- We were both crucified by the truth. [Barry Hannah, “The Water Liars,” 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 (2002).]
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.
Günter Grass, memoirs:
Analysis of Günter Grass' work:
- Stuart Taberner, ed., The Cambridge Companionto Günter Grass (Cambridge University Press, 2009).
- Noel L. Thomas, The Narrative Works of Günter Grass: A Critical Interpretation (John Benjamins Company, 1983).
- 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: Bedrnie 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 Carttonist (Drawn + Quarterly, 2020: “. . . the key to Tomine’s fiction is the rage and fragility beneath the pristine compositions.”
Documentary and Educational Films
- , of
- , a war veteran
- : a door-to-door gradually accepts his inadequacies for the job
- The Imposter: three years after a thirteen-year-old boy disappears, , testing people’s
Technical and Analytical Readings
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.”
- 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
- , 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
- (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”
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.]
Günter Grass, literary works:
- Günter Grass, The Tin Drum (1959).
- Günter Grass, Cat and Mouse (1963).
- Günter Grass, Dog Years (1965).
- Günter Grass, The Plebians Rehearse the Uprising (1966).
- Günter Grass, Local Anaesthetic (1970).
- Günter Grass, From the Diary of a Snail (1973).
- Günter Grass, The Flounder (1978).
- Günter Grass, The Meeting at Telgte (1981).
- Günter Grass, Headbirths, or the Germans Are Dying Out (1982).
- Günter Grass, The Rat (1987).
- Günter Grass, Show Your Tongue (1989).
- Günter Grass, The Call of the Toad (1992).
- Günter Grass, My Century (1999).
- Günter Grass, Too Far Afield (2000).
- Günter Grass, Crabwalk (2002).
J.M. Coetzee’s autobiographical trilogy, Scenes from a Provincial Life:
- J. M. Coetzee, 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.”
- J. M. Coetzee, 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.”
- J. M. Coetzee, 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.”
- 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”
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.”
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 popular songs.
- “Tracy Chapman” album
- “New Beginning” album
- “Crossroads” album
- “Matters of the Heart” album
- “Telling Stories” album
- “Let It Rain” album
- “Where You Live” album
- “Our Bright Future” album
- Live at Oakland Coliseum Arena, 1988
Steve Earle caused many of his own troubles, but then used that experience to create touching country-blue collar songs.
- “The Mountain” album
- “Copperhead Road” album
- “Essential Steve Earle” album
- “I Feel Alright” album
- “Washington Square Serenade” album
- “Guy” album
- “The Low Highway” album
- “Terraplane” album
Hindemith’s three piano sonatas:
- Piano Sonata No. 1 “Der main” (1936)
- Piano Sonata No. 2 (1936)
- Piano Sonata No. 3 in B flat minor (1936)
- Granados, Goyescas, Los majos enamorados (The Gallants in Love), Op. 11 (1911)
- Kutavičius, Lokys the Bear (2000): We realize too late that the bear’s evil spirit is the self.
- Widor, Symphony No. 3 in E Minor (1872, rev. 1887)
- Walton, Violin Concerto (1939): the central musical idea of confronting the self is especially prominent in Heifetz’s performance – his penchant for dramatic flair suits this work perfectly.
- In a similar vein as Walton’s Violin Concerto is Elgar, Violin Concerto in B Minor, Op. 61 (1910). Again, Heifetz offered a top performance.
- The process of self-confrontation is never complete. Walter Saul drew the inspiration for his Violin Concerto (1980) (1. Lento; 2. ; 3. ) and Metamorphosis (1974) from his conversion to Christianity; musically, we can hear the struggle to confront internal realities, however successful or unsuccessful the efforts may be.
- Vine, “Inner World” for cello and chamber orchestra
Works by Wilhelm Killmayer: