CHAPTER 4: The DEMOCRATIC (R)EVOLUTION We are better than we realize we are. For the first time, we can now create institutions of governance that elicit our best. Copyright 2026 by Paul L. LaClair
Value for Tuesday of Week 43 in the season of Assessing
Confronting, Being Introspective
Sometimes, we might confront another person, lovingly, for bad behavior. We can also confront ourselves, with introspection and self-love.
- Knowing yourself is the beginning of all wisdom. [The essence of this can be gleaned from Aristotle’s Nicomachean Ethics, Book I.]
- We were both crucified by the truth. [Barry Hannah, ”The Water Liars” (1978), a short story about how “how the worst truth to be confronted with is always the one you already know.”]
- When all this is over, people will try to blame the Germans alone, and the Germans will try to blame the Nazis alone, and the Nazis will try to blame Hitler alone. They will make him bear the sins of the world. But it’s not true. You suspected what was happening, and so did I. It was already too late over a year ago. I caused a reporter to lose his job because you told me to. He was deported. The day I did that I made my little contribution to civilization, the only one that matters. [Iain Pears, The Dream of Scipio.]
As of 2010, some cognitive scientists were skeptical about introspection. “. . . an increasing number of cognitive scientists take the view that introspection is either nonexistent (with self-attributions of mental states being made on the same sort of interpretative basis as attributions of mental states to other people) or unreliable.” However, a study published in 2018 supported “the application of emotion-introspection, a mindfulness-related process, in a clinical setting as an element of psychotherapy to train and improve emotion regulation.” “Conversely to behaviorist ideas, recent studies suggest that introspection can be accurate and reliable.”
“Introspection involves looking inward into conscious thoughts, feelings, motives, and intentions.” It “is a fundamental part of our mental lives.” “A theory of scientific introspection aims to detail the nature, scope and limits of reports of subjective experience in science. Introspective reports best function as experimental data when combined with objective methods of stimulus control and the more recent, developing methods of brain scanning and brain imaging-which are having a invigorating effect on both theory and experimental practice.”
“Self confrontation means that you stop making excuses for yourself.” “. . . there is support . . . for the efficacy of value self-confrontation as a means of inducing long-term change in important values . . .” It can “induce change in values, attitudes, and behaviors.” It appears to aid in weight loss.
Nobel prize-winning author Günter Grass admitted in 2006 that he had served in Hitler’s Waffen SS when he was seventeen years old. His literary works and his memoirs primarily explore the theme of coming to terms with the past. Many of his fiction and nonfiction works are listed below.
Real
True Narratives
Günter Grass, memoirs:
- Günter Grass, Peeling the Onion:A Memoir (2007): “Not only were his novels acts of atonement; he was a harsh critic of postwar Germany — he took everyone to task, not just politicians.”
- Günter Grass, The Box: Tales from the Darkroom (2010).
Analysis of Günter Grass' work:
- Stuart Taberner, ed., The Cambridge Companion to Günter Grass (Cambridge University Press, 2009).
- Noel L. Thomas, The Narrative Works of Günter Grass: A Critical Interpretation (John Benjamins Company, 1983).
Additional works:
- Jonathan Kay, Among the Truthers: A Journey Through America’s Growing Conspiracist Underground (Harper/HarperCollins Publishers, 2011): a study in how people drawn to conspiracy “theories” often are reflecting their own personal struggles.
- Diana B. Henriques, The Wizard of Lies: Bernie Madoff and the Death of Trust (Henry Holt & Company, 2011), on the Ponzi scheme as a monument to self-delusion.
- Neil Casey, ed., The Journals of Spalding Gray (Alfred A. Knopf, 2011). His first wife said he was "confessional but not honest."
- Karl Marlantes, What It Is Like to Go to War (Atlantic Monthly Press, 2011).
- Matt Young, Eat the Apple: A Memoir (Bloomsbury, 2018): “In this brutally honest memoir, the author grapples with his experiences in the Marine Corps.”
- Nora Krug, Belonging: A German Reckons with History and Home (Scribner, 2018): “ . . . Krug’s new visual memoir, is a mazy and ingenious reckoning with the past. Born three decades after the Holocaust, she traces the stubborn silences in German life and investigates her own family’s role in the war.”
- Richard Beard, The Day That Went Missing: A Family’s Story (Little, Brown & Company, 2018), in which the author seeks to understand the accidental drowning of his nine-year-old brother, when the author was eleven: “the book is not only a memoir but a chronicle of how lost memories can be recovered.”
- Mitchell S. Jackson, Survival Math: Notes on an All-American Family (Scribner, 2019): “One of the most striking facets of Jackson’s book is the way he bares himself — and here he most clearly answers Audre Lorde’s request of black men to commit to internal work that can result in change and accountability.”
- Adrian Tomine, The Loneliness of the Long-Distance Cartoonist (Drawn + Quarterly, 2020): “. . . the key to Tomine’s fiction is the rage and fragility beneath the pristine compositions.”
- Suleika Jaouad, Between Two Kingdoms: A Memoir of Life Interrupted (Random House, 2021): “When Silver Linings Don’t Cut It, Honesty Helps.”
- Gina Frangello, Blow Your House Down: A Story of Family, Feminism, and Treason (Counterpoint, 2021): “. . . I have cheated, I have lied, I have done damage. I have been selfish and ruled by my desires . . .”
- Matthieu Aikens, The Naked Don’t Fear the Water: An Underground Journey with Afghan Refugees (Harper, 2022): “Aikins poignantly frames the question many of us have been wrestling with since the chaotic events of 2021: ‘What does it mean to be free in our world? The refugee is freedom’s negative image; she illustrates the story of progress that we tell ourselves.'”
- Eve Fairbanks, The Inheritors: An Intimate of South Africa’s Racial Reckoning (Simon & Schuster, 2022): “about South Africa’s racial reckoning through intimate portraits of those involved.”
- Fran Trentmann, Out of the Darkness: The Germans, 1942-2022 (Knopf, 2024): “The tense debate over whether the country that started the Second World War should send arms to Ukraine — whether it should confront Russia or appease Putin and avoid any whiff of militarism — is only one in a series of dramatic developments shaping the nation’s temper.”
From the dark side, on a large scale:
- Clint Smith, How the Word Is Passed: A Reckoning With the History of Slavery Across America (Little, Brown, 2021): “The book’s standout quality is the range and sincerity of its encounters. Smith walks with tourists, guides, teachers, scholars, ex-convicts, local historians and heritage zealots, managing to catch nearly everyone in a moment of unscripted candor.”
- Harald Jähner, Aftermath: Life in the Fallout of the Third Reich, 1945-1955 (Alfred A. Knopf, 2022): “It was a startling disappearing act, one for the ages. Right at the moment when Hitler killed himself in his bunker on April 30, 1945, Germany was magically transformed from a genocidal Reich to a place where there were barely any Nazis to be found.”
Technical and Analytical Readings
- Declan Smithies & Daniel Stoljar, eds., Introspection and Consciousness (Oxford University Press, 2012).
- Maja Spener, Introspection: First-Person Access in Science and Agency (Oxford University Press, 2024).
- Allan Williamson, Introspection and Contemporary Poetry (Harvard University Press, 1984).
- Tyson Stolte, Dickens and Victorian Psychology: Introspection, First-Person Narration, and the Mind (Oxford University Press, 2022).
- Chikako Ozawa-de Silva, Psychotherapy and Religion in Japan: The Japanese Introspection Practice of Naikan (Routledge, 2006).
- Samuel H. Baron & Carl Pletsch, eds., Introspection in Biography: The Biographer's Quest for Self-awareness (Analytic Press, 1985).
- Susan Sleeper-Smith, et. al., eds., Violence and Indigenous Communities: Confronting the Past and Engaging the Present (Northwestern University Press, 2021).
From the dark side:
- Robert Trivers, The Folly of Fools: The Logic of Deceit and Self-Deception in Human Life (Basic Books, 2011): “Trivers’s scope is vast, ranging from the fibs parents and children tell to manipulate one another to the “false historical narratives” political leaders foist on their citizens and the rest of the world.”
Photographs
Documentary and Educational Films
- An Inconvenient Truth, Al Gore’s exploration of climate change and our failure to address it
- Waltz with Bashir, about a war veteran recovering his memories
- Salesman: a door-to-door Bible salesman gradually accepts his inadequacies for the job
- The Imposter: three years after a thirteen-year-old boy disappears, a young man claims to be he, testing people’s willingness to believe what they wish to believe
Imaginary
Fictional Narratives
Dickens’ A Christmas Carol is an allegory for self-confrontation. In this scene, in which Scrooge is an unseen observer at the Cratchits’ Christmas celebration, we see the process beginning:
"God bless us every one!" said Tiny Tim, the last of all. He sat very close to his father's side upon his little stool. Bob held his withered little hand in his, as if he loved the child, and wished to keep him by his side, and dreaded that he might be taken from him. "Spirit," said Scrooge, with an interest he had never felt before, "tell me if Tiny Tim will live." "I see a vacant seat," replied the Ghost, "in the poor chimney-corner, and a crutch without an owner, carefully preserved. If these shadows remain unaltered by the Future, the child will die." "No, no," said Scrooge. "Oh, no, kind Spirit! say he will be spared." "If these shadows remain unaltered by the Future, none other of my race," returned the Ghost, "will find him here. What then? If he be like to die, he had better do it, and decrease the surplus population." Scrooge hung his head to hear his own words quoted by the Spirit, and was overcome with penitence and grief. [Charles Dickens, A Christmas Carol (1843), Stave III: “The Second of the Three Spirits”.]
Scrooge’s next stop is a visit at his nephew’s Christmas party:
It was a Game called Yes and No, where Scrooge's nephew had to think of something, and the rest must find out what; he only answering to their questions yes or no, as the case was. The brisk fire of questioning to which he was exposed, elicited from him that he was thinking of an animal, a live animal, rather a disagreeable animal, a savage animal, an animal that growled and grunted sometimes, and talked sometimes, and lived in London, and walked about the streets, and wasn't made a show of, and wasn't led by anybody, and didn't live in a menagerie, and was never killed in a market, and was not a horse, or an ass, or a cow, or a bull, or a tiger, or a dog, or a pig, or a cat, or a bear. At every fresh question that was put to him, this nephew burst into a fresh roar of laughter; and was so inexpressibly tickled, that he was obliged to get up off the sofa and stamp. At last the plump sister, falling into a similar state, cried out: "I have found it out! I know what it is, Fred! I know what it is!" "What is it?" cried Fred. "It's your Uncle Scro-o-o-o-oge!" Which it certainly was. Admiration was the universal sentiment, though some objected that the reply to "Is it a bear?" ought to have been "Yes;" inasmuch as an answer in the negative was sufficient to have diverted their thoughts from Mr. Scrooge, supposing they had ever had any tendency that way. [Charles Dickens, A Christmas Carol (1843), Stave III: “The Second of the Three Spirits”.]
From other novels and short stories:
“It’s all nonsense to talk to me about slaves enjoying all this! To this day, I have no patience with the unutterable trash that some of your patronizing Northerners have made up, as in their zeal to apologize for our sins. We all know better. Tell me that any man living wants to work all his days, from day-dawn till dark, under the constant eye of a master, without the power of putting forth one irresponsible volition, on the same dreary, monotonous, unchanging toil, and all for two pairs of pantaloons and a pair of shoes a year, with enough food and shelter to keep him in working order! Any man who thinks that human beings can, as a general thing, be made about as comfortable that way as any other, I wish he might try it. I’d buy the dog, and work him, with a clear conscience!” [Harriett Beecher Stowe, Uncle Tom’s Cabin or Life Among the Lowly (1852), Volume II, Chapter XIX, “Miss Ophelia’s Experiences and Opinions Continued”.]
She shot very well this good, this rich bitch, this kindly caretaker and destroyer of his talent. Nonsense. He had destroyed his talent himself. Why should he blame this woman because she kept him well? He had destroyed his talent by not using it, by betrayals of himself and what he believed in, by drinking so much that he blunted the edge of his perceptions, by laziness, by sloth, and by snobbery, by pride and by prejudice, by hook and by crook. [Ernest Hemingway, “The Snows of Kilimanjaro” (1936).]
. . . the Emperor himself wished to see the costly manufacture, while it was still in the loom. Accompanied by a select number of officers of the court, among whom were the two honest men who had already admired the cloth, he went to the crafty impostors, who, as soon as they were aware of the Emperor's approach, went on working more diligently than ever; although they still did not pass a single thread through the looms. “Is not the work absolutely magnificent?” said the two officers of the crown, already mentioned. “If your Majesty will only be pleased to look at it! What a splendid design! What glorious colors!” and at the same time they pointed to the empty frames; for they imagined that everyone else could see this exquisite piece of workmanship. “How is this?” said the Emperor to himself. “I can see nothing! This is indeed a terrible affair! Am I a simpleton, or am I unfit to be an Emperor? That would be the worst thing that could happen—Oh! the cloth is charming,” said he, aloud. “It has my complete approbation.” And he smiled most graciously, and looked closely at the empty looms; for on no account would he say that he could not see what two of the officers of his court had praised so much. All his retinue now strained their eyes, hoping to discover something on the looms, but they could see no more than the others; nevertheless, they all exclaimed, “Oh, how beautiful!” and advised his majesty to have some new clothes made from this splendid material, for the approaching procession. “Magnificent! Charming! Excellent!” resounded on all sides; and everyone was uncommonly gay. The Emperor shared in the general satisfaction; and presented the impostors with the riband of an order of knighthood, to be worn in their button-holes, and the title of “Gentlemen Weavers.” The rogues sat up the whole of the night before the day on which the procession was to take place, and had sixteen lights burning, so that everyone might see how anxious they were to finish the Emperor's new suit. They pretended to roll the cloth off the looms; cut the air with their scissors; and sewed with needles without any thread in them. “See!” cried they, at last. “The Emperor's new clothes are ready!” . . . . So now the Emperor walked under his high canopy in the midst of the procession, through the streets of his capital; and all the people standing by, and those at the windows, cried out, “Oh! How beautiful are our Emperor's new clothes! What a magnificent train there is to the mantle; and how gracefully the scarf hangs!” in short, no one would allow that he could not see these much-admired clothes; because, in doing so, he would have declared himself either a simpleton or unfit for his office. Certainly, none of the Emperor's various suits, had ever made so great an impression, as these invisible ones. “But the Emperor has nothing at all on!” said a little child. “Listen to the voice of innocence!” exclaimed his father; and what the child had said was whispered from one to another. “But he has nothing at all on!” at last cried out all the people. The Emperor was vexed, for he knew that the people were right; but he thought the procession must go on now! And the lords of the bedchamber took greater pains than ever, to appear holding up a train, although, in reality, there was no train to hold. [Hans Christian Andersen, “The Emperor’s New Clothes” (1837).]
Günter Grass, literary works:
- The Tin Drum (1959): review.
- Cat and Mouse (1961): review.
- Dog Years (1965): review.
- The Plebians Rehearse the Uprising (1966): review.
- Local Anaesthetic (1970): review.
- From the Diary of a Snail (1973): review.
- The Flounder (1978): review.
- The Meeting at Telgte (1981): review.
- Headbirths, or the Germans Are Dying Out (1982): review.
- The Rat (1987): review.
- Show Your Tongue (1989): review.
- The Call of the Toad (1992): review.
- My Century (1999): review.
- Too Far Afield (2000): review.
- Crabwalk (2002): review
- Peeling the Onion (2007): review.
- The Box: Tales from the Darkroom (2010): review..
J.M. Coetzee’s autobiographical trilogy, Scenes from a Provincial Life:
- Boyhood (Viking Adult, 1997): “. . . Coetzee portrays himself as a sickly, bookish boy, precocious at school and something of a tyrant at home, where the fierce love of his mother enlists him against an affable but weak father.”
- Youth (Penguin Books, 2003): “. . . while ‘Youth’ tells of a young man desperately trying to become a writer, it gives no evidence that he has any literary talent. In fact, he spends the entire volume, which ends when he's roughly 23, at a creative and psychological impasse.”
- Summertime (Viking Adult, 2009): “Great men in the winter of their lives often treat the writing of their memoirs as a kind of victory lap, but whatever J. M. Coetzee is after in this third volume of his genre-bending autobiography, it is not self-congratulation. The first two volumes, unadornedly titled ‘Boyhood’ and ‘Youth’ (and, in contrast to this one, labeled nonfiction), were marked by Coetzee’s decision to write about himself in the third person. In ‘Summertime’ he takes this schism one bracing step farther, by imagining himself already dead.”
Other novels:
- Kamala Nair, The Girl in the Garden (Grand Central Publishing, 2011): a young woman must confront the dark secrets of her past before marrying.
- Laini Taylor, Daughter of Smoke and Bone (Little, Brown Books for Young Readers, 2011): “a breath-catching romantic fantasy about destiny, hope and the search for one’s true self”.
- Dana Spiotta, Stone Arabia: A Novel (Scribner, 2011): “ . . . a work of visceral honesty and real beauty”.
- Mary H.K Choi, Yolk: A Novel (Simon & Schuster, 2021): “Flung together by circumstance, housing woes, and family secrets, will the sisters learn more about each other than they’re willing to confront? And what if while helping June, Jayne has to confront the fact that maybe she’s sick, too?”
- Paula McLain, When the Stars Go Dark: A Novel (Penguin Random House, 2021): the author confronts her own demons.
- Semezdin Mehmedinovic, My Heart: A Novel (Catapult, 2021): “Though it deals with tragedy, ‘My Heart’ is never depressing, partly because of the beauty of the language . . . and partly because of its depth and honesty of emotion, its intelligence and generosity of spirit, and the precision and originality of Mehmedinovic's observations.”
- Ed Lin, Death Doesn’t Forget: A Novel (Soho Crime, 2022): “Overlapping external mysteries consume Jing-nan’s attention, but internal ones roil him, too. Should he expand his business? What to do about his beloved co-workers, mired in their own troubles? Should he go back to college at the behest of his girlfriend?”
- Alba de Céspedes, Forbidden Notebook: A Novel (1952): “The written record of Valeria’s feelings and observations makes it impossible for her to ignore her discontent: the chill she feels in her marriage, her warring impulses toward her children, the guilt and pleasure she finds in her work.”
- Jane Harper, Exiles: A Novel (Flatiron, 2022): “. . . what makes the book memorable is Harper’s skill at plumbing personal mysteries — for instance, why a friendship has ebbed, or how not knowing the fate of a loved one affects a family.”
- Daisy Alpert Florin, My Last Innocent Year: A Novel (Henry Holt and Co., 2023), “is a heartfelt chronicle of a writer who realizes that her stories about girls with feelings matter every bit as much as the ones written by the guy who annotates The New Yorker.”
- John Banville, Venetian Vespers: A Novel (Knopf, 2025): A man’s wife vanishes, and he is suspected of her murder, though it is not clear that she is dead. “. . . what emerges from the dark shadows of the plot is an even darker psychological portrait of a man forced to grapple with his own inner demons.”
From the dark side:
- Lily Tuck, Heathcliffe Redux: A Novella and Stories (Atlantic Monnthly, 2020): “Fittingly, Tuck’s novella eventually reveals itself to be more a tale of self-delusion and internal conflict than the grand romance we were initially led to believe.”
- Sergio De La Pava, Every Arc Bends Its Radian: A Novel (Simon & Schuster, 2024): “When we meet Riv del Rio, the narrator . . . he’s getting off a plane in Cali, Colombia. He has no firm purpose there, though he has family in the city. Rather, he seems to be fleeing something in New York, and indeed, the story of what exactly he’s running from provides this deft, penetrating novel with its emotional weight.”
Poetry
From the dark side:
- Edgar Lee Masters, “Harlan Sewall”
Music: Composers, artists, and major works
Tracy Chapman is an African-American woman who know poverty early in life, then used her life experience to create compelling and introspective popular songs. Described as the “quiet revolutionary”, “she is a shining force in changemaking from her undying commitment to resisting poverty, racial injustice, and sexual oppression.” Here are links to her releases, live performances, interviews, and some videos.
Steve Earle caused many of his own troubles, but then used that experience to create touching country-blue collar songs. The distinction of introspection shows up repeatedly in writings related to this artist. Here are links to his releases, live performances, interviews, and some videos.
Gabriel Fauré, Violin Sonata No. 2 in E Minor, Op. 108 (1917) (approx. 22-25’) (recordings): In declining health and distraught by World War I, Fauré may have sought refuge in the unadorned lines of this sonata., but this is not a refuge. Violin and piano here don't converse so much as fuse into a single interior voice, trading the same restless material back and forth until you stop hearing a duet and hear one self, alone, talking to itself. Pared to unadorned lines with nothing left to hide behind, that self wrestles inward across all three movements—harmonies questing from key to key and refusing to settle, the dark opening motif returning again and again but never lifted into radiance or laid down in an easy calm. It is the sound of a man turned all the way inward, confronting himself and not flinching, holding the examination to the very last bar and asking it to be its own end.
Alfred Cortot was a classical pianist whose introspective playing was undergirded by the skills of a great pianist. “Alfred Cortot was one of the very greatest pianists of the 20th Century, renowned above all for his intuitive, highly personal interpretations of Romantic masterpieces.” Here is a link to his playlists.
Pianist Ivan Moravec: “His playing tended more toward the introspective, as if he were having an intimate conversation with the music, and he invited you in to listen.” Here is a link to his playlists.
William Walton, Violin Concerto in B Minor (1939, rev. 1943) (approx. 28-33’) (list of recorded performances), was composed on commission from Jascha Heifetz, perhaps the greatest violinist of the time. The composition may reflect Walton’s concerns: “Writing a concerto for someone with the stature of Heifetz was daunting for Walton. He worried that he would not make the solo part difficult enough or spectacular enough, leaving the piece unworthy of Heifetz and his legend. According to his wife, Walton actually considered giving the piece to another violinist so as not to offend the commissioner but eventually convinced himself that he had ‘exhausted the possibilities of what one could do on a violin,’ which meant he could show it to Heifetz without fear.” The central musical idea of confronting the self is especially prominent in Heifetz’s 1950 performance conducted by Walton – his penchant for dramatic flair suits this work perfectly. Other top recorded performances are by Heifetz (Goossens) in 1941, Francescatti (Ormandy) in 1959, Chung (Previn) in 1972, Kennedy (Previn) in 1987, Bell (Zinman) in 1996, Kang (Daniel) in 1997, Ehnes (Tovey) in 2006, Little (Gardner) in 2013, Kim (Edusai) in 2019., and Petrova (Ward) in 2023.
Edward Elgar, Violin Concerto in B Minor, Op. 61 (1910) (approx. 43-50’) (list of recorded performances) inhabits rare territory in the concerto repertoire — not the outward drama of virtuosity but the inward discipline of self-examination, where the soloist ventures into private emotional terrain that resists easy resolution. The score's enigmatic inscription, "Herein is enshrined the soul of…..", with its five unresolved dots, signals from the first page that this music will not explain itself — it will only reveal, partially and obliquely, what lies beneath. In this sense the concerto is less a performance than a confrontation: the soloist alone with something that cannot be fully named, working through it in public with the quiet support of the orchestra beneath. “Along with a dedication to Kreisler, the score contains a deeply personal inscription: Aquí está encerrada el alma de….. (‘Herein is enshrined the soul of…..’). The riddle in five dots, reminiscent of Elgar’s Enigma Variations, remains unsolved. It could refer to one person, such as the composer’s muse, Alice Stuart-Wortley, or a series of people. As the music unfolds, the enigma and its possible biographical references become insignificant. Elgar’s Concerto ventures into an inner world that transcends the literal.” Top recorded performances are by Menuhin & Elgar in 1932; Heifetz & Sargent in 1949; Campoli & Boult in 1954; Zuckerman & Slatkin in 1993; Ehnes & Andrew Davis in 2007; Zehetmair & Elder in 2008; Znaider & Colin Davis in 2009; Little & Andrew Davis in 2010; Benedetti & Jurowski in 2020; Frang & Ticciati in 2024; and Tetzlaff & Storgårds in 2025.
Ludwig van Beethoven, Piano Sonata No. 31 in A-flat major, Op. 110 (1821) (approx. 18-22’) (list of recorded performances), is an extended internal struggle. Described as “a journey into the infinite”, its conclusion draws the most attention from musicians and musicologists. “It is 'an exertion of will to banish suffering,' according to composer Vincent d'Indy. Or for pianist Alfred Brendel: 'In a last euphoric effort, its conclusion reaches out beyond homophonic emancipation, throwing off the chains of music itself.'” Top recorded performances are by Schnabel in 1932, Edwin Fischer in 1938, Hess in 1953, Gieseking in 1956, Rudolf Serkin in 1971, Guller in 1973, Pollini in 1977, Richter in 1991, Brendel in 1995, Grimaud in 1999, Lubimov in 2009, and Uchida in 2025.
Paul Hindemith’s three piano sonatas:
- Piano Sonata No. 1 in A Major “Der main” (1936) (approx. 24-27’) (list of recorded performances)
- Piano Sonata No. 2 (1936) (approx. 11’) (list of recorded performances)
- Piano Sonata No. 3 in B-flat minor (1936) (approx. 17-18’) (list of recorded performances)
Other works:
- Enrique Granados, Goyescas, Los majos enamorados (The Gallants in Love), Op. 11 (1911) (approx. 54-57’) (list of recorded performances): “The 6 movements of Goyescas are not only narrative vignettes but also part of a larger arc that holds the listener’s attention in the same way as an opera; Goyescas is, quite simply, a story.”
- Bronius Kutavičius, Lokys the Bear (2000) (approx. 96’): We realize too late that the bear’s evil spirit is the self.
- Charles-Marie Widor, Symphony No. 3 in E Minor, Op. 13/3 (1872, rev. 1887) (approx. 30-35’) (list of recorded performances)
- The process of self-confrontation is never complete. Walter Saul drew the inspiration for his Violin Concerto (1980) (approx. 21’) and Metamorphosis (1974) (approx. 16’) from his conversion to Christianity; musically, we can hear the struggle to confront internal realities, however successful or unsuccessful the efforts may be.
- Carl Vine, “Inner World” for cello and chamber orchestra (1994) (approx. 12’)
- Ezra Laderman, Partita for Solo Bassoon (2012) (approx. 25’)
- Zack Stanton, Echoes of Veiled Light, for percussion trio (2010) (approx. 9’)
- Barre Phillips, “Inner Door” (approx. 14’) and “Outer Window” (approx. 15’), from the album “End to End” (2018)
- Raga Gujari Todi is a late morning raag, often portrayed as a young woman sitting on a pad of leaves, singing and playing a vina. “This late morning raag produces a mood of thoughtfulness that reaches deep into the heart. Texts set to this raga strip away all subterfuge and make man see himself as he is and search within for the truth.” Performances are by Hariprasad Chaurasia, Bhimsen Joshi and Begum Parveen Sultana.
- Robert Schumann, 3 Romances (3 Romanzen), Op. 94 (1849) (approx. 12-14’) (list of recorded performances): “As with all of Schumann's ‘songs’, there is not a strong separation between voice and accompaniment: while the clarinet sustains the primary melodic role, the harp weaves in and out of the texture significantly interacting as a nearly equal partner.”
Albums:
- Russ Lossing, “Changes” (2019) (66’): “The ballads he approaches are adorned with autumnal colors and vibrate with great gentleness.”
- Frank Kimbrough, “Ancestors” (2021) (72’): “Introspective, peaceful and decidedly personal, this collection of largely first takes is pure magic.”
- Jordan Bak, “Impulse” (2022) (56’): five contemporary pieces for solo viola (Bak), and two for viola and piano (Bak and Ji Yung Lee). It is “a contemplative insight into the concept of the present moment told through the soundwaves of the viola.”
- Sara Serpa, “Recognition” (2020) (53’): “Instead of cynicism and rage, there is the sound of bruising that comes with viewing the horrific with empathy. Recognition is an album and film in which Portuguese composer and singer Sara Serpa is processing, witnessing the realities of her ancestral involvement in the colonization of Angola.”
- Marilyn Crispell & Anders Jormin, “Memento” (2026) (38') is “a recording that favors introspection and serenity.” “This is music for a cool, gray morning, a cup of coffee in both hands, and any body of water that stretches over the horizon.”
Music: songs and other short pieces
- Billy T. Band, “Reckoning”
- Carlos Salzedo, 5 Preludes for Harp, No. 3: “Introspection”
Visual Arts
- Norman Rockwell, Triple Self-Portrait (1960)
- Konstantin Somov, Self-Portrait in the Mirror (1934)
- Marc Chagall, Self-Portrait with Muse (1917-18)
- René Magritte, The False Mirror (1928)
Film and Stage
- Nayak (The Hero), in which a famous actor comes to terms with himself during a train trip to receive an award
- Dead Man Walking, in which a convicted murderer confronts his own actions
- Hiroshima Mon Amour, a film that delves so deeply into the theme of coming to terms with the past that it blurs the distinction between the past (1945) and the present (1959)
- To Live, about wasted personal opportunities in a tumultuous culture
- Juliet of the Spirits, Fellini’s dark-side treatment of self-confrontation: “I want to suggest to modern man a road of inner liberation, to accept and love life the way it is without idealizing it, without creating concepts about it, without projecting oneself into idealized images on a moral or ethical plane.” The film addresses marital infidelity, apparently an issue in Fellini’s life, leading critic Roger Ebert to call it “a bald-faced exercise in Fellini's self-justification. When Juliet has fantasies, they're Fellini's fantasies. That's why at the end it isn't Federico who is burned alive.” Perhaps this explains the disjointed quality of the film. Well, at least Fellini was thinking about self-confrontation.
- Arguably, Fellini was more honest in I Vitteloni, a much earlier comedy, with “autobiographical elements,” about slackers and drifters. Though “unfaithful to real life,” the film offers ‘theatre truth.’”
- The Entertainer, about a man who could not accept his career failure
- The Bad and the Beautiful, a look at the film industry from within
- The Goalie’s Anxiety at the Penalty Kick, about the dangers of suppressing emotion
- The Homecoming: the film maker “has a single purpose: To create uncomfortable emotional states within us, to fabricate for us (against our will, if necessary) a cluster of painful feelings”
- Secrets and Lies: a revelation forces a family “to confront the lies and evasions that have kept them apart all these years”; “when common sense and good hearts win over lies and secrets – we feel almost as if it had happened to ourselves”
- A Streetcar Named Desire, about a deluded Southern belle and her boorish brother-in-law who crudely points it out
- Sunset Boulevard, presenting a near-caricature of self-delusion
- Sans Soleil (Sunless): a series of seemingly disjointed images make up this film, in which the filmmaker “pretends to be examining the quality of contemporary life, though what he actually is doing is examining his own”
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