Monthly Archives: April 2020

oneiric

I’ve walked these streets many times. I know them, and I always recognize them, and they are never the same. I’ve cut across this endless downtown and known the geography not by recognition but by emotion. I’ve gone into this city centre by a lake, and I’ve taken the elevator in the hotel that goes up a tower and keeps on higher than the top of the building and never stops where it should and only opens the door when it shouldn’t. I’ve driven this freeway to the farther reaches of this city and I’ve known how to get to these endless neighbourhoods though they’re always different. I’ve taken this country turnoff down the exit and the rural road to this lake. I’ve been back to this small town that I spent my childhood in, always at night, and it’s always cold and foreign and always deeply familiar. I’ve continued on the road through the mountains and down into the valley, and I’ve walked the main street of the town there; I can draw a map of the church and the other church and the sanctuary in the one and the stage in the other, and I can describe the shopping lanes that lead off the main street of this town. I’ve been up this town on a hill. I’ve followed this curving street to the far side of this old European town. I’ve climbed to the eleventh storey of this endless house, to the secret rooms, countless times. I’ve gone into the annex of this ranch-style house, the one that keeps going and opens into another room and another and they’re all full of furniture and stored things and I’ve never seen them and always known they’re there. I’ve been to the sub-basement and lolled in the little hot tub. I know these places, and they are sometimes full of people, and no one other than me has ever been to them. They are often irenic, often ironic, always neurogenic.

We have a word, dreamy, that carries such a sedate and happy feeling, like a cloudy glowy love-world, that we can’t use it to describe dreams, which are so rarely dreamy. We have another word, dreamlike, that often draws trite, clichéd, and trivial images, and we can’t use it to describe dreams because they are not dreamlike, they are dream. What is the word that just refers to the world or true quality of dreams? What is the world for this universe that exists only in the mind of one person, arising unbidden when they are cut off from the world their body moves in? How do I characterize the experience of seeing a tornado coming towards me, of seeing waters rise and discovering myself far from shore and surrounded by the deeps, and yet being able to wake and sigh in the safe comfort of sheets? What is the word for when I am in a completely real world, and I think, “Am I actually dreaming? This is all so normal and banal and all-surrounding; how could I be lying in a bed somewhere at the same time? It can’t be” – and yet it turns out to be? What is it when I find myself on a stage in a part I didn’t know I was going to have to play, or stepping off a verdant and impossibly high cliff, and think, “This is a dream,” and make something up, or fly?

It is oneiric, adjective. Of course: so many of our words for the mysteries of the psyche come from classical Greek. Psyche, for one. Hypnopomp and psychopomp for two more. And oneiric comes from ὄνειρος oneiros ‘dream’ (or anything that is like a dream).

It is as different from dream as the world of dreams is from the “dreamy.” Oneiric is not creamy or drowsy; it twists like licorice and it claws at you like iron nails. When you see it, it reminds you that you are the only one in your dreams, and it hints at the eros and erosion of the dream world; when you hear it, it reminds you that sleep is ever nigh, and when you are dreaming wakefulness is ever nigh.

Humans have had many ideas about the meaning and quality of dreams. I can’t speak for anyone else; for me, they are the allegorical theatre of unsolved problems, and they are the discard pile of recent days’ awareness reshuffled back into the deck. They have sometimes pointed out to me what I feel about a person, and more often pointed out to me what I feel about my current situation. They have never told me my future. Not yet, anyway. They have never revealed to me the secrets of the ages, or at least I haven’t noticed if they have. I can’t tell you what your dreams mean, and I’m not going to go into what other people in other times and places have said about dreams. But I can tell you one thing: if you want to do a Google search (or similar) to find learnèd ideas, thoughts, and theories about dreams, a word that will help you is oneiric.

kenophany

Yesterday, my Twitter friend @theoriginaledi drew my attention to this video by Hank Green, in particular the part between 2:42 and 4:14:

Hank Green says, in this part,

There is the sudden realization . . . that your life is not gonna be the same anymore, and there is no way to reacquire that sameness. . . . It’s such a specific feeling, this moment where you suddenly realize that you don’t know what the future holds anymore, and the story you’ve been quietly, silently telling yourself about what the future is going to be like, that story just… falls apart. It’s not there anymore. It doesn’t get replaced with something. It’s just gone. I wanted to know what this feeling is called, because it seems so specific that there should be a name for it. I’ve experienced it a bunch of times. I could not find a word for this in English.

Hank says that he asked Susie Dent, and she replied, “I’ve been wondering similar for days. I keep returning to ‘wuthering’: a rushing or raging that you’re powerless to stop. Emily Bronte described it as ‘atmospheric tumult’.” Hank allows that “this isn’t quite it”; he’s willing to make it it, but he’s open to suggestions.

I think the word required is kenophany.

That’s not what I replied to Edi right away. I first said, “Ah, a peripeteia and anagnorisis into the postmodern moment: the Wile E. Coyotification of life, when you look down and realize you’re in midair, and all the metanarratives are empty. The dark side of satori. Postmodern philosophers and Zen Buddhists write about it.” And I think Wile E. Coyotification has a certain something, but Wile E. Coyote had an assortment of calamitous moments, not just the one where he runs off a cliff and doesn’t realize at first that he’s in mid-air. Besides, at that point he does have a sense of a future. It’s a revised sense, but the gravity of the situation is clear and the consequences proceed inevitably.

No, this is more “the dark side of satori.” Allow me to explain. Satori is the moment in Zen Buddhist meditation where you achieve insight, understanding, awareness of the true nature of things; it comes from the Japanese verb satoru and it means ‘comprehension’ or ‘understanding’. But the true nature of things is that – well, I mean, one can’t actually put it in words, but it’s the lack of inherent essence; it’s what in Japanese is said mu, sometimes translated as “void,” but void has strong negative emotional connotations that are not intrinsic to it. It’s just that there’s no there there.

Which can be very disconcerting as an idea to many people. It’s similar to how Fredric Jameson described the postmodern: “incredulity towards metanarratives.” (By the way, if you’re about to rant about “postmodern thinking” as some kind of epitome of the airy stupidity of ivory tower academics, don’t bother; you’re just being lazy – what you think of as “postmodernism” has nothing to do with what it actually is. If you had an accurate idea of it, you wouldn’t be ranting against it, you’d be recognizing in it some of the folksy wisdom your grandparents dispensed about not structuring your life around something just because it’s a fancy story that sounded good.) But since we like to have stories in which we follow a clear path from A and go to Z and make overall sense of everything, we are very resistant to the idea that there is no path, there is no such thing as following, “clear” is our imagination, and “we” aren’t a single coherent unchanging entity either. It’s all… beyond our ken.

Hence the “dark side”: the dreadful feeling of emptiness and void, when in fact it’s just nothing – or, well, not nothing either, but not something; there is no intrinsic quiddity. And then there’s that ken, as in ‘knowledge’; it just by coincidence happens to have a sound-alike in Japanese. A synonym for satori, you see, is kenshō. That means ‘seeing the true essence’ or ‘seeing nature’. Ken means ‘seeing’, which is a bit of a pity since shō (‘nature, essence’) sounds like show, which is the other side of seeing.

Imagine, a viewing of understanding: a ken show. But can’t we make a fancy single word of that? Well, how about pulling in the Greek φαίνω, ‘I shine, I appear’, whence –phany as in epiphany and theophany? From that we get kenophany.

Oh, but the ken in kenophany is not from Japanese ken – that wouldn’t work. And it’s not from English ken (meaning ‘understanding, awareness’) either. No, it’s from Greek κενό, which means ‘void’ or ‘emptiness’. So kenophany is a showing – or a coming to see – the emptiness, the lack of an actual overarching structuring narrative. It’s the moment of the carpet being whipped out from under your feet, and it turns out that there is neither a floor nor not a floor beneath it.

I think we all have had our kenophanies, moments where the storyline we were following is just gone, and nothing is there to replace it. It’s like in the song “La marée haute” by Lhasa de Sela: “La route chante quand je m’en vais; je fais trois pas… la route se tait. La route est noire à perte de vue; je fais trois pas… la route n’est plus.” (“The road sings as I set out; I take three steps… the road is silent. The road is black as far as I can see; I take three steps… the road is gone.”)

It seems inevitable to me, this word kenophany; it’s so neatly suited to this meaning and this moment.

But it doesn’t exist.

Yes, it does. It just didn’t exist until now. You won’t find it in a dictionary or anywhere else as such. I assembled it from the appropriate bits. That’s a thing one can still do with these classical Greek and Latin Meccano pieces. That’s not to say that I invented it; it was already there, just waiting to be put together. And it’s not to say that I didn’t invent it; no one else put it together. But who, then, is this “I” anyway? You won’t get the same results if you check back in a minute.

empyre

Comme on dit, l’empire empire.

That’s French for “As they say, the empire gets worse.” And if the empire’s failings are in the sky, you could say “L’empire empire dans l’empyrée” – “The empire gets worse in the empyrean.” Which is a phrase that could get some air from time to time.

But look at today’s word: empyre. What is its sense? Whence does it come? It looks like empire, but in some rakish old style, like vampyre and, um, umpyre; it looks like pyre, which is the same flame as burns within empyrean (celestial bodies are great balls of fire, after all); but somehow there is something… impure. Empirically, it seems impaired.

Well, it is imperfect; in fact, it is obsolete, not in use since about the time of Shakespeare’s birth, and of course spellings at that time were as fluid as fashion. But in its time it was neither imperial nor empyrean. It came from French, yes, but from that other empire – the one that means ‘get worse’, infinitive empirer, descended from Latin, formed from in (the one that connotes increase) and peior ‘worse’ (whence our pejorative).

Empyre has a pair, a modern English word descended from the same roots and meaning about the same thing: impair. But (o Fortuna imperatrix mundi) thanks to fortune impair has tricks and is mundane – we use it now as much to mean ‘impede’ or ‘intoxicate’ or other things that one might infer from terms such as impaired driving. We don’t mean specifically that the driving is made worse; well, we do, but we mean that it’s done by a person whose overall functioning is impaired, made worse (by intoxication, of course). Whereas if we said their driving was empyred, we would mean just specifically that it had been made worse. And if someone beleaguers you, you can say “You are empyring my day.” And if they hear “vampiring” it won’t go wildly astray.

And we can look at history and see how many empires have empyred our world, and we can say that incidents and accidents (and hints and allegations) empyre our lives. And if the form of this word makes us think that we want to toss some things on a pyre, well, so much the better – a word is best if it has extra flavours cooked in.