Category Archives: narrative

Tiredness, Truth, and Mockery: the American Way


Early rendition of Alfred E. Neuman, 1908.

Today, I wonder whether I should re-think some of my ultra-liberal biases and attendant leftist news consumption.  This is good.  But, man, I’m beat.

The alt-right (and the radical religious right) to me seems like a uniquely American expression of deep stupidity but, of course, I would say that. Look at my demographic: college educated, democrat, fiction writer, from Southern California, who’s been an expat for almost a decade. Of course, I think Trump is the worst thing that could have possibly happened to the world. Of course, I wanted Bernie but voted Hillary. Of course, I want net neutrality. Of course, I support many (but not all) positions taken by the ACLU. Of course, I believe that, in an earlier era, Obama would have been considered a moderate republican. Of course, I have a problem with drones, civilian casualties, the terrific scope creep of the Patriot Act, and the “war on drugs.” Of course, I care about my country.

If I didn’t think the Green Party was run by bumblers, I would probably join. I’m pro-choice, pro-Planned Parenthood, and I support gay marriage. I think many of these things should not even have to be controversial in a liberal democracy. I dream of a day when there will be universal healthcare and free college tuition. I think climate change is one of the most, if not the most, serious issues we face today. But the truth is that most of these biases and beliefs can be (and are) predicted by an algorithm. The even sadder truth is that I only have so much energy I can devote to fact checking and being outraged. This is a problem. Tiredness is a problem.

The problem is not that there is a right answer we have to find. The problem is that uncertainty and complexity are exhausting over time, especially when you’re necessarily engaged in other things. Most Americans are not, actually, stupid. They’re invested in certain areas–mostly job and family–and in most other respects have a general (superficial) understanding of the world, including political issues and identifying yellow journalism, confirmation bias, and what passes for fear mongering click-bait. I have also seen this in European and Asian countries, relative to various cultural differences and levels of education. The USA doesn’t own “stupid.” Every country with a powerful media has a horse as a proconsul somewhere. The difference is that the States likes to put its toga-wearing horses on display, whereas other countries have not. But this is changing.

In an enormous post-industrial society, you will have many levels of political, historical, and economic awareness and many opinions emerging constantly in the news media. You will also have crackpot theories; secessionism; separatism based on race, religion, and / or gender biases; conspiracy paranoia; multi-directional shaming; late night talk show infotainment; social justice fanatics; religious absolutists; new age hucksters; ambulance chasers; a continuous horde of cynics; doom-saying historians looking for their 15 minutes; the resurgence of failed orthodoxies (like Nazism, ethno-nationalism, and whatever Steve Bannon happens to be reading); and the all-encompassing opportunism that feeds off these things. What you won’t have is a simple black-and-white truth. You will have truthiness.

To live in an information society infected with truthiness is extremely taxing. But just as there is no black-and-white truth, there is no easy solution. A friend of mine has suggested “slow news” as opposed to internet news feeds. It seems like there are some merits there. But slow news does not necessarily safeguard against yellow journalism, which has been around since newspapers could fold. In many ways, the 24-hour news cycle and its problematic presence on social media makes it harder for governments and corporations to spin interpretations in their favor. We should be grateful for the ineptitude of Sean Spicer and the alacrity with which he and his boss are covered by the press corps.

I don’t have answers. I don’t think there is a single version of what is true—at least not one that can be had through the media. But I also don’t think the cross-eyed chants of “burn it down” and “fuck your feelings” have done any good. They helped Trump get elected as president, and he has thus far made a mockery of America. The left understandably wants him gone. The GOP wants him to calm down and let them get on with the kleptocracy. His base supporters are currently upset because he bowed 5 inches to receive an award in Saudi. Some of his supporters are no doubt upset that the Reich hasn’t yet emerged in all its glory. I suspect they will still be upset when he gets impeached.

“Nothing is an absolute reality; all is permitted” – Hassan-i Sabbah

Nobody Knows It But Me

classroomLong ago, I was an English teacher at a private high school in central California. It was a good, if demanding, job and unlike many of my colleagues, I seemed to manage occasional moments of non-misery in the workplace. In fact, the two years I spent working there taught me more about human nature than two decades of university teaching, freelance writing, and working abroad ever did.

Without a doubt, teaching over 100 adolescents each semester schooled me not only in how people will behave when going through some of the worst years of their lives but the extent to which many parents are feverishly inadequate when it comes to raising kids. With respect to family, no one wants to admit they have no clue what they’re doing. Everyone must pretend things are running smoothly and they’re in complete control.

I found this pretense interesting, particularly during parent-teacher conferences when ashamed, bewildered parents would whisper, “What do you think I should do?” as if my ability to manage large groups of adolescents somehow qualified me to give them advice. At first, I would explain that my two degrees in English plus minor gifts in speaking in front of people and writing did not mean I had a solution to why Jimmy couldn’t sit still or why Leticia cried through every class and felt compelled to layer everything around her in Purell, or why Leo circulated pictures of his girlfriend’s vagina. Over time, I developed a less draining response: “I do not know.” All Quiet on the Western Front may prepare us to think about the meaning of war, but it will not prepare us for Leo’s girlfriend’s vagina.

I suspected then, as I still do, that confronting such situations is not within the job description of a high school English teacher. But maybe, in the hundreds of outrageous situations in which I found myself in that job, I could have done more. The questions I ask myself now are the questions many parents asked me then: what should I have done? Was there anything to be done at all? There must be an expert somewhere, a veteran administrator or someone with a PhD in education theory, who can speak to this. Maybe a prison psychologist.

I wish I could believe that. In spite of my lingering questions, I think I’ve come to believe the opposite: there actually are no rules—not just for teaching or parenting, but for any area of human experience. A friend once said to me when we were going through our own high school torment: “This is the meaning of life: we all suck and we’re nothing.” I don’t think he fully appreciated how profound that statement was when he said it. 27 years later, I’m still seeing it prove out.

We all suck: no one—and I mean this in the broadest, most inclusive, most general sense—actually knows what they’re doing to the extent that assumptions and judgment calls are unnecessary. Perfect human understanding does not exist and human error is ubiquitous. Even our attempts at artificial intelligence are subject to our limited assumptions about what intelligence actually is (or can be). What can we know beyond a shadow of a doubt? The truth is: nothing, unfortunately.

Surely an engineer will feel confident that, say, as energy is transformed or transferred, an increasing amount of it is wasted. Surely something as dependable and consistent as a physical law (in this case, the Second Law of Thermodynamics) is immutable, absolute, not a matter for interpretation. But even something as ironclad as a law of physics is not without its exceptions. Some things are givens within the parameters of a particular knowledge paradigm, but those givens are always relative to and dependent upon the parameters themselves.

For example, within the agreed-upon bounds of thermodynamic theory, basic laws obtain as a reliable set of rules for the behavior of energy, entropy, and temperature at thermal equilibrium. But we also know that even within that theoretical framework, an empirical finding like the Second Law is subject to exceptions. In 2002, researchers at the Australian National University, in a paper entitled, “Experimental Demonstration of Violations of the Second Law of Thermodynamics for Small Systems and Short Time Scales,” found that “systems can undergo fleeting energy increases that seem to violate the venerable law.” And while this is only one small example, it is by no means isolated or anomalous to the extent that we could dismiss all such exceptions out of hand.

In fact, our entire narrative of scientific progress is predicated on discoveries which alter existing assumptions about how the world works. As Thomas Kuhn observes in The Structure of Scientific Revolutions, “though the world does not change with a change of paradigm, the scientist afterward works in a different world.” The scientific narrative changes. Because it was always a narrative, never an unassailable, omniscient catalogue.

Nothing is beyond interpretation, not even the bedrock assumptions of our most materialistic sciences. Rather, ways of knowing amount to best possible premises always subject to discourse and development over time (to say nothing of the complexities of the information technology we rely on to document and transmit that discourse). We do the best we can. We develop and codify optimal principles for a given field. And then we work with those principles until we encounter a paradigm-disruptive discovery that forces us to revise our theories.

But we’re nothing: Even the most qualified and intellectually responsible claims are part of a conversation (discourse) which is grounded in work that came before and which will be superseded by discoveries and realizations that follow. In many cases, an individual contribution to any field is no greater than a minuscule inch forward with vastly disproportionate implications.

Still, there are careers to develop and Cessnas to purchase and grants to chase and colleagues to slander and books to write and mistresses to support and students to convince. In Polishing the Mirror, the guru Ram Dass—then a social psychology professor named Richard Alpert—describes what he felt was a hollowness at the center of western academia:

In 1961, I was thirty and at the height of my academic career. I had a PhD from Stanford University, and I was a professor of social relations at Harvard. I had arrived at a pinnacle of life as I thought it should be, professionally, socially, and economically. But inside there remained an emptiness—a feeling that, with all I had, something was still missing. Here I was at Harvard, the mecca of the intellect. But when I looked into the eyes of my peers, wondering “Do you know?” I saw in their eyes that what I was looking for was nowhere to be found. In a social or family setting, people looked up to me and hung on my every word because I was a Harvard professor, and they clearly assumed that I knew. But to me, the nature of life remained a mystery.

In Ram Dass’ use of the term, we “do not know” much about the world in any absolute sense. We cannot know because our intellectual tools are as finite as the time we have in which to use them. This is not to argue that we should be content with ignorance. But it is a way to foreground a simple suggestion: speculation is absolutely necessary when it comes to developing knowledge.

Assumptions are necessary. Ultimately, belief is necessary. Kuhn, at least, seems to agree: “Normal science, the activity in which most scientists inevitably spend almost all their time, is predicated on the assumption that the scientific community knows what the world is like.” This seems reasonable not just in science but in any field of human activity.

So what remains to be done if we can never fully know our world and ourselves? Everything! Our inability to attain perfect understanding is no reason to abandon the pursuit of outer and inner knowledge. Rather, it leads us to an acceptance of our limitations as individuals and as a species and, in that acceptance, a very personal yet very real sense of freedom.

Maybe the right answer to those parents who wanted advice should have been: you already know how to raise your kids because what you think is best will be the best you can possibly do. Maybe, as my high school friend seemed to imply back in 1989, we are not static, monolithic, isolate objects. We are no thing.

Instead, we are dynamic, dialectic, fluid collaborations—living syntheses of what was known in the past and what will be discovered in the future. Maybe “discourse” is the most accurate metaphor for human experience. If so, all we can do is try to engage in life’s conversation as robustly as possible. Maybe there are no rules beyond that.

“Baby,” I said, “I’m a genius but nobody knows it but me.” 
― Charles Bukowski, Factotum

Sater, Cohen, and the Collapsing House of Cards

More developments are emerging regarding Trump’s Russian connections – a new post on Splice Today.  Read it here:

The Voice in the Fire

As I have said many times and in many different ways, graduate study in literature and creative writing is not easy for anyone, even in the most favorable circumstances. There is an inner, emotional, psychological, processual effort that no one talks about and an outer, technical, rhetorical, production effort that everyone takes for granted. Both of these “efforts” are difficult. They must run concurrently and consistently for satisfactory completion of your program. And no one—not advisors or fellow

"Philosopher with an Open Book" by Salomon Coninck (c. 1645)

Philosopher with an Open Book by Salomon Coninck (1645)

students—will have the wherewithal to set aside their own problems in order to help you with yours. You are alone. You are responsible for expressing a universe of ideas in your own voice. You will accept this or fail.

If you pay attention, you will soon come to realize that your path is more or less unique—that you’re following a largely self-determined trajectory through the work. It may be partly modeled on someone else’s (such as that of a mentor with a strong personality telling you what you should be reading, writing, and thinking), but ultimately you’re making your own intellectual path by walking it. This is one of the signature characteristics of higher study in the humanities. It may be a strength.

A large part of this blog is dedicated to exploring these things, to making the implicit explicit for the good of those who feel drawn to the discipline of English studies and / or creative writing. It’s clear that I’m critical here of what I often see as hypocrisy and self-serving prevarication in greater academia. But I also disagree with the Libertarian voices currently developing the Don’t Go to Graduate School in the Humanities genre of business-oriented success advice. I think, in spite of very practical arguments to the contrary, if you feel called to study, write, and teach, by all means do it. Just don’t do it ignorantly and learn how to survive afterward so that you can keep doing it. How this unfolds in your life will be a mystery specific to your becoming.

With this in mind, I expose my own values here, my own work, which continues the inner-outer efforts I mention above. The Writing Expedition represents part of my disciplinary “production effort,” dedicated to expressing insights on what I have experienced in this field. Moreover, I think “expressing” is the right word because it implies a dichotomy. In order to ex-press something (or “squeeze out” if we want to look at the origin of the word), there must be an interior area where it already exists. An inner world. Often, a hidden world that can make the dominant scientistic discourse of reductive materialism very nervous. Like it or not, the Academy is subject to the dominant political, economic, and aesthetic tropes and discourses of the day; though, academics often find this distasteful and prefer to ignore it.

The ivory tower covered in camouflage.

It is safe to say that the Academy is an ancient type of institution that has survived to the present by appearing to be what society needs it to be in any era. Study the history of higher education in the West and it is easy to notice that the great universities have not existed in spite of what they imagine to be the barbarism and ignorance of the profane, but as a mode of cultural expression, 9th gatea conglomeration of beliefs and rituals, a matrix of ideas given a particular form in the material world. In other words, the Academy is an extension of culture. It offers a product that society wants and survives by making that product seem relevant. It has always been that way; though the outer wrapper of the product is redesigned again and again to reinforce existing narratives of power and faith. In the rare times it fails to do this: Kent State, May 4, 1970.

As Martin Petersen writes of CIA tradecraft standards (intelligence agencies being very similar to universities), “We have to establish our credibility and usefulness individual by individual, administration by administration. There is no down time when it comes to quality” (“What I Learned in 40 Years of Doing Intelligence Analysis for US Foreign Policymakers,” Studies in Intelligence, Vol. 55, No. 1). Without being too cynical, we could easily convince ourselves that establishing credibility and usefulness is one of the ongoing directives of the Academy: we want to matter.

Enter: John, who also wanted to matter.

When I was in graduate school, studying creative writing and rhetoric, John, a friend of mine there who happened to be a gifted poet, went through a kind of nervous breakdown. Since no one knows what a “nervous breakdown” actually is, we can call it that or we can say he went through a season of harsh depression, anxiety, purposelessness, and emotional pain. His wife described it as a “slow-motion train wreck” and they both tried to laugh about it. But it was real and the pain he went through changed his life.

Before you even think it, I should note that this person is not me. Things may have changed for John since then, but what hasn’t changed is the high-schoolish competitiveness in our colleagues that has lingered for a long time. Since many of them read this blog, I will only tell the part of his story that everyone already knows. And I will do it for a particular reason. Nevertheless, I hope he forgives me for this and understands what I am trying to say. Knowing him, I think he will.

It started with the birth of his daughter in our second year. John had come to the PhD from a high-paying career in industry, such that he didn’t have to take out student loans and could rent a fairly large house (as opposed to the holes most of us were living in). His wife didn’t work and they were living off their considerable savings. Still, the pressure was on, partly because John now had a child to think about, but also because had an immense work ethic and he was no fool. He knew, as did we all, that there were very few full-time teaching positions available and that trying to get one (even getting an interview at AWP or MLA) was like playing the Irish sweepstakes.

Nevertheless, John applied himself, wrote good poems, said smart things, and generally did well. He was older, married, and didn’t waste his time like the rest of us at the sad graduate school parties or looking for love in all the wrong places. He had a particular energy around him that said, I know the truth and, if I don’t know, I’m sure we can discover it together. In short, he seemed like the type who should win the career sweepstakes and become an assistant professor. There should be more people like John in teaching positions. When I think of what it takes to be a great graduate student, I think of him.

But he reached a breaking point, something in his “inner process” that no longer worked the way he thought it should. The reality of being a father had become far more real and compelling than the realities he was creating as a student of English and a poet. His hair turned stark white over the course of a month and he went through a kind of existential fugue, which according to him involved a lot of crying, regret, and hopelessness. Eventually, he dropped out of the program. He moved with his wife and daughter to Arizona to live with his in-laws. And two or three years later re-entered a PhD program at a different university, this time to study British modernism. As far as I know, he’s now a professor somewhere in the Midwest and I am sure he is great.

I tell his story here because although it had an ostensibly happy ending, his dark night of the soul is one that most of us experienced on some level at some time in our work. The difference may have been that he suffered from pressures we didn’t have, destroying the credibility and usefulness of the Academy for him. I believe this as much as I believe that he also lacked certain essential qualities necessary for running those inner and outer efforts concurrently and consistently, at least the first time around.

The voice in the fire: one hears it or one does not.

A teacher of mine once made an interesting observation about “mystery.” The more one seeks out the lacunae in one’s life—the numinous moments, the noetic leaps of high strangeness that result in extraordinary creations, realizations, and states of consciousness—the more mystery seems to increase, not decrease. Seek the mysteries and you will find there are more mysterious things in this world than you ever imagined. Or maybe you will find yourself imagining more such things as you learn to accept new ways of knowing.

Conversely, if you let existing modes of expression, accepted narratives, the exoteric rituals of consensus culture (especially those of the Academy) crowd your senses, ways of knowing will become narrower; meaning will become increasingly delimited and rigid; and the dominant cultural discourses (for us, scientism and reductive materialism) will come to seem all-encompassing. This is what I believe happened to John in his first PhD program. His outer effort was strong, but his inner work was obstructed by the anxiety of feeling responsible for his family. I do not fault him for this. However, I think his experience offers us an interesting lesson.

Recall that the “inner effort” is an emotional, psychological process. It therefore partakes of mystery because interiority cannot be completely mapped. This is where the muse, the creative genius, lives. This is where we dream, where we hear that voice speaking to us about who we truly are and how we must express ourselves. It is the place artists go when they produce authentic and original work.

Funny thing about the muse. She gives and she takes. Dedicate your life to a particular mode of expression and you must always try to hear her. Your sense of the numinous will increase exponentially, but you will also have to make sacrifices. As your outer effort must concern itself with “credibility and usefulness,” your inner effort must be like a love affair with the mystery inside you, which is what we’re talking about when we refer to the inner life of an artist.

Hakim Bey discusses this in The Temporary Autonomous Zone and calls it “sorcery”:

The dullard finds even wine tasteless but the sorcerer can be intoxicated by the mere sight of water. Quality of perception defines the world of intoxication–but to sustain it & expand it to include others demands activity of a certain kind—sorcery. Sorcery breaks no law of nature because there is no Natural Law, only the spontaneity of natura naturans, the tao. Sorcery violates laws which seek to chain this flow—priests, kings, hierophants, mystics, scientists & shopkeepers all brand the sorcerer enemy for threatening the power of their charade, the tensile strength of their illusory web.

A poem can act as a spell & vice versa—but sorcery refuses to be a metaphor for mere literature–it insists that symbols must cause events as well as private epiphanies. It is not a critique but a re-making. It rejects all eschatology & metaphysics of removal, all bleary nostalgia & strident futurismo, in favor of a paroxysm or seizure of presence.

Incense & crystal, dagger & sword, wand, robes, rum, cigars, candles, herbs like dried dreams–the virgin boy staring into a bowl of ink—wine & ganja, meat, yantras & gestures—rituals of pleasure, the garden of houris & sakis—the sorcerer climbs these snakes & ladders to a moment which is fully saturated with its own color, where mountains are mountains & trees are trees, where the body becomes all time, the beloved all space.

We can just as easily speak of it in terms of embracing a wider spectrum of expression. Viktor Frankl puts it this way: “Ultimately, man should not ask what the meaning of his life is, but rather he must recognize that it is he who is asked. In a word, each man is questioned by life; and he can only answer to life by answering for his own life; to life he can only respond by being responsible” (Man’s Search for Meaning).

The Green Muse by Albert Maignan (1895)

What, then, is the voice in the fire? It’s not a degree from Yale, tenure, and a tactless sense of entitlement. It’s that unmappable, ineffable interior effort, that numinous guidance system which instructs and inspires us to continue our work. It sustains us through years of advanced study, reveals the mystery inherent in the world (even in something as outwardly mundane as the sight of water), and helps us answer for our lives. If we are responsible practitioners of our art, we will listen to this voice just as carefully as we may express our work-products. If we stop listening and forget the internal process, focusing only on the external product, we will enter the dark night of the soul, which entails a lot of suffering.

This is the meaning of that famous line from the Gnostic Gospel of Thomas: “If you bring forth what is within you, what you bring forth will save you. If you do not bring forth what is within you, what you do not bring forth will destroy you.” If this is the life you choose (realizing that you have been chosen to answer for your life this way), I continue to wish the best for you.

Listen. And seek the mysteries.

Review: a few belated thoughts on Game of Thrones, Season 5 (with many spoilers)

So I finally finished Season 5 of Game of Thrones and I know I should be emotionally manhandled at this point by all the cynical backstabbery, but I’m not. Martin Scorsese once said that it’s easy to get your audience to feel something—just put a puppy on stage and drop a safe on it. You’ll get the feels. Sadly (or happily), that doesn’t make for good drama.  Here’s my (I know, unsolicited) assessment with as many spoilers as possible now that the last episode has been out for a while. Look away now if you’re still planning on bingeing the season.  I haven’t felt compelled to write some kind of review since the second hobbit movie.  I know the world is probably better for it but Game of Thrones has had a special hobbity place in my heart ever since I watched the first season sick in bed in Bujumbura.  So here it goes.

The Artist Formerly Known as Theon: whatever. He has a Vader moment and takes a leap off the battlements with Sanza, the girl with the same two alternating expressions since the beginning of the show. Okay. If the fall doesn’t make them both quadriplegics in Season 6, I’ll be rooting that they don’t get flayed and salted into Bolton jerky. That’s good, I guess. I have a hard time caring about what has happened to Theon’s manhood or Sanza’s happy thoughts.

Ramsay “Lecter” Bolton: everybody wants him to die horribly because he’s such a sadistic yet annoying formulaic psychopath. He has everything Nazi but the dueling scars and the monocle, even the black leather get-up. I think his best quality is the frozen maniacal grin that every Nazi doctor from Central Casting has had since Laurence Olivier did Dr. Christian Szell in Marathon Man. That was in 1976. I was 3 years old. And, believe me, I can appreciate the number of torture-obsessed Nazi doctors churned out by Hollywood since then.

If Iwan Rheon radiated just a bit more charm, he could star in some deflated prequel to Silence of the Lambs. His character’s personality has zero depth, which, ironically is realistic when we think about how stunted serial killers and mass murderers are said to be in real life. Still, real life should not intrude when it would make a character tedious. If we don’t want to dwell on the obvious Hannibal Lecter contrast, we can always recall Jeremy Irons as Claus von Bülow in Reversal of Fortune.  Claus is evil, yes, and we think he probably killed his wife.  Yet we just don’t care because the man has wit. Ramsay could use some wit, even just a little.

Stannis: he, however, gets 3 whole expressions: exasperation, bewilderment, and dread. And he doesn’t have to go through them sequentially anymore.  He burns his unrealistically angelic daughter, Shireen, at the stake because vampy evil stepmother Melisandre says the kid has to go. As soon as Davos gives Shireen the carved deer, we know the kid is done for. The whole arc is a sad case of writerly: look, I’m not pulling any punches here! I mean it! Nobody is safe! But if we don’t care about the characters—if they don’t have depth, if there is no redemptive vision at all—we’re in a 2D hellworld and everybody is worth exactly nothing. Sure, kill the kid if you want or drop a safe on the puppy. It’s all the same to us. This is hell, after all.

Jamie and Bronn: we know their expedition to Dorne isn’t going to end well. One good thing is that we keep expecting Bronn to be horribly eviscerated, stuffed with scorpions, and lit on fire by the end of their adventure, but all he gets is a sexy bite on the ear lobe. Otherwise, more backstabbery. In a country where everyone looks like Portuguese supermodels and dresses like medieval Turks, I guess you have to fall in love and someone is then required to put poison in your tea and you’re then fated to wake up in bed covered with snakes. Or something. You will still find the person who did it incredibly attractive.  One other thing is also certain: sweet and innocent daughters of noble houses die horribly. We know that already.

Arya Who Joined the Zen Death Circus: This has been my favorite plot strand. But by Episode 10, Arya has also gotten predictable. She was interesting for a long time—until she took revenge (oddly unsatisfying for all its gore) on demonically one-dimensional Sir Meryn. Faceless Assassin Master Po blinds her after some intentionally obscure Zen bullshit about “being no one.” All of it is a let-down because blinding is not what Arya needed. Transforming / revealing a new side to her character is what she needed. We all want her to either accept her new identity as a magical assassin or reject it and evolve into someone different. But we don’t get character change. We get Zen bullshit and Mission Impossible CGI masks. Disappointment—we get that, too.  I miss The Hound.  Bring back The Hound.  At least, he was funny.

Of Cersei, what is there to say? take one of the most beautiful actresses in the world; strip her down; and have a scene where she does the medieval walk of shame. It again works a la the safe and the puppy. Cersei’s hateful for most of the show up to this point (that’s 5 years of hate, people—think about it). So we’re meant to have mixed feelings about her “atonement.” And the whole scene has unintentional Monty Python potential. I don’t know. Lena Headey can read the dictionary in a space suit and it wouldn’t matter. We’ll still watch and try not to blink. Bright sparkles will still be floating around her in the air. But I didn’t quite believe the walk of shame scene was authentic, which is to say organic, to her character development. I know that sort of thing really historically happened (doesn’t matter, this is King’s Landing not Earth). And I know the plot can (barely) support the scene (also doesn’t matter). I just don’t think Cersei—as we have come to know her—would submit like that. One of the reasons she’s so compelling is that she does have dimensionality to her character. She does have wit. She has strong emotions and uncompromising direct motivations. We want her to do something grand.  Instead, we are given nakedness and rotten fruit.  And it doesn’t enhance our insight into her.  It also doesn’t cause her to change.  She takes a lot of abuse and has revenge in her eyes by the time she gets back to the castle. Right.  But what else?

Lastly, Jon Snow really does know nothing: His is the only death I actually believe—surprising because it isn’t surprising at all. The Castle Black plot strand is, in my opinion, stronger than the others. I found myself wanting Alliser Thorne to remain the prick that we all feel he is. And I wasn’t let down at all. Still, I don’t really believe that Jon Snow is actually dead. Maybe so. Maybe not. Of all the characters in the show, I care about him the most. I think this is because he has some redemptive qualities. He’s not just a resident sufferer in Hellworld. He’s trying to find and sustain some sense of justice. This is why I think we might be seeing him again in Season 6. Without him, Game of Thrones has no soul.