21
" Sooner or later, all talk among foreigners in Pyongyang turns to one imponderable subject. Do the locals really believe what they are told, and do they truly revere Fat Man and Little Boy? I have been a visiting writer in several authoritarian and totalitarian states, and usually the question answers itself. Someone in a café makes an offhand remark. A piece of ironic graffiti is scrawled in the men's room. Some group at the university issues some improvised leaflet. The glacier begins to melt; a joke makes the rounds and the apparently immovable regime suddenly looks vulnerable and absurd. But it's almost impossible to convey the extent to which North Korea just isn't like that. South Koreans who met with long-lost family members after the June rapprochement were thunderstruck at the way their shabby and thin northern relatives extolled Fat Man and Little Boy. Of course, they had been handpicked, but they stuck to their line.
There's a possible reason for the existence of this level of denial, which is backed up by an indescribable degree of surveillance and indoctrination. A North Korean citizen who decided that it was all a lie and a waste would have to face the fact that his life had been a lie and a waste also. The scenes of hysterical grief when Fat Man died were not all feigned; there might be a collective nervous breakdown if it was suddenly announced that the Great Leader had been a verbose and arrogant fraud. Picture, if you will, the abrupt deprogramming of more than 20 million Moonies or Jonestowners, who are suddenly informed that it was all a cruel joke and there's no longer anybody to tell them what to do. There wouldn't be enough Kool-Aid to go round. I often wondered how my guides kept straight faces. The streetlights are turned out all over Pyongyang—which is the most favored city in the country—every night. And the most prominent building on the skyline, in a town committed to hysterical architectural excess, is the Ryugyong Hotel. It's 105 floors high, and from a distance looks like a grotesquely enlarged version of the Transamerica Pyramid in San Francisco (or like a vast and cumbersome missile on a launchpad). The crane at its summit hasn't moved in years; it's a grandiose and incomplete ruin in the making. 'Under construction,' say the guides without a trace of irony. I suppose they just keep two sets of mental books and live with the contradiction for now. "
― Christopher Hitchens , Love, Poverty, and War: Journeys and Essays
24
" People with Complex PTSD suffer from more severe and frequent dissociation symptoms, as well as memory and attention problems, than those with simple PTSD. In addition to amnesia due to the activity of various parts of the self, people may experience difficulties with concentration, attention, other memory problems and general spaciness. These symptoms often accompany dissociation of the personality, but they are also common in people who do not have dissociative disorders. For example everyone can be spacey, absorbed in an activity, or miss an exit on the highway. When various parts of the personality are active, by definition, a person experiences some kind of abrupt change in attention and consciousness. "
― , Coping with Trauma-Related Dissociation: Skills Training for Patients and Therapists
28
" I hate him.” She repeats it louder. “I hate him!” She shouts it at the sky, even though it’s hard to shout lying down: “I! Hate! Luke! Willis!”
Rachel asks, “But what did he do?”
Hallelujah can hear Jonah waiting for her answer. She knows he’s waiting because he’s stopped making fire-building noises. He’s silent. Completely.
She takes a deep breath. “He told a lie about me. Actually, a lot of lies. And people believed him. The grown-ups, because he’s the preacher’s son and he’d never do something bad. And everyone our age—because he’s popular and you don’t question the popular guy, because if you do, you’ll stop being popular yourself. Or you’ll never get the chance. And because of what he said, my parents stopped trusting me. I lost friends. I was just this loser who—”
She breaks off. Now she’s talking to Jonah. Even though he’s behind her and she can’t see him. “It doesn’t matter what you saw that night, or what he told you happened. Luke treated me like I was nothing, and you let him do it.”
Jonah doesn’t answer.
“But that’s not what makes me the maddest,” Hallelujah continues, pushing up to sit. “What makes me the maddest is that I let it happen too. I didn’t stand up for myself. And when someone did tell me to stand up for myself, I got so mad—”
Sarah. She feels the emotion of their argument wash over her, fresh.
“I pushed her away. I told her she didn’t understand anything. But she was right. I became this girl who wouldn’t stand up for herself. The quiet girl. The nothing girl. I just wanted it all to stop, but from the outside, without me having to make it stop. And I wanted to get away, but I figured, hey, college will get here eventually and then I’ll be away, I just have to get there, and all the while I’m miserable, and I’m letting you guys make me miserable, letting you make me think I’m supposed to be miserable, that I’m supposed to be quiet, and I’m shutting people out, people who maybe actually care, and I hate myself for it.” An abrupt stop. The train of thought hits a wall.
She’s never said that before. Never thought it before. Not consciously.
But she knows, deeper than she’s ever known anything, that it’s true.
Hallelujah has spent six months hating herself for being weak and silent and for letting bad things happen and for not fighting. "
― Kathryn Holmes
30
" Sometimes it is the other way around. A white person is set down in our midst, but the contrast is just as sharp for me. For instance, when I sit in the drafty basement that is The New World Cabaret with a white person, my color comes. We enter chatting about any little nothing that we have in common and are seated by the jazz waiters. In the abrupt way that jazz orchestras have, this one plunges into a number. It loses no time in circumlocutions, but gets right down to business. It constricts the thorax and splits the heart with its tempo and narcotic harmonies. This orchestra grows rambunctious, rears on its hind legs and attacks the tonal veil with primitive fury, rending it, clawing it until it breaks through to the jungle beyond. I follow those heathen--follow them exultingly. I dance wildly inside myself; I yell within, I whoop; I shake my assegai above my head, I hurl it true to the mark yeeeeooww! I am in the jungle and living in the jungle way. My face is painted red and yellow and my body is painted blue. My pulse is throbbing like a war drum. I want to slaughter something--give pain, give death to what, I do not know. But the piece ends. The men of the orchestra wipe their lips and rest their fingers. I creep back slowly to the veneer we call civilization with the last tone and find the white friend sitting motionless in his seat, smoking calmly." Good music they have here," he remarks, drumming the table with his fingertips.Music. The great blobs of purple and red emotion have not touched him. He has only heard what I felt. He is far away and I see him but dimly across the ocean and the continent that have fallen between us. He is so pale with his whiteness then and I am so colored. "
32
" There is too wide a gap, for most of us, between what we say and what we mean. Between our words and our thoughts. The first thing the Prophet Isaiah said when he saw the living and exalted God was, “Woe is me, I am ruined. For I am a man of unclean lips and I live among a people of unclean lips” (Isaiah 6:5). Isaiah was one of the most godly men who ever walked the earth. But seeing God, he sees also, abrupt and stark and grief-making, his own duplicity. Then God does what only God can do: he sears his lips clean (Isaiah 6:6-7). And herein lies our hope: truly seeing God, we truly see ourselves, in all our woe-begotten duplicity; but crying out to God, we are truly and greatly helped. "
― Mark Buchanan
34
" It is the custom on the stage: in all good, murderous melodramas: to present the tragic and the comic scenes, in as regular alternation, as the layers of red and white in a side of streaky, well-cured bacon. The hero sinks upon his straw bed, weighed down by fetters and misfortunes; and, in the next scene, his faithful but unconscious squire regales the audience with a comic song. We behold, with throbbing bosoms, the heroine in the grasp of a proud and ruthless baron: her virtue and her life alike in danger; drawing forth a dagger to preserve the one at the cost of the other; and, just as our expectations are wrought up to the highest pitch, a whistle is heard: and we are straightway transported to the great hall of the castle: where a grey-headed seneschal sings a funny chorus with a funnier body of vassals, who are free of all sorts of places from church vaults to palaces, and roam about in company, carolling perpetually.
Such changes appear absurd; but they are not so unnatural as they would seem at first sight. The transitions in real life from well-spread boards to death-beds, and from mourning weeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on; which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous. "
― Charles Dickens , Oliver Twist
38
" Yes, I laugh at all mankind, and the imposition that they dare to practice when they talk of hearts. I laugh at human passions and human cares, vice and virtue, religion and impiety; they are all the result of petty localities, and artificial situation. One physical want, one severe and abrupt lesson from the colorless and shriveled lip of necessity, is worth all the logic of the empty wretches who have presumed to prate it, from Zeno down to Burgersdicius. It silences in a second all the feeble sophistry of conventional life, and ascetical passion. "
― Charles Maturin , Melmoth the Wanderer
