I’m in no way a student of The Classics. I regret to report that my formal, “classical,” general education has been woefully inadequate. So, when I now (presume to) speak about Plato’s Republic, and “The Allegory of the Cave,” well, you’re going to need to take what I have to say with not only a grain of salt, but maybe an entire wheelbarrow full!

I was browsing Gareth Morgan’s Images of Organization (1986, my copy of the first edition) today, still (always!) trying to make some sense of my world. (You know me: I can’t seem to shut off my mind!) In the chapter that examines the metaphor of “organizations as psychic prisons,” the discussion begins with a description of Plato’s cave allegory.

The Wikipedia summary of the allegory (copied, pasted, edited) goes thusly:

Imagine prisoners who have been chained since childhood deep inside a cave. Their limbs are immobilized, and their heads are fixed as well, so that the only thing they can see is the cave wall. Behind them is an enormous fire, and between the fire and the prisoners there is a raised walkway, along which men carry From Great Dialogues of Plato (Warmington and Rouse, eds.) New York, Signet Classics: 1999. p. 316.shapes of various animals, plants, and other things. The shapes cast shadows on the wall, which occupy the prisoners’ attention. Also, when one of the shape-carriers speaks, an echo against the wall causes the prisoners to believe that the words come from the shadows. The prisoners engage in what appears to us to be a game — naming the shapes as they come by. This is sum total of their life: the only reality they know.

Now, suppose a prisoner is released and is able to stand up and turn around. At first, his eyes will be blinded by the firelight, and the shapes passing will appear less real than their shadows. Then, if he is dragged up out of the cave into the sunlight, his eyes will be so blinded that he will not be able to see anything. Gradually he will be able to see darker shapes such as shadows, and only later brighter and brighter objects. The last object he would be able to see is the sun, which, in time, he would learn to see as that object which provides the seasons and the courses of the year, presides over all things in the visible region, and is in some way the cause of all these things that he has seen.

I’m wondering if this allegory may be the source of the term “thinking outside the box” – for certainly the freed prisoner is absolutely forced to “think outside the cave” when confronted with a world so dramatically removed from his prior experience. What a total shock to the system to be freed, leave the cave, and discover what’s there to be found!

Is there a modern-day equivalent to the cave? Could our families, workplaces, and/or significant relationships ever be considered versions of the cave? Is it possible we are (or can become) so myopic in terms of how we view the world that we think the shadows on the wall are “reality”?

And, what if we removed ourselves, even for a little while, from the warm cocoon that is our family, job, or relationship, and took a look around at the rest of the world? What would be our experience? Would it be similar to the freed prisoner, who, if he ever went back to the cave, would undoubtedly have significant problems trying to communicate his experience “outside” to the others still imprisoned there? How would it be possible for “the enlightened one” to share his knowledge? What resistance would be met? What ridicule and contempt would he experience for, saying out loud, his newly-acquired version of reality? How could he ever function in the “old way” (seeing and naming the shadows), when he knows “truth”? And, how could the prisoners ever accept an entirely new perspective without the external experience themselves? Wouldn’t this type of new information, so different from their own, be viewed as a tremendous threat?

Aren’t we, everyday of our lives, trapped in the illusion that our experience is “real” – and the only thing? Aren’t we convinced that this is “the way the world works?” Aren’t we, more often than not, content to remain in the dark – neither risking exposure to alternate ways of thinking nor seeking new experiences? In what ways do we all have the tendency to be(come) psychic prisoners, trapped in a reality that gives us a totally skewed understanding of the universe?

[See Morgan, 1986, p. 200, for the discussion that was my inspiration for these questions.]

Soundtrack Suggestion

Chains, my baby’s got me locked up in chains.
And they ain’t the kind that you can see.
Whoa, oh, these chains of love got a hold on me, yeah.

Chains, well I can’t break away from these chains.
Can’t run around, ‘cause I’m not free.
Whoa, oh, these chains of love won’t let me be, yeah.

I wanna tell you, pretty baby,
I think you’re fine.
I’d like to love you,
But, darlin’, I’m imprisoned by these...

Chains, my baby’s got me locked up in chains,
And they ain’t the kind that you can see,
Oh, oh, these chains of love got a hold on me.

(“Chains” - Carole King)

Last spring, after the breakup of a significant long-term relationship, and during the most anxiety-producing days surrounding the decision of my “interim-position” status, I developed extreme muscular tension in my legs which had some other, rather scary, side effects. Ever since then, I have taken a, more-or-less, physical-therapy approach to the problem and, after long months, was making progress: almost able to see light at the end of the tunnel by December. However, over the holidays, I had somewhat a reversal of fortune, and I seem to be more symptomatic these days, rather than less.

I’ve approached this as primarily a muscular issue, with anxiety as the root cause. I've done many, many sessions of deep-tissue massage and ultrasound in order to attempt to settle my leg muscles down. Some of the early work, with the deepest massage treatments, produced rather dramatic emotional responses on my part. The work on my body would result in waves of feelings of sadness and loss, for example, and I would end up crying in the office before I was able to gather myself together and get dressed to leave. As I started to get better, less symptomatic, I stopped having such responses. But, yesterday, again, as we worked and probed and pressure-pointed spots on my lower body, I was once more similarly affected. Like a tsunami, feelings of extreme sadness rapidly, and without warning, totally engulfed me.

Although there are a number of possible explanations for what's going on (including neurological), I suspect my body is sending me some kind of message that, to date, I've not totally deciphered. But, my working theory is that the overwhelming loss, and potential for loss, that created last spring’s anxiety led my body to react the way it did, and that the depth of the physical pain — memorized at the cell level — is reflective of the severity of the emotional wounding. Further, when my physical being is poked and prodded in just such a manner, there’s a direct link to the emotional scar tissue. The physical part of the experience yesterday was quite painful, of course. But, the emotional aspect, for me, was profound. And, today, twenty-four hours later, I'm still processing and asking “what is this all about?”

Which part of my being do I heal first: my body or my soul? How do I go about doing that?

I don’t know what it is about me, but I seem to attract women into my life who apparently think of me as “little-boy-like” ... perhaps, want me to be more little-boy-like? (Or, maybe it’s something else that’s going on?)

For example, a very important person in my life right now gave me a teddy bear and some Scooby-Doo bubble bath for Christmas this year. Then, back when Katrina and I were together, I remember she gave me, at various times, a Mr. Potato Head set, some Play-Doh, Miracle Bubbles (with wand), and a couple of children’s books: The Velveteen Rabbit and The Runaway Bunny.

What is this about, do you suppose? It sure has had me a-wonderin’. Not only do I feel grown up, at least most of the time, I’m starting to feel, well, old sometimes too. How is it, at age 58, I score a teddy bear for Christmas?

Of course, as I have this on my mind, I go to the bookshelf and find The Velveteen Rabbit. Truthfully, until Katrina gave it to me (on Valentine’s Day 1998), I had never heard of it, though I’ve come to learn that most of the rest of the world has. Since then, I admit, I have come to rather adore this book. Although it’s definitely a little-kid’s story, written at a sixth-grade reading level, it has a message about life and living that is very wise indeed.

After all, it’s a tale of personal growth and transformation, answering the question about how we change. How does one become REAL, is the question…

Real isn’t how you are made,” said the Skin Horse. “It’s a thing that happens to you. When a child loves you for a long, long time, not just to play with, but REALLY loves you, then you become Real. It doesn’t happen all at once. You become. It takes a long time. Generally, by the time you are Real, most of your hair has been loved off, and your eyes drop out and you get loose in the joints and very shabby. But these things don’t matter at all, because once you are Real, you can’t be ugly, except to people who don’t understand. (p. 13)

Doesn’t that just about say it all?!

I first became acquainted with the writings of Nick Hornby in 2000 after seeing High Fidelity, the movie version of his first novel. John Cusack played the lead character, Rob Gordon, who, at least in the movie version, began by asking:

What came first, the music or the misery? People worry about kids playing with guns, or watching violent videos, that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?

Well, as you might suspect, the story line revolves around the “heartbreak, rejection, pain, misery and loss” of relationships. Rob spends a great deal of time in a self-discovery mode, visiting one former girlfriend after another to learn about what went wrong in his previous relationships. Although the Rob character is fairly self-absorbed, obsessing over such things as Top 5 Lists and the Perfect Compilation Tape (they didn’t have iPod playlists six years ago), I found him a rather endearing character as he bumbled his way through his romantic adventures. I was pretty taken with the movie (seeing it a couple of times in the theatre) and went ahead and bought the novel later, something I rarely, rarely do.

Hugh Grant starred in the movie version of About A Boy, as you might recall, and, as far as I know, Horby’s third novel How To Be Good has not (yet) been made into a film. A fourth novel, A Long Way Down, was published in 2005, and I just finished reading it.

The story in A Long Way Down is told from the perspectives of the four primary characters, one after the other throughout the entire book. There are not really four different “voices,” though, as Hornby seems to make little effort to provide identifiable narrative styles for the various players, just obviously unique views of the world.

The setting for A Long Way Down is London, and the main characters are Martin (a former morning television personality, down on his luck after sleeping with a 15-year old, going to prison, and losing his marriage and kids in the resulting scandal); Maureen (a middle-aged single female, whose only son is severely disabled and unable to take care of himself; she is the primary caregiver and has no other life); Jess (a confused and rebellious young female, daughter of a highly-placed British politician); and JJ (a young male American rock musician, whose band has just broken up). Not knowing one another, they, coincidentally, find themselves on the roof of a tall building on New Year’s Eve, all there with suicidal intent.

Well, with all those people up there at the same time, their individual plans obviously don’t work out. They collectively talk themselves down from the roof, making up the excuse that they need to find and confront Jess’ former boyfriend.

These four really aren’t very endearing characters, as was (John Cusack’s) Rob Gordon in High Fidelity, or (Hugh Grant’s) Will Freeman in About a Boy. Still, Hornby’s ability to spin a tale, I guess, is the reason I kept reading about these lonely losers. (Each was rather like an individual train-wreck about to happen, reminiscent of the title character in that new NBC series, “My Name is Earl.”) After their time together on that almost-fateful New Year’s Eve, they keep in touch, go on a vacation together, and generally support one another through each other’s hard times, even though, as portrayed, these folks were individuals I personally would not seek out as friends.

However, in the final analysis, they are their own support group. And even though they, well, suck at it, the story suggests that somehow it seems to work to have others in your life that care, if only a little bit, or are only moderately adept at demonstrating it. The group gave themselves ninety days to hang together, to see where their lives were at the end of that time. As the book ends, at the conclusion of that time period, none of them is in the same emotional space. Their lives are not “resolved,” but things are noticeably different.

I never have been suicidal myself. But, I have certainly had my down times, when I’ve needed someone to talk to, someone to support me. Sometimes, rarely, there isn’t anybody around to talk to. Usually, though, I’ve been able to find somebody to support me through difficult periods.

I have a new, young friend in need of support right now. She is experiencing the loss of a significant other, is scared about the prospects ahead, and feeling lonely. She has asked for my support, and I am delighted to provide what I can. We are all, ultimately, alone in this existence, but we don’t need to face everything alone. We need each other. We need to find each other. And, we should ask for help when we need it.

Our struggles, and our pain, are what make us human. They are what make us strong. We are all incredibly resilient, and this is how we grow. No matter what our level of pain, at some point, we are able to mend our broken wings and fly again. 

Soundtrack Suggestion

Blackbird singing in the dead of night
Take these broken wings and learn to fly
All your life
You were only waiting for this moment to arise

(“Blackbird” - Lennon/McCartney)