Sarah pulls up a new Netflix original series based on the Margaret Atwood novel, Alias Grace.
The series begins with an epigraph from Emily Dickinson: “One need not be a Chamber — to be Haunted / One need not be a House / The brain has Corridors — surpassing / Material Place.” How are we, each of us, so many different things at once? Stories within stories — but common to all, a fiery red anger, which keeps us wide-eyed, awake, and watchful. In Atwood’s world, characters do little but advance plot, their hard lives shortly the ends of them. Character is a device for the transmission of historical circumstance. Eyes open, little time to pretend. Systems that employ persons as servants or slaves are things to despise. Stars blink down at me. An acorn falls from a tree. I am seeing as if montaged across my forehead a cloud of imagery. We are headed toward the bad future: hierarchical, inauthentic. “Where any view of Money exists, Art cannot be carried on, but War only. […]. Art Degraded, Imagination Denied, War Governed the Nations.” So reads Blake’s engraving of the Laocoon. I find in this work words uttered as if by a prophet. Light and shadow. Eyelid movies all my own. Voices, too, telling stories of things not visible. One of these days I should try to design a course on either Noble Savagery or the idea of the wild. The failure of the hippie counterculture over the course of the 1970s signaled the decline of these ideas as significant components of American identity. Wildness is no longer a major trope in the American national-political unconscious — and I regard this as a great tragedy, a decline we ought to mourn. Atwood’s character says, “God is everywhere. He can’t be caged as men can.” Yet the world is all predators and prey. When the weather is like that, one’s heart pounds in one’s ears, make of that what one may.