Fie on fie!

Fie on goodness, fie

Fie on goodness, fie

Eight years of kindness to your neighbor
Making sure that the meek are treated well
Eight years of philanthropic labor
Derry down dell
Damn, but it's hell
Oh, fie on goodness, fie

Fie, fie, fie

It's no secret that I've always loved a good fie:

"Fie on ’t, ah fie! 'Tis an unweeded garden that grows to seed." –Hamlet

"Fetch him off, I pray you; he speaks nothing but madman: fie on him!"--Twelfth Night

"Fie, fie, on all tired jades, on all mad masters, and all foul ways!" --The Taming of the Shrew

But the truth is, and I wouldn't want this to get around, I had no idea what a fie was. It's got to be pretty awful, right? Nobody ever fies on the dog when he has an accident in the bedroom. You don't fie on the waitress because she forgot to bring ketchup. Fie is reserved for the absolute bastards of the cosmos.

So finally I looked up fie. And effing eff, it doesn't mean ANYTHING. It's not a blast of lightning, or a bright blade that cleaves a knave from the nave to the chops. It's not even the old fewmets hitting the windmill. It's just an interjection of disgust, like Tchaa! or Tsk! or even Pshaw!

Pshaw!

 This is how curiosity killed the cat. This is the curse of Faust. This is the overweening hubris of Oedipus. This is me wishing I'd never looked up fie. Let fie lie.

But where did the word come from? From French, and Latin (fi!) before that, according to etymologists. Thousands of years ago this monosyllable of disgust hovering just on rebellion bubbled up to the lips of a thoroughly tacked off plebeian and those around him in the forum nodded in agreement. Fie on the patricians, the praetorians, the Vandals and the Goths. When Hamlet uttered it something smelled rotten in the state of Denmark--fie has always been associated with olfactory offensiveness.

Getting emotional with sci-fi

"My heart is full of X."

  

So we can easily imagine an alien, or a mutant with different abilities, different physiologies: four heads or tentacles for arms or the ability to walk through walls, or even an intelligent shade of blue (I think Douglas Adams came up with that one). But what if an alien or mutant or even just a different earthly species were equipped with an entirely different set of emotions, beyond hate, love, fear, doubt and chagrin. Emotions x, y, and z, a whole alien array, so different from our experience that they in no way correspond to anything in our ken?

We could still witness the physical manifestations of their emotions, like tears or blushing or the spraying of ink, but have no idea of their predicates. Would we be able to divide their emotions into positive and negative reflexes, or would that only mean positive or negative outcomes for ourselves if we responded correctly? What would be the key to unlock their "hearts?" We have a name for every shade of human emotion, yet we can barely even read the hearts of our own species. Probing might turn out to be be a highly decorous form of salutation.

Oh, Lord, please don't
let me be misunderstood

If we throw rocks at an alien, and an alien responds by hugging us, could we therefore assume that having rocks thrown at it is a positive experience for E.T.? And we can interpret their pelting us with rocks in turn as a positive sign? Or is its hug meant as a retaliatory response? Or is the alien simply modeling correct behavior in the hope that we will imitate it and leave off with the rock-throwing? (And how would it feel about being be referred to as an "it?" Does it have unimagined pronouns?) Or is it displaying x emotion? 

Sondheim in a Tree

"It strikes me that's what technique must be: the control of the information that
flows from a play to its audience; and in particular the ordering of the information."

--Tom Stoppard

 I want to talk about point of view in narration. It might help first if we think of a novel as a large packet of information, just like the data packets governed by the hypertext transfer protocol (http) on the internet, which delivers data, order, and destination-- which we can translate for our purposes as story, plot, and audience. 

Plot--the ordering, revealing or withholding of information in a story--is especially important in a time-based medium like drama, but also in novels, unless the reader elects to subvert the author's intent by reading the ending first, say, or the author subverts it as in The Dictionary of the Khazars (by Milorad Pavic), wherein he invites the reader to assemble the story in any order they like.  

Point of view directs the information spigot in sometimes subtle ways. First it can be can be additive, as in Toni Morrison's Jazz, with multiple narrators slowly bringing the truth into focus, or or subtractive with an unreliable narrator, sometimes severely restrictive, as in the Benjy Compson section of The Sound and the Fury. Even multiple narrators can be subtractive when the different narrators accounts clash so much that we  are left at sea.

Which brings us to Someone in a Tree, a tour de force musical number from Stephen Sondheim's Broadway show Pacific Overtures. The show is about Japan's (unwilling) opening to western trade in the late 19th century. Under threat of force, the emperor's representatives set up a meeting with the Americans to devise a treaty. We begin with the Reciter (the uber-narrator of the play) bemoaning the fact that there is no authentic Japanese account of what was said that day in the treaty house. An old man appears.

Richard Powers

A book is still atemporal. It is you, in silence, hearing voices in your head, unfolding at a time that has nothing to do with the timescale of reading. And for the hours that we retreat into this moratorium, with the last form of private and silent human activity that isn't considered pathological, we are outside of time.

                        --Richard Powers