The Seed
I’ve been weaving an idea through a few books I just recently read. When I appellate this idea, it’s the “collective unconscious”. That’s not because of any Jungian tendencies; the phrase popped out at me in the first of these books, Neal Stephenson’s brilliantly wrought The Diamond Age: or, a Young Lady’s Illustrated Primer:
“The database is full of them. It’s a catalogue of the collective unconscious.”
In the book, a programmer creates—or he attempts—a compilation of everything that has been known in the world before. The idea that the reservoir of knowledge, a thing that is available to and accumulates with each new generation, can be quantified? Programmed? Fascinating.
The Stem
The collective unconscious popped out at me in a different incarnation in the last chapter of Tintin and the Secret of Literature, called “Pirates”. Here and there the book [fantastic and silly, but not for those who don’t want to deal with the meta-hermeneutic] discusses parallels between a Balzac piece and Hergé’s work; artistic thievery is a leitmotif throughout. Think magpies. The last chapter deals explicitly with the idea that artists use ideas not their own, and dallies with complex problematics of intellectual property.
The Buds
When we were getawaying in Vancouver this weekend, I found The Oxford Dictionary of Nursery Rhymes in one of the used bookstores we visited. One of the rhymes is about the evil Bonaparte, big bad Boney, who’ll come from France to tear apart little children if they’re naughty. It’s interesting to see the historical depth wash up shallowly as a single wave on the shore of the general idea: the bogeyman.
Folk stories, which have been bizarrely relegated to “kid” stories, are a rich source of how people collect and pass on ideas. Part of my CU hunch is that the mind has a supple period where it’s most malleable and pourous for the collective [un]conscious, much like it is for universal grammar and learning language. But even after the wiring gets set, we still interact affectively with the CU like we do with language.
Again, from The Diamond Age:
certain universal ideas that have been mapped onto local cultures. For example […] the Trickster may be deemed a universal; but he appears in different guises […] The Indians of the American Southwest called him Coyote, those of the pacific coast called him Raven. Europeans called him Reynard the Fox. African-Americans called him Brer Rabbit. In twentieth-century literature he appears first as Bugs Bunny
As a child I was very intruiged by the cultural cartography underlying the stories of Ananzi [another trickster, my favorite], Baba Yaga, the Grimm tales. It turns out that this idea translation is important to understand in my current work. It can be an intensely useful tool, and it can run uglily amok. Which ideas are really universal? Does everyone get the same, the whole, bundle of collective unconscious?
The Pods
A distant cousin of the collective unconscious appeared in The Dance of Anger. As a side salad to the main dish of the book, the author explores the idea that patterns in our family history play out in our present. This seemed at first more deterministic than I could stomach, but the author’s clear that you can change the pattern. The idea emerged less as a psychological past-haunting and more as an idea that we inherit a lot of things we aren’t aware of.
Can we make the unconscious conscious?
The Root
The Worthing Saga plays out this idea in a few ways. One is as an accumulation of knowledge resulting in ever-greater knowledge and power. When Lared asks Jason [God] why God’s daughter is more powerful than God is, Jason answers that after all this time, shouldn’t his children be able to learn more than he knows and be greater than him?
Good question, God. Very good question.
May 19th 2008 Posted to
books