244. entelechy

Still haven’t heard from my dad in response to the reply I sent last week. It could be that he’s just processing, but it’s possible that he won’t respond at all. Again, my intent wasn’t necessarily to cut off all contact with him and the family, but that’s how he might read it.

It’s tough because this is a relationship that I feel I should want to hold on to, and yet the facts indicate that it’s a relationship that can’t go anywhere, and that it’s best to let go of.

Speaking of things I’m letting go of, a year ago this past weekend I participated in the MN Song workshop as part of the Source Song Festival in Minneapolis. It’s a festival with the mission to celebrate, promote, and develop American art song:

… by empowering and inspiring a new generation of musicians—composers, performers and audience members alike—through the creation of new works, the initiating of conversation, and the fostering of relationships within Minnesota’s vibrant community.

I’d entered one of my songs, a setting of John Donne’s Holy Sonnet IX, “If poysonous mineralls, and if that tree,”  in the festival and was selected as one of the composers whose works would be workshopped and performed over the weekend.

In retrospect, this was a last-ditch effort to hold on to my identity as a musician and art song composer.

However, it quickly became clear that I was simply out of place among the other composers and musicians there—even the youngest one there. This is the curse of having enough talent to recognize when you don’t have the same gift and seeming facile ability of the others around you. It was an uncomfortable weekend overall, and was basically the final nail in the coffin of my career as a composer.

Towards the end of high school, my dad finally convinced me to major in music composition. It was obvious that I didn’t have the talent for piano performance, and for a while I was planning to major in English (which would’ve been about as useful as a music performance degree), but I assumed that my dad knew what he was talking about as a professional-level musician.

And that’s what I did.

In hindsight, that was one of many pieces of what other people were telling my about myself that I attempted to make fit, never questioning whether those things were true or accurate. For a while it seemed that I was a talented composer. My music was complex and challenging, and that set me apart in the music department at Northwestern College. However, as I came to realize after graduating, that was a very small tidal pool in a very large pond.

And on this side of atheism, that musical identity belongs to someone else, to a person who existed only as a mirror for others’ expectations—people I looked to as authority figures to tell me who I was.

There’s a quote of Julia Sweeney’s from her show Letting Go of God that I’m particularly fond of: “If I look over my life, every single step of maturing for me has had the exact same common denominator: and that’s accepting what was true over what I wished were true.”

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As I’ve been delving more into learning about philosophy and the different schools of thought, I’ve come across the views of English pediatrician and psychoanalyst Donald Winnicott.

This video triggered a number of things from my upbringing that probably won’t come as a surprise to readers of this blog. While my childhood wasn’t the living nightmare of physical or sexual abuse that occasionally makes press, as I’ve come to realize over the last few years it was still incredibly toxic on account of my parents’ theology and the theology of our churches.

Like most children raised in fundamentalist religions, I grew up experiencing conditional love and acceptance. My parents preached the importance of showing unconditional love, yet their behavior taught something of the opposite. Compliance and adherence to Biblical rules (as they interpreted them) was heavily stressed. In order for our parents to be happy with us (or at least to avoid punishment), we had to exhibit good Christian behavior.

If we didn’t, it was a sign that we didn’t belong to God and were in danger of the fires of hell.

Of course, my parents had no idea what they were doing. They admitted to making mistakes along the way, but they ultimately believed that this was the right thing, that it was the godly was to bring up spiritually healthy children.

They didn’t know how psychologically fragile and impressionable children are; that teaching a child that they’re inherently sinful could translate to the belief that they’re inherently bad; that these lessons were shaping how their child would relate to other human beings later in life, and to their sense of self-worth or security.

Neither could they have expected that this way of bringing me up would lead to the developing of a sense of false self, to the reflexive repressing of my self, to shutting down, to going out of my way to please everyone out of a fear of disapproval and rejection.

So while I may have had two parents, a roof over my head, and my physical needs met, I lacked real security and the freedom to grow up at a normal pace.

It’s ultimately why I ended up majoring in music composition, why I tried so hard for so long to be a composer, why I applied to grad school for music composition, why I spent countless hours practicing piano as a teenager, why I entered that piece in the Source Song Festival.

 

This is why I’m focusing on being with people who I do feel accepted by/secure with, why I’m pursuing things that make me truly happy and that feel authentic, and why I’m stopping myself doing things for the approval of others.

It’s daunting, but my inner child deserves better than what he got.

243. risibility

At 32.5 years old, I’m getting around to correcting a deficiency in my nerd cred.

Up until very recently, I had never played Dungeons & Dragons or any tabletop role playing games.

Part of this was that until my mid-twenties, I believed games like this were a real gateway to the occult and to demonic powers.

A Hellmouth, if you will.

Oh, yes—that went for shows and movies like Buffy the Vampire Slayer, Charmed, Bewitched, Ghostbusters, The Craft… even Sabrina the Teenage Witch. Simply watching a positive portrayal of witchcraft or the occult was an insidious threat to our Christian faith. We were like heavenly soldiers adrift behind enemy lines, like Frodo and Sam in Mordor. Unless we spent time every day reading the Bible and praying, and watched and read only Bible-based media, the constant inundation of worldly temptations would lead us astray into the grip of the Devil!

“Set your minds on things that are above, not on things that are on earth. For you have died, and your life is hidden with Christ in God.” – Colossians 3:2-3 (ESV)

I’m not even kidding. That’s what we believed.

I had a good friend in high school, Jennie Purino, who was really into RPGs. (And vampires.) At age 15, having been brought up to believe that all that stuff was literally evil, this was a real brain teaser. From how she described and talked about it, it didn’t seem particularly dangerous or threatening. And as far as I knew, she didn’t worship Satan. (I think her family was nominally Catholic.) It actually sounded like fun… which, to my then Christianity-saturated brain, sounded exactly how Satan would lure people in.

So over the past few years I’ve been getting caught up on things that were previously verboten for me. Everything from music to games, to television shows, graphic novels, movies, card games… and now role playing games. My housemates are long-time D&D players, so they’ve been trying for a while to get me into it. And while I no longer think it’s evil, I was a little resistant. My understanding of games like D&D was that they attracted nerdy math freaks who could keep track of all the rules involved in game play. I pictured tons of calculations, and memorizing arcane amounts of information about races, monsters, spells, weapons, combat, and so on.

To be honest, I have a huge chip on my shoulder about anything math or science-related. I struggled to learn even basic math, like algebra and geometry, and science was equally daunting. Chemistry was fun though. But that meant that I chose to focus on the humanities, especially on literature and music, and wrote science and math off as being for people who were logical, and “smart,” and who probably fell somewhere on the autism spectrum. (Irony.)

Julia Sweeney says in Letting Go of God:

I had this prejudice that doing well at science was somehow an admission that you didn’t have the complexity of mind or subtlety of character to take on the humanities. Science was for people who couldn’t handle ambiguity and needed black and white answers, people who couldn’t get in touch with their feelings and had nothing left to think about.

Then a few weeks ago, I was invited to play Pathfinder, a game system similar to Dungeons and Dragons (and, as I recently learned, is backwards-compatible with D&D 3.5), but set in a different universe and setting. My friend Ben is running this game, which is the first chapter in a much longer campaign called Rise of the Runelords. Earlier this year I played a card-based version of this game, so the setting and the world itself was fairly familiar to me, but this was the first time I’d be building a character and rolling for stats.

Look at me, using phrases like “rolling for stats.”

The past few weeks have been spent researching and building this character—in this case, a half-elf bard named Casevar. I wrote out a fairly lengthy detailed biography for him, and this was the basis for a lot of the skills, abilities, and classes I chose to assign. It was actually a lot like the experiences I’ve had building a character in theater—you can do almost anything, within the confines of the play and the world the playwright has set, but you have to be able to justify those choices.

For example, one of the skills was Linguistics, which allowed me to choose an additional language that Casevar knows. For this instance, I chose Gnomish. When Ben asked me how on earth Casevar would know that language, I could point back to his biography where one of his close childhood friends was a Gnome named Mikkkaer. (Told you. Detailed.) It works in the context of his history.

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What I’m learning is that the rules and the nuances of RPGs are almost secondary to what seems to be its more primary aim—collaborative storytelling. Mechanics are necessary, but are more the tools for storytelling than an end. It allows for people to experience a different reality through a collective imaginative effort, and maybe for a few hours to be someone else. It draws on narrative and mythic elements that have shaped human cultures and civilizations for thousands of years, and that still continue to speak to us today.

There are also an increasing number of studies suggesting that RPGs help in the development of critical thinking, creativity, and compassion, and can be useful in the treatment of conditions like bi-polar, depression, and even autism-spectrum disorder.

So I’m looking at this as an opportunity to not only broaden my horizons but to also step outside my comfort zone and try on different personalities and personas as I build and shape my own post-Christian identity. Perhaps in this way I can overcome some of the demons that have been keeping me locked up in my own head, and from moving ahead with my life.

Not to mention that it’s also fun.