Showing posts with label folly. Show all posts
Showing posts with label folly. Show all posts

Friday, 5 December 2014

The Fool and the Angel, part 2: On angels

A long way below me is the Atlantic ocean. A few hours ahead of me is New York and an encounter that I believe will change my life: I will meet the Angel for the first time. She will save me, and I will save her, because I could sense she was in pain. I will mend her broken wing and help her to fly, and she will heal my troubled, guilty soul and help me to love again. We will touch each other lightly, with barely concealed desire, in a shy silence surrounded by all the words we have already exchanged and pregnant with those to come, and we shall tenderly undress one another and embrace joyfully under soft, white sheets, smiling and laughing as we slide and roll together into an ecstasy of love and salvation…

Did the Angel exist? I know now that she didn’t, but when I flew to her in the late summer of 2007 I had placed my faith entirely in her existence. My romantic adventure demanded full, unwavering commitment. The Artist, despite fully approving of my act, nevertheless advised me to draw up a plan B. But what could this plan B possibly be? I had little money, I had never before been to New York and I knew nobody there, and, besides, to start devising back-up plans ran counter to what I deemed to be the necessarily full commitment to flying to the Angel. It was barely thinkable, but if there was no angel then I imagined I may have some sort of breakdown in Brooklyn and throw myself on the mercy of others, and of fate, to manage my personal disaster. But this was only a dim idea, since I had little doubt that the Angel would be there. How could she not be? For she was an angel, and angels guard and save.

She first contacted me on Valentine’s Day of that year. I had placed a personal ad in a literary journal, the details of which I no longer remember except that it included an intended witty reference to Sweden. ‘Take me to Sweden’ was, in its entirety, that first message sent by the Angel. Of course, I replied, let's go to Sweden and skip our way around the Baltic. And so it had begun.

We asked offbeat questions of each other and gave offbeat answers. We explored in the manner of the sightless, feeling and probing carefully and attentively. Flirting shimmered at the edges. She described herself as a Persian princess trapped in Brooklyn and in need of rescue. I was not a knight, I told her, but an academic in London gradually emerging from my own private nightmare. She seemed pleased and curious. We discussed politics, the Iraq war, swans, love, creativity, yoga, food and books. I learnt that she was a writer trying to finish her first novel. She told me about her creative writing teacher in New York, an Englishman named James. She seemed to be infatuated with him, possibly in love, but hadn’t seen him for a long time and was finding it hard to adjust to his absence, particularly now that he was in Europe for an extended stay. She was convinced that James loved her, but also admitted that there was nothing between them and never had been anything. So the emails danced lightly back and forwards, a welcome pastime, to which I gave little serious thought, while I was focused on moving to a new flat, to a radical change in my life, to solitude.

At the time I was reading the Babylonian Epic of Gilgamesh. I mentioned this to the Angel. She replied that I sounded just like James. This was a good thing, she wrote: ‘Let’s meet. When? I’m sick of the solitaries…’ A few minutes later a new email appeared in my inbox: ‘I’m serious!’ And then another: ‘I think you will come here in June. That’s what I think…’ A little more time passed before another email arrived: ‘I want to cuddle and read in bed and have sex.’

The Angel in the mind of the Fool
Was that all it took? The Fool, becoming ever more reclusive, struggling with guilt over the mess he has recently made of his own life and those of others, and a mysterious woman he knows only as the Angel and who wants to hold him and have sex with him—is it really a wonder that he might suddenly be gripped by the prospect of love and salvation? Did he not need an angel?

Angels are divine messengers; angelos is the Greek word for a messenger. They carry out the will of God, linking the human and the divine. It is an angel who tells Hagar that she will bear Ishmael; an angel who intervenes to stop Abraham’s sacrifice of Isaac; angels drive Adam and Eve out of Eden and angels destroy Sodom and Gomorrah; the angel Gabriel who tells Mary that she will bear Christ; an angel who moves the stone from the entrance to Christ’s tomb; an angel who frees St Peter from prison. They are everywhere and they are numberless and, so Revelation tells us, at Armageddon they will do battle with their fallen brethren.

In the most prevalent and influential medieval systematization of angels, stemming from the fifth-century De coelestia hierarchia (On the Celestial Hierarchy) by Pseudo-Dionysius the Areopagite, there are nine orders of angels, ranked in three triads: Seraphim, Cherubim and Thrones; Dominions, Virtues and Powers; Principalities, Archangels and Angels. At the top of the hierarchy, the Seraphim eternally revolve around God in attentive worship—they have nothing to do with humanity. It is only
Angels comfort, love and save...
(Carl Heinrich Bloch,
An Angel Comforting Christ in
Gethsemane
, 1873)
the Archangels and Angels who ever have contact with humans. In the Bible that contact was extensive; wherever the divine will is operating, there invariably are to be found angels.

But what happened to them? Where did the angels go?* In the Old and New Testaments they are busy conveying God’s will, healing, saving, fighting, killing and destroying. But miracles cease and the angels disappear. Or, rather, they reappear as something different—as objects of contemplation. They drift off into the ethereal sphere; left alone, humanity sought consolation by filling religious art with depictions of the angels. The almost obsessive attention to portraying angels in art is evidence of how much humanity seeks a bridge to the divine. In 1586 a papal Bull affirmed that everyone had their own celestial companion, and in the early seventeenth century the Catholic Church instituted a universal feast of the Holy Guardian Angels. At best, however, angels now only guarded and loved, but they did so at a distance. Dreamers and prophets still received angelic messages. A few adventurous souls attempted to communicate with the celestial order. The English mathematician, astrologer and occultist, John Dee (1527-1608/9), conversed with the angel Uriel via his scryer Edward Kelley. Blessed with knowledge of the Enochian language of the angels, Kelley conveyed to Dee Uriel’s message that the two men were to share their possessions, including Dee’s wifea message Dee dutifully obeyed. Dee may have gained divine knowledge from his conversations with an angel, but his life was one of hardship thereafter, meeting suspicion and hostility from all around and declining into ever greater poverty until his death in Mortlake.

...and they kill and destroy
(Guido Reni, The Archangel
Michael
, c.1636)
It is a dangerous business to talk with angels. What seemed to have been forgotten by Dee and everyone else in the centuries after Christ’s resurrection, was known to Rilke: angels are powerful, fearsome and terrible. Nor did I know this. Like Dee, I scarcely knew what I was doing by communicating with the Angel.

But communicate we did, the Angel and I, voraciously and incessantly. Over the course of seven months we exchanged nearly 6,000 emails. How could I begin to describe this body of correspondence? It was beautiful, it became the centre of my life, it gave meaning to my days and to my nights too. Many of the messages were brief, no more than a few words; others took on essayistic form. We exchanged playful messages, often only minutes apart, and long messages that explored literature, philosophy and love. We discussed writers, music, spirituality, Sufism and God. We exchanged photographs and I discovered that she was beautiful, genuinely and stunningly so. Sometimes we argued; occasionally there were online rows. But affection, romance and passion flowed through our words. We signed our messages with kisses and promised each other there would be real kisses soon. Each morning, after waking, the first thing I would do was sign into my email account to read and respond to the messages that had floated overnight from the Angel. The next few hours were time passing as I waited for the earth to turn and bring morning to New York, and with it the first messages of the day from the Angel. I would ache not to hear from her for any extended period; I suspected she also ached, for occasionally I would receive the message ‘Where are you?’ 

I was in love with her. We discussed my coming to visit her. But we did so tentatively and nervously, for we were both lonely and fragile and secure in the pure atmosphere of our virtual romance, unsullied and untroubled by reality. Eventually, however, the Fool has to step off the edge of the cliff, to make the leap of faith. So I booked a flight to New York—and then something happened that might, and maybe should, have sounded a warning bell.

Not long after buying my ticket to New York, on what happened to be the hottest day of the year, I visited my children before they went on holiday for a couple of weeks, after which I met the Artist for a drink. By the time I returned home I was fit for nothing but to collapse into bed—I would have to write to the Angel in the morning. When, first thing the next morning, I checked my emails I was greeted by a stream of messages from the Angel. At first affectionate, the emails quickly turned to questions about where I was, and then rapidly descended into angry invective about my silence, my ‘sadism’ in inflicting pain on her by not responding, until they culminated in expressions of near hatred towards me. Calmly, reassuringly and lovingly I replied with an explanation of what had happened. But this did little to appease her, for, when she wrote later that day, she accused me, bitterly, nastily and with growing irrationality, of spending the night with my ex, of being cruel, of being a liar. My repeated endeavours to persuade her that she had the wrong idea were failing ever more spectacularly until, in despair, I questioned whether it was a good idea that we meet. She didn’t reply to this. Her silence, and the exhausting and, to my mind, incomprehensible craziness of the correspondence that had preceded it, led me to question whether it was sensible to meet her—how could I be the guest of someone who clearly now thought so little of me? I investigated the possibility of obtaining a partial refund on my flight, and I resolved that, next day, I would cancel my booking.

The following morning I woke up to an email from the Angel. It contained no message, only an attachment—a photograph of her breasts, bare and beautiful. Relief, joy, anticipation and desire coursed through me. I laughed as I reflected on how in love with her I was. I banished for good any ideas about cancelling my ticket.

Possibly it seems strange now that I was not more alarmed by the Angel’s volatility and her capacity for anger—an anger that, virtual though it was, came tinged with violence and destruction. Yet I regarded these characteristics as simply the reverse side of everything else she was: spirited, passionate, creative, unusual, exciting. That she was challenging was obvious, but surely, I reasoned, what is most worthwhile in life is usually what is also most challenging. And I felt ready to take on the challenge. I wanted to feel enriched and alive, and the Angel held out the promise of both. It had crossed my mind that she may be mad; yet I concluded that, more likely, she was precisely the type of eccentric, unpredictable spirit of fire I was seeking and needed. If she destroyed me, I decided, then so be it. The Fool has to take a risk. I had to be brave.

And so we continued with our messages. One trivial row about the Iraq war aside, an eerie calmness descended upon them as the day of my flight neared. She seemed a little distracted and frustrated by her writing and work, and both of us struggled to disguise the traces of apprehension about meeting after such a long and intense correspondence. Would this be, as I fantasized, the most beautiful moment of my life? What would we say—for we had never spoken to one another? How, after the countless written words, the virtual and textual romance, would we be able to interact away from our computer screens?

It was only as the plane made its final approach to JFK that I really began to consider the chance that there may be no Angel—that she might not exist or that she might not be who she seems (‘it would be a bit of a disappointment if she turns out to be a large Mexican wrestler’, the Artist had once
JFK airport
reassuringly commented). I was to phone her after landing so that she knew I had arrived, and then I would hire a taxi to take me to her apartment in Brooklyn. After the slow crawl through passport control and baggage reclaim I was finally able to step outside to smoke a very welcome cigarette.

I took three or four deep drags to calm my nerves. I found the Angel’s number on my phone and pressed dial. It started ringing… I looked around, feeling the unfamiliarity of my surroundings; I observed the snappy, brusque manners of the airport officials and the taxi drivers, the worldly, tough, no-nonsense tone; slithers of wonder shot through me, wonder at what I was doing here, with little money, listening to the ring tone on my phone, in this huge, fast, aggressive city, where the only person I knew and the only place I had to stay might not even exist. I let the phone ring a little longer. I waited. There was no answer…

_______________________________

*These questions are asked, and given an interesting answer, in Karl Ove Knausgaard’s novel A Time to Every Purpose Under Heaven, trans. by James Anderson (London: Portobello, 2008).

Monday, 17 November 2014

The Fool and the Angel, part 1: On folly

In the late summer of 2007 I committed my greatest act of folly. Aware of what I was doing, I texted the Artist with my doubts. 'Folly is the way to go', he replied. Of course, I thought, for I was never likely to go any other way. This was a journey I had to make, with all my heart, even though I sensed disaster. I inserted myself once again in the flow that was taking me—and had been taking me for several months—to the airport, to the plane, to New York, to Brooklyn, and finally to the Angel. The Angel—an angel out of Rilke, but I had not then read the warnings from the Duino Elegies:
Who, if I cried out, would hear me among the ranks / of the angels? Even if one of them clasped me / suddenly to his heart, I'd wither in the face / of his more fierce existence. For their beauty / is really nothing but the first stirrings of a terror / we are just able to endure and are astonished / at the way it elects, with such careless disdain, / to let us go on living. Every angel is terrifying. (Duino Elegies, 'The First Elegy', lines 1-7, trans. by Martyn Crucefix)
'Jeder Engel ist schrecklich'—would it have mattered had I known, before boarding the plane, that angels are terrifying? Or, as Rilke describes them in 'The Second Elegy', that they are 'deadly birds of the soul' who will destroy us should they take one step towards us? No, for folly is vital and important, and I had determined, for once in my life, to adopt the role of the Fool. And so the Fool was on his way to encounter the Angel. Of the Angel, who was eventually to acquire notoriety, we shall learn in due course. But the starting point of the journey is folly.

Folly ascends the pulpit; marginal
drawing by Hans Holbein the Younger
to Desiderius Erasmus,
 Praise of Folly (1511)
Fools, it is often supposed, are deserving of contempt. We are told that they are not to be suffered gladly. Yet in the old courts of kings and queens and in the guise of comedians and clowns and jokers they have long been sought out, valued and esteemed. It takes a certain kind of grim, humourless, intolerant character not to suffer fools gladly—and, ironically, a lack of wisdom. The Renaissance humanist Erasmus (c.1466-1536) knew this. In his Praise of Folly (1511) the essential role of folly in the world is extolled. Personified as an old woman, Folly tells us that without her divine gifts there would be no love, no joy, no friendships. Who would marry, who would have children, who would devote time to drinking with friends, to playing games, to hobbies and interests, indeed to most of the things that make life worthwhile, if it were not for folly? How dull life would be, Folly insists, if we only ever followed the sensible and rational course!

Much of Praise of Folly is a light-hearted rhetorical exercise; Erasmus is having fun, particularly at the expense of self-important bores who would caution against any leavening of life with a dash of folly. But the tone of the treatise progresses to a satirical and often scathing critique of his contemporary society, particularly its superstitions, scandals and corruptions, and finally to a serious philosophical point: the simplicity of faith, the acceptance of ignorance and the poverty of the spiritual life are greater rewards than the supposed worldly wisdom of dogma, superficial certainty and material wealth. It is not necessary to be a Christian (I am not) to get Erasmus' point: once we look deeply it turns out that the fools are really the wise and the wise are really fools.

This idea that the fool is actually wise, and has the function of exposing the true folly of others, is a commonplace. In Shakespeare the comic characters, disguised by wit and folly, frequently serve to highlight the shortcomings of their social superiors. As Isaac Asimov observed in his Guide to Shakespeare, 'the great secret of the successful fool [is] that he is no fool at all'. The Fool in King Lear is wiser than the king he serves, understanding the truth where his master does not. The shifting, hazy boundaries between folly and wisdom are captured in Touchstone the clown's comment in As You Like It (V.1) that 'The fool doth think he is wise, but the wise man knows himself to be a fool.' At widely different times, and in different cultures, similar ideas have been voiced. The 4th-century BCE Taoist philosopher, Chuang Tzu, wrote that those 'who realize their folly are not true fools'. Francis Bacon considered that he 'who thinks himself the wisest is generally the greatest fool'. And perhaps more than ever we still laugh at the absurdities of satire while grasping its serious point: however absurd the satire is, it is not more absurd than the target at which it is taking aim.

To be a fool, as I increasingly thought I was during the summer of 2007, may paradoxically therefore to be in possession of a deeper wisdom—or at least to be open to the possibility of wisdom, just as the philosopher is not the wise man but the desiring seeker after wisdom. I reassured myself with this idea, and with its rendering as the figure of the Fool in the Tarot deck.
The Fool, from the
Rider-Waite Tarot
deck
The divinatory aspects of the Tarot can safely be set aside as nonsense; but (a possibility that also occurred to Jung) there remains, nevertheless, an interesting iconography and symbolism to the Major Arcana, the set of twenty-two cards preceding the four standard suits of wands, cups, swords and pentacles. Some commentators have seen the Major Arcana as charting an allegorical path to wisdom, a journey that takes in such familiar symbols as The Lovers, The Hermit, The Wheel of Fortune, The Hanged Man, Death, The Devil and the Sun, and ends with The World. The journey is being made by the one numberless card (in some decks it is designated as zero), The Fool, the Joker in the traditional deck of cards, the wild card. In the classic Rider-Waite Tarot deck the Fool is depicted as a seemingly wistful young man, evidently embarking on a journey
—one that will begin by stepping off a cliff. It is the classic leap of faith which only a fool would make. Ignorant but seeking something more than the world he is leaving behind, it is the fool who sets out on the path where the outcome is uncertain and unknown.

Ray Bradbury once said: 
If we listened to our intellect we'd never have a love affair. We'd never have a friendship. We'd never go in business because we'd be cynical: "It's gonna go wrong." Or, "She's going to hurt me." Or, "I've had a couple of bad love affairs, so therefore..." Well, that's nonsense. You're going to miss life. You've got to jump off the cliff all the time and build your wings on the way down.
Of course, it is also possible that you plummet and crash at the foot of the cliff. Or maybe something else happens—maybe an angel catches you on the way down.

As I sat on the plane waiting for it to take off I mused on all these possibilities, and on wisdom and folly, on life, on love, on the leap that I was about to make. The leap was likely to end horribly, so my reasoning told me. I was putting my trust in faith and love, and my hope in the Angel—even though the Angel and I had never spoken to one another and I wasn't sure she even existed...