Here’s a primer on physician-assisted suicide (PAS) and voluntary active euthanasia (VAE). Nothing I say here is meant to endorse anything that follows (though I am against both practices); rather, what is said here is to help the uninitiated get a better sense of the issues and polarities concerning arguments for and against PAS and VAE.
…I therefore hate the corrupt, slaveholding, women-whipping, cradle-plundering, partial and hypocritical Christianity of the land… I look upon it as the climax of all misnomers, the boldest of all frauds, and the grossest of all libels. Never was there a clearer case of ‘stealing the livery of the court of heaven to serve the devil in.’ I am filled with unutterable loathing when I contemplate the religious pomp and show, together with the horrible inconsistencies, which every where surround me. We have men-stealers for ministers, women-whippers for missionaries, and cradle-plunderers for church members. The man who wields the blood-clotted cowskin during the week fills the pulpit on Sunday, and claims to be a minister of the meek and lowly Jesus. . . . The slave auctioneer’s bell and the church-going bell chime in with each other, and the bitter cries of the heart-broken slave are drowned in the religious shouts of his pious master. Revivals of religion and revivals in the slave-trade go hand in hand together. The slave prison and the church stand near each other. The clanking of fetters and the rattling of chains in the prison, and the pious psalm and solemn prayer in the church, may be heard at the same time. The dealers in the bodies of men erect their stand in the presence of the pulpit, and they mutually help each other. The dealer gives his blood-stained gold to support the pulpit, and the pulpit, in return, covers his infernal business with the garb of Christianity. Here we have religion and robbery the allies of each other—devils dressed in angels’ robes, and hell presenting the semblance of paradise.
In 2013 I listened to the great American novel on the great American road trip: driving from southern California to South Carolina, I listened to the Frank Muller’s reading of Herman Melville’s masterpiece Moby Dick. I had never heard such a great command of the English language, and I doubt I ever will again. There were several passages worth citing, but this one is that I (somewhat arbitrarily) selected:
“Consider the subtleness of the sea; how its most dreaded creatures glide under water, unapparent for the most part, and treacherously hidden beneath the loveliest tints of azure. Consider also the devilish brilliance and beauty of many of its most remorseless tribes, as the dainty embellished shape of many species of sharks. Consider, once more, the universal cannibalism of the sea; all whose creatures prey upon each other, carrying on eternal war since the world began.
Consider all this; and then turn to the green, gentle, and most docile earth; consider them both, the sea and the land; and do you not find a strange analogy to something in yourself? For as this appalling ocean surrounds the verdant land, so in the soul of man there lies one insular Tahiti, full of peace and joy, but encompassed by all the horrors of the half-known life. God keep thee! Push not off from that isle, thou canst never return!”
I am only three-hundred pages into David Foster Wallace’s Infinite Jest (1996), which is a strange, idiosyncratic, yet majestic read so far. I am not sure what to make of a book where I skip over several pages at a time and then stop and slowly read over certain passages again and again. I suspect there will be more to come, but this one in particular is one that I regularly come back to since it is so applicable to our contemporary, “smart-phone” charmed kind of life
It turned out that there was something terribly stressful about visual telephone interfaces that hadn’t been stressful at all about voice-only interfaces. Videophone consumers seemed suddenly to realize that they’d been subject to an insidious but wholly marvelous delusion about conventional voice-only telephony. They’d never noticed it before, the delusion— it’s like it was so emotionally complex that it could be countenanced only in the context of its loss. Good old traditional audio-only phone conversations allowed you to presume that the person on the other end was paying complete attention to you while also permitting you not to have to pay anything even close to complete attention to her. A traditional aural-only conversation— utilizing a hand-held phone whose earpiece contained only 6 little pinholes but whose mouthpiece (rather significantly, it later seemed) contained (62) or 36 little pinholes— let you enter a kind of highway-hypnotic semi-attentive fugue: while conversing, you could look around the room, doodle, fine-groom, peel tiny bits of dead skin away from your cuticles, compose phone-pad haiku, stir things on the stove; you could even carry on a whole separate additional sign-language-and-exaggerated-facial-expression type of conversation with people right there in the room with you, all while seeming to be right there attending closely to the voice on the phone. And yet— and this was the retrospectively marvelous part— even as you were dividing your attention between the phone call and all sorts of other idle little fuguelike activities, you were somehow never haunted by the suspicion that the person on the other end’s attention might be similarly divided. During a traditional call, e.g., as you let’s say performed a close tactile blemish-scan of your chin, you were in no way oppressed by the thought that your phonemate was perhaps also devoting a good percentage of her attention to a close tactile blemish-scan. It was an illusion and the illusion was aural and aurally supported: the phone-line’s other end’s voice was dense, tightly compressed, and vectored right into your ear, enabling you to imagine that the voice’s owner’s attention was similarly compressed and focused… even though your own attention was not, was the thing. This bilateral illusion of unilateral attention was almost infantilely gratifying from an emotional standpoint: you got to believe you were receiving somebody’s complete attention without having to return it. Regarded with the objectivity of hindsight, the illusion appears arational, almost literally fantastic: it would be like being able both to lie and to trust other people at the same time.
Video telephony rendered the fantasy insupportable. Callers now found they had to compose the same sort of earnest, slightly overintense listener’s expression they had to compose for in-person exchanges. Those callers who out of unconscious habit succumbed to fuguelike doodling or pants-crease-adjustment now came off looking rude, absentminded, or childishly self-absorbed. Callers who even more unconsciously blemish-scanned or nostril-explored looked up to find horrified expressions on the video-faces at the other end. All of which resulted in videophonic stress.
Of all the things C.S. Lewis wrote with his fluent pen, my favorite comes from a short interjection about his experience in World War I, an event that is strangely absent in Lewis’ writings. Alan Jacobs, a literary critic and biographer of Lewis, suggests that the following passage is a “rhetorical hand-waving away the horrors of war” and “a critique of the massive literature by his fellow soldiers […]” (The Narnian, p. 74). Indeed, it seemed Lewis was bored by such realism, but that did not mean he could not express it. From Surprised by Joy (p. 196):
But for the rest, the war–the frights, the cold, the smell of H.E. [high-explosive shells], the horribly smashed men still moving like half-crushed beetles, the sitting or standing corpses, the landscape of sheer earth without a blade of grass, the boots worn day and night till they seemed to grow to your feet–all this shows rarely and faintly in memory. It is too cut off from the rest of my experience and seems to have happened to someone else. It is even in a way unimportant.
Jacobs goes on to remark that this is less than fully honest or at least self-knowing as his correspondence with his family shows that he suffered from “nerves” as many a returning soldier did (and still do). What I like about this passage is that Lewis clearly shows he is capable of adding to the great literary history of the War, but would rather not. Other things were more important to him, though what he wrote above has a tantalizing if not terrifying beauty to it.
I’m going to start a series where I post my favorite pieces of writing. These are passages I’ve found myself returning to and reading again and again. Today’s entry comes from Annie Dillard’s Pilgrim at Tinker Creek:
I used to have a cat, an old fighting tom, who would jump through the open window by my bed in the middle of the night and land on my chest. I’d half-awaken. He’d stick his skull under my nose and purr, stinking of urine and blood. Some night he kneaded my bare chest with his front paws, powerfully, arching his back, as if sharpening his claws, or pummeling a mother for milk. And some mornings I’d wake in the daylight to find my body covered with paw prints in blood; I looked as though I’d been painted with roses.
It was hot, so hot the mirror felt warm. I washed before the mirror in a daze, my twisted summer sleep still hung about me like sea kelp. What blood was this, and what roses? It could have been the rose of union, the blood of murder, or the rose of beauty bare and the blood of some unspeakable sacrifice or birth. The sign on my body could have been an emblem or a stain, the keys to the kingdom or the mark of Cain. I never knew. I never knew as I washed, and the blood streaked, faded, and finally disappeared, whether I’d purified myself or ruined the blood sign of the passover. We wake, if we ever wake at all, to mystery, rumors of death, beauty, violence…. “Seems like we’re just set down here,” a woman said to me recently, “and don’t nobody know why.”
It’s been two weeks since I visited Auschwitz. I am still haunted by its stillness. The mountains of shoes, suitcases, and human hair stick in my memory as do those horrible hooked spires of concrete, spiked with porcelain and strung with barbed wire. Seeing the reconstructed gas chamber and ovens was bad enough; seeing the barracks where prisoners wasted away was somehow worse–perhaps because they were more “authentic” in some vague way. All of it was ghastly. I often tried to imagine what it was like to sleep in such places or to be herded through the Sauna or to work as a member of the Sonderkommando. I couldn’t do it, though not because of a failure of imagination, but because of an unwillingness to imagine it at all: my mind’s eye recoiled from looking too deeply into such things. That I did this despite my efforts to imagine what it was like seems natural if not proper to me; like how we snap our hands back quickly from a hot iron, so the mind buffets the will when it tries to imagine hell.
While the story of Auschwitz is long and awful, the story the death camp itself tells is dreadfully simple. Every site of interest has a small sign explaining what you are looking at, and almost all of them say, “Jews were murdered here” (sometime it was Polish or Soviet prisoners). It’s like a drum beat. The same assertion over and over without variation. Sometimes questions present themselves such as “How?” and “When?” but the interest in answers to those questions tends to diminish.
There is one sign, however, that tells a different story. In response to an escape, the SS selected 10 others die by starvation. One of them, a Polish army sergeant named Franciszek Gajowniczek, began to cry, “My wife! My children!” At this a Polish priest named Maximilian Kolbe stepped forward and asked to take his place. While starving, the priest sang hymns and lead prisoners in prayer. After two weeks of dehydration and starvation, only Kolbe remained alive; the Nazis finished him off with a lethal injection. This had a profoundly positive effect on the prisoners of the camp and inspired much hope in a very dark place. Amazingly, Gajowniczek survived and was a guest at the Vatican when John Paul II canonized Kolbe in 1982. Kolbe’s prison cell is now a shrine to which many Catholics make pilgrimage every year. To be sure, there were other heroic acts of humanity at Auschwitz which I read about later. But this is the only one I saw written out in full on the understated signage at the camp.
Seeing Kolbe’s cell was the highlight for me; it made me think of the line from the Psalms several times afterwards: “Yea, though I walk through the valley of the shadow of death, you are with me.”