Posts Tagged ‘dreams’
January 17, 2013 | by Brandon Hobson
Black Crow Road
A week before the tornado outbreak in May of 1999, I attended my first Native American sweat with my friend A. J., a security guard and blackjack dealer at a Cheyenne-Arapaho casino located in the town of Concho. I’d known A. J. since eighth grade, when we used to smoke cigarettes and catch crawdads in the creek behind his grandfather’s house. His grandfather sat in a recliner and smoked a pipe and spent whole afternoons staring out the window. He talked to us about luck. Good luck, bad luck. He once told us to pay attention to wind and smoke. If wind drifted the smoke east, that meant good luck. But only east. Crows are good luck, he told us, because they fly high and carry prayers to the spirits, whereas owls are considered bad luck. Rain is good luck, but only when the sun is shining. Strong winds are good luck because they are personified as divine spiritual messengers. Even ridiculously high winds that bring down power lines and trees are still considered good luck, regardless of their destruction: the overall speed of wind is unimportant because many tribes look at the path of winds as the soul of a spirit sweeping across the land. I’ve never been much into superstitions, but listening to A. J.’s grandfather talk about all this when I was a kid made me realize this was some serious shit.
June 15, 2012 | by Witold Gombrowicz
We told each other our dreams. Nothing in art, even the most inspired mysteries of music, can equal dreams. The artistic perfection of dreams! How many lessons this nocturnal archmaster gives to us, the daily fabricators of dreams, the artists! In a dream everything is pregnant with a dreadful and unfinished meaning, nothing is indifferent, everything reaches us more deeply, more intimately than the most heated passion of the day. This is the lesson: an artist cannot be restricted to day, he has to reach the night life of humanity and seek its myths and symbols. Also: the dream upsets the reality of the experienced day and extracts certain fragments from it, strange fragments, and arranges them illogically in an arbitrary pattern. Read More »
April 16, 2012 | by Thomas Mallon
The New York Times made its first mention of Edgar Rice Burroughs on June 14, 1914, when the paper’s Book Review included Tarzan of the Apes among “One Hundred Books for Summer Reading.” Having asked publishers to supply the hundred titles, the Review editors did “not pretend to say what consideration has inspired each . . . particular selection”—a note of caution that veers toward alarm in the editors’ capsule assessment of Burroughs’s recent creation: “The author has evidently tried to see how far he could go without exceeding the limits of possibility.” The plot description that followed made it clear that, “possibility” aside, plausibility had certainly been breached:
Lord Greystoke and his wife are marooned on the African jungle coast, build a cabin, and become accustomed to the wild life there. A son is born and the mother dies. A herd of giant apes invade the cabin, kill Lord Greystoke, take away the child, and rear it as their own. When the child has become a man he possesses the habits, the language, and the great strength of the apes. One day a white woman is put ashore from a ship, and the ape man falls in love with her, and rescues her from many perils. He also plays the part of instructor to a scientific expedition. The scene then shifts to Wisconsin, where the heroine is rescued from more perils. Meanwhile the ape man has been educated in the culture of his kind, and he finally proves that he has a soul as well as superhuman strength.
Burroughs was surely unfazed by this. Read More »
July 21, 2010 | by Caleb Crain
What's Christopher Nolan’s new movie Inception about? As a piece of science fiction, Inception sets forth its own laws governing the nature of dreams, and dreams in the movie conform to the movie's laws, not those uncovered by Sigmund Freud in The Interpretation of Dreams. (Spoilers ahead, of course.) There are touches where Nolan’s dreams correspond in nature to those described by Freud and experienced by all people nightly. When, for example, the dream-chemist Yusuf (Dileep Rao) has one glass of champagne too many just before going under, the dream extractors who enter his dream find themselves rained upon, thanks to the pressure on the sleeping Yusuf’s bladder. (A dream “with a urinary stimulus may lead [the dreamer] to a foaming stream,” Freud comments, in what might be considered a parallel passage.) Similarly, when the van containing the dreaming Arthur (Joseph Gordon-Levitt) swerves, gravity in Arthur's dream of a hotel shifts sideways. As “the guardians of sleep,” Freud writes, dreams often try to explain away sensations that manage to impinge on the dreamer's consciousness.
In a number of important ways, however, Nolan’s dreams are unlike actual dreams. A real dream, of course, can’t be shared while it is being experienced, though that may be chalked up to the movie’s poetic license. More important, in a real dream, problem-solving is impossible; there are usually jump-cuts far more Godardian than anything attempted by Nolan; spacetime is much more fungible, if not irrelevant; and crucially, there is a wish, or rather, a congeries of wishes, governing the structure of the dream.
In Nolan’s movie, the arch dream-thief Cobb (Leonardo DiCaprio) warns Ariadne (Ellen Page), a young dream architect that he has recruited, never to construct her dreams from personal memories, lest she lose track of the distinction between dreams and reality. In Freud’s understanding, though, dreams are made of nothing but personal memories, and a dreamer always knows that he is dreaming, even though that awareness may not always be a part of the dream. (That sounds more mystifying than it is. Another way to explain it: it's only because what’s going on in the mind is a dream that the managerial part of consciousness allows something so disorganized to happen at all.) Cobb further warns Ariadne that beneath all the layers of constructed dreams lies what he calls limbo—the raw unconscious—where a person could become lost and spend an eternity. Freud, too, thought of the unconscious as existing at the deepest layer of a person’s mind, and he, too, thought it had an eternal character (“In the unconscious nothing can be brought to an end, nothing is past or forgotten”), but Freud believed that every dreamer dropped into exactly such a limbo nightly. The intricacy of Nolan’s action sequences depends on his notion that dreams within dreams exist on separate physical levels and are structurally fragile ways to go deeper into a person’s mind. Freud, however, considered a dream within a dream to be no more than semantic shorthand. He thought a dream within a dream worked more or less the way a double negative does:
To include something in a “dream within a dream” is . . . equivalent to wishing that the thing described as a dream had never happened. In other words, if a particular event is inserted into a dream as a dream by the dream-work itself, this implies the most decided confirmation of the reality of the event—the strongest affirmation of it.Read More »