Unlikely Stories Mostly

by Alasdair Gray

  I heard the envelope torn, then looked up. She was giving the letter an attention which excluded myself and everything else. She read slowly, and some passages more than once. An hour elapsed. She slid the pages into her handbag, gave me a full, sincere smile and said, “Thanks. You have misunderstood my work almost completely, but your warped picture of it conveys insights which I will one day find useful. Thanks.”

  She tapped the tabletop with her fingers, perhaps preparing to leave. I grew afraid. I said, “Will you now explain why, in our first encounter, you called me reactionary?”

  “Your work explains that.”

  “The Sacred Sociology?”

  “Yes, for the most part.”

  I sighed and said, “Madam, it is not my custom to justify myself or criticize others. Both practices indicate insufficiency. But to you I surrender. Your poems suggest you love freedom, and want a just communism to release human souls from the bankvaults of the West, the labour camps of the East.” “And from the hospitals and asylums!” she cried ardently. “And from the armies, churches and bad marriages!”

  “Good. You desire a world-wide anarchic commonwealth where government may be safely left to a committee of retired housekeepers chosen by lot, like a jury.”

  She smiled and nodded. I said, “Madam, I wish that also. For centuries men have been misled by words like God, fate, nature, necessity, world, time, civilization and history: words which hide from us our cause and condition. The bourgeois say that because of these things our state can change very little, except for the worse. But these words are nothing but names for people. We are our God, fate, nature, necessity, world, time, civilization and history. Common people achieved these limbs, this brain, the emotions and the skills and the languages which share them. We have made every blessing we enjoy, including sunlight, for the sun would be a meaner thing without our eyes to reflect it. The fact that man is infinitely valuable – that man is essentially God – underlies every sacred code. And when I say man is God I refer least of all to God the landlord, God the director, God the ruler with power to crush a majority for the good of the rest. To hell with these overpaid demiurges! My gratitude is to God the migrant labourer, the collectivized peasant, the slave of Rio Tinto Zinc and the American Fruit Company. He is the heavenly host whose body is broken day after day to nourish smart people like you and me. The Sacred Sociology tried to make news of this ancient truth. Did it fail?”

  “Yes!” she said. “It failed. The good wine of truth cannot be poured out of filthy old bottles. I will quote something. Our largest intellectual powers are almost realized in Adam who kneels to study, in a puzzled way, his reflection in a quiet stream. It causes a stiffening in his ureter which has to do with the attached seedballs, but the stiffening is not sufficient to impregnate the image in the water or the moist gravel under it. What other body does he need? Eve, of course, our last and most intricate creation. Ha! You have done nothing but reaffirm the old lie that a big man made the world, then created a small man to take charge of it, then begot a woman on him to mass-produce replicas of himself. What could be more perverse? You have been deceived, Mr. Pollard. There is a great garden in your brain which is in total darkness. You have been taken in by the status-quo of men and women and what sex is about, much as people were taken in by the Empire and the Church. You don’t know how you have been oppressed because you have a penis.”

  I was silent for a while then said, “Correct. You have put your finger exactly upon my weakness, which is sexual. Speak of work which does not refer to the sexes. Speak of my dictionary.”

  She said, “It liberated me. My education was thoroughly religious in the worst sense but a cousin lent me de Beauvoir’s memoirs and your dictionary and they liberated me. At university you were my special study. Do you know how the professors use you? Not to free, but to bind. You are understood to support their systems. The students study commentaries on your book, not the book itself. I defended your assertion of the radical, sensual monosyllable. I was not allowed to complete the course.”

  I nodded sadly and said, “Yes. I support common sense with uncommon intelligence so the bourgeois have appropriated me, as they appropriate all splendid things. But my book is called A Child’s Plainchant Dictionary of Abstractions. I wanted it set to music and sung in primary schools throughout France. Impossible, for I have no friends in high places. But if children sang my definitions with the voices of thrushes, larks and little owls they would get them by heart and easily detect fools and rascals who use words to bind and blind us. The revolution we require would be many days nearer.” “A dictator!” she cried scornfully. “You! A dwarf! Would dictate language to the children of a nation!” I laughed aloud. It is a rare relief when an interlocutor refers to my stature. She blushed at her audacity, then laughed also and said, “Intellectually you are a giant, of course, but you do not live like one. You live like the English authors who all believe the highest civic virtue is passivity under laws which money-owners can manipulate to their own advantage. The second Charlemagne* has made our country a near dictatorship. In Algeria, Hungary, Vietnam and Ireland governments are employing torturers to reinforce racial, social and sexual oppression. The intelligent young hate all this and are looking for allies. And you, whose words would be eagerly studied by every intelligence in Europe, say nothing.”

  I said, “I have no wish to be the mundane conscience of my tribe. Our Sartre can do that for us.” I was sublimely happy. She saw me as a position to be captured. I longed for captivity; and if I was mistaken, and she only saw me as a barricade to be crossed, might she not, in crossing, be physically astride me for a few moments? My reference to Sartre was making her regard me with complete disdain. I raised an imploring hand and said, “Pardon me! I have no talent for immediate events. My art is solving injustice through historical metaphor and even there I may be defeated.”

  “Explain that.”

  I looked directly into her eyes. I had expected sharp blue ones, but they were mild golden-brown and went well with the straw-coloured hair. I said, “You asked for my help to become a better poet. I need yours to finish my last and greatest work. I lack the knowledge to complete it myself.”

  She whispered, “What work?”

  “Prometheus Unbound.”

  I hoped this conversation would be the first of a series lasting the rest of my life. Her curt, impetuous words, together with a haunted look, as if she must shortly run away, had led me to speak of Prometheus at least a year before I intended, but it was now too late to speak of less important things. I asked her to be patient if I told her a story she perhaps knew already. She glanced at her wristwatch then nodded.

  The early Greeks (I said) believed the earth was a woman who, heated by his lightningstrokes, fertilized by his rain, undulated beneath her first offspring, the sky. She gave birth to herbs, trees, beasts and titans. The titans can be named but never clearly defined. There is Atlas the maker of space, and Cronos whom Aristotle identifies with time. There is also Prometheus, whose name means foresight and torch. He was a craftsman, and moulded men from the dust of his mother’s body. The multiplying children of earth could not leave her. She tired of her husband’s lust, needing room for her family, room to think. She persuaded Cronos to castrate his dad with a stone sickle. The sky recoiled from her and time became master of the universe. When people came to live in cities they looked back on the reign of Cronos as a golden age, for in those days we were mainly shepherds and food-gatherers and shared the goods of the earth equally, without much warfare. But we had cyclops too, great men who worked in metal. Cronos feared those and locked them in hell, a place as far below the earth as the sky is above her. And when Cronos mated with his sister Rhea he became a cruel husband. He knew how dangerous a man’s children can be and swallowed his own as soon as they were born. The earth disliked that. She advised Rhea to give her man a stone when the next child came. Time, who has no organs of taste, swallowed this stone thinking it was yet another son. Th
e boy’s mother called him Zeus and had him privately educated. When he was old enough to fight his father for the government of the universe he tricked the old man into drinking emetic wine and vomiting up the other children he had swallowed. These were the gods, and Zeus became their leader. The gods were more cunning than the titans, but less strong, and only Prometheus saw that cunning would replace strength as master of the universe. He tried to reconcile the two sides. When this proved impossible he joined the rebels.

  The war which followed lasted ten years. Prometheus advised Zeus to release the cyclops from hell and when this was done they equipped the gods with helmet, trident and thunderbolt. Zeus won, of course, being supported by his brothers, by the earthmother, by the cyclops, by Prometheus and by men. What followed? The new boss of the universe confirmed his power by threatening mankind with death. Prometheus saved us by giving us hope (which allows us to despise death) and fire (which the gods wanted to keep to themselves). So Zeus punished Prometheus by crucifying him on a granite cliff. But Prometheus is Immortal. He writhes there to the present day.

  “Madam,” I asked my woman, “do these matters seem savage and remote from you? This oppressed mother always plotting with a son or daughter against a husband or father, yet breeding nothing but a new generation of oppressors? This new administration crushing a clumsy old one with the help of the skilled workers, common people and a radical intellectual, and then taking control with the old threats of prison and bloody punishment.”

  She nodded seriously and said, “It is savage, but not remote.”

  I said, “Exactly. Our political theatres keep changing but the management always presents the tragedy of Prometheus or foresight abused. The ancient titans are the natural elements which shape and govern us when we live in small tribes. Foresight helps us build cities which give protection from the revolving seasons and erratic crops. Unluckily these states are also formed through warfare. They are managed by winners who enrich themselves at the expense of the rest and pretend their advantages are as natural as the seasons, their mismanagement as inevitable as bad weather. In these states the fate of Prometheus warns clear-sighted people not to help the commoners against their bosses. But wherever we notice that poverty is not natural, but created by some of us unfairly distributing what the rest have made, democracy is conceived. The iron wedges nailing Prometheus to his rock begin to loosen. This is why the poem which presents Prometheus as a hero was written for the world’s first and greatest democratic state. I mean Athens, of course.”

  “Ancient Athens,” said my woman firmly, “oppressed women, kept slaves, and fought unjust wars for gain.”

  “Yes!” I cried. “And in that it was like every other state in the history of mankind. But what made Athens different was the unusual freedom enjoyed by most men in it. When these men compared themselves with the inhabiters of the great surrounding empires (military Persia, priestridden Egypt, Carthage with its huge navy and stock-exchange) they were astonished by their freedom.”

  She said, “Define freedom.”

  I said, “It is the experience of active people who live by work they do best, are at ease with their neighbours, and responsible for their government.” She said, “You have just admitted that your free, active Athenians oppressed their neighbours and more than half their own people.”

  I said, “Yes, and to that extent they were not free, and knew it. Their popular drama, the first plays which the common memory of mankind has seen fit to preserve, shows that warfare and slavery – especially sexual slavery – are horrible things, and at last destroy the winners and the empires who use them.”

  “Which means,” cried my woman, looking more like a tragic heroine with every utterance, “that the Athenians were like our educated bourgeois of Western Europe and North America, who draw unearned income from the poor of their own and other countries, yet feel superior to the equivalent class in Russia, because we applaud writers who tell us we are corrupt.” After a silence I said, “Correct, madam. But do not be offended if I draw a little comfort from just one Athenian achievement: the tragic poem Prometheus Bound which was written by Aeschylus and is the world’s second oldest play. It shows Prometheus, creative foresight, being crucified and buried by the cunning lords of this world after they have seized power. But Prometheus prophesies that one day he will be released, and tyranny cast down, and men will see their future clear. Aeschylus wrote a sequel, Prometheus Unbound, describing that event. It was lost, and I can tell you why.

  “The democracy of Athens, great as it was, flawed as it was, tried to become an empire, was defeated, and finally failed. All the great states which followed it were oligarchies. Some, like Florence and Holland, claimed to be republics, but all were oligarchies in which poets and dramatists were so attached to the prosperous classes that they came to despise, yes really despise, the commoners. They saw them as incurably inferior, deserving a tear and a charitable breadcrust in bad times, but potentially dangerous and at best merely comic, like the grave-diggers in Hamlet. No doubt the rulers of states thought Prometheus Unbound was seditious, but it must also have annoyed educated people by showing how slavish their best hopes had become. They could no longer imagine a good state where intelligence served everyone equally. In twenty-three centuries of human endurance and pain only one hero, Jesus of Nazareth, declared that a common man was the maker of all earthly good, and that by loving and sharing with him we would build the classless kingdom of heaven. And, madam,” I told her, “you know what the churches have made of that message. How cunning the winners are! How horrible!”

  And I, who had not wept since I was a baby, shed passionate tears. I felt her grip my hand across the tabletop and though I had never before felt such pure grief for abused humanity, I have never felt such happiness and peace. It was a while before I could continue.

  “But one day France, madam, yes our own France declared that democracy must return; that liberty, equality, fraternity are indivisible; that what the Athenians started, we will achieve. We have not achieved it yet, but the world will never know peace until we have done so. The main task of poetry today is to show the modern state the way to liberty and peace by remaking the lost verse-drama, Prometheus Unbound. I have completed half of it.”

  She stared at me. I hoped she was fascinated. I described my play.

  It starts with the supreme God (spelt with a capital G to separate him from lesser gods) standing on a mountaintop after the defeat of the titans. The sky behind him is a deep dark blue, his face and physique are as Michelangelo painted him, only younger – he looks about thirty. Round his feet flows a milky cloud and under the cloud, on a curving ridge, stands the committee of Olympus: Juno, Mars, Venus etcetera. These are the chorus. On two hills lower down sit Pan and Bacchus among the small agents of fertility and harvest: nymphs, fauns, satyrs and bacchantes with fiddles, drums, bagpipes and flutes. This orchestra makes music for the scene-changes. A dark vertical cleft divides the two hills. At the base of it is spread out a great tribe of common people who may as well be played by the audience. Their task is to enhance the play with their attention and applause until, at the end, the release of Prometheus releases them too. But at the start God’s gravely jubilant voice addresses the universe while the sky grows light behind him.

  He speaks like any politician who has just come to power after a struggle. Together (he tells us) we have destroyed chaos and oppression. Prosperity and peace are dawning under new rules which will make everybody happy. Even the wildest districts are now well-governed. My brother Neptune commands the sea, storms and earthquake. My brother Pluto rules the dead. Let us praise the cyclops! The powers of reason would have been defeated without the weapons they made. They have been sent back to hell, but to an improved, useful hell managed by my son Vulcan. He is employing them to make the thunderbolts I need to coerce law-breakers. For alas, law-breakers exist, hot-heads who protest because my new state is not equally good to everyone. It is true that, just now, some must have very
little so that, eventually, everyone has more; but those who rage at this are prolonging sufferings which I can only cure with the help of time … God is interrupted here by a voice from the ridge below him. Minerva-Athene, his minister of education, or else Cupid his popular clown, point out that the recent war was fought to destroy old time yet now God says he needs time to let him do good. Yes! (cries God) for time is no longer your tyrant, he is my slave. Time will eventually show how kind I am, how good my laws are, how well I have made everything.

  Throughout this speech God’s nature is clearly changing. From sounding like the spokesman of a renewed people he has used the language of a lawmaker, dictator, and finally creator. At his last words the cloud under him divides and floats left and right uncovering the shining black face of the earthmother. It is calm and unlined, with slanting eyes under arched brows like a Buddha, and flat negro lips like the Sphinx. The white cloud is her hair, the ridge where the gods stand is her collarbone, the orchestra sits on her breasts, the audience in her lap. God, erect on top of her head, with one foot slightly advanced and arms firmly folded, looks slightly ridiculous but perfectly at home. When she parts her lips a soft voice fills the air with melodious grumbling. She knows that God’s claim to be a creator is false but she is endlessly tolerant and merely complains instead of shaking him off. Her grammar is difficult. She is twisting a huge statement into a question and does not divide what she knows into separate sentences and tenses.

  EARTH

  Who was before I am dark

  without limbs, dancing, spinning

  space without heat who

  was before I am alight

  without body, blazing, dividing

  continents on rocking mud who