Our fear of atrophy has always had a crippling, or perhaps
enlightening effect on what we write. A happy ending, for instance, is pleasing
because we ultimately know that life is brief and wish to limit the amount of
stress within it. We want to wish that this eventuality might be real, even though
realistically the concept that a person may remain consistently happy at infinitum
is naïve at best.
However in parallel to our fear of atrophy and the unknown
beyond, comes a morbid fascination with death, and pain, and violence. They
turn our stomachs, and yet we return to them, we identify with them, we are
gleefully fulfilled by these horrors.
Is it surprising then that a writer might reflect these things
from the society around them? I do not believe that a person can write and not
bring in elements of the world they were raised in - grievances of the time,
such as money, battle, and social change. Writers like Tennyson, who reflected
the Industrial era through his Arthurian sagas, and Cheever who delved and
explored the depths of the miserable, unfeeling money-machine that modern
society had become. Even Emily Dickinson found herself caught between the violence
of her era and the hypocritical religious aspects of her society which
counterbalanced and contradicted one another.
The idea that you can witness horrors, that you can exist
within a society and be unaffected by it in your work is ludicrous. Wether you
support it or not, it will affect the way you write.
An era’s ideologies are born from the societal and
political climate after all, and these will shape the morals we are raised on, which
ultimately shape us. In this way, it is not
necessary for a writer to consciously write about the social/political issues
of the time, because regardless, they will always reflect them.
I completely agree with your points here, although of course it's not just the big events and horrors that will affect your work but all the little details and ideologies that have influence over our lives.
ReplyDeleteGreat post!