Marketing Hemlock: Socrates Unbound

 

I don’t envy Socrates. No, not only because he drank that horrific hemlock, but because I can’t imagine how difficult it must have been to play the role of a free speech advocate in his time. Talk about a tough gig. I imagine that Socrates might reiterate today in words something akin to these:

Welcome, habitués of the classical marketplace! We are here again, ready to dig into the philosophical problems of our time. And I proudly claim the moniker, “gadfly of the state,” for I reveal the foolishness of the supposed wise men of our society, and this especially includes myself.

This does not make a good sound bite today, and as we know, Socrates himself bit the dust because of his daring proclamations. But is our society that different? I’m not referring to the juvenile restrictions on free speech that are now prevalent in our universities.  I’m talking about the false marketing which dominates the classical Christian homeschool movement, thus obscuring the true meaning of what it means to gain a classical education; I’m talking about what I call marketing hemlock. If you have a student who is in middle school or high school, and he or she signs up for a “classical” course in the humanities (online or otherwise) where the points of the course are “fed” to the student–that’s marketing hemlock.  This poison must be counteracted by a bona fide classical pedagogy, wherein teachers/scholars are free to speak the truth about the state of classical education today, and wherein students are taught to think well enough to practice their right to free speech.

800px-The_Death_of_Socrates_cropped

A classical approach incorporates the Socratic method, wherein instructors ask their students challenging questions, rather than lecturing them. Most teachers are terrified of “dead air time,” as the media people call it. You know–that silence in the room when no one says a thing, or has any response to a teacher’s inquiries. I understand that fear–I experienced it when I first began teaching. The problem is that if the teacher is insecure with the concept of “dead air time,” or, most likely, afraid of losing her job because silence will be interpreted by critics as incompetence, she will hesitate to practice the Socratic method. In short, the problem is with the pseudo-classical pedagogy that is peddled in much of the present home school/classical market.  In 21st c. America, “results” are everything. You must have short term “provable” goals and objectives for every activity you conduct, in our utilitarian world. Those goals stand against the precepts of a genuine classical education, but more on that in another article. It may seem strange to connect silence in the classroom with free speech, but the Socratic technique is, in fact, the ultimate example of it, for the student is free to explore all thoughts out loud, without boundaries.

In the classes I teach, I force myself to wait. I – just—wait for the students to respond and interact, and they always do. Believe me, sometimes that can be awkward in an online classroom, but it always pays off in the end. I recently had a student from a last year– someone I’ve become friends with–tell me that she has missed this aspect of my class; she always looked forward to how she was going to be challenged, how she would be “put on the spot,” when she was in my class. That was encouraging and comforting to me, because teaching with a Socratic approach is an ongoing act of faith.

Sometimes in “classical” and homeschool marketing circles, teachers initially present themselves as Socratic, but revert to the regurgitation pedagogy prevalent in most schools. It’s so tempting. Teachers do this by opening the class session with thought classical_literature_Wallpaper_mtm4yprovoking questions, but then quickly turn to answering those questions themselves. I’m not saying that a teacher should never weigh in, but once a student gets to middle school age, in the humanities courses he or she should be constantly challenged to discover the answer by applying personal knowledge, worldview, and logic, before the teacher makes any pronouncements.

Most of the time, though, teachers are dedicated, sincere, and overworked. In the online homeschool “world,” many of the school owners use the manipulative techniques of the marketplace to draw parents into their web, using catch words which resonate with those of us who have read some classical works, convincing us that they have some secret we poor, ignorant parents don’t know about. (In fact, many of these owners are not classical thinkers, and indeed, have not read the canon of classical texts they market to us.) Meanwhile, the teachers who work for these schools must conform to the prevalent marketing mold in order to keep their jobs, even when they do not agree with it.

So, perhaps you are asking, “What exactly IS the Socratic method?” Most people know that it means to teach by asking questions and then engaging with the students’ responses, but – is that it? Yes and no. The teacher must come with a good understanding of the topic at hand, of course, not just a few questions. Even more, the teacher’s larger knowledge will Plato-Education-Quote-300x199provide her with the ability to respond to the student’s comments with further questions. This is the challenging aspect of teaching in the spirit of Socrates. There is no “script” for what will happen next. It is also the exciting part of it: the environment which produces the “Aha!” moments that lead to independent thinking and genuine creativity.

Some committed homeschool parents feel inadequate to teach their children. They shouldn’t believe this, because they have the very tools in their own hands which will lead their children to become independent thinkers: they themselves wish to learn and grow in their scholarship. For the most part, learning is “caught, not taught,” as the old saying goes, and a parent who develops the habit of engaging Socratically with his or her children is a good teacher.

Parents should trust themselves. If they have the need to outsource some classes, they should prayerfully seek out schools which appear to promote thoughtful, genuine learning, but be wary of the hucksters who haunt our American landscape. Within the Christian community, they are the new carpetbaggers, wolves in sheep’s clothing. Here are a few suggestions I have about how to try to distinguish between genuine online classical schools and those who are pretenders. These points apply to humanities courses:

  1. If a school claims that pre-recorded classes replace the live engagement of the “great conversation,” it is not classical school. (There may be times when you need to use pre-recorded “Self-paced” courses– that is understandable.  Just don’t buy into the myth that a humanities course can be taught this way and still be genuinely classical.)
  2. If a school presents courses which are replicated, these are not classical courses. Independent thinking demands that each teacher (i.e. mentor) must interpret the information for him or herself. Of course, sometimes teachers use study questions and resources created by others–that is not necessarily a warning sign, but it could be. But when a humanities course is “canned,” it is not classical.
  3. If a school will not allow you to choose a particular teacher or allow you to personally engage with that teacher before you sign your student up for a course, you should have your spidey senses up.

Many parents, especially homeschool parents, feel intimidated by terms such as “Socratic learning,” “classical method,” “Rhetoric,” etc. They are tempted to defer to the “experts,” but often, they have no way of knowing if those who present themselves as scholars are, in fact, qualified to pass on a genuine classical education. As I said in a previous article, we are all products of our present dark age.

Scylla and Charybdis

There are some wonderful teachers and schools out there, but there are also poseurs who, like the ancient sirens, lure people in with their empty promises. Unlike Odysseus, we are not caught between Scylla and Charybdis; however, each of us has a God-given mind and the parenting abilities to help us wisely determine our own family’s fate. Odysseus had to choose between two evils in the Straits of Messina, but we may choose the good–not to mention the beautiful.

Cindy C. Lange, MA
http://www.integritasacademy.com

 

Are You Classically Bound?

As I begin my own live online school, Year of Our Lord 2017, many thoughts come to mind. My involvement in the resurgence of classical education over recent decades has taught me much, both about education and about human nature. And over the past eight years, I was privileged to have been an instructor in two popular online schools, and what a rich education that has been!

Primarily, a cynicism I had developed about American families through my previous teaching experiences–in particular regarding religious and (fellow) homeschoolers, has been replaced by a sense of hope about the future of America and her upcoming generations. Through the hundreds of students and parents I have “met” through teaching live online, I have discovered that there is a deep hunger for genuine learning, framed specifically by the historical Judaeo-Christian tradition which affirms that there IS such a thing as Truth with a capital “T”– that while many in our society wander in the wilderness seeking without finding, truth is, so to speak, in their backyard, if they care to dig it up. back yard truth

Teachers who want to communicate truth have a heavy burden, for several reasons. First, many of us have had to go back and learn what it means to hold a classical worldview before we can teach it, for we were born at the beginning of our present dark age. Second, although there have been some significant books written about how to re-appropriate the classical canon, we still need to suss this out for ourselves: How do we transmit what it means to be classically educated in this society? As with apophatic theology, which is the defining of God by what he is not,  genuine learning might best be described, firstly, by what it is not: it is not a checklist of books, and it is not a codification of learning “methods,” and it is not the memorization of facts.

The Classical World, Marketing & the American Educational Disposition

More apophatic statements: Classical learning is not about grades, or competition in the marketplace: rather, it is a path to enlightenment. Students develop the ability to think for themselves; they grapple with difficult moral dilemmas; they strive for the good and the beautiful; they seek virtue as they engage in, as Mortimer Adler framed it, “the great conversation.”

Another apophatic assertion: if you are listening to videos as a replacement for humanities courses, you are not engaging in that conversation, because just covering the “facts” of the western canon doesn’t teach you how to think; videos have their place, judiciously used, in the classroom, but recorded courses cannot duplicate the experience of interacting, debating, questioning, and growing that occurs among students. The “great conversation” cannot be conducted without live people who engage within the Socratic environment. If you are attempting to become an independent thinker, Apophatic 1recordings of this sort will not help, no matter how many so-called “classical” schools market them as a learning tool. What they really are is a way for greedy school owners to make a lot of money without having to pay to engage real teachers in classrooms in real time, with human students, while dealing with all of the attendant problems that come with negotiating with embodied people, not “virtual” life.  Schools which provide such videos in place of genuine learning should, at the very least, delete the word “classical” from their marketing and their vocabulary. Let us strive, on our classical journey, to be honest with ourselves and be sure that we do not take shortcuts which are, in fact, wanderings in the educational wilderness.

So students (and teachers, and parents) must first learn how to distinguish the good and the beautiful from the deceitful salesmanship of our present American society, because a classical education is about finding the good and the beautiful, and learning how to love them. This is difficult, and it takes a kind of disciplined effort which is often interrupted (sometimes necessarily) by the distraction of test scores and college requirements, and significantly but unnecessarily, by the slick marketing of some schools which present themselves as classical but all too often are really just repackaged versions of the bureaucratic public school system which has developed in this country; a system which provides false formulaic answers to the nagging question which rightly besets all of those called to the vocation of teaching: How do I pass on to others what it means to think for oneself? And this will be the foremost question for upcoming devotees of genuine classical learning: how to distinguish between and among schools which use the word “classical” as an appeal to gain certain clientele, and those which rightly and truly practice the classical way: that of teaching students to think for themselves in the light of Truth.  (May 2017)

Cindy C. Lange, MA
http://www.integritasacademy.com

Integritas Book Original

Demarcation

BLOG VERSION DEMARCATION PHOTO

That demarcation line between sunshine and shade,
Dividing the fog of breath from the still of death,
Is where I sometimes exist.
Shadows slip inside and encapsulate;
They know the dark.
But high places beckon, and like a Narnian ghost
I welcome that which is beatified~ even the shadows.

Cindy C. Lange, MA 12/2015
http://www.integritasacademy.com

 

Time and Faith in T. S. Eliot’s “East Coker” (The Second of “Four Quartets”)

We cannot have it both ways, and no sneers at the limitations of logic . . . amend the dilemma. ~ I. A. Richards

four-quartets

In a film my graduate class viewed on T. S. Eliot, one of the people interviewed stated that Eliot converted to Christianity merely because he came to believe that a Western man can only partake of Western tradition—he cannot truly appreciate or understand Eastern philosophy and religion, as he is culturally an integral part of the West. I find this   waste-landstatement to be an intolerable condescension—a prejudicial way of denying the validity of Eliot’s religious experiences without denying his artistic greatness. For it is only just to attribute to Eliot the Anglican the same characteristics one attributes to Eliot the searching agnostic: the qualities of honesty, desire for truth, deep thought, and consummate intellect.

It is universally recognized that Eliot’s poetry draws upon the history and traditions of both East and West, but with his post-Wasteland (post-conversion) poetry a question has arisen as to what extent his works contain not just reference to the Eastern tradition (that is a given), but also—to what extent they incorporate the essence of Eastern philosophy, as opposed to that of Christianity. In other words, how Christian, in the orthodox sense, is Eliot’s later poetry? An investigation of the concept of time in “East Coker” in light of Eliot’s post-conversion worldview, as compared to the Eastern (Hindu) understanding, sheds light upon the meaning of the Four Quartets and specifically here, in “East Coker.”


Four Quartets
contains evidence that Eliot’s conversion was a deeply thought out shift in philosophy which affected the entire framework upon which he viewed his personal existence in space and time, and that of modern society. To discover any less would be to GUEST_FallApart05reveal a disappointingly shallow thinker who had lost his moorings in a sea of confusing and contradictory panaceas, grasping at Christianity in the desperate hope of finding some answer—any answer—to the modern dilemma. If Eliot truly converted to Christianity but did not infuse his work with his beliefs, then he was, in the final analysis, a hypocritical and duplicitous poet.

Eastern and Western concepts of time are fundamentally different. The Eastern concept of time is circular—symbolized by the wheel or mandala—and the Western concept is linear. Since Four Quartets describes various cycles and since Eliot often utilizes Eastern cultural references, critics have made the connection with the circular mandala. However, I propose that the cycles seen in the “Quartets” represent a more linear, Western concept of time than is generally appreciated. In the Four Quartets, Eliot presents cycles repeating along a linear course, which in three dimensional space could be thought of as a focusing spiral, a concept analogous to the traditional, Western literary device of the seasons repeating their cycles in the context of advancing time: not the same as, but reminiscent of, Yeats’ widening gyre.

What is the fundamental philosophical difference between the mandala and the seasonal cycles? The Eastern wheel returns repeatedly upon itself, while the progressing element of the seasonal cycles allows for variance and newness to occur. Thus, the more linear concept of seasonal cycles reflects Eliot’s Christian theology (Eden -> sin -> fall -> birth -> death -> resurrection -> salvation ->conclusion), while the mandala, revolving upon itself, yields the solipsistic experience of continuous reincarnation.

It is with these differences in mind that we turn to the Four Quartets and the nature of Eliot’s view of time, as reflected, specifically, in “East Coker.” East Coker is the town to which Eliot’s family moved when they came to England from America, and it was in that same Somerset district that their ancestors had also lived. In Section I of the poem, the narrator associates himself with the past through family ancestry and through all of the generations in time (Weitz 60). The section begins “In my beginning is my end, “ and goes on to list all of the things that are either “removed” or “restored”: houses, open fields, factories, a bypass, fires, ashes, bones, leaves . . . and subsequent to the list, an Ecclesiastical placing of these events in time.  Each creation or destruction is placed within its own framework:

Houses live and die: there is a time for building
And a time for living and for generation
And a time for the wind to break the loosened pane
And to shake the wainscot where the field mouse trots
And to shake the tattered arras woven with a silent motto. (I: 9-13)

By using the structure of Ecclesiastes’ “a time . . . ” to open the poem, Eliot conjures up the consciousness of the Western, Judaeo-Christian concept of time; it is ordered; it is both developmental and progressive in nature. The timber goes to the fire; the fire to the ashes, the ashes to earth; the earth is flesh, fur, feces. The ecological “chain” must move in orderly progression concluding at its starting point, the earth itself. Its cycle is a natural, empirical one, not a philosophical one. “In my beginning is my end” is signified not only through the narrator’s return to his ancestral home, but by the earth’s continual metamorphosis as it cycles, making “all things new.” In the end of Section I, the ancestors’ lives are also described in terms of Ecclesiastes, thus associating the narrator’s present visit with their past—they stand together as one experience:

. . . [K]eeping time,
Keeping the rhythm in their dancing
As in their living in the living season EAst
The time of the seasons and the constellations
The time of milking and the time of harvest
The time of the coupling of a man and woman
And that of beasts. Feet rising and falling,
Eating and drinking, Dung and death. (I: 40-47)
In the second stanza we see the thesis: “In my beginning is my end” gather into itself the future. If time makes all things temporary, changing and metamorphosing them, the future is part of that; the future is actually integral to the present and the past:

In a warm haze the sultry heat
Is absorbed not refracted, by grey stone. (I: 20-21)

Just as the light is absorbed, not refracted, so the experiences of the past and present are melded into the events of the future.  All earthly experiences will disappear, but as Eliot makes clear in “Burnt Norton,” the foundational poem of the set, there is found in the midst of it a “still point of the turning world.” This still, permanent point, the Word of God, the Logos made flesh in Christ (V in “Burnt Norton”) is the eternal, unchanging locus about which all other events, past, present and future, revolve, and in which they are actually contained: “The grass withers, the flower fades, but the Word of the Lord endures forever” (Isaiah 40:8).

Section I Ends:

. . .  Dawn points, and another day
Prepares for heat and silence. Out at seas the dawn wind
Wrinkles and slides. I am here.
Or there, or elsewhere. In my beginning. (I: 48-51)

The dawn is “point”ing towards another day—time progresses—but it also points towards the narrator’s place “here . . . there or elsewhere. In my beginning.” As the new day dawns it brings a new time, but not a new identity. His beginning is also his end; he finds his being stable as he looks at himself in changing space and time, because is grounded by “the darkness of God”—that is, the overpowering, inexorable permanence of God (see II: 12-13).

The first strophe of Section II of “East Coker” is a contemplation of the seasons’ relationship to time:

What is the late November doing
With the disturbance of the spring
And the creatures of the summer heat,
And the snowdrops writhing under feet
And hollyhocks that aim too high
Red into grey and tumble down
Late roses filled with early snow? (I: 1-7)

While one critic sees this section as the seasons “cancel[ling] one another out rather than adding to a pattern” (Headings 127), I see the section as describing the tension between the seasons as a framework upon which time eventually concludes in “that destructive fire”—most likely the end of time as described in the book of Revelation and other places in the New Testament.

November is in tension with spring–summer creatures with snowdrops–roses with snow—all pull against each other and press time along to its final conclusion of “destructive fire,” even as earlier, the dawn has pointed towards it. The essence of the world in time as it is now will eventually disappear. In Yeatsian terms, “The center cannot hold”; “The houses are all gone under the sea. / The dancers are all gone under the hill (II: 49-50). In other words, nothing which is only “in time” will stand, because time deceives—it causes us to think we have a larger , more encompassing knowledge than we do: “The knowledge imposes a pattern, and falsifies / For the pattern is new in every moment” (II: 34-35). Section II concludes with the only path for approaching God and thus, permanence and significance, ‘The only wisdom we can hope to acquire / Is the wisdom of humility; humility is endless” (II: 47-48).

St Michaels Church at East Coker near Yeovil which has a dedication to the American poet T.S. Eliot who wrote abote the lanes of the village near Yeovil.  January 27th 2005 Steve Roberts / Western Daily Press
St Michael’s Church at East Coker near Yeovil, which has a dedication to the American poet T.S. Eliot, who wrote about the lanes of the village near Yeovil. January 27th 2005 Steve Roberts / Western Daily Press

Through humility one can attain eternal existence, because only through humility can the window be gained which will lead to knowledge of the Logos. But such self-abnegation is the hard road; one must, as Section III reveals, travel through the dark. The dark (the suffering God brings as the way to humility) will strip the soul of its pride and bring it to a place of recognizing the vanity of trying to discover any purpose outside of the context of the Logos. This process of developing humility occurs with an unfolding of time which reveals to the narrator the true insignificance of his own identity and existence in the universe and throughout time, as he looks back on all of time and imagines also the future.

This leads to the specifics of what it means to allow humility to have its way. At the end point are the qualities associated with the Logos itself, “But the faith and the love and the hope are all in the waiting.” In Section IV the Logos is symbolized in the person of a wounded surgeon, and the Church as a dying nurse (Headings 128)”:

The wounded surgeon plies the steel
That questions the distempered part;
beneath the bleeding hands we eel
The sharp compassion of the healer’s art
Resolving the enigma of the fever chart. (IV: 1-5)

Here the solution to impermanence is found: the deceived and the transitory state of mankind can be cured with healing through the Christ surgeon, by the Church, as is symbolized by Good Friday and Christ’s sacrificial death on that day (Headings 128). His sacrifice transcended time and covered the condition of mankind of all time—past, present and future—thus drawing together all of time and all people into one unit and given them a transcendent permanence and meaning. Thus the section concludes:

The dripping blood our only drink,
The bloody flesh our only food:
In spite of which we like to think
That we are sound, substantial flesh and blood–
Again, in spite of that, we call this Friday good. (IV: 21-25)

Section V is contemplative; the poem draws a distinctive conclusion, an end point viewed through age, as the narrator looks back over twenty years. He sees failure and hopelessness in frail human attempts at greatness along the way. But these years of living reveal the need for a “further union, a deeper communion” (35-36). His final conclusion can be termed as a kind of Christian existentialism: “For us, there is only the trying. The rest is not our business” (18); our human responsibility is to follow the way of humility and let God and the unfolding of time and eternity determine the rest. In the final analysis then, there is only this—a clinging to the unchanging Word: “The here and now cease to matter” (30) because eternity is seen as having the only lasting and overriding value. However, specific individual experiences in time lead toward that eternity; the distinctly temporal journey propels one forward into the ultimate reality of “union and communion” with God. The poem closes by turning its opening phrase, “In my end is my beginning,” because the narrator has realized that eternally speaking, he is no more (or less) now than he was at birth; he is only of significance in terms of the Word as both the Alpha and the Omega.

By using the theme of time and then proceeding to compress, expand and unify it throughout the work, Eliot has give us a poem of lasting value and spiritual significance; when placed with the other poems in the Four Quartets it presents a kind of brief “poetic epic,” revealing an inner journey of a soul’s awakening to and discovery of eternal and transcendent values.

eliot1

Painting of The Wasteland  via http://www.school-portal.co.uk

Cindy C. Lange, MA
http://www.integritasacademy.com


Neil Gaiman’s “The Ocean at the End of the Lane” Part I: Furrows of Fabric in Jungian Cloth

This article will be presented in two parts: the first is an interpretation of Gaiman’s book; the second will be my commentary on the book in terms of the sacramental Christian worldview.

OCEAN

In The Ocean at the End of the Lane, Neil Gaiman investigates the ways in which we interpret and assimilate events and memories, and how our ability to incorporate our past affects and determines our present understanding of our selves and the world around us. Gaiman re appropriates disparate myths and symbols in a complex manner; the unifying theme is Jungian psychology, brought to life through traditional symbols the author has synthesized. Reading Ocean is a bit like watching Christopher Nolan’s movie Memento, wherein the character and audience experience the events of his life in reverse, and each slide back into the past presents a different aspect of key events of the protagonist’s life, because we can only cope with the harsh realities of life when they are put into context with the present. In Ocean, though, we are left not solely with the conclusion to a specific story, but rather, the working out of a theory as to how our minds and memories adapt as we grow up and learn about evil in the world and the failings of those we love. It is a book about how we help ourselves understand the vagaries of existence.

The plot revolves around an unnamed artist’s return to his family home in the British countryside which jettisons us into a flashback; our artist is a bookish boy, aged 7, in the 1960s, alienated in his life with his parents and sister, none of whom are sympathetic to his sensitive, artistic nature. Not exactly original—but Gaiman uses the boy’s sense of disjointedness, of not belonging, to introduce the broader theme of the individual’s psychological journey into self integration. Carl Jung posits that the self can only become whole by assimilating past experiences with personal values and farmhousedesires. In Ocean, the artist must recall his past in order to incorporate his understanding of painful memories into who he is now. (Though the boy is only 7 years old, that number is probably symbolic; his internal conflicts are those of an adolescent who is trying to “complete” himself and come to an adult understanding of the world.) The book investigates the traumatic events which led to the boy’s entrance into adulthood, and therefore, full personhood, but ultimately, we learn that he has returned many times to the ocean; i.e., we all must go back to revisit our memories periodically if we are to continue the process of understanding who we are, and in order that we may make sense of our personal “worlds” within the context of our larger reality.

Ocean is a full blown myth which explores our subconscious and conscious motivations and memories; Gaiman questions the validity of our recollections while at the same time affirming the importance of them as the fabric by which we know ourselves. However–and this is the crucial conflict in the book–we cannot directly access ourURSULA painful experiences–the “raw” data–without experiencing a disintegration of the self; we can only accept and integrate major changes in our lives through symbols and archetypes,  which facilitate the integration of these occurrences and memories into the “self.”

Jung’s anima or animus is the vehicle through which experiences are sorted, interpreted, and assimilated into the self, and in Ocean, the Hempstock family, and particularly Lettie, play that role. The name Hempstock points the reader clearly in the direction of alternative understandings of reality, since the women, like a drug, help him access hidden recesses of the mind. If the boy allows them to, the Hempstock anima will lead him into fully integrating all of his experiences, both negative and positive. Lettie, her mother and grandmother are guides to the personal unconscious. As the young boy’s personal anima, Lettie is his Beatrice, his psychological guide.

The boy initially meets the Hempstock women because he and his father discover the body of a man they know who has committed suicide in their family car–down the lane. The three women take the boy through the perilous waters of coming adulthood, self-understanding and acceptance of reality. They give him safe harbor–a psychological safe “place” which is apart from his increasingly unpleasant and unacceptable home life. They feed him comfort food, a stark contrast to the “burned toast” of his home, and in their role as anima they bring maternal support, teaching him psychological boundaries, “dressing” him in the clothes of his anima— the feminine (opposite) side of his self which must be unearthed and appropriated in order for him to “find” himself.

maidenmothercrone

Throughout the book, Lettie Hempstock asserts that she will keep the boy safe, and it is only when he lets go of her hand while traveling on her land that his foot is invaded by the “wormhole” that allows Ursula Monkton into his world. A cursory reading might seem to  indicate that Ursula is evil personified, but that is not the case: several times, Lettie and her relatives state that Ursula must be “contained,”and “sent home,” not destroyed. She must be “put in her place”–categorized and restrained– but the women will not confirm that she is evil, and even assert that she is just doing what she was created to do. When the boy lets go of Lettie’s hand during their initial confrontation with Ursula, he is allowing his raw memories to invade his consciousness; this is why he asserts over and over that it is “his fault” that Ursula has appeared. His recollections will only be put into context when Old Mrs. Hempstock is able to take a needle, dig deeply into his foot, extract the invader, and close the hole up–after which Ursula will soon lose her power. Whatever ways in which he has ignored his anima,  the “other side” of his soul, have caused destructive, unprocessed memories to invade and poison him. Only through excising such raw memories can he/we have unity and understanding of “self.”

While Lettie’s farm contains the friendly pond she calls an ocean, and it is a place of solace, the boy’s home down the lane is inhabited by a family that expresses no love, and presents meals of burned toast which his father alone cooks.  In his home, water becomes a force of destruction when his father, in a rage, nearly drowns the boy in the bathtub in reaction to his son’s lack of acceptance of Ursula as nanny and apparently, as the father’s lover. This 30gaimanDevent may or may not have occurred, but the symbolism of it is key: the boy’s emotional break with his father, his realization that his father is fallible, signifies the boy’s entrance into the adult world. He has been “baptized” in the painful waters of recognizing that his parents, who have been his refuge, are imperfect, and will not always be able to guide and protect him. The “fabric” of his childhood has been ripped apart, leaving him afraid and vulnerable, but in accepting the help of the Hempstocks, he will eventually come to terms with reality.

When Lettie first takes the boy for a walk on her farm, they meet the piece of ugly canvas fabric which is Ursula, waiting to be “set free” to enter the boy’s world. Because he lets go of Lettie’s hand, the fabric is able to enter into the sole of his foot. Lettie has used a divining rod, and the two of them have found “something brown and furry, but flat, like a huge rug, flapping and curling at the edges, and, at the front of the rug, a mouth, filled with dozens of tiny sharp teeth, facing down” (38). They immediately see a manta wolf, and Lettie says they have “gone too far out”–they are past the bounds where the boy’s psyche can integrate the dangerous events into his memory safely. This is when he lets go of Lettie’s hand, and the fabric of Ursula reveals herself and invades him and his world.

The middle section of the book consists of Ursula’s ripping apart the fabric of his family in a series of gripping and painful events that leave the reader drained as Ursula emotionally abuses the boy and locks him in his room. As he writes after seeing Ursula and his father embracing, “My parents were a unit, inviolate . . . the train of my life had jumped the rails and headed off across the fields and was coming down the lane with me, then” (80). He escapes down the drainpipe and makes it to the Hempstock farm–to the safe “place” in his mind–and there his anima (the Hempstocks) treats him to a warm bath–a stark contrast to the life-threatening, cold dunking his father has just given him. It is at this time that Old Mrs. Hempstock pulls the wormhole out of him.

But we soon discover that part of the path Ursula has used has inexplicably gone to his chest–he can feel it there. This never leaves him, even when Ursula is banished, because the blithe innocence of his childhood cannot return. Instead, he must learn as he grows to adjust his view of reality by incorporating aspects of the painful until they no longer dominate him.

The last section of the book is a battle wherein Ursula attempts to stay, and the boy must decide to choose whether or not to live in the protection of the “fairy ring” of self-assimilation. It’s worth a read to find out the conclusion, if you like myths, and Neil Gaiman. Not recommended for children.

Neil Gaiman:

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(Picture of Ursula is from facebook.com/LinkLovesColouring)

Cindy C. Lange, MA
http://www.integritasacademy.com