by Rachel Robison-Greene

A woman gets shot in the head by agents of the federal government and people quickly come up with reasons to explain why she must have deserved it. Thousands of people show up to protest mistreatment of their friends and neighbors. Detractors label them thugs, lawbreakers and paid actors. From the comfort of their homes in rural America, they indulge in fantasies of crackpot liberals and brown people breaking the windows of cars and businesses, abusing immigration officers, and burning cities to the ground. After all, that’s what happens in cities: liberals throw tantrums and burn them. This is what they’ve been encouraged to believe, and it suits them well.
Rule of law is ignored. Our democratic institutions are disrespected and undermined. We discontinue international aid knowing for certain that doing so will lead to the deaths of many people. We destroy our relationships with historical allies. Women complain of sexual misconduct by our leaders. Millions of pages of documents exist describing the sexual abuse of women and children by powerful people. These documents are inconvenient. Nothing to see here. Boys being boys. Red blooded American men. When you’re a star, you can do anything.
For the rest of us, a deep grief creeps in. How is it that so many of our friends and family members find this acceptable and even actively support it? How is it possible that even as the world watches a man get thrown to the ground by a group of immigration officers and shot multiple times in the head, some of our friends and family are infected by a nihilism that renders them unresponsive and even hostile to demands for empathy and compassion?
In The Myth of Sisyphus, Albert Camus claims “There is but one truly serious philosophical problem, and that is suicide. Judging whether life is or is not worth living amounts to answering the fundamental question of philosophy.” This question arises in response to what feels like the meaninglessness of the human condition. We all want things to make sense. We want to follow our dreams. We want the universe to be a place in which we can thrive. Dreams are dashed again and again throughout a human life. Hearts are broken. Lives are cut short. We find ourselves without the resources to navigate the world in the ways we’d seen from the starry eyes of our youths. Many of us are broken and beaten down by life. Technology emerges that makes us feel displaced and uneasy. How might we respond? Read more »




The Paradox
Three weeks later and I’m almost fully healed. My ribs still hurt when I lie down to sleep and when I rise in the morning, but sitting and walking are fine. In another week I’ll be able to return to the gym and attempt some light weightlifting, a welcome resumption of my weekly routine. There was, however, a silver lining to my accident. In the days immediately following it, I could do little else but read. Sitting down in a chair, I was stuck there. So it was that I took A River Runs Through It (1976) by Norman Maclean off the bookshelf in my father’s office and began to turn its pages.
Allan Rohan Crite. Sometimes I’m Up, Sometimes I’m Down. Illustration for Three Spirituals from Earth to Heaven (Cambridge, Mass., 1948),” 1937. 




Did you ever read Ambrose Bierce’s short story “An Occurrence at Owl Creek Bridge”? If not, it starts as the story of a man who is going to be hanged. As the trap door opens under him, he falls, the rope tightens around his neck but snaps instead of bearing his weight, and he is able to escape from under the gallows. For several pages he wanders through a forest truly sensing the fullness of life in himself and around himself for the first time.
Most fiction tells the story of an outsider—that’s what makes the novel the genre of modernity. But Dracula stands out by giving us a displaced, maladjusted title character with whom it’s impossible to empathize. Think Anna Karenina, Madame Bovary, or Jane Eyre but with Anna, Emma, or Jane spending most of her time offstage, her inner world out of reach, her motivations opaque. Stoker pieces his plot together from diary entries, letters, telegrams, newspaper clippings, even excerpts from a ship’s log. Everyone involved in hunting down the vampire, regardless of how minor or peripheral, has their say. But the voice of the vampire himself is almost absent. 



