Reason can not coexist with inscrutability

coelho

The main theme of Paulo Coelho’s The Alchemist (transl. Alan R. Clarke; HarperOne, 2014, first ed. 1988) can be summed up in the following sentence: To attain your dreams, you need money. In other words, this fable-like, deceptively simple narration hides a complex web of philosophical assumptions, historical knowledge, religious and traditional beliefs. All of these, however, are by-products of one aspect of the modernist grand narrative: that of money.

The plot follows the journey of an unusual shepherd “boy” (his age is never given – maybe for a purpose), Santiago, who dreams the same dream twice. This dream urges him to go to the Egyptian pyramids to find a treasure. He consults a gypsy and Melchizedek (both for a fee) who simply tell him to follow his heart’s desires, which become his Personal Legend.  From his native Andalusia he travels to Tangier where he is robbed so he has to earn money to be able to join a caravan headed for the pyramids. The desert gives him a chance to meditate on his life and learn about alchemy (which does not make an impression on him). In a forced rest on account of tribal wars the caravan has to stop at the Al Fayoum oasis where he falls in love with Fatima, meets a real alchemist, and almost becomes the oasis counselor. This is thanks to this reading of two hawks as an omen of war. Despite the war, the alchemist takes him close to the pyramids where is is robbed again; but the  alchemist makes gold and gives some to Santiago. He then returns to Andalusia, and digs under a tree where he once rested with his sheep. There he finds a treasure and heads back to Al Fayoum to Fatima.

Coelho, through his artistic skill,  has the reader fall for the fairy-tale atmospheres, mythical Arab wisdom, pyramids, do-what-your-heart-tells-you attitude, so that the protagonist’s “Personal Legend” (dream? purpose in life?), the Universal Language of the World Spirit, and the accoutrements of the mystery of life are prominently foregrounded. The messages are clear: listen to your heart, fulfill your childhood desires, interpret your dreams as omens,  follow the ancient traditions and religions, travel, don’t rock the boat, keep making money.  Under this surface patina, so attractive to countless readers, there are, however,  troubling undertones which make these feel-good concepts look incomplete. Here is just a sample of these bothersome undercurrents, contradictions, and not fully-exploited themes.

1. The novel is set during an undefined era, in a sort of rarefied atmosphere. The protagonist never feels hunger, and although he’s robbed twice, the first time he earns money by working in a crystal shop and the second time the alchemist provides him with gold. His father gives him enough money to buy sheep, in order that he can embark on the occupation of shepherd.  So the message here seems to be “believe your lottery ticket is the winning one”, and if you are middle class, so much the better. And therefore, the underlying message often exemplified in the novel says that the universe conspires to help you to achieve your Personal Legend. The fact that giving oneself up to occult and hidden forces is not the reasonable answer is never considered in the novel. Reason is defeated and inscrutability takes charge.

2. The name of the protagonist, Santiago, is highly interesting.  Santiago (Saint James, also called Santiago Matamoros) is now the patron saint of Spain (and Portugal and many other nations). One of the legends narrates of his miraculous apparition and help given the Spaniards in their battle against the Moors (battle of Clavijo, 844). When Santiago meets the alchemist for the first time,  he “was reminded of the image of Santiago Matamoros, mounted on his white horse, with the infidels beneath his hooves. This man looked exactly the same, except that now the roles were reversed.” (p. 113) Now he is the infidel who waits for the blow of the sword, but it does not come. In the book, Santiago is asked to become the counselor of the group that governs the oasis, an offer which he declines. Clearly, Christian-Muslim relations are one of the latent themes of the book, but never exploited in full. For example, the concept of Maktub (it is written) is mentioned a few times, and reason does not prevail: Tradition is taken as the measuring stick, inscrutability wins again.

3.   One of the most prominent conceits in the novel is expressed by the alchemist when Santiago is supposed to perform his metamorphosis and become the wind that sweeps the oasis to show the Arabs that he has mysterious powers (so that they would fear him and let him and the alchemist go). Santiago is doubting that he can perform this miracle, and the alchemist says: “Then you’ll die in the midst of trying to realize your Personal Legend. That’s a lot better than dying like millions of other people, who never even knew what their Personal Legends were.” (p. 146) This statement, smug as it is, contradicts something stated before: children (presumably all children) know what their heart wants, so everyone know their Personal Legend is.

4. Accepting armed conflict as the inevitable result of keeping tradition alive means not challenging the status quo. When the oasis is attacked by a group of Arabs (which is against the Tradition – oases should not be violated in this way), the attackers are killed, their leader hanged from a dead palm tree (death without honor). But the whole battle rests on the reason for the fight: the invading group was starving and thirsty. There seems to be a contradiction here: all religions urge believers to engage in acts of generosity towards those who are less fortunate – but the episode says just the opposite, kill the unfortunate ones, never mind sharing food with them. So Maktub (it is written) makes for contradictory behaviour. Reasoning was not even considered before the conflict started.

5. In the fight between reason and emotion, emotion wins. This is clearly seen from the way verbal language is devalued and disregarded. According to the alchemist, “people become fascinated with pictures and words, and wind up forgetting the Language of the World.” (p. 90) The word language is used often, but with the meaning of non-linguistic communication, especially that of omens, dreams, such as “true language of the universe” (68) ,  “language of enthusiasm” (64), “language that doesn’t depend on words” (46), even the caravan and desert “speak the same language” (81). The novel does not attempt to build a bridge between reason and emotion, intuition, mystification. On the other hand, it is ironic that novels are written using verbal language, a means that is devalued in this book.

6. Omens form the backbone of the plot, and the Englishman who wants to become an alchemist goes so far as to say that “Everything in life is an omen. … There is a universal language, understood by everybody, but already forgotten.” (74) The camel driver “knew that any given thing on the face of the earth could reveal the history of all things.”  (104)  The interpretation of omens, though, is mostly the purview of “specialists” (gypsies, old Testament characters, alchemists). Santiago has to rely on Urim and Tummim to give him answers. He is not urged to think on his own, abandoning reason to mystery, intuition, and feeling.

7. Last but not least, the plot of the novel would not exist without the necessary monetary support for the protagonist. There is nothing that happens without money: dreams of traveling, Personal Legend of finding a treasure, looking for help in interpreting his dream, joining a caravan, all depend on his ability to pay. Money is the conduit to the protagonist’s happiness. Although the meaning of the word treasure  can be metaphorical, it is the gold and money treasure he finds at last under the tree in Andalusia that allows him to go back to the desert to join his love, Fatima. The only two characters  who give him money without asking, in fact, are his father and the alchemist.

In conclusion, The Alchemist is a nice fable, a respite from violence and gore and other unpleasantness. But it is also a great example of the unseen power of the pull of money. Dreams can be fulfilled, but this fulfillment depends on one’s ability to pay. Trusting one’s intuition and heart is not sufficient. The beauty of a fable is that even here there is one dissenting voice, that of the crystal salesman, who tells “the boy”: “I don’t want anything else in life. But you are forcing me to to look at wealth and at horizons I have never known. Now that I have seen them, and now that I see how immense my possibilities are, I’m going to feel worse than I did before you arrived. Because I know the things I should be able to accomplish, and I don’t want to do so.” (60) In other words, to each his/her/its own Personal Legend.

 

 

 

 

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One thing the book club taught me (so far)

reading

Thanks to our book club (Literary Ladies), my reading selection has expanded dramatically, because I read books which I would have never come into contact otherwise. Our discussions also prompt many thoughts regarding reading which I have been interested in throughout my life. What follows presents the results of thinking about our two meetings and the conversations we had about the two books chosen.

As far as readers are concerned, there seem to be two main perspectives underlying the act of reading (fiction, but perhaps other genres can be included here too). These perspectives underpin the interpretation of themes, settings, actions, descriptions, and allow for very different types of enjoyment/disappointment/expectations of the book which all contribute to delightful discussions. The two perspectives are mutually exclusive but neither is “better” than the other. Each, however, lets us understand the world differently, although often without any possibility of rapprochement.

  1. Some readers identify themselves with a character. This is reading and thinking/feeling with one’s own mind: the reader looks for validation of her/his own ideas through a character’s language, race, gender, religious affiliation, social class, education, familial status, etc. (Pace Steven Pinker and other psychologists). Clearly, affection for a character of identical background reaffirms one’s situation and makes one exclaim: “I am not the only one that is experiencing these troubles/joys”. Women who went or are undergoing separation from a partner read The Love Warrior and find the “memoir” meaningful as they feel their life experience is reaffirmed since they can identify with Glennon. The book’s content, then, is part of the real world of suffering/joy. It is almost a given that this type of reading makes it much less probable that the readers would actually criticize the character with whom they identify. Conversely, if the readers do not identify (but would very much like to ) with a character (usually a protagonist), they are more likely to criticize the character’s  choices and lifestyle. Those readers who “could not” identify with Leo Gursky in The History of Love were more likely to find his quirks and life choices not understandable.
  2. Some readers suspend their way of thinking and stand back, so to speak, which makes them read and think/feel using the author’s mind. In other words, for them, “reading is thinking with someone else’s brain”, as Schopenhauer apparently claimed. This perspective does not seek to validate any aspect of the reader’s personality through an identification with a character. The characters are perceived purely on the strengths or weaknesses of the artistry of their description and on the intrinsic web of relationships they form with other characters. Readers who did not identify with Glennon of The Love Warrior and who read the “memoir” purely on the strengths of the description were more likely to detect the fact that the author was not entirely honest. This type of reading made it therefore possible to find faults, for example,  with Glennon’s abandoning her family and going off to expensive yoga sessions. As for The History of Love, those readers who found Leo Gursky’s life interesting or poetic, were more likely to find enjoyment and appreciation of the description of his quirks and life choices. This perspective interprets the book’s contents as an enrichment of one’s real life, rather than a confirmation of it; and therefore the farther the book’s content is from the reader’s experiences, the more chance it has to mold critical skills.

These two types of reading, however, leave various questions unanswered. For example, what are the criteria for constructing the countless book classifications, suggestions, lists? Do they measure the contents from the perspective of identity or from the perspective of detachment? Moreover, and, more significantly, the algorithms which are forced on us by the digital technology surely support our “preferred” type of reading and therefore the destruction of the boundaries (identity vs detachment) we as readers fall prey to becomes ever more impossible. Also, do the genres themselves force us to read from one perspective or another, as Edgar Alan Poe suggests? What do you think? You are welcome to leave your reactions by clicking on the “Comment” button below.