Beruflich Dokumente
Kultur Dokumente
The process by which a memoir or a poem emerges is partly the way Robert Frost p
uts it succinctly and which I quote approvingly here: “Sight, excite, insight.”
Like all good aphorisms this is only partly true. There is so much more to the
process. I write about this process here, indeed, at many places in this book.
“By the time you start to compose, more than half the work has been done," wrot
e Irish Poet Seamus Heaney. "The crucial part of the business is what happens
before you face the empty page," he continued, "before the moment of first conn
ection, when an image or a memory comes suddenly to mind and you feel the lure o
f the poem-life in it.” Most of the writing in this memoir took place in my l
ate fifties and early sixties to mid-sixties. Much of the work, the living, had
indeed been done: half, three-quarters, nine-tenths? Time would tell how long
I would remain on this mortal coil.
The living, the thinking, two to five decades of preliminary writing, imagining,
sometimes dry, sometimes fertile, literary experience--all of this set the stag
e. As Bakhtin argues, "In the world of memory, a phenomenon exists in its own pe
culiar context, with its own special rules, subject to conditions quite differen
t from those we meet in the world we see with our own eyes.” This perceptual f
iltering of memory results in a tendency to focus in on pleasant events and/or e
motions while repressing painful or disturbing ones. The result is invariably a
rose-tinted personal or social history, a heavily edited reconstruction of our
past that often leads us down Housman’s "happy highways" to those cosy halcyon d
ays of childhood as depicted in the TV program The Waltons. Like Derrida’s noti
on of language as a process of constant deferral, memory can only ever make dist
ant reference to a past experience. I am aware of this universal tendency and
I trust I have countered it in this multi-volumed work, at least to some extent
.
Steven Rose points out that, "A thirty-year-old man does not remember his ten-ye
ar-old self in the same way as a fifty-year-old remembers his thirty-year-old se
lf although the time-lapse is the same in each case. Only a few individuals see
m to retain in adulthood the eidetic memory, the extraordinarily detailed and vi
vid recall of visual images, of their childhood." I am aware of these variatio
ns in memory quality but I find it difficult to comment on just how this phenome
non operates in my life and particularly in this memoir. I am aware of an ongo
ing process of reinterpreting a memory of an experience over time and this proce
ss has a continuing impact on my current life. This process and this concept is
called "retrospective causality" by David Pillemer.
A personal event memory is much more than a passive record; it is an active agen
t of direction, guidance, and deepened understanding. The psychological reality
of the event for the rememberer, including the constructed meaning it holds with
in the context of an autobiography, takes on a life of its own apart from the ob
jective, historical truth, however that elusive quality of objectivity is define
d, writes Pillemer. Some memories, for example, contain themes of "redemption" i
n which a negative event or experience eventually comes to represent a positive
outcome or life change. On the other hand, in "contamination" stories, positive
events or experiences eventually yield negative life impacts.
Opportunities for positive life change may exist whenever memories of momentous
events are open to reconsideration and reinterpretation. If the negative memory
can be integrated into an overarching narrative theme of purpose and self-worth
, then its damaging impact may be neutralized. If the memory can be reinterprete
d in terms that are motivating rather than demoralizing, it will be transformed
from a limiting force into an enabling one. In writing one’s memoirs there is
a search for psychological drives the interpretive process of selectively rememb
ering and reconstructing one s experiences through narration.
I was impressed with how Clive James approached his autobiography in his Unrelia
ble Memoirs published at about the time I began to collect my own writings for a
possible posterity. “Most first novels are disguised autobiographies,” he wrot
e. “This autobiography is a disguised novel. On the periphery, names and attrib
utes of real people have been changed and shuffled so as to render identificatio
n impossible. Nearer the centre, important characters have been run through the
scrambler or else left out completely. So really the whole affair is a figment g
ot up to sound like truth. All you can be sure of is one thing: careful as I ha
ve been to spare other people s feelings, I have been even more careful not to s
pare my own. Up, that is, of course, to a point.”
James says that he felt he had for too long been a prisoner of his childhood and
wanted to put it behind him and that was the reason he wanted to “dredge it all
up again without sounding too pompous.” He did not want to “wait until reminis
cence was justified by achievement.” All attempts, James wrote with a strong vei
n of Australian humour and cynicism that runs through his entire work—indeed all
his writing—“all attempts to put oneself in a bad light are doomed to be frustr
ated.”
Proust argued that, while nostalgic memories may not be accurate, the experience
of reworking memory traces can sometimes be even more powerful than the origina
l experience. Memory can give the past a definition and shape by creating a p
ersonally meaningful narrative out of disparate and often irrationally recalled
fragments. But one must be careful or the comment that the philosopher Santayan
a made about the Confessions of the famous Jean-Jacques Rousseau may apply to on
e’s own efforts; namely, that candour and ignorance of self were obvious in read
ing them—and in equal measure.
Some writers, Margaret Atwood among others, alert us to the criminal potential f
ound in reminiscence. The act of softening the past through nostalgia is not fr
ee from consequences, and these consequences have the potential to corrupt prese
nt and future society. This potential for corruption is linked to the postmoder
n notion of the past as a “hybridised discourse of varying modes” rather than a
“static fact.” While I don’t think my memoirs are significant enough to act as
a corrupting influence, I find this postmodern notion of the past as no ‘static
fact’ most apt.
Perhaps the historian Jane Welsh Carlyle was right when she said about autobiogr
aphies that: “Looking back was not intended by nature….from the fact that our ey
es are in our faces and not behind our heads.” One critic calls the personal m
emoir which many people write “a strange hybridization of the autobiographical g
enre" which is "seeking an intimacy with history that will give public meaning t
o personal identity." Looking backwards or forewards, I have certainly sought
intimacy in my writing, intimacy whereever I could get it: with people, with his
tory, with my own dear self. Perhaps understanding is a better word for me to u
se here, a more accurate word than intimacy. After decades of intimacy, of what
are often called deep-and-meaningful discussions and relationships, I settle for
and prefer understanding now. The understanding that I desire does not require
face-to-face contact, at least only a modicum of it as I head into these middle
years(65-75) of late adulthood.
I see this piece of literature, this autobiography, as released from "literatur
e" with its capital "L." I give it the broadest possible construction and set
of genres and media/mediums in which to find expression. I utilize texts fashi
oned from letters and essays, diaries and journals, memoirs and stories, oral na
rratives and songs, photographs and assorted memorabilia. Texts, for me, are ev
erywhere and the limits to the sources for study are only the limits of my imagi
nation. This now multi-volumed autobiography will be left one day in the hands
of my executors. While I am alive I leave this work in the hands of the new exe
cutors in cyberspace, site administrators and moderators, to decide what to do w
ith parts of my many-millioned word ediface of verbiage. I post sections of thi
s ediface all over the space in that wide-wide-world and at a few sites I post t
he whole editions.
Some autobiographers have little interest in the world outside themselves. One
autobiographer, Frederick Grove, once said to the French writer Andre Gide: "I f
eel the same need for lying and the same satisfaction in lying that others feel
in telling the truth." I am less disturbed by this egotistical propensity for
lying that Grove admits to because recent theories of autobiography ask us to l
ook at such writing from the same viewpoints as fiction. Grove had an obsession
with failure. This may have been due to his effort to write his autobiography.
He experienced the difficulty which all autobiographers face in trying to shap
e their experience. His sense of failure is, in part at least, due to the limit
ations of the genre he had chosen to write within. In the end, though, Grove p
asses the test for a memorable autobiography.
The test, writes Collins in her discussion of Grove’s autobiography, lies in a w
riter s ability to deal with life’s painful experience and to balance moments of
intense and unhappy living, the joyful times and the mundane, unexceptional pro
gress of daily events. Another test, although not one Collins refers to, but on
e I am consciously aware of as I write, is that the longer I have been away from
places like the ones where I grew up and the many towns I lived in as well as m
any of the people I once knew—the more I bring them with me into the present whe
n memory or circumstance presses the right button. What I bring into the presen
t is some mysterious amalgam of tranquillity and tension, honesty and imaginatio
n, fact and fancy, show and vapour, illusion and reality.
As a result of this amalgam, this enlargement, this diminution, this very wide-a
ngled-lens, this macro-photograph of a life what is considered worthy as social
history or of literary examination for the examination of this life, my life, ma
terials once thought valuable for only some narrow or not-so-narrow purpose can
now be examined by scholars from a multitude of perspectives if, of course, they
so desire. I have created a multilayered documentary to serve the expectations
of multiple-user-audiences. I do not seek personal popularity but future utili
ty by future readers by institutions and individuals associated with an emerging
world order, an order which may very well be the last refuge of the tottering c
ivilization I was born into and in which I lived my life over several epochs.
In the epigraph to Jonathan Swift’s Gulliver’s Travels we read: “I could perhaps
like others have astonished you with strange improbable tales; but I rather cho
se to relate plain matter of fact in the simplest manner and style; because my p
rincipal design was to inform you, and not to amuse you.”16 Of course, Gulliver
’s Travels was an improbable tale and the book was no plain matter of fact piece
of writing. My work, I like to think, both informs and amuses. I write this w
ork in good spirits having refused to be put down by the annoyances, misfortunes
and the perversities of the human race. But I write in solitude having become s
eemingly incapable of more than two or three hours of social life in these middl
e years(65-75) of late adulthood(60-80) in the lifespan. I also write winking
at my own littleness as people do at their own faults. But, while winking with
one eye I have fully opened the other to my sins of omission and commission whic
h I have perceived to be egregious on the one hand and on the other hand simple
imperfections and events that will neither alter the sun’s climb nor “embarrass
the seraphim ruefully yawning at their mention.”
By reifying my own sense of vocation and avocation and my impressions of pioneer
ing over four epochs, I can participate in both the short term and the long term
, in the twentieth-and-twenty-first century efforts by the international Bahá í
community to spred this new Faith to every corner of the planet and contribute,
in the process, to the planteization, the globalization, of humankind and the es
tablishment of the Kingdom of God on Earth. This participation has been taking
place on the internet for well-nigh a decade, 2001-2010, and by the time this wo
rk is published in hard-cover, if it ever is, I shall be long gone from these sy
llables of recorded time.
If experience is the name so many people give to their mistakes, I d had plenty
of that. My hope is that not too many readers will find these volumes of memoir
s unapproachable due to their length, their vocabulary, their overly analytical
nature, the absence of a simple and interesting storyline, the relative absence
of the traumatic conveyed in narrative form--society s violence and sex and mine
--the short supply of romance and the kind of adventure that readers have come t
o expect in a good novel or TV program. If I possessed the humour and masterly
narrative style of, say, a Garrison Keilor or a Clive James this work could be m
ore enchanting, hypnotic and funny. Sad to say, I do not. Readers will get wh
at they see here.
“What they see is what they get,” to use a phrase come into common parlance in r
ecent years Downunder. I am what I am and my style is what it is. My ruminatio
ns are rarely profound, never unique and at best, an original hotch-potch of stu
ff to satisfy me as I go along. Hopes and wishes are never quite enough to dete
rmine a polished and complete outcome, although they have helped me travel along
the road of life and of writing with a multitude of tasks completed, many a con
versation engaged in and sat through and a host of other experiences on a list t
oo long to outline in even the briefest of fashions here.
If one is to stay creative and remain tuned-in to the richness of being, of livi
ng, of reflecting and anticipating, as one must if one is writing one s autobiog
raphical story in the seventh decade of their life; and if one is not to yield t
o depressing tones of déjà vu, one has to admit it is often the fragment that of
fers an opening onto potential meaning. The fragment is imagination s stimulus
to the opening of windows. For things in their meaningfulness, address us in a
certain way. This is part of what we could call the realm of responsiveness, a
realm that is an encounter, an encounter that is essentially a linguistic relati
onship.
To put this business of the importance of the fragment another way: the anecdote
is a way of saying things that keeps the process fresh for the writer. But, in
the end, this writer needs vision, needs a big picture what is now called by som
e a metanarrative. But all is not words; poetry and thinking belong together i
n speech and in their devotion to the relation which is silent in all our speech
. Wallace Stevens expressed the wonder of the world and its shining by means of
the poetic word in the following lines of his poem "The Idea of Order at Key W
est:"
It was her voice that made
The sky acutest at its vanishing.
She measured to the hour its solitude.
She was the sole artificer of the world
In which she sang. And when she sang,
The sea, Whatever self it had, became the self
That was her song, for she was the maker.
Stevens knew that there is no world other than the one we create, the one of whi
ch we are the makers. And I have made a world here in this memoir. It is I who
did inhabit it and must inhabit it as I write and, as in the daily routine of l
ife, it seems to me that if there is no joy, no happiness, it is hardly worth th
e exercise. The fragment, in this case the sea in Stevens poem, does not deal
with wholeness, although it may contribute to the completed account. Only throu
gh the fragment can one have access to a way of being that is dynamic, pluralist
ic and self-regenerating.
To say this a little differently: lived experience is a critical shaping force i
n our lives. In some ways, this is only saying the obvious. Nobel Laureate Nadi
ne Gordimer writes in her introduction to the autobiography of Naguib Mahfouz th
at for him “life was a search in which one must find one s own sign-posts." Th
is we all must do; the statement hardly needs saying; it is so obvious. Here I
have put the stress on the fragment but vision creates reality and without visio
n the people perish. This writer would never have written without vision even if
that vision was one he acquired in his youth and has come to understand and fil
l in more fully with the years. Near the conclusion of “The Uncanny”, Freud rema
rks on the relationship between the uncanny and fiction:
“In the first place a great deal that is not uncanny in fiction would be so if i
t happened in real life; and in the second place…there are many more means of cr
eating uncanny effects in fiction than there are in real life.” There is littl
e of the uncanny in this work, although a future age may come to see some of wha
t is written here as mysterious and strange in a certain way, words which are pa
rt synonyms for uncanny.
We must, as well, find some mythogenic zone, some interior metanarrative through
which we can sift our own experience, learn what we are and achieve some degree
of unity with others. This unity is found in the context of a constant convers
ation between unity and disunity, a conversation in which juxtaposition plays wi
th omission and collision. At least that is the way I see and experience writin
g and its conversation with life. For literary artists both the struggle and th
e fulfillment of creative work consist in the transfiguration of matter and thou
ght into art. As James Joyce put it, the sluggish matter of earth must somehow
be transformed within the "virgin womb of the imagination." The flesh, to corru
pt the biblical phrase slightly, must be made word.
For writers, this transfiguration has always been especially difficult to effect
. Each tries in their own way with very different results. Words, after all,
are symbols divorced in a very direct way from the sources of their meaning and
power. While music has an undeniable emotive force, and painting a potency conti
ngent on mimetic qualities or the tangible interplay of visual rhythms and tones
, words seem somehow distant and vague, mute, flat, comparatively colourless, es
pecially to the minds and hearts of millions. After 50 years spent in classroom
s where, for success, students must engage with the written word I am only too w
ell aware of the difficulties masses of people have with printed matter. While
the dramatic arts, including dance, appeal to both the aural and visual faculti
es and have, besides, an emphatic, public immediacy because they are performed i
n the flesh, words speak softly, sometimes inaudibly, and are notoriously bad da
ncers.
In his autobiography entitled Words Jean-Paul Sartre describes how as a child h
e discovered that words gave him a sense of power and a control of a world from
which he felt divorced. The English poet Philip Larkin says much the same and
he credits his immersion in books to his short-sightedness. In my case I found
books and their contents a slowly maturing entity in my life. I read what I had
to read to pass exams and get through to the next grade. But life’s realities
were not to be found in books except by sensible and insensible degrees into my
teens and twenties. By my late twenties I had struck the gold-mine that was the
world of books. The last 35 years has seen print take off like a jet-aircraft t
hrough my private and public life. I was too busy teaching and dealing with peo
ple until I was 55 to really get into writing in any significant way. But I hav
e made up for this in the last decade(55-65), 1999 to 2009.
Writing became a psychological necessity for a complex set of reasons that I exp
lain elsewhere in this memoir. I did not sacrifice other things; other things
lost their previous charm or demand, their role and responsibility. I was able
to express my emotions and at the same time give them form and control as a poet
like Larkin did; I was able to find relief from fears and anxieties as Sartre d
id in his literary work. Unlike Larkin, though, I do not have a fear of death
nor his melancholy gloom; unlike Sartre I do not have his philosophy of atheism,
his massive literary output nor his tendency to construct a series of personae
to hide my real self and deal with a variety of correspondents. Still, I would
not like to experience my final years in the way Jonathan Swift put it in accura
tely predicting his mental decay. When Swift was about 50 he remarked to the poe
t Edward Young when they were gazing at the withered crown of a tree: "I shall b
e like that tree, I shall die from the top."
One of autobiography’s principal tasks is to evade the absence par excellence: t
o omit the death of the autobiographer. One must be alive to write. So while dea
th might impend over an autobiography, insomuch as that autobiography is a factu
al work grounded in the events of its author’s life, written, of course, by its
living author, it is obliged to omit the account of its author’s death. There is
always something in the author’s life which exists beyond the autobiography; th
e moment beyond the moment the author stops writing; the author’s eventual death
. To defer that post-autobiographical moment, and so to defer the moment of deat
h, all that is required is that one keep writing.
My autobiographical deferral, for more than one thousand pages, seems
positively death defying. But if the writing of the autobiography is an act of
death-defiance, so is my publication strategy. My autobiography was published i
n part beginning in 2004 on the internet. This publication sees the text end wit
h an author still writing in the first person and still in the present tense abo
ut my life. Anyone can read my autobiography from the age of 60 onwards. For eve
ry one of the autobiography’s readers, the death of RonPrice has not yet occurre
d; my death has no presence in the text. It is necessarily and, for the first re
aders commemorating my life, no doubt glaringly, absent, at the same time as my
death will render me absent from the world outside my autobiography. My autobio
graphy is not just a flight from my own death, I do my best to avoid the deaths
of others. My autobiography proclaims my pleasure for the event that celebrates
this most ubiquitous of absences. I also record the death of others from time
to time.
No matter how much we understand the dynamics of our situation, we still get hur
t and feel exasperated. No matter how strong our beliefs they must face the tri
bunal of our experience as a whole and this process is a daily one. In that tri
bunal analysis gives us the grammar for our concepts. But analysis is faced wit
h the conundrum that at each moment of life s becoming that moment escapes our a
ttempts to comprehend it. Life swiftly passes us by and thinking about these mo
ments often:
sicklies ‘o’er with the pale cast of thought
And enterprises of great pitch and moment
With this regard their currents turn awry
And lose the name of action.
This autobiography is an attempt to deal with my life’s enterprizes of ‘great pi
tch and moment’ as well as much of my ‘pale cast of thought’, my hurts, my exasp
erations, and before this tribunal gain some deeper comprehension of life’s expe
rience. In this last century of all the ones thusfar in the great human journey
we are allowed to grow up and grow old in more peace than in previous ages. If
we can learn to deal with those slings and arrows of outrageous fortune and our
own weaknesses and failings; if we can find medical cures for some of the more
egregious ills—in my case the severities of mental illness; if we can grow old
with our solitude and with enough companionship to take whatever negatives arise
in this solitude, the final years can be rich ones.
And so:
Quietly I close the door of my study
and tap away on these keys making
the world, its past and mine, one in
many parts. Perhaps the rain ushers
in the evening or the news and I fall
asleep before my hours of solitude
return and I can cautiously unfold,
emerge with every atom in existence
and the essence of all created things,
with a thousand deep and meaningful
conversations behind me, ten thousand
books and more jobs and towns than I
want to count or try to remember as the
dish washer and this pentium-4 hum in
unison around me and deep-down things.
Ours is a culture of the fragment, like life itself, and the Bahá’í Faith is a c
ulture of the unity of fragments. Like the baroque, the postmodern--our world--
shares above all a taste for mixing, palimpsesting, hybridization and discontinu
ity. Some of the distinct features of both the baroque and the postmodern are:
self-irony, self- parody, saying one thing and meaning another, a rejection of s
tatic definition, ambiguities of definition, a constant or at least a periodic,
crisis of identity which people seem to have to go through, a sense of incomplet
eness in which the culture and the individual are never fully capable of explain
ing themselves. But many try and the intellectual air is full of voices.
As much as I make an effort to frame this memoir in the context of a grandnarrat
ive, a metanarrative, I feel that I am far from achieving such an accomplishment
; indeed, the claim is in itself somewhat pretentious. I do not achieve any whol
eness even though occasionally I am moved to make such a statement. I do not gr
asp the ultimate nature of things even though I might have such an ambition; one
needs a certain degree of shamelessness to be able to claim, seriously, that on
e can capture the whole truth about the world in one’s oeuvre. In a letter to B
enjamin Bailey musing on the mechanics of memory, the poet John Keats asserts th
at: “the simple imaginative mind may have its rewards in the repetition of its o
wn silent working coming continually on the spirit with a fine suddenness.” Thi
s may be the sort of wholeness I achieve as well.
Some of the distinct features of the Bahá’í Faith are its spiritual history, eve
rywhere unfolded in the manner of a new and a single symphony, in a grand fortis
simo now, in our time, with new harmonies and dissonances, irresistibly advancin
g to some kind of mighty climax out of which another great movement will, in tim
e, emerge. I have always enjoyed a quality that I think it is useful for write
rs to have, namely, a sense of history. This sense of history emerged insensibl
y and sensibly in my late teens in reading Bahá í history, especially God Passes
By by Shoghi Effendi, and studying history at high school and university: at le
ast this was part of the start, part of the emergence and now, at the age of 65,
this sense of history has a half a century, say 15 to 65, of development in my
life.
Some writers have this sense of history and some don t. The American writer F.
Scott Fitzgerald who wrote between the two wars had it. Some writers, like Cli
ve James, are perhaps most brilliant on the subject they know best: themselves.
I came across that clever turn of phrase in a review of Clive James’ three volu
me memoirs published between 1980 and 1990. I’ve enjoyed James on many other su
bjects beside himself for he is a man of remarkable erudition in the arts: at le
ast some of the social sciences and humanities. He is certainly more well-read
than I am, more humorous and witty. He is a useful mentor, among the many I hav
e borrowed and stolen from, for this memoiristic exercise.
I lived my life in the shadow of the shattering legacy of Nazism and Communism,
the two totalitarian movements that had a profound affect on and overshadowed th
e 20th century. Both these movements illustrate the dangers posed by ideologies
that try to reduce the world’s dazzling complexity to simplistic formulas. I s
ometimes come across superficial analyses of the Baha’i Faith that impute this f
ailing to this new world religion. My experience of more than half a century in
this new world religion would suggest that, while there is a simplicity to this
new Cause, part of the difficulty of working within it is, in fact, its dazzlin
g, and often frustrating, complexity. Getting a handle on the Bahá í Faith is no
mean achievement. The preciousness and fragility of humanism, indeed, of life
itself, as a cultural, an existential reality is, it seems to me, mirrored in t
his Faith.
By my late fifties and early sixties I had become what Robert Scanlan in his rev
iew of Susan Sontag s play Alice in Bed called a graphimaniacal phenomena. I t
urned all of my minutest experiences into words-about-experience. My experience
had become much like that of Marcel Proust who transmuted his life, during the
years he spent in his cork-lined bedroom, into an all-but-endless narrative disc
ourse that could and would be cut off only by his death. Some consider Proust
s death a mercy. Perhaps mine will be as well. I would not want to last too l
ong.
In quite another sense the now fashionable metaphor "the death of the author" ha
s come to characterize the modern condition of fiction. The French literary crit
ic Roland Barthes argues that a person’s writing and the person are unrelated.
The method of reading a text that tries to connect the two may, although appare
ntly tidy and convenient, is actually sloppy, flawed and results in a tyranny of
interoperation. A text s unity lies not in its origins, its creator, but in i
ts destination, its audience. Without the meditative background that is the cri
ticism of certain members of that audience, works become isolated gestures, ahis
torical accidents and soon forgotten. My work, my memoir, has received some cri
ticism, some feedback at many internet sites, but it remains largely a work of i
solated gestures in the big marketplace of our brontisaurissmus society.
The historical Alice James, Henry James sister, on whom the play Alice James i
s based, left no doubt that she welcomed the literal death that would bring her
acute physical and emotional torments to a close. I, too, will welcome my lite
ral death for different reasons than Alice James and I leave to readers whatever
meaning they derive from this now far too long memoir.
This work I like to think, although I may be somewhat presumptuous in thinking s
o, has some similarities to Virgil s Aeneid, Rome s national epic written in the
years 29 to 19 BC. Just as Virgil s work envisaged a golden age so does this w
ork; just as his work was permeated with the lack of reconciliation in the new R
oman Empire just formed, so is this work permeated with the tragedy of the slown
ess of response of humanity to the Revelation of Baha u llah, the slough of desp
ond and the social commotion at play on the planet, the troubled forecasts of do
om, the phantoms of wrongly informed imaginations at this crucial turning point
in history, a turning point represented by these four epochs. As Virgil s Ecolo
gue opened up new perspectives, I like to think this work will do the same. Some
read the Aeneid with an optimistic view and others have gloomy readings. Inspi
te of my own forecasts of gloom and doom, I see my work as essentially positive,
optimistic and with a view that sees a bright future for humanity. When Virgil
wrote Rome was at the start of an empire, a system, a new order, and Virgil was
preoccupied with the notion of unity as were the Romans after a century of wars
and violence.
I see myself as writing in the context of "the first stirrings of that World Ord
er of which the present Administrative System is at once the precursor, the nucl
eus and pattern." As the Romans needed insight into their predicament not clev
erness, so is this our need. As I live and write in Australia I sometimes thin
k that the essentially comic spirit of the Romans has been passed on by history
s circuitous forces to the Australians. As I watch decade after decade of enter
tainment dispensed by the print and electronic media, I can t help but agree wit
h that delightful American critic Gore Vidal when he says that laughing gas is p
umped into the lounge room of Australians, indeed all western countries, on a ni
ghtly basis. I suppose if you are going to go down, you might as well do so lau
ghing. In the end, I must say that I am no Virgil and this is no Aeneid even if
I make some comparisons and contrasts.
In my early adulthood I was critical of the endless private pleasure, of the mat
erialism and hedonism of my society but with the years, and certainly with the o
nset of late adulthood, I came to appreciate what Thomas Hardy called the "inst
inct toward self-delight." Some have this quality with an exuberance that bubbl
es up. I have more delight now that I only have to deal with some of the pains
and pangs associated with bi-polar disorder, with the idiosyncrasies of people i
n groups and some of my incapacities for dealing with a wife and children. I do
not have to concern myself with any associated with full-time work.
As you, dear reader, move through the words, the fragments, the volumes of this
work, you will think, dream and analyse with me. You will contour yourself to t
he disjunctures, inconsistencies, ambiguities and contradictions inherent in the
language of my therapeutic and non-therapeutic forum. Know that here in these
words-of-suffering, words-of-compassion, words of simple and complex thought, my
psyche is attempting to draw you through a labyrinth such that you begin to ref
lect on your own frustrations, doubts, duplicities and suspicions in regard to t
he inexhaustibility of interpretation on the many fronts of your own lives.
It is my hope that you will begin to recapitulate with a more finely tuned exact
itude, the play of subtleties and pluralities found in the texts of your own liv
es--texts and lives which have all too often been dismissed as societally and th
erapeutically irrelevant or simply not thought about by you and by others. I w
ould like to think that, as a result of reading some of the things here, the mea
ningfulness of readers lives and their phenomenal existence will take on a heig
htened significance. One can but hope.
Perhaps these same readers will relate and behave in a different way than they h
ave in the past after they have read this work. If understanding does not incre
ase, perhaps my words, as Wordsworth says, will "uphold, and feed, and leave in
quiet, like the power of gravitation or the air we breathe." So many of the wo
rld s words serve, he says, as "a counter-spirit, unremittingly and noiselessly
at work to derange, to subvert, to lay waste, to vitiate, and to dissolve." Ma
ny of the world s words are simply lost in history s vast abyss due to disintere
st, the burgeoning of print and the tempest that is the time we live in. I m c
onfident that this will be the case for this work among the great multitudes of
humanity. A coterie of influence is the best I can home for.
Perhaps, to put it another way, this work will serve as a catalyst of and for in
tellectual complexity. My work is essentially what the famous architect Frank L
loyd Wright s was: "a creative and cathartic exercise in selective memory that r
eveals as it conceals." Unlike Wright s work, mine is not a composite of truth
and lies. Both my memoirs and Wright s were published in our mid-sixties; the
y are not psychobiographies although they provide tantalizing clues to our psych
ological development for anyone who is interested. Some of the complexity I re
fer to derives from this developmental process and some derives from my tendency
to explore and define myself in the context of my society and my religion. To
put this another way, these memoirs are but a version of my society s narrative
and the narrative that is my religion--the Bahá’í Faith. These memoirs fashion,
discover, recreate both my society and my religion through the collyrium of my o
wn life. This collyrium allows me to steep a wide variety of subject matter in
the hues of my own individuality without using that individuality as a means of
self-display. At least that is the way I see it, although I’m sure there will
be others with different views.
Throughout my entire work I try to avoid recording my unfavourable opinions of m
any of my contemporaries both within the Cause and without. If I do voice a cri
tical view of someone, readers will have no idea of who that person is or if my
view is held by someone else they knew personally. This, it seems to me, is one
of the many aspects of dispassionate discussion. I would like to think and, in
deed, I have tried, to ground my criticisms of others and their views in facts t
hat they would be unable to deny. Some readers I’m sure will find find that th
is orientation of mine to the faults of others, to what I see as the facts of pe
ople’s lives have an exasperating facticity even if I make no specific allusions
to individuals. Given the complexity of what constitutes a fact and given the
immense quantity of the availability of facts in the marketplace of ideas and v
alues, beliefs and opinions the whole process often results in readers having no
idea of whom I might be talking about at any one point in my memoirs. My comm
entary on specific individuals simply gets lost in the grey wash of life and tha
t is the way I want it.
In literary criticism the crucial New Critical precept of the intentional falla
cy declares that a poem or, indeed, any piece of writing, does not belong to its
author. Rather the work is detached from its author at birth and goes out into
the world beyond the author’s power to interpret or control it. The prose or p
oem belongs to the public. The oldest profession, some say, is the poet or sto
ryteller and the second oldest is the critic or interpreter.
Both my society and my religion are but a soft wax and I must shape them as if I
am installing a window into my own life. Perhaps it is the other way around an
d I am the soft wax which must be shaped or; again, perhaps the entire phenomena
l reality is necessarily and unavoidably soft wax. These memoirs, whether wax o
r not, are a focalizing literature which takes a distinctive culture, a set of b
eliefs and ideas and writes them in individual characters, providing a privilege
d access to my own life, a moment in both my society s lifeline and the four epo
chs in the life of my religion. Over a lifetime my identity has certainly been l
ike soft wax and this memoir is unquestionably concerned with identity. Complex
ity is but another name for identity and it is both problem and solution.
I do not want to indulge in overenthusiastic gestures and promises to readers in
these pages. I recognise a certain untidy preference on my part for proliferati
on over prudence in my setting out of argument and concept here. The territory
is difficult even if it is only my elaboration of a life, a society and a religi
on which has been part of the air I have breathed for over 50 years. There has
come to exist in recent decades a bewildering range of disciplines in which mode
ls of memory are constructed and criticized and I do not want to discuss in too
much detail this massive milieux of literature and ideas, although I do my share
of dabbling. I do not cavalierly sweep exceptions and qualifications under the
rug as I go about recalling all that I have experienced and analysed.
The Baha’i community and the secular society I describe both cover millions of i
ndividuals with the most diverse sensibilities. Their experience is a protean o
ne and what individuals choose to marginalize or centre from their direct and vi
carious experience, from their beliefs and values, attitudes and meanings is inc
redibly diverse. My intent here is to present what I like to think is a balanc
e between the memory of my society and the Baha’i community on the one hand and
to draw on my own idiosyncratic view of history, mine and others. This whole exe
rcise interests me only insofar as it serves living. There is a degree of doin
g history and a valuing of it through which life atrophies and degenerates, as N
ietzsche said in the opening paragraph of his On the Use and Abuse of History Fo
r Life. It is my hope that there is little atrophication and degeneration as I
go about bringing one life to life.
Writers inevitably have hopes for their work. And my hope is that my words will
serve as a conduit. Once readers get into my book and find some interest in th
e world I describe and detail, with its troubled times, its themes and personali
ties, I trust their tastes will be whetted sufficiently to read -- or at the ver
y least skim -- on and on through the labyrinth of its 2600 pages. This epilogue
to my epilogue is one final reflection on my life, my work and my religion. I h
ope this reflection is not too complex for readers. As diverse and as apparentl
y fractured as it all is, it is umbilically connected in one body and from it, i
n time, I trust a living and breathing entity will emerge for the reading public
. The sifting and winnowing of my life s experience, swimming as it has in man
y and different amniotic fluids, has taken place over many years.
One aspect of what seems to me to be a major shift that millions could outline b
ut which I as a Baha’i place in the context of my Baha’i experience begins with
the historian Jacob Burckhardt. He writes that in the Middle Ages “man was cons
cious of himself only as a member of a race, people, party, family—only through
some general category.” He goes onto say that this consciousness melted in the
Renaissance which for convenience I will say occupy the two centuries from 1300
to 1700. It seems to me this consciousness has been for many, and certainly for
many Baha’is, recreated. Added to it is the consciousness of the individual eg
o that is not subsumed by the group. Sometimes this consciousness is called indi
vidualism.
The poet Byron expressed the view that his writing derived from a painful intens
ification of self and the desire for relief from it. To withdraw himself from h
imself, to be relieved from what he saw as his "cursed selfishness," this was hi
s sole, his entire, his "sincere motive in scribbling." While I find there is
some truth in this explanation for the origins of my writing, there is so much
more to it; indeed, the raison d etre for my writing is quite complex. It is
a subject I have gone into from time to time throughout this memoir and I feel t
he need to expatiate on it to touch the motivational matrix, the explanatory fra
mework, for why and what I am doing.
Writing as I do here may be an escape from self, but it is also a royal road to
selfhood. This work also negotiates the relationship between self and community
in both the Bahá’í Faith, the nations I have lived in, Australia and Canada and
the international community, the planetary civilization of which I am but one p
art. This exercise in negotiation is also a source of the complexity I refer to
above. There seem to have been many different impulses at work in these volumes
.
I often think that the seeds that germinated into this memoir fell in my youth,
if not before and I take consolation in the slowness of its production. Perhaps,
as Rodin once wrote, "slowness is beauty." In the dance of life, in the growth
and development of my personal life and the Bahá’í Faith, slowness is one of th
e essential roots of any achievement that I have observed. Civilization s devel
opment seems inversely connected with rapidity, with the speed of the process.
And still, however extensive this book has become, it is still incomplete, still
unfinished, still unrounded and unpolished. It will soon be published as it st
ands without regret or remorse in whole and in part on the internet. I have lef
t my regrets and feelings of remorse to my life and I have had plenty of them in
the sixty-six years since my conception in October 1943.
Readers will carry on this work as it stands before me and as it stands before t
hem as they read the text. They will find a veil which covers both my worked an
d unworked material. They will find, too, that my work is like an opal that nev
er appears the same twice or, as Heraclitus might have put it, the reader will n
ever step into the same book twice and my book changes with every word I add and
would be different, so different if I wrote it again. This book remained laten
t, unconscious, concealed within my own soul until the age of 60. I m sure for
some, if not many, this memoir will be a shock since it is such a manifest reve
lation of self. I anticipate that it will knock again and again at the closed d
oors of people s hearts and like some importunate stranger I will be asked to go
away. I like to think that eventually I will be let in because what I write is
not only about me, but about my readers. As Bertrand Russell once put it "eve
r so many people are just like" me. If there are any abnormalities I exhibit, I
also share them with millions.
My essays, my books and my poetry are all prompted and sustained by a sense of p
ower to which writing itself gives access. These literary forms dramatize my ef
forts to contact the sources of that power and to gain the knowledge it permits.
It is a contact that can easily be discouraged by the cynical frame of mind of
modern man and so I must cut through this cynicism by means of a literary, a po
etic, effort, a knowledge that is not inhibited by society s phantoms of a wrong
ly informed imagination and by the beliefs and attitudes of the masses who are i
ll-equipped to interpret the social commotion at play throughout the planet.
The more positive frame of mind found in modern society is often one which is de
sperate to believe that through some fortuitous conjunction of circumstances soc
iety will find it possible to bend the conditions of human life into conformity
with its desires. The masses for the most part have missed the nature and the
meaning of the great turning point of our time, a turning point I go to great l
engths to throw light upon in this work. The words of John Stuart Mill echo thr
ough the lives of millions of my contemporaries: “I am thus one of the very few
examples in this country of one who has not thrown off religious belief. I never
had it. I grew up in a negative state with regard to it. I looked upon modern
religion exactly as I did upon the ancient religion, namely, as something which
in no way concerned me.
This sense of power which writing gives access to is a fundamental energy of bei
ng. To put this abstract process a little more concretely words are incidents i
n the mind. But however significant or meaningful these incidents are, however
much they extend experience, I do not elevate or arrogate to them or to myself a
ny sense of authority. These words possess for me a vitality, the same displaye
d by the natural world which my writing examines and celebrates; it is the energ
y of human apprehension and understanding, granted by the combined forces of rea
son and imagination or rational imagination; and it is, for me, the transforming
energy of the Baha i Faith. The creative word, which at different points in my
spiritual and intellectual journey, I would have expressed as the Greek logos,
a magical spell or invocation, a prayer and, more recently, theothanology in con
trast to Christology as The Word — generates a power, a leaven and conveys a wis
dom, a noetic integrator, some central mechanism which allows me to separate tru
ths which are perennial from those which are archaic and to possess a poetic vis
ion which enjoys some fixed point and a wisdom that is eminently practical. I h
ave come to see my life as one long transition or bith of a self into a moreexpa
nsive, more comprehensive and more advanced learning experience. At death, I bel
ieve, that this experience will continue unembumbered by the veiling effects of
physicality.” Herbert Spencer, an agnostic philosopher, concludes his autobiogr
aphy with a non-biblical olive branch held out to the metaphysicians: “Thus reli
gious creeds, which in one way or other occupy the sphere that rational interpre
tation seeks to occupy and fails, and fails the more, the more it seeks, I have
come to regard with a sympathy based on community of need: feeling that dissent
from them results from inability to accept the solutions offered, joined with th
e wish that solutions could be found.”
In the process of writing this memoir I became more conscious of something that
had struck me from time to time over the years but the business of life prevente
d me from plumbing its reality and significance; namely, the fact that every hum
an creature is so constituted as to be a profound secret and mystery to every ot
her. Albert Schweitzer put it a little differently in the epilogue of his autobi
ography: "the world is inexplicably mysterious." Martin Buber s words that "Onl
y men who are capable of truly saying Thou to one another can truly say We with
one another also contain the gem of a hidden wisdom. Buber says there is an es
sential distance for all of us, barriers we overpass not, in all our relationshi
ps. But this is a topic too extensive to pursue here.
It is a solemn consideration that when I walk along the street in the small town
where I live at night, or when I enter a great city at night when the traffic h
as died down and the lights brighten and soften the landscape, that every one of
those darkly clustered houses encloses its own secret; that every beating heart
in the hundreds of thousands of breasts there, is, in some of its imaginings, a
secret to the heart nearest to it! In any of the burial places of this city th
rough which I pass or in my own small town there lies a sleeper, a body, more in
scrutable than its busy inhabitants are, in their innermost personality, to me,
or than I am to them. The brain, my brain, is really participating in a metaph
ysical activity, an activity which creates ideas and theories, and I must conclu
de that a metaphysical reality must exist. This reality is not an illusion as ma
terialists like Mill assert. This metaphysical relaity, this spirit, this elan v
ital, this life-giving sustence emanatges from God through the Holy Spirit. Th
e refinement of my character and taking part in meaningful social action is part
of my inherent desire to know reality and expressing my acquired knowledge in c
reative action. this process, I believe, fosters my soul’s advancement.
In Shakespeare s play Hamlet the performance of thought, thinking, takes places
in the form of inaction, of delay. The play is about a man who thinks. Hamlet
s disposition to think and his indisposition to act, his intellectual activity a
nd his aversion to action is at the centre of the play. We have here a man pro
ne to thinking who seems incapable of acting and proportionally the more he thin
ks, the less he acts. Psychological readings of the last two centuries have bl
own plot and genre out of the play’s critical waters. Readers have internalized
the focus on character so that delay is not a plot device but a symptom of psyc
hic conflict and the conjunction of the tragic and the comic heightens not socia
l division but psychic conflict.
This memoir is, in some ways, about a man thinking. This introspectivity to me,
though, is but another form of action. As I see it, "we can no longer separate
the active and the contemplative facets of our lives. Practicality and mysticis
m possess a oneness of vision and form." So too is this true of smooth surfaces
and the ruffled edges in life. They both can be pressed into cultural and auto
biographical service and they are inherent parts of the warp and weft of one s l
ife. I am currently, in these years of late adulthood, deeply involved in actio
n. And those who have ascended, it is my belief, “labour to assist me in this wo
rld.” I have been praying for their intercession for some thirty years and th
ey have been praying for me. Such is my belief, my assumption . Will emanates fr
om soul. This memoir is an example of the knowledge of self and it is, in the ma
in, an inherent gift. This power of will shapes my destiny for good and ill. In
the process, although I seem to have little to no control over the path my life
takes or what tests and calamities befall me, I do have control over how I will
respond to my circumstances. I can find out how well I am doing, to some exte
nt at least, by means of the guidance and standards set forth in the authoritati
ve Bahá í texts as I aim to awaken myself to the truths governing the total inte
gration of the physical and spiritual aspects of reality.
Poets and writers often interpret criticism of their poems, their works, as crit
icism of themselves. It is for this reason among others that I prefer a more ge
ntle form of critique that the one taken up by Charles Dickens. He observed tha
t criticism “means saying about an author the very things that would have made h
im jump out of his boots." Too heavy for me, Charles. The approach I take to c
riticism of others, and the one I would enjoy being taken to my work, is the one
based on Matthew Arnold s precept of letting the mind play freely around a subj
ect in which there has been much effort to understand. I have certainly taken
much thought in creating and outlining a perspective on my life and I have enjo
yed the free play of other minds and their perspectives in my effort to understa
nd.
The relative dearth of autobiographical writing in the Bahá’í community and the
virtual absence of any formal criticism of it has not been a serious problem. I
t is emerging slowly but surely in these four epochs. If Virginia Woolf is righ
t in saying that autobiography is the only literature, I have finally achieved m
y writing of a novel. I am conversant with the events of my life and my motiva
tions more than anyone else, with longer-term and immediate causes of those even
ts, with the psychological motivations for my actions, with the most tortuous me
anderings of my spirit and I often feel the need to suspend my story to go into
the equally tortuous meanderings of analysis. I do this not so much to remind m
y readers of some ubiquitous wisdom that I may possess, but to give some socio-h
istorical context to those events. Like Freud I tend to the view that noon can
really know or explain another man s life and especially “the riddle of the mira
culous gift that makes an artist” and “the value and the effect of his works.”
But this memoir has a chance of describing and explaining the riddle of my own
gift.
I hope my technique, my approach, my process of extended analysis, enlivens my s
tory and adds new levels of interpretation. The greatest ambition of any novel,
it is sometimes argued, is to give the illusion of life itself. In my memoir I
create no illusion but try to deal with life in the raw, as it were, with thick
coatings of what I aim to provide: invigoratingly brisk analysis and phrase-rel
ishing. One can but hope. Writing a memoir resembles Samuel Johnson’s understan
ding of the futility of any attempt to chisel the English language into stone.
It is like chasing the sun: one never quite reaches the destination.
Inside Ian Fleming’s famous and adventurous, fictional but successful, James Bon
d 007 there is something that is very much dead. The world is not enough; lif
e has not been enough. Bond lives for the adrenaline, the rush and the lust, but
he has found no true meaning. He is a disturbed soul whose loss would be natio
nal and global, but will leave no one devastated beyond words. Somewhere along
the line of my life I found that adrenaline, that rush and lust but I also foun
d true meaning. Although others may have seen me as a disturbed soul, and indee
d I was when my bipolar disorder was untreated, I felt far from disturbed and as
I write these words at age 65 I feel tranquil and at ease. Still the world wou
ld experience no loss on my demise. James Bond created a market that was nation
al and global even if no one was devastated beyond words on his demise, it did e
xperience a sense of loss.
I am probably more guilty than most autobiographers of making what might be call
ed autobiographical intrusions about my life, intrusions which fit poorly into d
iscussions of the many issues and societal problems that I survey with my wide-a
ngled lens. I hope my series of memoiristic volumes have the flavour of more th
an just some simple exercise of dabbling on the edges of the unimaginable horror
s of my world, my society, on the one hand and the unbelievable advances of that
same society on the other, during these four epochs. And of course the whole n
otion of "truth" in writing is vexed. Some argue that it is actually far easier
to be truthful in fiction than in anything that claims to be autobiography, wit
h its inevitable evasions and omissions. That may be the case—but this is autob
iography with those inevitable evasions and omissions—an artistic form, a techn
ique that I can not explain.
Autobiography, like the novel, is poised between the direct speaker, singer of a
lyric or performance reader on the one hand and the direct presentation of acti
on in drama on the stage, on TV or in the movies. It is poised as well between a
n allegiance to reality and to some moral or ethical ideal. It is capable of g
reat extremes, great imperfections and it is difficult for any single work to de
al with it. This is as true of the life it describes as the descriptive process
, the writing, itself. Perhaps the greatest autobiography attempts to do the mo
st, but this is an arguable point for there are outstanding autobiographies that
are brief. Autobiographies provide opportunities for cautious success and glor
ious failure. I am told it is the most popular form of literature. I would ver
y much like this work to be popular but, as I have expressed on several occasion
s in this book, I think it quite unlikely. Perhaps I will be surprised.
The autobiographer is somewhat like the biographer whom Diana Solway describes i
n her recent biography of the famous dancer Nureyev. Not only do I have to go a
head of the rest of the population, as Solway says the biographer does, but it a
lso may be that my feet may tread on literary paths which no one else in the end
may walk. Popularity or even a minority interest is not guaranteed. Like the m
iner’s canary which tests the atmosphere, the biographer and the autobiographer
both try to detect falsity, unreality and the presence of obsolete literary conv
entions. I indulge in the pleasure of language and the imagination, in the act
ivity of creating narrative and of reminiscence and, it is obvious to me, of ego
tism.
The kind of criticism of my work that would benefit both me and others, is one t
hat deals with the whole work of scholarship and taste that is concerned with li
terature and is a part of what is variously called liberal education, culture, o
r the study of the humanities. Criticism is itself a structure of thought and kn
owledge existing in its own right, with some measure of independence from the ar
t it deals with.
There is no real correlation between the merits of art and its public reception.
Criticism can talk but all the arts are dumb. In painting, sculpture, or music
it is easy enough to see that the art shows forth its wares, but it cannot say
anything. However surprising it sounds to call writers and poets inarticulate o
r speechless, there is a most important sense in which their essays and poems ar
e as silent as statues. I would apply the words "mute," "dumb," and "wordless"
to what I write. The artist, as John Stuart Mill saw in a wonderful flash of cr
itical insight, is not heard but overhead. If my writings come alive it is in
the reactions of readers. If they do not, they remain dumb and mute.
However loudly some poets, for example Rabindranath Tagore, proclaim the poem to
be separate from the poet, people respond to poems as if they are real people s
peaking. Perhaps this is why the general response to poetry is minimal for the
response to real people is also, to a great extent, minimal. I became conscious
of this at the start of my massive production of poetry in 1992-3. For more th
an a decade I had written a good deal of awfully complex stuff and some readers
told me so. In those ten years, too, I had written a first edition of this memo
ir, but it was so tedious, so boring, I could hardly bear reading it. I was mor
e than a little conscious of Tolstoi s remarks that: “an artist teaches far more
by his mere background and properties, his landscapes, his costume, his idiom a
nd technique—all the part of the work, in short, of which he is probably entirel
y unconscious, than by the elaborate and pompous moral dicta he fondly imagines
to be his opinions." This background and its properties had to be changed.
The poetical, the memoir, is personal. There is no getting away from it. When
a reader has an aversion to a poet s style that aversion, it seems to me, is par
tly an aversion to the personality that style presents. Style, it is often said
, is the man and, even if style is different for each poem or each edition of a
memoir, as I like to think is the case with mine, a man s style like the man him
self is not always liked by all. "The most perfect development of style," wrote
the Canadian poet Archibald Lampman, " must be sought in those whose experience
of the world has been full and at the same time in the main joyous and exhilara
ting." "Full" is a relative term and "in the main" is difficult to define prec
isely: 51%, 75%. It would take some time to discuss the full implications of som
e of these elusive terms.
When Nijinsky wrote his autobiography in 1918-19 he was writing about what had b
een a very full life, indeed one that was both joyous and exhilarating. It was
not published until 1936. Perhaps the greatest ballet dancer the world had ever
seen had his memoir published right at the start of the Baha’i year of planning
before the implementation of the first teaching Plan. The greatest drama, the
first formal teaching Plan in the world’s religious history was about to be laun
ched. It was a dance of a different order. Nijinsky wrote his diary while he w
as “experiencing extreme mental agony.” For six weeks in early 1919, as his tie
to reality was giving way, Nijinsky kept a diary--the only sustained daily reco
rd we have, by a major artist, of the experience of entering psychosis. In some
entries he is filled with hope. My diary, my memoir, my autobiography was writte
n after my mental illness and whatever agony was associated with it was finally
and fully treated by stages from 1968 to 2002.
Some writers, biographers, produce as part of the studies that arise after the p
assing of some individual, an account of the key actions, people, places, events
and actors in the lives of those individuals. Such literary texts often draw o
n other copious or not-so-copious biographical works as well as published letter
s, manuscripts and the many genres of writing from the lives of said individuals
. The study of the specialized and often impressive range of topics in the life
and works of some individuals--and in the case of poets for each of the major/m
inor poems and each of their prose works--are unquestionably useful but only to
those who are interested in the subject matter. I leave to posterity the creati
on of such a text or texts on my life. And, if such a text is ever desired, I ha
ve left my creations, of whatever quality they possess, in at least a reasonable
order. As I have indicated before and as Mark Twain noted in his autobiographic
al writing, most of the details of day-to-day life are left out. As I chronicle
my pioneering moves, my family s comings and goings, my jobs, my relationships,
inter alia, I do not, for example, itemize the hotels I stayed in, the parks I
played and walked in, my lodgings and their decor, the endless lists of costs, e
xpenditures and excursions, my favourite haunts and on-and on--one could list so
many of life s trivial and not-so-trivial details, all with quite profuse descr
iptions if one so desired. But to what purpose?
Perhaps I should use the term, the word, praeterita, for my memoirs. This was t
he title the art and social critic John Ruskin(1819-1900) gave to his autobiogra
phy (1881-86). There is an inevitable degree of defeatism when one writes autob
iography, defeatism before the enormity that is one s life. Ruskin knew this an
d hence he gave his memoirs the title Praeterita. Emblematically, this title re
presents not only ‘things past’, but also ‘things passed by’ and things left out
. Ruskin s work was largely an intellectual portrait and he was more than a lit
tle conscious that much of his everyday life, like the life that John Stuart Mil
l recorded in his autobiography, was omitted. It was, he wrote, "a dutiful off
ering at the grave," but very much a partial account. Mine, too, is a very par
tial account. I would have liked to leave readers with deeply affecting and aff
ectionate portraits of my relationships to: my mother, my father, my grandfather
, each of my two wives, my one son, my two step-daughters and even my two step-g
randchildren. Perhaps the reason I have not is that these relationships were no
t sufficiently affectionate. Some of these dear souls who have been so important
in my life in different ways deserve some memorializing and they do receive ‘so
me’, but nowhere near in the proportion they deserve and in proportion to the im
portant parts they all played in my life, little do they know and, perhaps, litt
le do I know.
Ruskin s intellectual portrait was quite unlike Mills for Ruskin saw all the fa
cets of one s life as part of a complex unity in multiplicity, a multiplicity of
visual experiences. Mill s, published in 1873, was more the thoughts of a think
ing man, a philosopher. For me, I leave a text, an oeuvre, a corpus, with soci
ally and politically edifying aims and I leave to posterity whatever speculation
on my tastes and predilections it may want to entertain and whatever meticulous
research it may want to undertake in order to create, what for them, for some f
uture generation, is a more intelligible narrative.
A certain innovative ability is required to collect and organize the random deta
ils of reality over a lifetime into a comprehensive vision. I have tried, but I
honestly do not know how successful I have been. I am far too close to my work
to provide such an assessment. If I have given readers both conceptual stabili
ty and narrative coherence it is due as much to serendipity as to any planned pr
ogram. It is also due to a view of poetry and writing similar to Ruskin s. "Poe
try is the overflow," Ruskin writes, "utterance, or projection of the thought an
d feelings of the poet; it is defined in terms of the imaginative process which
modifies and synthesizes the images, thoughts and feelings of the poet…it is the
internal made external."
It is a book which contains as in a teaspoon or several teaspoons the essence of
those waters from which the many-coloured fountains of whatever eloquence, exho
rtation, wisdom and understanding I have learned spring. So often these qualit
ies go out the door in times of crisis and the wisdom literature that has been p
art of my life for over half a century seems, so often, of little comfort. So of
ten, too, in this culture of irony, contradiction and paradox people say one thi
ng and mean another. The picture of life and living has an inordinate complexit
y beneath a superficial simplicity and pragmatism. This poet, I sometimes think,
far from conquering his fear, has become prey to an unsparing and savage awaren
ess of life’s brutality and his terror of his own temper. This serves as his pr
otection.
I do not enslave this narrative work in minutiae and any excavation desired by f
uture historians I leave entirely to them to fill the gaping holes in a life and
its unnumbered hours. I could if I so desired, for example, present an inadvert
ant hodgepodge of primary sources, prolonged excerpts from letters, from journal
s, from an undifferentiated and differentiated mass of the chattering voices of
these epochs, voices I enjoyed or had to endure, voices I learned from and voice
s which filled the air with sound and little else. I feel I have given enough o
f these things to readers, enough to suit my tastes, if not those of my possible
future readers.
I like to think I have accepted the limits of the possible in drawing on the sev
eral genres in which I have written during the last several decades. I have onl
y touched on lightly the massive wisdom literature available in the Bahá’í writi
ngs and the writings of other faiths, sacred and secular. Since childhood I hav
e been comforted by the wisdom of the Bahá’í teachings, but I have not quoted fo
rm them here to anywhere near the extent they have assisted my passage through l
ife.
What I have done is not dissimilar to the autobiography of Henry Adams. Entitled
The Education of Henry Adams it is much more a record of Adams s introspection
than of his deeds. It is an extended meditation on the social, technological, po
litical, and intellectual changes that occurred over Adams s lifetime. Adams co
ncluded that his traditional education failed to help him come to terms with the
rapid changes of his lifetime: hence his need for self-education. The organizi
ng thread of the book is how the "proper" schooling and other aspects of his you
th, was time wasted. His autobiography is a description of his search for self
-education through experiences, friendships, and reading.
The Education of Henry Adams purports to be the autobiography of Henry Adams(183
8-1918). It in fact records the author s struggle, in early old age, to come to
terms with the dawning 20th century, so different from the world of his youth.
It is also a sharp critique of 19th century educational theory and practice. In
1907, Adams began privately circulating copies of a limited edition of his work
printed at his own expense. Commercial publication had to await its author s 191
8 death, whereupon it won the 1919 Pulitzer Prize. I won t go into the comparis
ons and contrasts between my work and Adams. I leave that to interested readers.
But I will say, before moving on, that in the same way that Henry Adams s lif
e story is rooted in the 19th century American political aristocracy that emerge
d from the American Revolution, my story is rooted in the international Bahá’í c
ommunity over a period of four epochs(1944-2021), a community emerging from a sp
iritual, a global, revolution that had been initiated by two-prophetic figures,
two-God-men in the nineteenth century.
The essence of this revolution was the search for the unifying agent, the unifyi
ng catalyst, that would help the planet survive the tempest of our times. The c
ontext for this search was an attachment to national, racial, cultural, class an
d political loyalties and an almost deafening withdrawal and apathy. The revolu
tion of my time was out of human control; the process was giving birth to humani
ty, to a world community, a global society. My role was to help in the extensio
n of the model of world fellowship that had emerged out of that spiritual revolu
tion of the century preceding my birth, a model that had been born in Iran and i
n North America.
Adams book became an important and influential one in literary non-fiction in t
he next hundred years. It ranked first on the Modern Library s 1998 list of 100
best non-fiction books. It spread throughout America and the world in the year
s after the unveiling of the Tablets of the Divine Plan in 1919 and it is a usef
ul comparison piece for this autobiographical work.
My poetry and prose is founded, as it was in the case of Walt Whitman, on the pr
inciple of language as ‘‘a source of renewable creative energy.’’ My works are
best read in light of late-20th century and early 21st theories from the social
sciences and humanities, theories I have alluded to in the text but will not att
empt to summarize here. My broad aim has been, not merely to describe the objec
ts of nature in the spectatorial fashion of a travel writer or scientific essayi
st, not merely to analyse my society as a sociologist or social scientist, but
rather to encourage engagement with this new and emerging world religion which c
ame into the life of my family right at the beginning of the Kingdom of God on E
arth in 1953.
My writing has been, for me, a form of therapy to help me recover from the devas
tating series of physical and emotional difficulties I faced as far back as my l
ate teens, right at the start of the 10th and final stage of history and continu
ing periodically throughout my life. I could include the 9th and the latter par
t of the 8th stage of history, but I will leave that for a later date, time perm
itting. I had to overcome the philosophical and formal problems of writing abou
t a process, a time, a movement, a religion, that I considered, not so much beyo
nd the limits of language, as so complex to deal with that I could only solve th
e problem with a special technique. The technique I employed involved, not rheto
ric, but an appeal to spontaneity, intimacy and immediacy. I also structured th
e text of my memoir around a series of discontinuous fragments and slices of ana
lysis that emphasized an ongoing, organic process. I have also helped future b
iographers with whatever intrusions and manipulations they may need to make to d
eal with those months and years in which there has been an unavoidable absent pr
esence.
This book, this series of many essays, avoids a frequent problem that the memoir
faces. This exercise is not, for the most part, a pathography, a study fixated
on pathology. I do not seek to locate buried trauma and to establish a clinica
l diagnosis of a personality disorder. I do deal with a disorder, my bi-polar d
isorder, but it does not dominate the text; indeed, it is a peripheral although
important part of the overall narrative. What readers find here is an examinati
on of the strategies that I as an individual with a complex-simple personal hist
ory adopted for dealing with the frequently simultaneous combination of loss and
loneliness, illness and sadness, failure and success and with the unprecedented
personal freedom and opportunity that my generation enjoyed as the epochs of ‘A
bdul-Baha’s Plan, the Formative Age and the last stage of history unfolded and s
ucceeded one another. My work is part of a long tradition of writing of pionee
rs, immigrants and people who have left their home and homeland. This vein of w
riting is waiting for readers who are interested in this field of human experie
nce. There is now an extensive and popular literature to read for anyone who des
ires it.
I have no intention in this work to impose a narrative clarity. I do not want to
keep my story neat, tidy, sequential, like some drama or documentary on televis
ion. That is why whatever narrative is found here should be embellished with my
letters, diary and poetry. Literature--my essays and poetry--is literary, but m
y letters are domestic, straightforward, hermeneutically unproblematic sources o
f evidence about the world I inhabit beyond the page and too extensive to includ
e in this work except in a very abbreviated form.
Were a dossier of my sins of omission and commission put together, many pages of
my faults, weaknesses, errors of judgement, crimes and follies could be itemize
d. Like the dossier compiled on Jeffrey Wigand, the whistle blower on the toba
cco industry in the film The Insiders(1999), a document could be gathered togeth
er and used as the basis of a smear campaign so orchestrated as to make my word
seem suspect, my memoir scandalized in the eyes of the moral majority and my nam
e tarnished for posterity. Thankfully such a dossier will never be put together
. My name will never be in the running for the confessions of these epochs, thi
s age; I will never be able to rank my confessions beside those of Cassanova, St
. Augustine or Rousseau.
I have limited my confessions to a moderate level and, for the most part, only i
n my journal which I do not intend to have published(or put on the internet) unt
il after my passing. There is plenty of candour; the account is large and spaci
ous, but this memoir is not a centre for the kind of detailed confessionalism th
at would result in a comprehensive statement of the negative side of my life. L
ike that "dossier" to expose the faults of my "full life" it will remain uncompo
sed. Hopefully, though, some may find here a powerful voice. Although readers
will never know me personally, they may find here a voice compelling and unique
. One can dream. One can hope. My mission, though, is not to clean the proverbi
al Augean stables; I leave that job to the many, indeed, the myriad, reformers
and reformists, that fill the ranks of movements and religions who see their job
essentially in terms of getting rid of sin. It would be dishonest, though, for
me not to admit to a certain degree of reformist zeal but such zeal is somethin
g that has become increasingly moderated, if not nearly eliminated, as my early
adulthood became the middle years(65-75) of my late adulthood(60-80). The comple
xity of the human situation in our globalized world is simply put: staggering.
Gray hair and decades of practice notwithstanding, the poet who lacks a unique a
nd compelling voice remains in the backwater of poetic flows and sounds. Every
person has a unique, potentially compelling history and genetic makeup, but powe
rful, unique and delightful voices are rare. This is partly due to a lack of wh
at we could simply call talent, and partly due to the restrictions caused by the
socialization process. The overly socialized voice may sound sophisticated, ki
nd, efficient, even charming, but it is rarely compelling, never refreshing, uni
que and always hollow in some way. Am I overstating the case?
As a teacher of English for over three decades at all levels of the educational
process, I came to know of the reading tastes of a good cross-section of the pub
lic. The Bible, Shakespeare, most of the major philosophers, sociologists and so
cial scientists were simply not read by the great mass of the public. They never
came anywhere near the writings of the greats of history or of their contempora
ry society. One could go so far as to say that my chances of winning any popula
rity contest was just about nil. Indeed, it would probably be a bad sign if I d
id.
Some schools of thought take as one of their basic assumptions that we cannot tr
anscend our experiences. One of the founders of such a school, Ernst von Glaser
sfeld, put that assumption this way: "knowledge, no matter how it is defined, is
in the heads of persons, and the thinking subject has no alternative but to con
struct what he or she knows on the basis of his or her own experience." What w
e make of experience constitutes the only world we consciously live in. It can b
e sorted into many parts: things, self, others, and so on. It can and it does c
hange from day to day. But all kinds of experience are essentially subjective
and, though I may find reasons to believe that my experience may be like yours,
I have no way of knowing how much it is like yours and, if I never meet you, as
is the case with most of my readers(assuming I ever have any) I must leave the d
rawing of parallels to others. The experience and interpretation of language is
the place where these parallels are drawn.
This memoir/autobiography could safely be placed within this school of thought.
Walt Whitman states in his journal, "There is no trick or cunning, no art or re
cipe, which you can have in your writing but which you do not possess in yoursel
f." If this is true, as I believe it is, the only way to write with a unique and
compelling voice is to have—or develop—a unique, compelling personality. Whet
her I have such a voice or such a personality I must leave to others to decide.
I m not even that sure I would want to be that compelling. Like a snowflake, th
ough, I would be happy to be that unique.
There has been a remarkable rise to prominence of public intellectuals and talk
about public intellectuals over the last decade or so(1990-2006) in Australia, y
ears I have been working on this autobiography. New ways of thinking about hist
ory and the nation, issues and the individual and new kinds of public ethical di
scourse have been put into circulation. The radical constructivism that I menti
oned above has been part of this new way of thinking. History and the social sc
iences, psychology and the humanities as battleground for the telling of one s s
tory is certainly preferable to the great Australian silence. The process has b
een building up for decades and I don t want to monitor here the details of this
rise to prominence in the last few years. This has been done elsewhere.
The issue, too, is not altogether clear. There are many perspectives on the subj
ect. Robert Dessaix s collection, Speaking their Minds (1998), a series of discu
ssions with public intellectuals based on an earlier ABC radio series from 1996-
97 suggests an abundance in public intellectual life. Close to forty individuals
get to speak in the book. But the occasion of the series and Dessaix s framing
comments are stated throughout, almost obsessively, in the language of crisis.
Many would say this has not changed ten years later. Some writers argue that m
emoir has become the preferred mode of Australian public intellectuals, as a for
m of reflection and self-reflection driven by a sense of crisis or moral anxiety
about the past.
The memoir is a performative genre. It evokes the process of ethical reflection.
However provisional and open-ended, however much it denies some role as exempla
r, it offers itself implicitly as exemplary. As has become obvious, in the proli
feration of print in cultures where new books are readily available, there is a
receptive audience of self-fashioning readers which is disposed towards the kind
of ethical work that essays and memoirs typically perform. There has been an i
ncreasing value given to the spaces and styles opened up in the public culture b
y such writing and reading. If memoirists are illiterate in various areas of k
nowledge this illiteracy will affect their understanding of the past and hence t
heir understanding of their own lives. Spatially illiterate and geographically
ignorant memoirists will come to the writing of their memoirs with an intellectu
al disability. The writing and discussion of memoirs in recent decades has inc
reased significantly and very few enjoy the position of comprehensive knowledge
or an intellectual familiarity with a wide range of disciplines.
With a few exceptions what enables certain figures rather than others to rise to
prominence as successful writers in this domain of the memoir is not so much th
e value of the research these writers do as their performance of writerly qualit
ies. I m not so sure I rate well here. One type of intellectual and writer tra
nscends professional or disciplinary boundaries. I m sure this is true of my wo
rk. But my performance has yet to be given much public scrutiny. In some ways,
it matters not. The sense of urgency, of crisis, of international concern which
hardly existed when I arrived in Australia as an international pioneer in 1971
has grown by leaps and bounds through the performance of many an articulate and
concerned thinker and by the sense of social crisis that has filled the air-wave
s in the last few decades from all sorts of local, national and international pr
oblems that fall into people s laps from the electronic media on a daily basis.
There is and was in my life what one might call a terra incognita, an unknown te
rritory, marked by ambivalence, caution and downright discomfort among many othe
r emotions, thoughts and actions. This territory of one of discomfort among oth
er emotions; it was difficult to dig out. But, on the other hand I did not bury
it in aesthetic textures, in fear and shame, in guilt and outright dishonesty.
Novelists and journalists are generally seen as professional contorters, consort
ers, anything for a good story---so goes some of the critique. I am neither jou
rnalist nor novelist; perhaps readers can legitimately hope for an honest record
of a life here.
Had I been writing in and about my darker moments I could have buried the discom
fort elements of my terra incognita. I was deprived in some ways, as my genera
tion was, of the familiar landmarks that defined the status of women and men. T
he issue exercised a great deal of my thought and much of my time in discussion—
in classrooms and in lounge-rooms over these four epochs. Many related things a
lso became paramount in my heart and mind: equality, the family, Bahá’í consulta
tion and my own virtue, among others. Virtually no other topics received as muc
h attention as these four, although in the process of discussion one comes to ta
lk about many topics and one can not ignore teaching, work, health and money--al
l of which are hard to separate from that top four. In the intimate world of fa
milial relations, I often felt and often expressed the need, the desire, to crea
te shifts in terms of what I did around the house and what interest I took in my
children, step-children and step-grandchildren.
This was largely in response to what my wife expected me to do and the realizati
on that the load of chores performed by my wife could be significantly reduced b
y a further involvement on my part in the life of the family, either by my parti
cipating more fully in carrying out household chores or by becoming more involve
d with the lives of my children. Shifts in traditional patterns of doing things
, the way they had been done for years, of course, produced unease. Many things
produced unease but medications in the years of the new millennium eased the pai
n and anxiety of life.
The equality of men and women can often be seen as a numerical or statistical me
asure, such as the proportion of men and women on a spiritual assembly. This at
tempt eventually gives way to the realization that equality is more than numeric
al representation. What that “deeper” level of equality means tends to generate
some confusion. Discovering habits that impeded the progress of women was a tro
ublesome topic. I eventually had no trouble discussing what those habits actual
ly were, although I did have trouble making the changes.
Contrary to what we know about other groups, the equality of men and women in th
e Bahá’í community is near to the heart. It does not involve remote policy chang
es, issues of language or politics. Therefore, such near-to-the-heart issues as
the equality of men and women might be more challenging to the Bahá’ís than any
cursory attempts in the wider society to change social directions through legisl
ation or politics.
In the wider society, right back to the start of my pioneering life in 1962, the
re had been major concerns about the family. David Cooper, for example, had ins
isted in his book The Death of the Family that human and especially women s oppr
ession was grounded in the family. It is the family which "obscurely filters ou
t most of our experience and then deprives our acts of any genuine and generous
spontaneity." (1962, p.8). Cooper s central argument was that the family was cru
cial to the hegemony of any system. The family acts as an ideological condition
ing device and provides "a highly controllable paradigmatic form for every socia
l institution."(1962, pp.5-6). The year I left Canada and moved to Australia Coo
per s book was published in the U.K., the same year that Kate Millett published
Sexual Politics and identified the family as "a force frustrating revolutionary
change."(1971, p.158) In 1963 Betty Friedan published The Feminine Mystique whic
h discussed the malaise of women in the home a "problem that has no name."(1963,
p.27) It should also be mentioned in this connection that Marx in the 19th cen
tury and Plato 2500 years ago proposed a society that did away with the family.
The institution of the family has proved a conundrum to social philosophers for
some time.
Reading Russell s work made me realize how little I have commented on significan
t relationships outside my family. Santayana, T.S. Eliot, A.N. Whitehead and D.
H. Lawrence, among other famous people, come in for some critical scrutiny in h
is three volume work. Perhaps, at a later date, I may return to my work and fil
l in the gaps of the significant others who influenced my life. "In old age," wr
ote Russell "one becomes more aware of what has, and what has not, been achieved
. What one can further do becomes a smaller proportion of what has already been
done, and this makes personal life less feverish." Perhaps in some of these less
feverish moments I may have cause to reflect on many things that I have left ou
t of this work. Perhaps, too, I can translate many of my quite ordinary everyd
ay experiences over these four epochs, see them in the light of understanding an
d transform them into moments of startling beauty, insight and wisdom. Now woul
dn t that be grand!
The affective realm of everyday life informs my understanding, my experience, o
f being a Baha’i. The everyday is incorporated into the project of my autobiogr
aphy by my drawing on numerous theorists and my exploration of the narrative sty
les of various autobiographical modes and the personalised essays that go with t
hem. The investigations of experience that took place in the social sciences th
roughout the last quarter-century, since the 1980s, are part of a wider interest
in the everyday which developed in sociology, history, anthropology and philoso
phy from the 1950s onwards--from virtually the time that the story behind my own
autobiography began, associated as it has been with my Bahá’í experience. Thi
s wider interest of the social sciences, focusing as it did on ordinary people a
s distinct from and in relation to the grand narratives of the nation and civili
zation, industrialism and modernity, religion and psychology has also been calle
d the politics of the everyday . I call it the politics of my everyday.
This latter phrase refers to the power relations of everyday transactions—in the
home, the workplace and other locations. The interaffective and intercorporeal
detail of these micropolitical transactions remains largely unremarked and inv
isible in official discourses. It is remarked upon in this work as it is remar
ked upon in society increasingly and I shall say just a little more on this cruc
ial subject here.
The quotidian is the sphere of embodied practices of habituation and interperson
al relations; it is also the mode in which is enacted the primary social relatio
nship with the stranger. Most of those we meet in life are, in fact, strangers.
They get little direct coverage here except in a philosophical sense. The eve
ryday has historically been defined in negative terms, that is, according to wha
t it is not. It has been distinguished, for example, from the epic and monument
alising narratives of history and science, from the rational and cognitive proce
sses of philosophy; from the putative rigours of scholarship; from the formality
and officialdom of institutions; from the aura of the sacred, the exotic and th
e uncanny. Historically there has always been a hierarchical opposition between
the everyday and the official discourses of public life. However, rather than b
eing oppositional to these categories, the everyday has a determinate and supple
mentary relation to them, at least in this work.
The everyday is not essentially different from these categories I have referred
to above. Rather, it embodies the familiarisation and routinisation--as well as
the effect--of these categories. In other words, rather than being an exclusi
ve realm the everyday paradoxically both includes and excludes each of the many
macro-categories. It is from the everyday that the ideas, ratiocination and ab
stract concepts constitutive, for example, of philosophy and science emerge; con
versely, we can only define the everyday through the specialised discourses of s
cience, philosophy etc. The everyday, moreover, is not reducible to simply pure
or raw data from which these discourses are produced.
The everyday underlines, shapes and informs the modes of rationality which are s
aid to transcend it. Formal and official discourses and institutions, in turn,
inform and shape everyday life. In my case these words and organizations, these
frameworks and institutions were: the family, a host of work places, the wider i
nstitutions of my society and, of course, the Bahá’í Faith.
The conventional playing out of the relationship between these two levels which,
historically, have been hierarchised, gendered and contestatory contains, in m
y memoir, a new understanding of everyday life as a transformational zone in whi
ch heterogeneous forms of knowing and doing intersect. Rather than being mutual
ly exclusive, these heterogeneous zones inform each other. Rather than being se
en as redundant and trivial, insignificant and empty or rich and meaningful, as
the case may be, everyday life can be thought of as a field in which the macrow
orld, such as that found in official, national and international domains, becom
es a world, tangential and translated in an ongoing sense into the human and the
everyday.
Studies of the everyday across several disciplines, especially the several socia
l sciences, have drawn on life stories. Scholarly writing on the Bahá’í communit
y, writing which variously deploys life story, autobiography, personalised narra
tives and interviews, can be seen as part of this continuum. If everyday life c
an be seen as the realm of the reproduction of the person, personalised experien
ce in the Bahá’í community related through writing does the work of scrutinizing
the reproduction of this experience at the microsocial level.
If everyday life can be understood as a transformational realm characterised by
the intersection of heterogeneous knowledge, then the personalised, critical exp
erience of a Bahá’í conveyed in writing can be seen as a point of intersection b
etween everyday practices of the self, on one hand, and the discursive reproduct
ion of specialised knowledge, on the other.
Memory is a key issue in self-creation. Memory is in some ways just the name we
give to one s relation to oneself, or the affect on self by self. If the every
day is the sphere of the habitual, then memory has a definitive role in the cycl
ical practices of quotidian realities. The everyday could be defined as the expe
rience of modernity in the private sphere and, as such, a new mode of duration.
The everyday is the locus of primary social relationships with its occasional h
eightened drama, its occasional taking things to histrionic extremes and a squee
zing out of tears. If everyday life seems melodramatically inclined, it is perha
ps due to the myth of nations like Australia and Canada being nations in adolesc
ence, a period characterized by melodrama.
My concern in this add-on epilogue is to situate the personal turn in recent mem
oir writing and its related theory within its discursive, cultural and literary
contexts and to speculate about the ethical work it aims to effect. My interest
lies in the dialogue and exchange between the traditions of literary and schola
rly production and in the rhetorical transformations of the scholarly narrative
modes of writing by Baha is about many topics. I try to resist, as far as I can
, the claim that this personal or self-reflexive turn in critical writing detrac
ts from the overall literature in either the social sciences in general or the B
ahá’í Faith in particular. I have explored the idea that the discursive shift i
n the textualities of Bahá’í writing reorients both the subject and object in th
e wider, the scholarly enterprise. I apologize to readers for what I know to be
my abstract and complex way of discussing these topics. Perhaps at a future tim
e I may simplify the content.
My purpose in discussing the critical, autobiographical, writing of Baha is is,
therefore, to identify and situate this writing within a specific historical mom
ent. Identities are learned at a certain historical moment and Bahá’í identitie
s, like those of everyone else, emerge within specific contexts. Mine is found h
ere and I like to think I provide some of the intellectual and literary tools to
help others locate their identity as well. "Nothing contributes so much to tra
nquilizing the mind, as the poet Mary Shelley once said, "as a steady purpose, a
point on which the soul may fix its intellectual eye." This entire exercise ha
s been highly purposive and I must admit to a tranquillizing spirit through most
of my writing of this work. Perhaps, as Shelley suggests, this is due to the fi
xing of my intellectual eye.
Autobiographical and personalized modes of Baha i writing often investigate what
, after Blanchot, one could call the several insufficiencies of our lives. These
modes of writing tend to be critical of the humanist notion of a self-identical
subject which exists independent of others. They scrutinise instead the depend
ency of the self on others. We have to be on our guard lest we live on a high-oc
tane view of ourselves, of yesterday and of history.
We ve been led to believe, for example, that the Wild West was dominated by guns
lingers who left a trail of bodies in their wake. In truth, Billy the Kid and Je
sse James were anomalies. Cowboys were peaceful chaps and few pioneers had guns.
Americans want to believe otherwise because they want the past to be exciting.
The gun-toting cowboy also fits in well with America s image of itself and thus
reinforces that image: he s an independent, self-willed type who took fate by th
e scruff of the neck and carved out a life for himself on the rough frontier. It
is unsettling to believe that the West was settled by bankers, accountants, lan
d speculators and lawyers who spent more time behind a desk than astride a horse
. The diffident, those who lacked confidence and others who had serious psycholo
gical illnesses are not part of our image of the settlers of the West. In a mor
e practical sense, the belief that the frontier was rough leads naturally to an
assumption that life remains rough today and that, in order to survive, cowboy q
ualities remain essential. America s obsession with guns and the belief that the
y are essential to survival is a direct manifestation of this cowboy myth or so
runs one line of argument.
The same process is also at work in so many walks of life. The popular taste in
historical documentaries for the unusual, the exciting or the bizarre results i
n a perception of history as one characterised by catastrophe, or, at the very l
east, by constant dramatic change; the perception and definition of politics bas
ed on the continued view of question time; the emphasis on the heroic few who ga
ve their lives in religion, in war and in other ways and a deemphasis on the man
y who lived in slow and uneventful lives by producers who place greater emphasis
upon the dramatic quality of a program than on its historical accuracy--all of
these distortions result in our failure to appreciate the importance of mundane
events and the tremendous influence that stability and tradition have in the sha
ping of our lives. Autobiographers have to watch out for this same tendency. So
me students of literature call it the synecdotal tendency which comes to view th
e whole by some or one of its parts. Other students are conscious of the tendenc
y to see life through rose-coloured glasses, a view of the whole based on the ex
citing episodes.
The opposite tendency was one offered to us by Thomas Hardy whose pessimism was
expressed by a view of life as one long tragedy punctuated by occasional episode
s of happiness. The rose-coloured, the pessimistic, any one of a range of type
s of realism, they all lay a basis for perceptions of facts, for views of life a
nd society, and this is what is conveyed to readers. I do not anticipate achie
ving much of this perception-altering experience, at best perhaps I will open th
e occasional window of insight and, with R.D. Laing, adjust the rare door of pe
rception.
The difference between history and the past is that the latter is what actually
happened–-including the way people lived their often mundane lives; whereas, the
former, history, focuses on the extraordinary--the often bizarre events which d
isturb normality. Great events are like fireworks displays on the 4th of July--l
oud, colourful, and exciting, but very brief disturbances to the quiet calm that
surrounds us. Visions of the past are distorted because bizarre events are give
n disproportionate attention. Since history is one of the building blocks of per
sonal and national identity, we end up with a warped image of the past and of ou
rselves. This is an interesting theme about which I will say one or two more thi
ngs before passing on.
Canadian and Australian cultural identity has long evaded definition. So too has
its representation in literary works. Attempts to determine a true Canadiana or
Australiana peaked in literary criticism circles in the 1970s, not coincidental
ly alongside an upsurge in Canadian and Australian political nationalism. Common
themes were identified, such as isolation, wilderness, and the Great White Nort
h in Canada and isolation, silence and relationships in Australia. These motifs
, it was decided, were true reflections of a uniquely "Canadian" or "Australian"
experience. Not all texts, however, fell so easily into these analytical slots
. Unlikely associations were forged between dissimilar texts linked only by the
citizenship of their authors. Many Canadian and Australian texts resisted such s
imple classification, exposing the failure of imposed homogeneity on a body of d
iverse work. "Canadian" and "Australian" may be convenient identifiers, but they
are unreliable and, for me, outdated. The undefined or even defined Canadian or
Australian identity are for me untrustworthy qualifiers. My ability to overcom
e them makes them both unimportant and important in another way.
Assigning the "Canadian" or "Australian" or, indeed, "Bahá’í" qualifier to not j
ust the author, but to the text he or she creates, streams the reader’s thoughts
down specific interpretive channels toward a common gulf of analysis. The exper
ience of reading and mulling over and arriving at personal conclusions is de-emp
hasized. By imprinting citizenship, nationality or religion into the minds of re
aders before they read a text, their opinions, even subconsciously, are fitted t
o the expectation of what that literature is and should be. Literature requires
its readers to be creative. Identifying literature according to the citizenship
or religion of its creator ruins the experience by providing a formula and a ha
ndy answer booklet. This memoir is no simple answer book and this is consistent
with the position taken by most criticism since the 1960s. Criticism for nearly
half a century now has “denied, on theoretical grounds, the relevance of the si
ngle historically definable author.”
Much of the drama and melodrama on television is, for me, but an arrested form o
f unswerving regularity and consistency, like some electronic ritual, theatre of
nostalgia, a genre that is emblematic of some of those thrilling, yet comforti
ng, days, episodes, experiences, of yesteryear. Nostalgia is a repetition, a re
turn of the past to the present and it has many forms in life in the media of wh
ich the who-dun-it and much of the amusement and distraction of TV are but its v
arieties. The analysis of print and electronic media reveals
a whole world of understanding and critique to the daily consumers of its produc
ts. I leave readers to follow-up on my comments here should they be keen; the
literature on media analysis is now massive.
This business of habituation and habit is a critical one in my life. “By a seemi
ng paradox," writes philosopher John Dewey, "increased power of forming habits m
eans increased susceptibility, sensitiveness, responsiveness. Thus even if we th
ink of habits as so many grooves, the power to acquire many and varied grooves d
enotes high sensitivity, explosiveness. Thereby an old habit, a fixed groove if
one wishes to exaggerate, gets in the way of the process of forming a new habit
while the tendency to form a new one cuts across some old habit.” In these earl
y years of my late adulthood I have habituated many of my life s activities; I h
ave acquired many fixed grooves with the aim of developing of writing activities
to their fullest. This theme of habituation could be applied to many areas of m
y life down the years with many permutations and combinations.
The actor John Gielgug’s words about is life could well be mine if I change the
context and subtract his fame. Gielgud wrote in his autobiography that: “I am q
uite useless at almost everything except where the theatre is concerned.” He wen
t on to say that in his life he had been almost completely occupied with theatre
work, that he did not enjoy doing most of the things that people do in their sp
are time, that his inclinations were solitary and that he needed to be busy all
the time. All of these things certainly applied to me after the age of 55 for
the previous forty years, say 15 to 55, my story in these respects was a mixed b
ag and I’m not sure I could summarize it as succinctly.
Reading the autobiography of that other great Shakespearian actor Lawrence Olivi
er provided for me another useful comparison and contrast. Olivier writes about
the unglamorous, solitary, lonely, difficult nature of the writing activity. H
e found it a weight around his neck. While I find the experience of writing some
what like the way Olivier describes it, for the most part, it is pleasurable and
since the years of my late middle age(1999: age 55) has fitted into a lifestyle
of solitude that is suited to my taste, my needs and wants. The pleasure Olivi
er found in the acting world I get from the writing world. Although fame, wealt
h and worldly success to the degree Olivier found them have certainly not been m
ine, writing has enriched my life increasingly over the last 50 years. Since I
wrote my first essay in grade seven in 1957 it has helped me get my education, m
y jobs and, since my retirement in 1999, it has filled my life more than I could
ever have imagined.
Memory and its supplement, forgetting, are key issues in contemporary writing ab
out autobiography. The act of remembering many conditions and situations is lik
e trying to recall an experience that you slept through. Art-making, in which r
ealm we can include writing, is a mode of attention. Autobiographical writing is
immersed in memory, the body, and divided and dislocated forms of subjectivity.
It investigates forgetting and remembering. To remember is to remember roles,
statuses, beliefs and values. My own writing on memory and affect draws on proc
esses of repetition, interruption and a range of forms and strategies that, toge
ther, make up this total enterprise.
There are numerous theorists who emphasize the use of a range of interruptive na
rrative effects including the layering and interweaving of narrative modes. Me
mory is a complex process of stories without end. Memory is entwined with subje
ctivity and it is difficult to envisage our lives in the total sense. So much t
hat we live is not legible or readable. Our personal museum sees each artefact e
mbedded with memory; each artefact speaks of these memories, but each artefact i
s rendered only partially readable. At one end of the continuum of our relation
to life s artefacts is mystery and meaning and at the other end our world is fl
attened to an exterior double of some flat interior archive, to forgetfulness, v
acuity and, indeed, elements of complete non-entity. It is the aim of some writ
ers to force their readers to abjure the general and concentrate on the particul
ar. My aim deals with both, the macro, meta-narrative and the micro, the partic
ular.
So much of the cultural record of a society is the sum of the things that societ
y puts away and drops on the floor as we, the whole society, go through life. T
his culture is the detritus of our ways of life and our ways of thinking, of our
knowledge and beliefs, and of our superstitions and nightmares. None of these
descriptive words outline the shape of something we can grasp, because the cultu
ral record, which contains our cultural heritage, seems to incorporate the whole
, unabbreviated body of evidence of everything we produce. The cultural record
incorporates everything that has survived and that will survive by conscious and
unconscious decision or by accident. For historians the cultural record appear
s always to have an accidental character. In our everyday lives, in our ordinar
y activities, we want to know that our understanding of ourselves as individuals
and as a society is not produced by accident or by statistics. A good deal of
the motivational complex and the system of assumptions behind the writing of thi
s memoir is that my life has not been an accident and what I leave behind is a d
irected, purposive statement.
The cultural record of my society will be just what got saved because someone pu
t it in a safe place or in a place that turned out to be safe because that place
did not burn up or rot or get eaten by moths or get destroyed in floods. Yet as
ordinary people we cannot accept that our understanding of our culture rests on
such accidental processes. Scientists take reassurance from randomness because
they can apply statistical techniques to random events that have great predictiv
e authority. But in our everyday lives, in our ordinary activities, we want to k
now that our understanding of ourselves as individuals and as a society is not p
roduced by accident or by statistics. None of us believes that what we and our c
ompatriots think is an accident. When we turn our attention to ourselves and our
culture in order to analyze ourselves, in order to find out how we deal with un
usual events, or to confirm our good ideas or to change our bad ones, we want to
be sure that the records we study are true in themselves and to ourselves. They
must represent us truly. Our need for the cultural record does not arise only f
rom our need to understand who we are. Often, we call on the record to solve pr
actical problems. Our cultural heritage often survives only in a handful of bro
ken jewellery and scraps of poetry. It is the work of historians, principally,
to put these fragments in some order and to make sense of them. How do the piece
s fit together? What meaning should we read. This memoir of mine is my pieces o
f jewellery and my scraps of pottery.
And so it is that in our effort to understand our culture and our lives we make
the assumption that this understanding does not rest on accidental processes.
In these days, too, in the twenty-first century it could be argued that in our a
ttempt to understand a life the memoirist must utilise the mediums of movies, ra
dio programs and TV programs. He or she must, the argument could continue, pres
erve their life with the aid of these new mediums. To ensure access to their li
ves—a legal as well as technical matter—memoirists must use more than print, mor
e than text, if future generations are to know anything about what any particula
r memoirist believes, thinks and views things. The information contained in thes
e media is now and will increasingly be the basis for future understanding of ou
r culture and our time and lives like mine.
This personal museum that is my memoir has some interesting comparisons and cont
rasts with the museums of the Western industrialised world, museums I have been
visiting since 1957/8. These larger constructs of bricks and mortar, cement, i
ron and objets d’art consist wholly of displaced, decontextualised objects that
have been recontextualised as commodities. My work, this memoir, is contextual
ised in 2500 pages of text. The museums I walked around from time to time over
fifty years(1957-2007) serve to “generate didactic illusions.” These illusions
or spectacles raise questions about “the appearance of reality and the reality o
f appearance.” Through their illusions and appearances, museums represent certa
in socio-cultural values and become a part of what one writer refers to as “mode
rn aesthetic structure,” with its “vision-centred concepts, its passive, spectat
orial orientation.” During “walk-and-gawk tours,” museum visitors are spectator
s and consumers who gaze upon spectacular works of art with a disembodied eye an
d are confronted by the cultural authority, discourse, and spectacle of the muse
um which is quite literally a “modern aesthetic structure.” Of course, there i
s much more to the museum and art gallery experience, but this is sufficient to
make some comparisons and contrasts with my memoirs.
My work is a modern aesthetic structure, but it is difficult to walk-and-gawk th
rough it. Usually my work will simply be avoided. Like the person who never ent
ers a museum—and there are millions—many millions will never enter this work, wi
ll never read a word of it. Those who do must do more than walk-and-gawk. My wo
rk is not a vision-centred concept or activity. There are no pictures on the wal
l, no objects to engage the eye. If the mind of the reader does not engage wit
h my text, the reader might as well close the book or leave the screen and go on
with something else for his eye and mind.
The local, national and increasingly international collecting practices of the l
ast two centuries in museums, art galleries, city squares and store windows, int
er alia, have spurred an increase in what one might call the prestige of discipl
ined curiosity. It also reflects a growing fascination among people in the west
ern tradition, and people in other regions of the world with the past, with the
idea of development and memory. Europeans began to ponder questions about the a
ge of the earth, the human life-span, and antecedents to observable forms in nat
ure. Among European philosophers, the phenomenon of memory seems to have gained
in importance. To remember, they said, was to escape the purely momentary sensa
tions, thereby avoiding “the nothingness that lay in wait…between moments of exi
stence.” The museum and the art gallery, as a sacred grove, provided such an es
cape. This memoir has some of that function, it seems to me.
Generally, when a people feels in control of its destiny, it establishes museums
to preserve materials that mark the stages of “confident growth and point to th
e future,” so argues Jeffers. I’m not sure how accurate this view is and I wonde
r to what extent I could apply it to this memoir. When, on the other hand, a peo
ple feels
that change is occurring too rapidly, spinning out of control, it establishes mu
seums that celebrate an idyllic and nostalgic past. I think there is a little bi
t of both here in this autobiography.
A museum or a memoir based on or derived from community discourse is one in whic
h ideas are assigned a key role as carriers of discursive and non-discursive mea
ning. Although this work was not a collaborative effort, it was certainly the r
esult of decades of community discourse. The troublesome dualities that separat
e subjective-objective thought, mind-world relations, reader-writer and visitor-
museum processes come together, as the philosopher John Dewey writes, “in a func
tional unity,” connected by a process of “mutual adjustment.” Ideas allow for t
ransformative and informative relationships, and are “amenable to social constru
ction.” They can connect with art objects and events, illuminate facts and als
o, be illuminated by them; they allow for dialogue between people and for transa
ctions between people and art objects and events.” Socially authored and indivi
dually checked, ideas travel and are illuminated in the interactive space betwee
n the members of the dialectical community and the art that is the focus of the
discourse. Dewey’s words here describe eloquently my experience over these last
decades, decades that preceded the writing of this memoir.
There is a functional relationship, an interdependence, among knowledge, discour
se, and community and it has been apparent to me as I have come to write this me
moir over the last two decades or more. Putting this idea as succinctly as I ca
n, I might say that knowing and learning are not possible without discourse and
discourse is not possible without community. Community, in this sense, emerges
as a pedagogical virtue and is a precondition for learning. For learning to occ
ur within this community, however, listening must take on an importance equal to
, if not greater than, that of seeing. To construct meanings about art, about m
emoirs or, indeed, a whole host of things, it is essential for the community to
engage in critical and empathic listening. The listening community also must be
a diverse one in which a spectrum of voices can speak and be heard. Different
perspectives, interpretations and criticisms must be shared and creative conflic
ts must be engendered. These conflicts lead to new discourse and new knowledge.
Through these activities a diverse community comes to succeed, both in facilita
ting learning and in protecting against group orthodoxy and dogmatism. When I
talk about listening I don’t want to be perceived casually. I found, as I came
to write the substantive part of this memoir after 2002, that listening had beco
me hard work. After forty years of pioneering I felt worn out and part of this f
eeling was a fatigue with listening. As important as it is, it is no simple tas
k. I could expatiate on this theme at some length but will leave it for now.
I was doomed, it seems, to undergo the experience of tedium vitae over and over
in the hot summer days of the mid-to-late fifties. I turned and turned and turn
ed over in what Blake calls the “same dull round.” In the long summers of my
late childhood and early teens I was afflicted not by depression but by the worl
d s flatness. Dancing around in the interstices of my life, then, was some grey
dullness, precursor to a future depression and melancholy. It was my first ta
ste of boredom and one of my last. Melancholy came later in life with its simul
taneous links with creative energy and intellectual pursuits. Melancholy was a
recurring feature of my life, an extension of extensive academic work and/or hum
an interaction. Tedium, too, was part and parcel of my daily life with its own c
haracterisation from year to year.
By my sixties, though, with my bi-polar disorder fully treated I could say with
the essayist William Hazlitt that I had become a wise traveller who never despis
ed his own country, well, just about never.
The intellectual drive to understand the world through print resulted in a sort
of ethos of melancholy. It was not the philosopher’s, the thinker s or the acad
emic s disease as some have called it, but in part an ethos. Mental exertion wi
thout a corresponding physical exertion in the world of real objects led, many a
rgued, to delusory beliefs about the world, tired spirits and lax fibers as well
as to a view of the intellectual as a scholastic armchair theorizer. The exem
plary, the traditional, contrast between the sedentary body and an over-active m
ind led in my time to a very different account of what had once been seen as the
philosopher’s disease. Melancholy during these epochs was no longer seen as a
means to knowledge of the world but rather it was seen as a barrier to it.
Melancholy became less the sign of the thinking man than the sign of the feeling
woman. Melancholy feminized the “man of feeling" in the public eye. It became
part of the expected constellation of traits of the deranged schoolman or poet
subject to the rule of fancy rather than, say, the truth-seeking natural philoso
pher. Thankfully, my melancholy faded into a mild depression or perhaps it was
a mild depression after eight to twelve hours of mental work. But the work itse
lf was done in an emotional constellation of forces at the other end of the feel
ing continuum: energy, joy, pleasure, drive, enthusiasm mixed inevitably with fr
ustrations and anxieties. The public persona of the studious man of melancholy d
id not really apply to me, except for the periodic bi-polar episodes.
After one has immediately perceived the image of something and immediately appre
hended it as a consonance of whole and parts, one is not always struck by its sh
immering claritas, its radiance as this thing and nothing else, its unique whatn
ess, quidditas. All is not Blake s luminous silent stasis of aesthetic pleasure,
a spiritual state, an enchantment of the heart. Life has many shades of delig
ht and tedium. With the years there comes a landslide of memories that a place
or thing or idea brings and, for this and other reasons, boredom, at least for m
e, is not a part of my life. In fact it hasn t been since those earlier years I
referred to above.
Philosophy, said Walter Benjamin, is the representation of ideas, and so is auto
biography. By poetics I mean that we necessarily understand or try to understa
nd identity and belonging, or not belonging, through cultural forms: through re
presentation as in genre, myth, novel, poem, allegory, parable, anecdote, story,
sayings, metaphors, riddles. The autobiographical I is never itself in a pure
sense because it always represents itself through culture; the autobiographical
eye can never perceive directly much less remember directly; further, there are
continuous inner journeys that beckon deep within oneself to the scattered islan
ds and mirages. I think of myself as a pathological hermit, yet one can make lon
g voyages in the mind, prompted and pursued by desires entwinedly utopian and dy
stopian. No matter how social or how hermitic one is we all come from the “not
yet” and head for “no more.” I always liked the way Hannah Arendt put this idea
.
There is in my work, like my life, elements of derangement and a cultivation of
both the art and the pathology of madness. My quest is inevitably accompanied
by farce, delusion, self-parody, self-mocking, comic stories of my own incompete
nce, humiliation and banality. Banality, of course, is part of the very clay o
f life and writing consists of an effort to transform banal thoughts and activit
ies into forms of meaning, beauty and life.
Faulkner once said that "every novelist wants to write poetry first, finds he ca
n t and then tries the short story, which is the most demanding form after poetr
y. And failing at that, only then does he take up novel writing." For me the wr
iting process has worked itself out differently in spite of or perhaps because o
f my madness or mental illness as it is now called. If mens sana in fabula sana,
mental health is a coherent life story and neurosis is faulty narrative. The w
riting of this work took place mostly after my bi-polar disorder was fully treat
ed, as fully as was possible at this point in history.
I have written essays for 50 years(1957-2007); I occasionally listened to, read
and wrote poetry for 25 years(1957-1982) before writing poetry much more extensi
vely for the next 25 years(1982-2007); I tried writing novels for 14 years(1983-
1991 and 1999-2005) with little success; I kept a diary for 23 years(1984-2007).
My notebooks, now numbering some 300, contain an accumulation of 45 years(1962
-2007). I should add, in concluding this literary list, that I have also accumu
lated some 500 books over 50 years(1957-2007). With the novelist Henry James a
nd the poet Gustave Flaubert, though, I take the view that "be it in verse, be i
t in prose, it is only so far as they ‘write’ that authors live.” Flaubert, tha
t is, has no time for “authors,” only for “writers." I find that even the disti
nction poetry and prose is a complex one that makes for as many problems in the
distinction as it clarifies. But I have discussed this dichotomy before.
Although I have edited this memoir so many times that I can no longer endure the
process and must pass it on to a professional before the book sees the light of
day, I do not possess the sense of precision, timing and obsessiveness that cha
racterized the famous Irish writer James Joyce. "A day s work on two sentences?
Yes, Joyce responded, "I had the words. What I was working at was the order o
f the fifteen words in the sentences. There is an order in every way exact. I th
ink I have found it." In the 20th century as Joyce was counting words, the Bugs
Bunny animator, Chuck Jones, was sending the Coyote repeatedly over the cliff
with one more scheme for trapping the Roadrunner. Again the scheme went awry. B
efore the Coyote hits the bottom, Jones determined, eighteen frames of film shou
ld elapse. More or fewer would be less effective, and Jones claimed that an erro
r of two frames more or less was quite detectable. We re talking about a margin
for error of a twelfth of a second. In Star-Trek technology a second at warp-4
will take the star-ship Enterprize one hundred times the speed of light, a dista
nce of a little less than two billion miles. Word-count, frame-count and time pr
ecision is a mode of consciousness and measurement peculiar to our time. Hugh Ke
nner calls this new community: "The Elsewhere Community." Although I often fe
el part of this community Kenner refers to, the precision of my writing, the obs
ession with quality does not go anywhere as near as Joyce, Jones or Star-Trek te
chnology. I must admit often to a "this is good enough" philosophy.
Although I did not have that obsessiveness and overdone sense of precision that
some writers possessed, I am conscious of some verbosity, some might call it stu
ffiness in my phrasing. I introduce too much indeeding and moreovering, use too
many complex words, refer to too many books and need the editor s red pencil mu
ch more than is my desire. But, as I have said before, all of this is part of m
y style.
I feel that I belong to histories, as much or more than to a place or a land. I
know that histories are always torn, always bitter, always replete with contrad
ictions and inconsistencies, rich and flexible with many twistings and turnings.
As my pioneering life progressed, it dawned on me insensibly, that I was part
of a Promised Land, a Promised Land that was slowly evolving in the womb of a
travailing age. The European experience of extracting wealth from alien landsc
apes accumulated over several centuries and the Baha’i experience was one of ext
racting a different wealth. One day that story will be told as the process of w
estern pioneering and migration has been told with a more sophisticated understa
nding in recent years.
I was also part of a journey, a journey by a community that offered riches of kn
owledge and experience that I scarcely appreciated. It was a journey with topol
ogical features of so many kinds: landscapes, seascapes, skyscapes, cityscapes,
beachscapes, snowscapes, tundrascapes, among others. I have journeyed, or so it
seems, towards a state of belonging, of closeness and intimacy or one of not-be
longing, distance and estrangement depending on what part of the landscape, what
part of the elsewhere community was in the focus. But just as closeness was d
ifficult to measure so, too, was what I once saw as a grand system of the evolut
ion of culture that was valid for all humanity. In the place of this simple met
anarrative from clans and chiefdoms to states and federated planet, in place of
a simple line of evolution there appeared to me to be a multiplicity of convergi
ng and diverging lines which were difficult to bring under one system. Instead
of uniformity, the striking feature seemed to me to be diversity.
I have sometimes felt haunted and tormented and sometimes felt enriched and full
. My mind has to live with its fragments, ruins, shadows, ambiguity and contrad
ictoriness and so much that is good. I grew up in Ontario with the USA just do
wn the road a few miles, on the edge of a province and a country. It was also w
here my parents and grandparents lived. I saw my grandfather every week through
out my years of primary school. I recall much else, much I have already related.
Then I lived on the edge of Canada in the far north and the edge of Australia
in its far north and finally on its edge in Tasmania.
Many Australian writers, critics and academics have turned, as I said above, to
autobiographical writing as a means of self-expression and cultural and social r
eflection in the last decades. Germaine Greer, Kathleen Fitzpatrick, Robert Dess
aix, Ruby Langford and Bernard Smith are each located very differently as Austra
lian thinkers and yet each is part of the landscape of autobiographical writing.
It is a landscape I, too, have joined in these same years, years I could call
a zone of contemporary autobiography.
I very rarely felt the experience of hatred either on the giving or the receivin
g end, as some writers, some scribblers, of autobiography do. I have had a wide
constellation of emotions but hatred has rarely crossed the path of my heart.
I think, for the most part, those I knew both inside and outside my family, wer
e largely indifferent to my writing. They never would have said so directly. I
n some ways I felt I existed on the end of that easy tolerance which one finds i
n Australia and which, as Phillip Adams says, is largely due to indifference. T
his indifference one comes to accept with relative equanimity because it is so v
ery pervasive. Adams is partly right, but I think this attitude of indifferenc
e is a quite complex phenomenon that is born of many more roots and social proce
sses, too many to go into here.
Over the years I have turned my social world into a theoretical, hypothetical, s
ort of critical paparazzo. For years I had hoped for that special, authentic sh
ot at the title, as the boxing world called it, as I stumbled through the social
world, through the shrubbery of my life. But, insensibly throughout my forties
and fifties, I lost my enthusiasm for making it big, for becoming a hero. Gradu
ally, I acquired an interest in keeping my social profile low. On the internet I
acquired, somewhat unbeknownst and unobtrusively, a profile I had never anticip
ated. By the time I came to write these words I felt I was making it big in the
world of writing, but this bigness had nothing to do with fame and glory, celeb
rity status or even social significance. The bigness was an inner satisfaction,
an inner pleasure, associated with the act of writing, all experienced in nanos
econds and little bytes. Even where there was satisfaction and pleasure I alway
s experienced some of that one stern law which Lawrence Olivier stated plainly,
“no true artist may expect satisfaction from his work.” I suppose by this defi
nition I was not that true an artist for satisfaction did not entirely elude me.
Rarely has anyone attempted in my day-to-day experience to find first-hand infor
mation about my writing and my life. But on the internet this happens to an ext
ent that always surprises me. I do not vigorously and efficiently rebuff any en
thusiasm. It all takes place in quiet corners of cyberspace. In daily life I
often move closer and closer to people and have for years, but they generally as
k nothing about my writing. I feel as if there is a taboo around my work, a bac
kground of reticence, as if I am protected from enquiry and discussion. It may
remain that way as long as I live. It was not as if I had, like some writers, a
profound distaste for public disclosure of facts about my life. I have publishe
d all sorts of details all over the internet about my life and about a host of i
ssues. By the age of 60 as the world wide web was developing its many opportun
ities for publishing I took the view that I should not be one of those who kept
the private sphere only for family and friends. There was little that was the b
usiness only of this writer and of this writer s family, friends and perhaps med
ical advisers. I have not developed that deeply ingrained habit of non-disclosu
re of information about me that I have frequently come across among writers and
among people in many other walks of life. Many writers begin, as Rousseau did, w
ith the words: "Commençons donc par écarter tous les faits;" namely, "Let us beg
in by putting all facts aside." I began by putting a multitude of facts to the
forefront of this memoir.
Some autobiographers and memoirists spawned an academic industry devoted to anal
ysis of these genres. Questions such as to what extent they were true or misle
ading and whether or not they were designed to conceal more than they revealed w
ere common in this literature. Some critics went so far as to suggest that aut
obiographical work was devised to cover some undisclosed skeleton in the oedipal
closet. I certainly have my skeletons but, as Pasternack once said, a life with
out secrets would be unbearable. The French sociologist/philosopher
Jean Baudril
lard argues that analysis has become as real as the real, an identical copy, t
hereby effacing realness. He would call my life story a simulation, a copy wit
hout a determinable original because it is impossible to convey the original for
many reasons. Certainly, the original is only recoverable by me through some
kind of simulation, to choose Baudrillard s words. The sign is reality, in Baudr
illard s analysis. The reality is the sign. This memoir, to Baudrillard, is in
fact reality. I would say there is a big difference between what I write and my
life. In the main this is true because of the impossibility of describing the r
eality of one s life. The best one gets is an approximation. Baudrillard s per
spective is a fitting one to describe my memoir, its nature and its reality.
Spiritual reality has a metaphorical base and my life is part of the base, a bas
e I have only begun to explore here. If that Scottish philosopher David Hume is
right when he writes in the first line of his autobiography that: "It is diffic
ult for a man to speak long of himself without vanity," then there is much van
ity here, metaphorical and otherwise. But as he concludes that same first paragr
aph: "The first success of most of my writings was not such as to be an object o
f vanity." Such was the case with my writings; indeed, most of the reaction unti
l I was in my sixties has been either ignorance of my work or indifference to it
, objection to its style and content on a multitude of grounds and in only a sma
ll handful of cases can be found anyone who take any delight at all in this work
.
The young Whitman reminded his readers in 1855 when his now famous poem Leaves o
f Grass was published that “Who touches this book touches a man.” And so is thi
s true of my own work. Whitman went on to revise, alter, add and subtract from
that first edition for the rest of his life until he died in 1892 and it looks l
ike I will be doing the same thing in this prose-poetic work until my demise.
What Whitman did most strikingly with his great poem, his epic, Leaves of Grass,
one could argue, is that he eliminated the relationship of author to reader in
which readers, waited, running through the contents of the new magazines in the
library or scanning the bookstore shelves, for the next thing that would come fr
om his pen to hold and transform them. Whitman no longer lived along with his r
eaders in the years 1855 to 1892, nor did he live a little ahead of them. After
a “deathbed edition” the work remained vital but in a dramatically altered rela
tion to his readers than in that first edition nearly forty years before. In my
case there are some comparisons and contrasts with Whitman, but I leave that an
alysis unwritten here.
This perambulating, divergent and I think, for many people, curiously unreadable
work, is much more than the accumulation of my literal life, much more than the
substance of my body and its history in a particular time and place, much more
than a literary manifest for locating this “thing” called me in the myriad ways
in which I have engaged with and been engaged by the world surrounding me. The
acme of mature contemplation results in and reveals much more than this curious
story.
As I head toward my last years on this mortal coil, what could be as much as sev
eral decades more of late adulthood and old age, I both descend and ascend. I u
se this form, this epic and argue, with poet Robert Creeley, that the form of th
is long memoir is but an extension, a tool, of its content. This form has a par
ticular scope and dimension and it exists in a specific, essential relation to s
omething else called content. Form and content live together in this memoir of
self-representation, just as life and death live together on earth. I often cho
ose to express relations—I and you, here and there, now and then—as part of iden
tities achieved both within and through community and solitude. These words are
somewhat abstract and I m sure readers find them slightly elusive. So let me sa
y a little more here about solitude to bring these elusive terms into more concr
ete focus.
In this the early evening of my life solitude weds me to an interiority, an inne
r perspective and orientation which makes of me, in the eyes of some I m sure, a
n eccentric recluse. My love of solitude, my retreat, my sequestering myself in
the recesses of this house where I do my journalistic, my amateur and professio
nal writing and most of my living could very well be pathologized and romanticiz
ed, overdramatized and idealized. Critics might pathologize my way of life now
in these early years of late adulthood, might interpret my withdrawal as a neuro
tic response to a range of real and supposed personal traumas: years of stress f
rom the rigours of bi-polar disorder and the various forms of social life in wha
t very well may be the darkest hours of history, a psychological fatigue from th
e excesses of human interaction over perhaps as many as five decades in this dar
k heart of an historical age of transition, guilt over my many sins of omission
and commission, simple human weakness and sense of inadequacy, shyness, the wear
iness of age, boredom from the repetition inherent in human existence and its in
terminable conversations, the necessity to be patient with the eccentricities of
others and my own which rub and test the sensibilities when socializing, among
other lines of analysis which I could site here. And there would be some truth
to all these lines of thought.
The major source of my withdrawal, though, has little to do with all of the abov
e and much to do with my desire to write. Writing is quintessentially a solitar
y sport. Paradoxically, this solitary withdrawal is the basis for a public stan
ce, a greater public stance than I have ever had, a stance in cyberspace. I now
seek asylum--and I have for perhaps a decade(1997-2007)-- from the demands of e
mployment and various family and community responsibilities that made writing fo
r decades all but impossible. This withdrawal is not something I want to overd
ramatize or idealize, romanticize or pathologize. My need for privacy is, I thi
nk, chiefly pragmatic, an enabling condition for artistic production. I must
admit, though, to a certain obsessional even phobic element in my need, my desir
e, my aim and my task.
This domestic interior, this place of self-incarceration, self-entombment, to ch
oose burial and prison metaphors, this place where I immure myself, as if within
a magic land that paradoxically liberates my art, this place of interiority, mo
delled if you will on the architectural space of a tomb or prison, is the neces
sary prerequisite for my literary efforts in the world of poetry and prose. Alt
hough some of my collection of writings was done outside my home, my study, this
place of withdrawal, the vast expanse of my oeuvre was done in the five homes w
here I have lived in the years 1981 to 2006, homes first constructed at various
times after 1953. The roots of my desire to write, in contrast to the architec
ture of the domain in which it has taken place, are many and I have written abou
t them more than enough in this memoir.
In his book How Brains Make Up Their Minds Walter Freeman often makes the point
that we, our meaning structures, are essentially alone. Walter is seventy six,
and towards the end of his book he wrote, ‘The nature of our learning processes
makes us more and more isolated as we grow older, as our cumulative episodic mea
ning structures become more and more complex with time and experience. We grow a
part because of our unique personal histories. The more we learn, the more speci
alized we become, and the less competent we are to understand one another.
As I grow older I don t really mind being ignored but I find that the experience
that others have of the same time, the same decades and years, is so different;
they see it in such different terms. It’s not that they wilfully or ignorantly
misconstrue what actually happened, but their experience and understanding is o
ften so different. I find sometimes that it requires great patience on my part t
o deal with them.
That pragmatist philosopher John Dewey also has some useful perspectives on expe
rience. Every vital experience is characterized by doings and sufferings as Dewe
y puts it: “every experience is the result of interaction between a live creatur
e and some aspect of the world in which he lives.” Experience is not a spectator
event. If it is vital it requires an active engagement and responsiveness to th
e outcomes of and obstacles to one’s activity. For Dewey, “an experience has pat
tern and structure, because it is not just doing and undergoing in alteration, b
ut consists of them in relationship.” The measure of an experience’s quality and
meaningfulness is in the “scope and content of the relations.” The ways in whi
ch the realization of the relations of one’s activity and its consequences can b
e thwarted offers a critical perspective for analyzing one’s relations with the
lived environment. Excessive doing and excessive reception hinder one’s abili
ty to see the meaningful connections. Hurried busy work and the sheer rush of ph
ysical sensations make one’s experiences flat and shallow.
Those born in the teens and twenties of the last century wrestled with the centu
ry’s greatest catastrophe, in one way or another, from the very start of their l
ives. Those born in the thirties and forties had a different set of wrestles to
contend with. This book has described some of these wrestles.