Discourse

When I talk about definitions, I think it is important.  For me, at least.

A discourse – a conversation, talk. (apart from other meanings).

Origin: Latin dis – in different directions + currere – run.

An example?  Oh, my goodness!  I often listen to the songs on the www.youtube.com.  And how many times I had encountered absolutely insane conversations!  Most of the time I just don’t even pay attention to what is there.  But once I was asked whether I am aware of the discussions under the clips.  Then I sort of started paying attention.

I picked a clip teaching beginners’ steps for Salsa.  And a discourse jewel on top.  Here it is – a priceless example of meanness and creativity.  And one of the participants had a good point, when he mentioned the importance of definitions.

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Participant 1:

Following your line of thinking, Spanish is actually a retarded deformation of Latin and Arabic.

Notwithstanding the fact that you are unaware of the definition of the words:

1) retarded

2) language

3) dialect

the fact remains that you are neither intelligent, nor insightful, nor useful as a human being. I hereby order you, in the name of the survival of the species, to cease existing immediately.

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I was just wondering what drives those conversations.  Some people would say anger.  But I am beginning to think that it is pure loneliness.  Maybe both.

Quotes on Discourse:

1. “All discourses but my own afflict me; they seem harsh, impertinent, and irksome”

(Ben Jonson)

 

2. “Of our thinking it is but the upper surface that we shape into articulate thought; underneath the region of argument and conscious discourse lies the region of meditation.”

(Thomas Carlyle)

 

3. “It’s our tendency to approach every problem as if it were a fight between two sides. We see it in headlines that are always using metaphors for war. It’s a general atmosphere of animosity and contention that has taken over our public discourse.”

(Deborah Tannen)

4. “The only privilege literature deserves – and this privilege it requires in order to exist – is the privilege of being in the arena of discourse, the place where the struggle of our languages can be acted out.”

(Salman Rushdie)

 

5. “Discourse may want an animated “No”

 

To brush the surface, and to make it flow;

 

But still remember, if you mean to please,

 

To press your point with modesty and ease.”

(William Cowper)

 

6. “The failures of the press have contributed immensely to the emergence of a talk-show nation, in which public discourse is reduced to ranting and raving and posturing.”

(Carl Bernstein)

Victor Pelevin “The Sacred Book of Werewolf”

‘… Did Mikhalich give you the flower?’

‘Yes,’ I answered.  ‘And he told me I should think about the meaning of the message.  But I haven’t come up with anything.  Maybe you can tell me yourself?’

He scratched his head.  He seemed disconcerted by my question.

‘Do you know the folktale about the little scarlet flower?’

‘Which one exactly?’ I asked.

‘I think there is only one.’

He nodded towards a desk with a computer and a silver figurine standing on it.  There was a book lying beside the figurine, with bookmarks in several pages.  The half-effaced red letters of the title on its cover read: Russian Fairy Tales.

‘The story was written down by Sergei Aksakov,’ he said.  ‘His housekeeper Pelagia told him it.’

‘And what about it?’

‘About a beautiful girl and a beast.’

‘And what’s the little flower got to do with it?’

‘It was the reason everything began.  Do you really not know this fairy tale?’

‘No.’

‘It’s long, but the gist is this: a beautiful girl asked her father to bring her a scarlet flower.  The father found one in a magical garden a long way away and picked it.  But the garden was guarded by a terrible monster.  He caught the beautiful girl’s father, and she had to become the monster’s prisoner so that he would release her father.  The monster was ugly, but kind.  She fell in love with him, first for his kindness, and then simply in love.  And when they kissed, the spell was broken and the monster turned into a prince.’

‘Aha,’ I said.  ‘Do you have any idea what it’s about?’

‘Of course.’

‘Yes? What is it about?’

‘About love conquering all.’

I laughed.  He really was quite amusing.  He’d probably bumped off a few heavy hoods and ordered a hit on some banker, so now, with typical human presumption, he thought he was a monster.  And he also thought that love would save him.

He took me by the arm and led me across to a futuristic divan standing between two groves of dwarf bonsais with miniature arbours, bridges and even waterfalls.

‘Why are you laughing?’

‘I can explain,’ I said, sitting down on the divan and pulling my legs up under me.

‘Okay, explain.’

He sat at the other end of the divan and crossed his legs.  I noticed the edge of a holster peeping out from under his uniform jacket.

‘It’s one of those folktales that express the horror and pain of a woman’s first sexual experience,’ I said.  ‘There are lots of stories like that, and the one you just told me is a classic example.  It’s a metaphor of how a woman discovers the essentially bestial nature of man and becomes aware of her own power over that beast.  And the little scarlet flower that her father picks is such a literal symbol of defloration, amplified by the theme of incest, that I find it hard to believe the story was told by a housekeeper.  It was probably composed by some twentieth-century Viennese postgraduate to illustrate his thesis.  He invented the story, and the housekeeper Pelagia, and the writer Aksakov.’

While I was talking, his expression turned noticeably gloomier.

‘Where did you pick this stuff?’

‘It’s all truisms.  Everybody knows it.’

‘And you believe it?’

‘What?’

‘That this fairy tale is not about how love conquers everything on earth, but how defecation realizes its power over incest?’

‘Defloration,’ I corrected him.

‘It does not matter.  Is that what you really think?’

I thought about it.

‘I…. I don’t think anything.  That’s simply the contemporary discourse of folktales.’

‘So you’re saying that because of this discourse, when someone gives you a scarlet flower you think it’s a symbol of defecation and incest?’

‘No, don’t be like that,’ I replied, a little embarrassed.  ‘When someone gives me a scarlet flower I….I’m simply pleased.’

‘Thank God,’ he said.  ‘And as for contemporary discourse, it’s high time to take an aspen stake and stuff it back up the cocaine-and-amphetamine polluted backside that produced it.’

I hadn’t expected such a sweeping generalization.

‘Why?’

‘So it won’t defile out little scarlet flower.’

‘All right,’ I said, ‘I understand about the cocaine.  You mean Dr Freud.  He did have that little peccadillo.  But what have amphetamines got to do with it?’

‘I can explain,’ he said.  And tucked his legs up underneath himself in a parody of my pose.

‘Okay, explain.’

‘All those French parrots who invented discourse were high on amphetamines all the time.  In the evening they take barbiturates to get to sleep, and they start off the morning with amphetamines so they can generate as much discourse as possible before they start taking barbiturates to get back to sleep again.  That’s all there is to discourse.  Didn’t you know that?’

‘Where did you get information like that?’

‘There was a course at the FSB Academy about modern psychedelic culture.  Counter-brainwashing.  Oh yes, I forgot to say – they’re all queers too.  In case you were going to ask what the backside had to do with anything.’

Sometimes the notes are ferocious,

skirmishes against the author

raging along the borders of every page

in tiny black script.

If I could just get my hands on you,

Kierkegaard, or Conor Cruise O’Brien,

they seem to say,

I would bolt the door and beat some logic into your head.

Other comments are more offhand, dismissive -

“Nonsense.” “Please!” “HA!!” -

that kind of thing.

I remember once looking up from my reading,

my thumb as a bookmark,

trying to imagine what the person must look like

who wrote “Don’t be a ninny”

alongside a paragraph in The Life of Emily Dickinson.

Students are more modest

needing to leave only their splayed footprints

along the shore of the page.

One scrawls “Metaphor” next to a stanza of Eliot’s.

Another notes the presence of “Irony”

fifty times outside the paragraphs of A Modest Proposal.

Or they are fans who cheer from the empty bleachers,

Hands cupped around their mouths.

“Absolutely,” they shout

to Duns Scotus and James Baldwin.

“Yes.” “Bull’s-eye.” “My man!”

Check marks, asterisks, and exclamation points

rain down along the sidelines.

And if you have managed to graduate from college

without ever having written “Man vs. Nature”

in a margin, perhaps now

is the time to take one step forward.

We have all seized the white perimeter as our own

and reached for a pen if only to show

we did not just laze in an armchair turning pages;

we pressed a thought into the wayside,

planted an impression along the verge.

Even Irish monks in their cold scriptoria

jotted along the borders of the Gospels

brief asides about the pains of copying,

a bird singing near their window,

or the sunlight that illuminated their page-

anonymous men catching a ride into the future

on a vessel more lasting than themselves.

And you have not read Joshua Reynolds,

they say, until you have read him

enwreathed with Blake’s furious scribbling.

Yet the one I think of most often,

the one that dangles from me like a locket,

was written in the copy of Catcher in the Rye

I borrowed from the local library

one slow, hot summer.

I was just beginning high school then,

reading books on a davenport in my parents’ living room,

and I cannot tell you

how vastly my loneliness was deepened,

how poignant and amplified the world before me seemed,

when I found on one page

A few greasy looking smears

and next to them, written in soft pencil-

by a beautiful girl, I could tell,

whom I would never meet-

‘Pardon the egg salad stains, but I’m in love.’

Billy Collins