the progressive world in which it operates.

Still, for those of us who grew up admiring the older model, the change can feel disorienting.

The ACLU once stood for the uncomfortable proposition that freedom of speech requires defending people whose views we might find offensive, foolish, or even dangerous.

It is not entirely clear whether the culture that once sustained that belief still exists.

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Are There Aliens In Our Oceans? An Objective Investigation

Note: This essay is written in the spirit of amused inquiry rather than firm conclusion. Human history is filled with reports of strange visions, unexplained lights, divine visitations, and unidentified aerial phenomena. The interpretation of such experiences has tended to shift with the cultural vocabulary of the time. Medieval Europeans often described encounters with saints or angels. In the twentieth century the language of extraterrestrials became available.

The psychologist Carl Jung famously suggested that UFO sightings may function partly as modern mythologies—symbolic attempts by societies to understand mysterious experiences in technological terms. Jung also observed, with characteristic dry humor, that UFOs often appear to be “somehow not photogenic.”

The present investigation was prompted by my brother Mike, who recently asserted via text message that extraterrestrials are currently residing in Earth’s oceans. His wife Coleen agreed. “They are everywhere,” she said. While this claim remains unverified, the oceans themselves are vast, poorly explored, and capable of sustaining a wide range of speculative hypotheses.

The purpose of the essay is therefore not to prove or disprove the existence of extraterrestrial life in the ocean. Rather, it is to examine why such ideas persist, how they resemble earlier historical visions—from medieval religious phenomena to modern UFO culture—and why the possibility continues to feel strangely plausible to otherwise reasonable adults.

Epigraph

There are aliens in our midst.

Wussy

The Jung Problem

At this point in the investigation one is reminded of a dry observation by the Swiss psychiatrist Carl Jung.

Jung noted that UFOs possess a curious property: they are “somehow not photogenic.” Sightings multiply, witnesses speak with conviction, yet the documentation remains just slightly blurry.

Jung’s larger argument was that such phenomena often behave like modern myths. They appear at moments when societies are under stress, technological change is accelerating, and people are searching for new symbolic explanations of the world.

In other words, the sky fills with things.

Medieval Precedents

This pattern is not entirely new.

During certain periods of medieval Europe, particularly when grain supplies were contaminated by the fungus ergot, communities reported vivid religious visions: glowing figures in the sky, saints appearing in fields, the Virgin Mary materializing in unexpected places.

Ergot poisoning, now understood scientifically, can produce powerful hallucinations. But to the people experiencing them the visions were not chemical side effects. They were divine manifestations.

Entire crowds could witness miraculous shapes in the heavens or detect holy images in the crust of bread. A modern observer might diagnose environmental intoxication or collective suggestion. The participants experienced revelation.

The important point is that the content of the vision reflected the cultural vocabulary available at the time.

Medieval Europe saw saints. Modern America sees aliens.

One can see this dynamic clearly in the case of Joan of Arc. Joan reported hearing voices and receiving instructions from heavenly figures whom she identified as saints.

Historians generally accept that Joan sincerely believed these visions were divine communications.

But it is difficult not to notice that saints were the most advanced category of non-human intelligence available in fifteenth-century France. The conceptual vocabulary for extraterrestrials would not be invented for several hundred years.

Had Joan lived in the late twentieth century, it is at least possible that the same experience might have been interpreted somewhat differently.

She might have reported a craft.

The Cold War Sky

By the late 1940s the heavens had acquired a new cast of characters.

The famous incident near Roswell occurred in 1947, just as the Cold War was beginning to reorganize the world’s imagination. Reports of flying saucers multiplied. The mysterious visitors were described with increasing consistency: small grey beings with large heads and enormous eyes.

The explanation most often offered by the authorities was considerably less glamorous.

Weather balloons.

Strange objects falling from the sky during the early Cold War often turned out to be classified surveillance equipment. Unfortunately, the phrase “weather balloon” never fully satisfied the public imagination.

Aliens, after all, are much more interesting than meteorology.

The Mulder Doctrine

By the 1990s the entire mythology had been carefully systematized by American television.

The X-Files:

In the series, FBI agent Fox Mulder dedicates his career to investigating extraterrestrial activity after his sister Samantha is abducted from their home during childhood.

The abduction occurs at night. A strange light fills the room. The sister disappears.

Mulder spends the rest of his life attempting to prove that what he witnessed was real.

His partner, Dana Scully, is assigned to bring scientific skepticism to the enterprise. Their relationship gradually becomes one of the most beloved partnerships in television history, built on the productive tension between belief and doubt.

Entire generations of viewers absorbed the idea that somewhere in the sky—or possibly beneath the ocean—extraterrestrial activity might be quietly unfolding.

A Modern Lens

Seen from a slightly greater distance, the pattern begins to look familiar.

Medieval villagers saw saints because saints were the explanatory language available to them. Cold War Americans saw aliens because aliens had become the new vocabulary of the unknown.

Both phenomena may reflect the same basic human impulse: when confronted with mysterious experiences, we populate the heavens with the most compelling figures our culture provides.

Which brings us back to Mike.

So Are There Aliens In Our Oceans?

It must be admitted that if an advanced civilization from another planet wished to observe humanity without attracting attention, the deep ocean would offer several practical advantages. The environment is dark, difficult to access, and rarely visited by surface-dwelling primates equipped with submarines that can only remain operational for limited periods of time.

From a strategic standpoint, it would be an excellent hiding place.

This possibility has occurred to more than one observer, including my friend Mason, who recently suggested that a technologically sophisticated off-world civilization might simply have decided that the bottom of the ocean was the most convenient place to avoid the rest of us.

Provisional Conclusions

My brother Mike believes there are aliens in the ocean.

Carl Jung might have suggested that mysterious phenomena often adopt the symbolic clothing of their era. The Middle Ages had saints. The twentieth century produced extraterrestrials.

Mike has simply moved the story offshore.

The oceans remain vast and poorly explored. The woods remain dark and occasionally unsettling at night. Both environments have the correct atmospheric conditions for unexpected encounters.

If extraterrestrials are present, they may well prefer the sea.

But it would be a mistake to rule out the woods.

In either case, it seems wise to remain polite.

Footnote: The Ocean Logic

It must be admitted that if extraterrestrials wished to establish a long-term observational presence on Earth, the ocean would offer several advantages. Humans rarely visit the deep sea, and when we do we tend to leave fairly quickly due to crushing pressure, darkness, and the general inconvenience of breathing water.

From the perspective of an advanced extraterrestrial civilization attempting to avoid unnecessary interaction with our species, the ocean may therefore represent the single most sensible real estate on the planet.

Mike may, in other words, be thinking strategically.

POSTSCRIPT: Supplemental Testimony

Shortly after the investigation began, the primary witness—my brother Mike—provided additional clarification regarding his position.

According to Mike, extraterrestrial life has not only visited Earth’s oceans but has been present there for a considerable period of time. The aliens, he explained, appear to prefer the environment and have constructed bases beneath the sea.

When asked for supporting evidence, Mike cited the well-known Navy pilot videos showing unidentified aerial objects performing unusual maneuvers.

These videos—often referred to as the “Tic Tac” incidents—have circulated widely in recent years and are frequently interpreted as evidence of advanced technology of unknown origin.

Mike considers them decisive.

A second observer, his wife Colleen, agreed with this general assessment while expanding the hypothesis somewhat.

In her view, extraterrestrials may not be confined to the ocean at all. Rather, they may be present around us at all times.

According to Colleen, it is entirely possible that aliens walk among us.

At this stage of the investigation, these claims remain under review.

Dedication: For my brother Mike. I love you bro, but I still thinks them shits are in the woods.

Note: If you liked this piece, you may also like the pieces below, which also discuss the famous psychologist Carl Jung.

Carl Jung’s Collected Works: I
Jungian Intimations: I