Pity the Villain

In a writing class, you’ll hear something like this: the villain is the hero of a different story.  The point being that no character thinks of himself as evil. 

As a psychiatrist, the clinical version of this is to realize that we each go through life doing the best we can while fighting a brain that won’t behave the way we wish it would, and an environment that rarely offers up what we want most.  Stuck in the middle, we all annoy our neighbors, ruin friendships, and make stupid decisions in love.  That is our fate.

Shows like CSI or L&O:SVU love to dramatize serial killers.  How do they create “believable” psychological constructs?  They take a genius, add in a twisted fetish and a well-earned grudge.  Voila!  A compelling serial killer is born.  Or so we’re told.

Mostly, these characters are just foxes to be hunted.  Occasionally, we come to empathize with them because they carry out an extreme morality that we secretly envy.  Hannibal Lecter hates rudeness. Jason hates sex-addled child minders.  Jigsaw pushes people to carpe diem, or something.

So then, what are these characters doing their best at that murder is the answer?  For that matter, what are extreme psychopaths trying their best to resolve, that murder (or rape or routine, cold-blooded harm) is the compromise?

I’ve had the opportunity to meet the real-life versions of these characters:  the sexual sadist, the serial killer, the psychotic murderer, and the garden-variety psychopath.  (Each had been caught and was being detained for their behavior, so I didn’t have to worry about safety or retribution. I’m no Clarice Starling knocking on doors.)  I evaluated them, and tried to characterize what made them so dangerous.

Here’s what I’ve found repeatedly:  they don’t get it. 

And here’s what else:  they never will.

Get what?  Humanity.  Connection.  Love.  Words that sound like a Hallmark card, until you find someone staring blankly at you.  Or giggling.  If they aren’t psychotic, then this is a chronic state of detachment honed over decades, with bases in genetics, delivery, childhood infection, development, trauma, and probably a dozen other areas we’ll discover in a few decades.

Shockingly, that’s where I have found pity. 

It’s not uncommon for someone after a hemispheric stroke to not recognize their body as theirs.  You hold up their hand and they say it belongs to someone else.  They’re so convinced that there is no explanation, no rationalization that will suffice.  When you’re in the presence of a severe psychopath my reaction (and please note, it’s mine, I’m not necessarily proud of it, just honest) is to feel deeply sad. Try as I might, I hold up their own humanity in front of them and they just keep batting it away as something extraneous.

But their behavior is so cruel.  They are so angry, so despicable, you might say.  Yes.  But if you’ve ever met someone living their life from outside human connection, it is a dark, dark place.  And there’s no escape.

It’s about standing outside on Christmas morning, peering in someone else’s window. It’s not just not having presents, it’s never being invited in. Ever.  Here there be rage.

Link

Apex Magazine has made my story available gratis, so if you’re interested, check it out!

The story was introduced this way:  Jeremy R. Butler channels the adventure and dangers of deep space mining with his “Recipe Collecting in the Asteroid Belt.” 

Insatiable reader Lois Tilton reviewed it over at Locus Online, describing the theme as “be careful what you wish for” and the content as “depressing humor.”  I tend agree with both comments.

This story grew from an idea of an astronaut in deep space, so deprived of sensory experience that he decompressed just to feel the wind. I’m pleased by the outcome, and even happier that Cat, Jason and the Apex slush readers liked it too.  Enjoy!

Recipe Collecting in the Asteroid Belt

On Killing (beloved) Characters in a Science-Fictional Universe

[vague spoilers for Fringe, Doctor Who, Lost, Star Trek:TNG]

I used to like The Twilight Zone growing up.  A single premise, one protagonist.  Nice, clean, one-off, storytelling.

I also used to love Star Trek: The Next Generation. Over seven seasons, how many main characters died? One.

Two different approaches to genre television, and both are outdated. In the new world of genre television we expect arcs lasting a season, plotlines to build on the previous episode, and we won’t tolerate the sit-com device of resetting the world weekly.

The question is:  haven’t we gone too far?  Both Fringe and Doctor Who advertised recent plots with promises of characters dying—“tune in as we say good-bye to a beloved character.”  It’s Clooney’s last episode of ER, Diane saying good-bye to Sam, and it’s definitely Charlie’s “Not Penny’s Boat” moment.  I tune in, kleenex in hand.

Both shows delivered, and un-delivered, and no doubt will deliver again, because both have done so through the narrative devices that sci-fi allows (glimpses of the future, changed timelines, remarkably successful CPR, impersonating androids, reincarnation, etc.), leaving such deaths no more than a TV guide blurb: [Main Character] dies, returns next week.

Here’s where I feel cheated. Speculative fiction allows for heightening of scale of the human experience. It’s impossible in other genres to take an internal conflict and raise the stakes to the jeopardy of all mankind.  That is a great power, but with it comes great responsibility. The minute that an internal conflict can destroy reality and then be undone each week, we’re much closer to South Park or The Twilight Zone than we are to a season arc. It also leads me to believe that the showrunners have little respect for either the characters or their audience.

I blame Lost.  For all of its novel story-telling devices, that whole last season was a shooting gallery…and then it wasn’t. But please, if you’re going to steal something from Lost, does it have to be the most reviled element?

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Unlike any other creature on this planet, humans can learn and understand, without having experienced. They can think themselves into other people’s places. Of course, this is a power, like my brand of fictional magic, that is morally neutral. One might use such an ability to manipulate, or control, just as much as to understand or sympathise. And many prefer not to exercise their imaginations at all. They choose to remain comfortably within the bounds of their own experience, never troubling to wonder how it would feel to have been born other than they are. They can refuse to hear screams or to peer inside cages; they can close their minds and hearts to any suffering that does not touch them personally; they can refuse to know. I might be tempted to envy people who can live that way, except that I do not think they have any fewer nightmares than I do.

J.K. Rowling (via thechocolatebrigade)

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Novelists tell that piece of truth hidden at the bottom of every lie. To a psychoanalyst it is not so important whether you tell the truth or a lie because lies are as interesting, eloquent, and revealing as any claimed truth…I prefer to stay with the truths I find in writers who present themselves as the most bold-faced liars. My goal in writing ‘If on a Winter’s Night a Traveler’, a novel entirely based on fantasy, was to find in this way a truth that I would have not been able to find otherwise.

Italo Calvino