The Source Codes


“All I wanted to do was write a story about the Tortoise versus the Hare.”

I know but if you write that the tortoise is slow, won’t you be perpetuating a stereotype?

“We’re all just monologues, algorithms whirring, spinning tops bouncing off each other to build an unrivalled ensemble of narcissistic pathologies in skin suits,” he loved that line so much, he stole it. “We need to get back to our source code and dispense with all these other lines of machine code that programmers feed us to modify our thoughts and behavior.”

“We have a duty to be cheerful,” Martin Amis advised his daughters. “Be suspicious of the humorless.”

“We throw this line around a lot, but is anyone humorless? I’ve met some who come close, but I eventually found out their sense of humor was just more dark and cynical. Falling down was humorous to them, they enjoy bruises and blood, but for them to consider a joke hilarious, they want pain. They’re the type we could easily mistake for cheering on the downfall of humanity. Their sense of humor illustrates that the definition of humor is almost as varied as the sense of political identity, and it all boils down to this idea of a source code.”

What is a source code? According to built in “It is the foundation to a computer program and acts as written instructions that guide a program’s execution.” We have a similar code that basically guides our interactions with the nouns (people, places, and things) around us. Some call it our programming, but that word invites cynical speculation. Our definition of programming involves the detailed imprint left by the influential people from our maturation, and the experiences we have had that provide us our methods of dealing with the nouns we encounter. Our source code could be said to be the DNA of our programming. Depending on who we become, our sense of humor and political identity becomes intertwined as we grow into political animals. 

The reader might consider this a simplistic approach, but I think some political animals are born in the audience of situation comedies and comedians. It bothers us when we don’t get jokes that reference larger matters. It makes us feel immature and uninformed. It frustrates us when we didn’t get reference jokes, so we  study up on politics, until we arrive at this notion that “Everything is political.”

Say “Everything is political” to a large group of people, and most will say, “Well, it’s not to me.” Proponents of this notion will argue that if we drill deep enough into the sedimentary levels of everything, everything is political. I’ve met those who don’t even have to dig to find it. Some of them wish they hadn’t opened their mind’s eye to it, because they can’t turn it off now. They won’t laugh at a joke, unless it funnels appropriately. They hear, read and see it, searching for subtext in their never-ending search for points for their team, and they can only find humor in the vindictive and angry potshots volleyed at the other side. 

“How did that happen?” others might ask political animals. We can all offer simplistic and autobiographical guesses, but for most the answer to how we became so political is, “It happens.” We can’t properly source it, but we know it happens. The next logical progression to this question is, “Why would you do that to yourself?” Most of us will experience some semblance of an escalation to politics is everything and everything is political, as we learn more about politics and build a political identity around that knowledge. Our goal, at the peak of this mindset will be to convince everyone around us of the beauty of our newfound philosophy. As we hover around that peak, however, we will see the futility of believing and seeing everything as political. Not to mention the frustration. The frustration arrives when we realize that about 75% will never agree with us. There is political, and there is political. Everyone’s experience with this is different, but the quest for ‘everything is political’ puts us in a downward spiral that can lead to humorlessness and some perpetual sense of dissatisfaction that can lead us to this sense of being unfulfilled, and as Amis warned, we should be suspicious of them.

“I have a friend for whom everything from national to local politics dictates her mood,” he said. “If she greets me with a smile and follows it with a generally pleasant afternoon, I know something happened, usually on a national scale to vindicate, or validate, her worldview. I suspected that my search for her mood, relative to political events, may have been coincidental, until she greeted one of my happy days with suspicion. She and I don’t speak openly of our positions, of course, as it’s all feel and suspicion, but if we did, and I said, “No, I just happen to be very happy today,” something tells me that she would scour her newsfeeds to find the true source of my happiness. The “Everything is political” animals generally believe that everyone is as political as they are, but most of us are afraid to admit it.  

***

We all have different codes that we follow, pay allegiance to, and devote our lives, and most codes were written to feed the simple art of pleasing humans. Yet, some part of our innate reactions to their desire to please us leads to our almost instinctual dissatisfaction designed to require further appeasement. When we get our fast-food order, and we don’t find the errors until we get home, we complain, “They really need to slow down to make sure they get it right.” When we run across that fast-food employee who never gets it wrong, because he operates at such a methodical pace that it’s almost impossible for him to make an error, we complain, “I now realize I wouldn’t mind an error or two if that’s the price I have to pay!” 

If everything is political to us, we’re almost required to maintain a certain level of dissatisfaction. If we want progress, we can never be satisfied, lest we slip back closer to the status quo. If we want everyone to agree with us, we want them to hear our passionate argument fueled by dissatisfaction, frustration, and anger.    

“I note the etymology, the origin of words, and it’s always fascinating,” Martin Amis said. “‘Widow’, for instance means ‘be empty’, ‘torture’ means literally ‘to twist’. You look up a word … and find out more about it, then you feel a little grey cell burst into life in your head, as well as all the millions that are dying.” For Amis, language was a well from which he drew delight – and into which he gleefully, to our great pleasure, emptied sack after sack of melons.”

“You talk about the simple art of pleasing humans. Imagine finding a great word and being happy for a day? That’s a guy with a firm handle on his individual source code.”

“True, but the ‘everything is political’ animal has a firm handle on their source code too, and it makes them miserable.” 

“[But] I cannot make anyone understand what is happening inside me.”— Franz Kafka, The Metamorphosis

Why do political animals pursue that which makes them miserable? Why do we enjoy watching and playing sports and video games, when the pain of constant failure far outweighs the temporary satisfaction of accomplishment? It’s a statement that seems contradictory, or absurd, but in reality, it expresses a truth, and the truth about the paradox is that it’s all about us. It’s all about how we hear, see, read, and absorb information. As frustrating as it is, we keep feeding the beast. We’re the problem here, and we always have been. We’re the source of the problem, and the source code tells us that it’s we’re the ones who have been the making all of the mistakes all along.

***

Speaking exclusively to video games, my dad told us to “Just shut it off. If it makes you that angry, just shut it off.” It was so simplistic that we considered it hilarious. Just shut it off? Shut it off and presumably never play video games again? What my dad didnt understand, and we didn’t either, was that video games became a part of our hard wiring. Following politics, like playing video games, makes us angry and leaves us perpetually unsatisfied, but that’s kind of the allure. Quick question, what do gamers do after achieving the ultimate glory of solving a game? They/we restart the game to do it over again. Temporary losses don’t mean much to either animal, and temporary wins mean almost as little. They might not even take a moment to wallow in the glory. They just start over. 

We make mistakes when we chose to follow a source code. When we’re young and making messes where ever we go, they tell us to follow a code, then we see the errors of their code, and we rebel. If we want a reward, they say, we should follow their source code, but machine programmers whisper in our other ear that unless we want eternal strife, we’ll need to reject that particular source code. I didn’t believe those who coded me in my youth, because others helped me see that code for what it was, until I realized that their code required equal amounts of blind fealty. I went back and forth and forth and back, until I accidentally went so far beyond doing a 180 that I found myself turning 360-degrees to try to find what I considered a truth. 

Some coders can be quite charming, as they inform us that they, like us, don’t know fecal matter. They’re the “I’m not an expert, but …” crowd. They’re funny, we appreciate their honesty, and we find their presentation compelling and persuasive. When they say they don’t know what they’re talking about, it’s delivered with their clown nose on, and then they take that clown nose off to inform us that no one else knows what they are talking about. Thus, we’re supposed to believe them when they rip apart the foundation of our source code, because at least they’re being honest about it. 

“Have you ever tried following a source code?” I ask them. We get it from all corners. Everyone says we’re doing it wrong, even those following our code suggest that we’re doing it wrong, and some programmers tell us that we must be dumb for needing to follow a code in the first place. The only ones who seem to have any confidence in a code are those who don’t have one, and that is so much easier to defend. 

“I wish I could believe in something, but I’ve got nothing to believe in,” the unintentionally condescending tell us. “It would be so nice to know as opposed to having to think so much.” The latter is not an exact quote, but the sentiment and inference is that believing in something frees us from having to think and question matters as much as they do, which doesn’t account for those of us who question everything, until we eventually find some code for which we happen to disagree. Those who write code also suggest that other codes exist in an authoritarian realm that require blind fealty, without questioning whether the lines of code might agree our beliefs system as opposed to us agreeing with it. The question we should ask in the face of their certitude is “Are there any nouns (people, places, and things) for whom you express blind fealty?” Most will say no, but if we talk with them long enough, we will eventually find something. We will also find those who don’t believe in anything, and they find that their most admirable quality. 

Have you ever considered the idea that the source codes might not be the problem, and that it could be us? Our interpretations could be the problem. I thought I had all of my interpretations down, until someone offered me a new way of looking at what I thought I knew inside and out. It dawned on me that all of my interpretations were flawed, as flawed as I am. I knew everyone else’s interpretations were flawed, don’t we all, but I never considered the idea that I didn’t know squat. This has led me to a new interpretation of the qualifier: “…But that’s just my opinion, man. It’s what we were taught, and what we believe, but it could be wrong for all I know.” 

Courage in our convictions leads to comfort, but when we extend that confidence to denounce anyone who deviates from our code as those who will pay, “according to the source code,” it’s not time to denounce the source code, it an opportunity to question ourselves more, and our preferred interpretations. 

You have a code, I have a code, and it doesn’t matter what that source code is, it’s as flawed as you are, and as flawed as everyone who taught it to you and influenced you to add and subtract elements to it. Critics will tell us that the problem is not us, it’s our coders. Good for them, I say, you go girl, and all that, because the leader of any movement should welcome criticism, analyze it, and defeat it with performance. We shouldn’t dismiss it either. We should read it to determine if the critique is logical and reasonable. If it is, and it exposes vulnerabilities in our source code, we should adjust accordingly. We’ve all listened to leaders of movements, and some of those leaders have been taken out through irrational and illogical ad hominem attacks. The theme of these attacks is if we cut off the head of a snake, the body dies, but what does a quality leader do more than anything else? They codify the code. The make the complex understandable. They funnel all of the information into a focus that we use to funnel our focus.  

I’ve listened to everyone from the crotchety old, traditional professor to the young, emotional, and heartfelt avant garde artists. I’ve mocked both for their pursuits, and I’ve turned my back on each of them at various times, until, as I wrote, I ended up turning 360-degrees to where I am now. I can passionately speak with both sides to a degree they both think I agree with them, but running through it all is a ironclad beliefs system that is steeped in my source code.

Line cooks, bus drivers, and waiters and waitresses have all influenced elements of my source code, almost as much as the great thinkers of history. As with great athletes, great thinkers, leaders of movements, and influencers of a source code, make mistakes. These mistakes, and moments of failure, make them who they are. We won’t see their failures, or most of them, because they’re often committed in the gestation cycle, but they get better, and they learn. When a critic highlights those mistakes and failures, we shouldn’t question the leader or our movement as much as we question ourselves. Leaders and movements come and go, but if we’re doing it right, the critic’s allegations shouldn’t matter to us, even if true. We shouldn’t even have to delete the lines of code the leader influenced, because they’re ours now. Our message to the critic should be, the source code is not the problem, and it never was. It’s as flawed as we are, as flawed as that leader was, and as flawed as we all are. The problem that we’ve never considered before is that it might be us, all of us, and our interpretations. 

Dream Crushers


“I have so many ideas rolling around in my head, some really great ones,” a man named Kelley told me. “I just need some money to make them work, and I’ve never had any money.” Some might laugh at such a foolish notion, and some of us might say, ‘If your ideas are so great, why haven’t you done anything about them?’ 

Kelley wouldn’t tell me what his ideas were. He avoided answering me when I asked for specifics, and he quickly changed the subject when he saw that I wasn’t going to let it go. He enjoyed my general level of intrigue, because most idea guys don’t even receive that, but my guess is he didn’t want to risk damaging that interest by telling me what his ideas were. I knew why Kelley did that, because I was Kelley on so many occasions, and I saw my listeners’ faces turn to ‘that’s kind of dumb’ disappointment when I actually told them what my ideas were. I knew the vulnerability, bordering on fragility, and I also knew what happened when we accidentally gave a cynical, once-bitten hyena one of our ideas. I knew what it felt like when they took a chunk of flesh. What Kelley didn’t know, because he couldn’t, was that I was so into the plight of the idea man that I often waited for them to finish to offer them blind encouragement. Since Kelley didn’t know me, he just assumed that I was one of those who consider it their responsibility to crush idea men at the gate.

“I don’t see it as mean,” former talent judge from the show American Idol, Simon Cowell, once said regarding crushing other peoples’ dreams. “I see it as freeing them from their lifelong dream of being a singer. No one ever told them that they couldn’t sing before. When I tell them, it frees them up to pursue all these other avenues in life.” This isn’t an exact quote, but it is so close that it gives us some idea what Cowell probably dreamed up one night to presumably free himself of the guilt that caused his chronic bouts of insomnia.

All these years later, we learn that that wasn’t the real Simon Cowell. Simon Cowell, we learn, wasn’t a mean man. He had to learn how to be one. A TV executive, named Mike Darnell, states that “In all the other shows before him, everyone was polite and nice, and I knew [crushing people’s dreams in the meanest way possible] was going to be [his] thing. Simon, to his credit, was willing to do anything.” Simon Cowell had to learn how to be a mean character if he wanted American Idol to succeed, and “He was willing to do anything”, including absolutely crush the dreams of the participants on the show to achieve his own fame and fortune. Is this supposed to vindicate the guy? Not only could I not be that guy, no matter what rewards awaited me, I couldn’t even watch his show. I watched it once, because everyone told me it was so fantastic, but I couldn’t bear to watch the glimmer of hope fall out of the eyes of my fellow dreamers when Simon Cowell’s mean-spirited character laid them out.   

I don’t know if I’m the opposite of Simon Cowell, when it comes to idea men floating their dreams to me, but I approach their pitch from an ‘I don’t know what the hell I’m talking about’ mindset. This mindset was born the day Beanie Babies hit our store shelves. The idea that we had a line that stretched from our hotel entrance to the gift shop, where they were sold, set my beliefs about the American consumer back by about ten years. If I were a toy executive, listening to the Beanie Baby pitch from the idea men who brought it to me, I probably would’ve said something along the line of, “I like them, they’re well done, cute, and all that, but if we buy your product, we’re not going to devote much of our resources to their manufacturing, and we’re not going to devote much to their marketing either. We already have a certain percentage of our budget devoted to the teddy bear market, and I don’t see how these products demand anything beyond our typical financial devotion to a product.” As we all know, this is but one bit of evidence that ‘I don’t know what the hell I’m talking about’ when it comes to the desires of the typical consumer, or ideas in general.  

Simon Cowell, I suspect, also “Learned how to be mean” to establish his bona fides as man who did know what he was talking about. To establish his status as an authoritative expert, the show’s organizers front-loaded it with talent that couldn’t sing. I could see that, you could see that, and Simon Cowell could see it too, and he was so frank in his assessments that some could mistake it as cruel. “Hey, he needs to hear that, because he is bad,” audience members said while they were laughing. Simon Cowell, his handlers, and the corporate execs obviously did their research on how to create a character that fed into the American definition of an authoritative expert who knew what he was talking about. If they were correct, and the ratings show that they were, the American definition of the man who holds the keys to the kingdom is a mean man. We see this in our movies and cartoons, and it’s become an affixed image in our brains. If the American public were going to take Simon Cowell seriously, he was going to have to be theatrical when informing those who lost in first round, and he would have to remain unconcerned with their feelings, because being nice and polite is boring, and it doesn’t feed into the American definition of an authoritative expert. 

We might think that an idea man, listening to the ideas of another man, would want to avoid every trait of the Simon Cowell character. We might think that after getting ripped apart by their own hyenas and jackals that they would be more sympathetic and empathetic than the average man to the tumultuous path of the idea. We might think they would want to be the confidant, the facilitator, or the one person that the idea man can count on to be supportive. We might even think that an idea men would strive to create mutual appreciation relationships to treat the ideas of idea men the way they want theirs to be treated. In my relatively limited experience, they do the opposite. They skeptically diminish, deride, and dismiss all others’ ideas to essentially clear the deck of ideas, so theirs is the only one left standing. It’s a “My idea might be flawed, but it’s not as flawed as yours” methodology of propping their ideas up by pushing everyone else’s down.    

These clear-the-decks idea men share many characteristics with the Bigfoot experts. If you’ve ever watched an exploration of the Bigfoot universe, you’ve been inundated with the experts in this field of cryptozoology. As with idea men, the breadth of the various pitches they offer to establish their authoritative expertise on the subject often devolves to tearing down the competition. One expert, we’ll call him Tom, claims to be the Big Foot expert. Tom claims to have had numerous harrowing encounters. He provides details of those encounters (cue the actor in the hairy suit for the reenactment), and he shows us evidence of those encounters, such as the plaster cast footprint, a ripped tent, or a damaged car to show the wrath of the Bigfoot. Based on his numerous experiences, the evidence, and his particularly charismatic and convincing presentation, Tom is widely regarded as the Big Foot expert. This bothers Dick, the lesser-known but up-and-coming expert in this field. We might think Dick might try to rival Tom’s experiences with his own, but he chooses to try to poke holes in Toms’ stories, until it’s fairly obvious that he’s trying to destroy Tom’s legacy in the field. Dick claims that true cryptozoologists, with a Bigfoot focus, know Tom’s claims are “dubious to say the least.” Dick tries to establish his bona fides in the Big Foot community by scrutinizing Tom’s claims, as if they’re not rooted in the scientific method. Dick then lists some of his own credentials, his theories, and his firsthand experiences, but the breadth of his presentation focuses on bringing Tom, the widely-recognized expert in the field, down. Harry refutes Tom and Dick’s claims with a “If this is true then that would have to be true too” prosecutorial breakdown that leads the audience to believe that Tom and Dick’s presentations are basically nonsense. Thus, Harry claims to be the “real expert” by a last man standing process of elimination. In the end, no parties produce irrefutable information, because there isn’t any, and as a result the experts, like the idea men, end up dueling over the circumstantial evidence they gathered. 

Our ideas might be flawed. We might not be as funny as we think, we might not know how to sing, or we might not be able to write good(emoji), but our dreams and ideas secretly make us feel special. They’re what we think separates us from the pack. I could see this in the aforementioned Kelley’s eyes. He thought his very general pitch was a declaration that he wasn’t a low-level, blue-collar worker like me. He was (trumpet’s blare) an idea man, and the only reason he wasn’t there yet was he didn’t have any money. We all think if we just had a few thousand dollars, or the right connection to that person in the know, or that big break that the man had, everyone would know that we’re not just idea men. We’re the real deal, not like Anthony over there, who’s just a dreamer. “You have to know someone to get somewhere,” we frustrated types say when we don’t get where we need to be. “It’s all a game, and you have to know how to play it to get there.”

The idea that none of us are who you think we are, “a common blue-collar worker like you,” and we’re actually a lot more special than anyone knows, was brilliantly captured on the classic show Taxi. No one in the blue-collar dispatch area, on that show, was just a cab driver: one driver was also boxer who drove a taxi for the money, another an actor, a receptionist in an art gallery, and the last was a guy just working there to put himself through college. After each character went through their real roles in life, the character Alex Rieger declared, “It looks like I’m the only taxi driver here.” Their dreams, our dreams, are our way of getting through the rigamarole of the daily life of the worker, and the general tedium of life. They are our reason to wake up in the morning, and the reason we keep going through the routines of life, but some of the times our ideas aren’t as great as we think they are, and we’re afraid of meeting that Simon Cowell-type who will not only tell us the truth, but humiliate and emasculate us for ever dreaming in the first place. Simon Cowell-types can say that their goal is to free us from unreasonable ideas, aspirations, and dreams, but we all know that they enjoy laying out the harsh realities of life.

***

Did you ever have a dream? We all did, when we were all dumb and stupid in our twenties. Our dreams may have been delusional and a “total waste of time”, but they were all ours. Did someone come along and deliver a harsh dose of reality to you? Have you ever passed this knowledge on? Did it feel good? Okay, maybe not good in the literal sense, but how about justified? Some people, and we all know who they are, love to crush dreamers with a reality hammer, because they’re more than happy to help someone else in this regard. 

The trick is to hold onto your young dreams.” –George Meredith

Dreams are largely a refuge of the young. Talk to any kid, and you’ll hear about their dreams, all of them. If you fear that your kid might be headed down a delusional and a “total waste of time” path that you hate to see them spend one second pursuing it, wait a second, don’t say a word, wait, and be patient. They’ll have another, totally different dream tomorrow. Until someone comes along to effectively crush our dreams, we’re still in this dream-like state in our twenties. The only problem is we don’t have any money, no connections, and absolutely no path to seeing our ideas and dreams to fruition. 

If it’s true that our brains don’t fully formulate until we’re twenty-six-years-old, the twenties are our last vestiges of youth, but we’re old enough and mature enough to start seeking concrete paths for our youthful dreams. The thirties are a rough time for dreams, as the faint light at the end of the tunnel begins to fade in the decade we spend in the workplace, but we’re also not so old, yet, that we consider those dreams foolish notions. That usually happens in our forties, as we begin to whittle away at the idea pool to sort out the outlandish, never-gonna-happen dreams, and we become more realistic. Few of our dreams last into our sixties, as we begin to realize that we should’ve either focused our mind more on the more realistic dreams we had or given up on all of it sooner and focused on something that mattered so much more.

This general, and relative lifecycle of dreamers can be artificially altered and disrupted by dream crushers, and as I write, they think they’re doing a service to their fellow man. They don’t consider the idea that we all think different, and some of us can walk and chew bubble gum at the same time. When I hear a dream crusher brag about injecting a dose of reality in another’s head, and they always do with some measure of pride, I ask them, “Why would you do something like that?” When I ask that in an emotionally charged manner, I can see, in the manner in which they answer, that that was the last question they expected from us, or anyone else for that matter. You can also see that they failed to consider the other side of their advice, or that that person might just be different than them.    

“You heard their idea. It was ludicrous, and a total waste of time. Someone had to say something. I think it was for their own good that they hear that,” they say. They also add some variation of, “Better they hear it from me than someone who doesn’t care about them.”

“Okay,” I said, “but did it actually benefit them? I think we can both agree that he’s an upstanding man, good father, good husband, quality friend and employee.”

“From what we know, yeah.”

“And most of the time he “wastes” pursuing a dream “that was never going to happen,” was done with whatever free time he had left. If all that was true, and as you say from what we know it was, how did your dose of reality benefit him?”

“He was just wasting so much time and energy on it. I couldn’t bear to watch it anymore. Someone had to tell him the truth before he got his heart broken.”

“So, you broke his heart to prevent him from getting his heart broken? While you were smashing, did you ever consider the idea that some portion of the happy-go-lucky, unflappable personality that you and I know and love was based on those outlandish dreams and unrealistic goals? What if he believed you, or you made some kind of dent? What if he stops pursuing his lifelong dream, based on what you said? How would you feel if he come back to us as hopeless and cynical as you are? Would you feel vindicated, or would you realize that he’s probably not going to tell you, or anyone else, what his dreams are anymore, if he continues to pursue them. And what if he doesnt? What if he admires and respects your opinion so much that he realizes that pursuing his dream was a waste of time and energy, and he just gives up on them? It’s possible that he might come back to us a little more unhappy than he was yesterday.”  

 

John Coltrane is a Bad Guy


“John Coltrane is a bad guy,” they say. “He’ll be whoever you want him to be, when you talk to him, and all that, but the one thing that you should keep in the back of your mind is that he’s just a bad person.”

“I don’t think that’s true,” we say.

“If he’s not a bad guy,” they say, “Who is?”

“It’s complicated.”

Actor Ian McShane

“It’s not complicated,” they say. “He steals money, because he wants more of it. He hurts people too. Some bad guys say they aren’t afraid to hurt anyone who stands in the way. It’s more than that for John Coltrane. He enjoys it, and he always has.”  

“John Coltrane is a victim of circumstance,” we say. “Have you heard him talk about his childhood. His upbringing makes Oliver Twist read like a day at an amusement park, “and nobody ever talks about any of that,” he says. I think he’s right.” 

“If he’s not outright lying about his circumstances,” they say. “He’s exaggerating. He’s not a victim of circumstance, unless we count the circumstances of his own making. He doesn’t steal, hurt people, and kill to support a cause, and he’s not poor or hungry, and he never has been. He’s not desperate to feed his children. He doesn’t have any. He tells us he has a son. He doesn’t have a son. He’s lying. That’s what bad guys do?”

“Why would anyone lie about something like that, something easily disproved?”

“That’s what bad guys do.”

“What does he gain?” 

“He studies us,” they say. “He studies us a culture, and us individually. He tells us the tale we most want to hear. Has he ever prodded you? He prods me all the time, going deeper and deeper into an issue. I don’t think he prods to find weaknesses. I think that’s just what he does, but he uses the weaknesses he finds later. Finding our weaknesses is a byproduct of his constant prodding. The ‘I need to provide for my kid’ narrative is a powerful one, because it garners all types of empathy and sympathy from people like you. 

“As for the more general search for truth,” they continue, “I don’t think he cares about what we call the truth, to be quite honest with you. I think he’s beyond caring about all that, or what we think the truth is. When we catch him fudging the truth, you know what he says? He says something along the lines of, “All right, all right, if it’s not that, what about this? Have you ever considered this?” How does someone do that when you catch him in a bold, irrefutable lie? He does it. He does it all the time. I’ve caught him lying so many times that I no longer believe him. Others do. They continue to believe him even though they know he’s lying to him, they have to know, but he’s so charismatic and convincing that they want to believe him, which says more about them than it does him.”

“That is fascinating,” we say. “I’m not saying I agree, because I don’t know him as well as you do, but it’s fascinating to think that even the modern bad guy learns that he has to change with the times. We all have figurative schemes of thought. When we create a vision of the future, for example, the audience expects some characteristics, flying cars, over population, and corporate monoliths constructed in a manner that makes them look creepy. We also expect some sort of corporate takeover of the planet that removes homes and anything green to feed the corporate monster. Ok, but who’s going to give the corporation money if it takes all the city blocks and drives out the innocent people, its consumer base. The answer obviously is, the corporate monster doesn’t need money in the future, and it doesn’t need people to run it anymore. It is now a self-serving monolith. This is supposed to be a horrifying view of the future, and the movie makers provide guidance for how to avoid this dystopian future, but it makes no sense to me. The same is true with the modern bad guy. The modern bad guy doesn’t do anything but sit around and be evil. He might look and act creepy, and he might promise to do evil things, but he doesn’t do any of them. Every time he appears, creepy music ensues, and we’re convinced he’s a bad guy, but he doesn’t actually do anything incredibly evil to them.      

“Similarly Our definition of the modern bad guy requires that he follow all of the societal norms as best he can. The trope is that he can’t, because he doesn’t know any better, or he won’t, because he’s a bad guy, but the character adjusts to what the audience wants from a bad guy to fulfill their figurative schemes of thought. What the audience appears to want now is a bad guy who doesn’t do anything but sit there and be spooky. I was watching a fictional horror movie in which the bad guy kidnaps a kid, but he didn’t do anything to the kid, because that would’ve been too over the top for most audiences. So, he sat in another room with a weird mask on and acted spooky. We could probably say that everything, pro and con, boils down to John Coltrane’s youth,” we say. “You say he’s a liar, thief, and worse. I’ve known liars and thieves, and they, like Coltrane, often talk about how dumb and stupid they were. Coltrane often talks about how incredibly naïve he was, and how he found it so embarrassing.”

“Weren’t we all,” they say. “Didn’t we all stand at proverbial forks in the road. Didn’t we make decisions along the way that led us to where we are today? Didn’t we all have friends and family who point and counterpointed us to death? Did you ever have that guy, some guy you worked with at a dive restaurant, who told you everything you needed to know about the world from some deeply cynical and awful pocket of the world, his world? He told you that the world you were about to enter into was one big moral equivalence? Did you believe them, or did you see him as an embittered old man who got rolled over in life? Our lives are dotted with points and counterpoints from friends and family, and embittered dishwashers. Who takes advice from a forty-year-old who isn’t cut out for anything better in life than being a dishwasher. They have it all figured out, right? Some people, like John Coltrane, romanticize their notions so much that they begin to believe them. They think they’re cool and funny, and that they’ve unlocked some truths about life they’ve never heard before. If those who cared about him gave him counterpoints to correct the path he was headed down, he either didn’t hear them, or he decided not to abide them.”

“And you think John listened to them so much that he developed a life’s philosophy around them?” we ask. 

“Philosophy is a stretch,” they say. “I don’t think John Coltrane ever developed a philosophy. I think he’s more of a code fella. Whether right or wrong, a philosophy involves a deeper understanding of complicated, almost literary grasp of the way the world works. People like John Coltrane don’t have philosophies, they have codes. It’s a fine distinction, I’ll admit, but a code might be, be nice to your mother, don’t poop where you eat, and don’t eat yellow snow. People like Coltrane prefer superficial, cinematic sophistry that everyone from your best friend to your aunt Donna says to get you to laugh. Deep, complicated, and conflicted bad guys with a philosophical understanding of human nature and the way the world works are a reflection on modern writers hoping readers see the same in them. Their bad guy chracters have vast amounts of knowledge that leads some of us to say, “If he’s so smart, why didn’t he land himself some sort of prosperous career?” No, most criminals are rejected by the greater digestive system of the world, until they fall out the rectum a professional dishwasher, or whatever job title John Coltrane gives himself.”

“I’ll admit I don’t know John Coltrane as well as you,” we say, “but he does have a deep philosophical take on life. I’ve heard it in the hours we’ve spent together. He has a good head on his shoulders, especially when it comes to self-importance. He asked me the other day, ‘who’s the most important person in your life?’ I gave him some answer I thought he wanted to hear. He said ‘Wrong, bongo, you should be the most important person in your life. Who is most affected by your decisions?’ I like that general thread, because it’s so unique in the modern era.

“Hey, you’re not going to get me to say there’s something wrong with self-importance,” they say, “but at what point does it become delusional narcissism? We were all innocent and naïve at one point, and we were chiseled by the world around us. Some of us developed strong minds that could recognize the wrong read for what it was, and some of us didn’t. Some of us corrected our errors, and some of us developed excuses for who we are, but others just lash out at the world around them.”

“It’s the latter that really gets to me,” we say. “I don’t get the lashing out at the world in general. Let’s say you see an otherwise innocent bystander walking down the street by themselves. What prompts you, a relatively sound individual to rob him to rectify what everyone did to you as a kid? How would a John Coltrane square that?”

“Coltrane’s a big guy, tall, broad-shouldered, and all that, so my bet is no one would dare ask him that question,“ they say. “If they had, he’d have an answer. That answer might be meaningless to us as it is to him. It might deal with the general idea of innocence “Nobody is innocent,” is something his type often says. Here’s the most fundamental characteristic of John Coltrane that you need to know before you get to know him. The man always has an answer. If you asked him the question you just asked me, he’d give you an answer. He might give you an answer that strikes you as profound but strikes you as gibberish later, or vice versa. That answer would also be as meaningless to him as it is to him, and it might change if you ask him it a month later, or however long it takes for him to forget the first answer he gave you. Regardless the answer, he always has an answer. There’s always a quick, off the cuff answer that leads you to believe that he’s given this a lot of thought. He hasn’t. He just answers the question. 

“The comedy comes into play when the question of morality arises,” they continue. “John Coltrane knows moral values. He has codes by which he thinks everyone should live, if they want their society and culture to advance. He might even have a long, engaging conversation with your paragon of virtue, your dad, and your dad might find him so pleasant and respectful, and right. The two of them might share so many principles and values, over that steaming bowl of soup, that a friendship could develop. The idea that he doesn’t display his own values doesn’t seem to faze him in the least. If you called him a hypocrite, he’d have an answer. He always has an answer. The most important thing to him in life is finding happiness, and he doesn’t care what he has to do to get it. He’s just a bad guy.”