tisdag 14 oktober 2025

The Lion´s Disease

 

 


 

THE LION´S DISEASE

A Novel

by

Kaj Genell


 

Copyright © Kaj Genell, 2022


 

 

All characters and events in this book are

entirely fictional, and any resemblance to actual persons or events is purely accidental.

  

 

Personnel and passengers on m/s Punjab:

 

Daniel Stork, Captain of m/s Punjab of London

Ruth Stork, wife of DS.

Mr. Nicholas Williamson is a doctor and a veterinarian.

Mrs. Tonya Williamson, wife of NW, is also a doctor.

Midas Sully, 1st Officer

Alfonso Ruiz 2nd Officer

Samuel Diggersson, 3rd Officer

Harmenz Verstegen, Chief Engineer.

Ralph Bartlett, communications officer. ( Telegraphy,

      telephone, satellite.)

Bernard Schoener, the cook.

Geronimo Weichsel, repr. of Ship. Comp. Rattner & Rattner.

Paul Contour, an author, passenger.

Derek Holtz, a banker, shareholder Rattner&Rattner..

Joseph Johansson, carpenter.

Abubakar, Petty Officer.

Linda Benson & Dorothy Carlson, animal caretakers.

Eleven others, incl.: steward, shipmates, electricians, machine men and other ship´s personnel, kitchen aides,  cleaners, etc...among them:

Midshipman Witherspoon.

Oliver Haskett, sailor.

Rufus Conway, purser.

Leo Hart, steward´s assistant.

Rodney Small,

Toby Panetta, an Engineer´s apprentice.

Ruben Leopold. Med. Dr.

Miss Cumberstreet. Med. Dr.

 

Everything set in LONDON and on OCEANS in the year of 20XX.

 

   

 

 

 

 

 

 

My name is Samuel Diggerson, 3rd officer of the m/s Punjab of London, which you most certainly have heard a lot of, in connection to the famous journey. I hesitated a lot to come forward but finally decided to give a better account than the multitude of wholly inaccurate tales about what happened related to the fate of this ship on the Atlantic & Indian Oceans. This is my story.


 

 

 

CHAPTER ONE

 

LONDON  HARBOUR

 

 

A

ll this took place only years after the horrendous pandemic, the Covid19, had paralyzed the world. Economy had been slowing down, and the tricky disease made a lot of people face death, sorrow, hunger, as well as homelessness.

In the last days of October of this year, Rattner & Rattner, the renowned and prosperous London Shipping Agency, had hired me as an officer onboard the Punjab, a Handysize Geared Bulk Carrier. Minutes after being appointed an officer at a visit to the Staff Employment Office, I set out to find my ship from Emmet Street, where the office building was situated. I was on foot, in light rain and some wind in the dusky remains of Tuesday afternoon, out for the vessel, which was an immense one, lying at anchor outside the Northwest Pier of London Outer Harbor. I had been hired in an extreme hurry due to a mishap on a red London bus on the morning of the ship´s departure; the ordinary 3rd Mate – a man whose name I forgot - unprovoked got busted up by a drunkard, and, because of a broken arm, was brought to the hospital for surgery. The Company was in dire need of a replacement, and with a terse notice, I, who was then 1st Mate on another Carrier, the Swanee, of the same size, but an oil carrier, constantly sailing between the Persian Gulf and Great Britain, decided to jump in.

It was a commotion to try to reach the area. My beloved Swanee lay by an anchor in a whole different part of the port. I went by subway and by bus and on my way happened to end up on a small bridge, about a hundred yards tall, in one of the harbor areas, viewing a large portion of the London port from a distance. The harbor rested with thousands and thousands of ships, cranes, sheds, and piers in front of me. Stairs and viaducts, trains and carriages were seen everywhere, and miles of rails in grey and blue nuances, covered by smoky fog, were spotted in all directions. How strange are the cities, man built out in the plain and by the outpour of rivers! But they were part of work, of human endeavor.

Work, this agreement between people, is often not entirely rational or logical, yet it remains the only meaningful agreement because, since primordial times, it has been based on reciprocity. This small mutual agreement is quite fundamental. There has been, since the earliest epochs, no other decency to be found in the world of humans anywhere in the world than in the simple agreement of work. Some say that slavery was born the day after work was invented. I realize that. Maybe so… But that does not affect the nobility of Work itself.

The city, this immense organism, the actual big city, skyscraper City, was the predicament, the condition, and the very place of this decency and agreement, and in this decency, quite simply, marked by smoke, fog, and a thousand smells, … marvelous. So this was the city of British decency, of the decency of civilization, I thought, as I folded my collar against the wind, which came in, gust after gust on this evening, from the West.

 

   “Of all the airts the wind can blow,

   I dearly like the West,

   `Cause there my lovely dearie lives,

   The girl that I loe´ best.”

 

I silently hummed. I always loved Robert Burns. My father was from Edinburgh. But as for myself, I have mostly been living in New York.

 

When I approached my future home, m/s Punjab, now by foot on a distant busy narrow pier, I noticed that this ship, a relatively modern and ingenious one, which my former boat, the tanker, was not, with its 160000 deadweight tons was towering over far more modest and older vessels, which also were part of the London fleet of conventional general cargo ships. This fleet consisted solely of cargo compartments that could carry rare, sensitive, and expensive goods long-distance. These goods typically include famous cars, old airplanes, sculptures, racehorses, circus animals, and ready-made building elements for bridges —in short, items that cannot be transported across the globe by container ships.

When I was brought out to m/s Punjab by the company's extra ferry, it was already late in the day, 08.00 pm, and I was at the first real sight of her body, impressed by the size and beauty of the ship and, as I thought, the ingenuity with which it was built. In the shadow of progress in the money-intensive internet and communication industry, the ancient art of ship construction has also been thriving.

 

I swiftly – dressed up in my grey, private suit, and not in any uniform - escaped from the ferry to a steel ladder, on which I, with some effort, climbed up along the side of the vessel. Halfway up a small door, which was set on the side of the ship and had the door neatly shut behind me, a small elevator in seconds brought me right to the main deck. The decks were perplexing, shining in light blue. Leaning towards the hatch of one of the large, square cargo holds, which all four of them were neatly covered with orange steel hoods, large as tennis courts, the Captain was standing, together with the 1st officer, to welcome the new 3rd officer, who, so late at night, was about to report himself to them.

The ship was a magnificent vessel, much like a snow white castle.

The Captain was a man in his sixties, thus 25 years my senior, named Daniel H. Stork. He was a rather tall man, resembling an American, but with a round head, a face color almost like he was from India, dark, thinning hair, and a piercing look in his blue eyes. Yes, he seemed very aware of everything around him. Stork had an air of seriousness and strong authority about him. He was talkative, quick-thinking, and imaginative.

He had a perpetual stubble, and it seemed he needed to shave twice a day. Most of the time onboard the ship, this very virile man was bare-headed, and his thin hair made him easily recognizable from afar.

For the last five years, he had been with Rattner &Rattner, mostly on container vessels. He had been the boss on many a tugboat, cargo ship, and ferry and had enjoyed it. The grave but very talkative Irishman said that he had often been flattered by being entrusted as a captain by the Rattners on still more modern, still more expensive, and still more beautiful ships.  The executive director of the Amsterdam office had asked him to take on the “Punjab” project during a trip to Surabaya, on the island of Java. He thought it was a tough job, and he was looking for a crew, and – through connections, I had been recommended to him as a reliable chap, he said.

The ship was also in a hurry, though the Captain did not tell me until many weeks later, when we had become friends, that it was originally bound for Cherbourg when it should have picked up the manager´s daughter. The latter had a yearning to be with the ship on its journey, this time to the exceptional destination it had. The Captain had protested against this, claiming that he was hired to take responsibility for the ship, which was managed by a company and governed on reasonable grounds. He could not act in his profession for a company that operates on grounds like “not waiting for crew, because of the need to pick up the CEO´s daughter.”

Mr. Kaminsky then retorted that the Rattner & Rattner Company always had a multitude of agendas, with getting the cargo out for delivery being the main one. The other reasons were of less importance but had to be waged in, he said. They always said things like that. Miss Kaminsky should be picked up on the 22nd.

The Captain had not, in turn, answered to this; he recalled but told Mr. Kaminsky that as soon as they had left London harbor, he was the Captain. He merely hoped they would reach Cherbourg and Rachel Kaminsky, he had added in a casual tone. “Ultimately, the Ocean decides.”

The Captain was a man of strong will.

The ship was painted white, including the hull, deckhouses, hatches, masts, and rafters. The decks were blue. She was enormously big, rectangular in shape like modern ships, very high, sturdy, deep, and comprehensive. There were twenty-five people on board: twenty crew members and eight passengers. The two animal tenders, Linda and Dorothy, were included. On this trip, the Captain also brought his young, beautiful wife, Ruth.

It was now October, the month of storms on the North Sea, and “Punjab” had in the afternoon just haply gotten underway from Amsterdam, via Le Havre, carrying lots of wheat, a couple of cars, and some horses as well as some other animals, amongst them a lion. Then they added more cargo here in London, more machines, an old airplane, parts of a submarine, and more animals, while they unloaded the wheat. The lion was a lioness, brought aboard, of course, in a cage. The cage was made of steel. The lion itself was dressed in a suit, a green one, made of the thinnest tarp, and, although I just spotted her very casually, as I was inspecting “my new backyard,” I felt sorry for her. Taking a lioness from Amsterdam all the way to Java in Indonesia seemed to me to be on the brink of animal cruelty.

All cargo was loaded into the four large compartments by experts in loading cargo, airplanes, and animals. The animals were held in hatch No.1, closest to the main deckhouse and the bridge, amidships.

Like most general cargo bulk carriers, which have some 4 or 5 holds covered by metal hatch covers, geared bulk carriers, such as the Punjab, are mainly in the giant size range. All ships nowadays are too big. They often have several cranes mounted, allowing them to load and discharge cargo anywhere without shore-based equipment in foreign harbors. A typical General Cargo Carrier of the geared bulk type has a crew of around 13-35. There is a Captain who is in charge of everything. We always have 3-4 deck Mates, and the 1st Mate is in charge of the cargo. The Chief Engineer is, of course, in charge of the engine and systems. 3 to 4 other Engineers, 1st and 2nd Oiler, 2 to 4 deck crew,  and 2 to 3 galley crew, plus Radio-Electronics officer, one Bosun, one Electrician, and a Cook, a Steward,  and 2 Steward’s assistants. Some ships house a couple of deck-engine utility men extra.

The Punjab also carried a few passengers: two doctors, who were also veterinarians and were mainly there to look after the horses and other animals; one author of novels, Mr. Contour; and Mr. Schultz, a banker, likely an acquaintance of the Rattner family. Initially, all passengers were told they would have to stay in their cabins since Captain Stork was busy taking command of a ship that was entirely new for him. Finally, the company representative on board was Geronimo Weichsel, a supercargo clerk.

Stork wandered around the ship, and one could see by the look on his face that he thought it was way too big by the way he watched his craft. Even I thought it was not wise to build ships of this size. These ships are made in Japan, and the Japanese know what they are doing, of course. Only I wouldn´t say I like these seafaring monsters.

The doctors were a middle-aged couple, Mr. and Mrs. Williamson. Paul Contour, a tiny, slender boy from Texas, USA, claimed he had written a novel set in Baltimore. We were later not able to find it on Amazon or elsewhere, though.

Since it turned out that the only reason Punjab was anchored up in this part of the London harbor was to wait for me, we, as soon as I had accepted to be a member of the crew on this ship, which was set for Surabaya, Java, we raised the anchor at noon, had the tug boats from Livett´s and Thames Tugs arrive to connect their cables to our vessel and drag us out of the port, out through the busy Thames and out into the beautiful English Channel.

The weather on this day was windy, but the magnitude of our vessel, which was built in China, impressed the forces of the Sea. We withstood any influence, either from waves or wind, and our maneuver out into the open Sea was like gliding out on a dancefloor.

All of us in the crew were busy with navigation and handling the four tug boats and the boatmen. I myself, who was completely new on this ship, had no time for philosophical observation until we were three miles from the coast. I looked back at the city of London, and at three o´clock spotted a yacht that seemed to be the one from which Rupert Murdoch had fallen on his last trip.

“You have to take care”, I told myself, ”one never knows what will turn up on a voyage like this!”

Where the Atlantic meets the North Sea, there are strange currents below the throbbing grey surface of the sea.

I know that I am sentimentally inclined, but I consciously hate sentimentality, which I strongly associate with U.S.A. and Hollywood culture. I always advocate for a more holistic approach to reality than associating everything with the past.

  ------------------------

 26th of October.

 

Dusk arrived. I was standing on the poop deck at night, only hours after we departed from the port. After chatting with Ruiz, one of my colleagues, about a small crack in one of the ventilators on deck, I was watching the many-colored clouds in the sky. The lights of the small cities ashore were slowly gliding by as we sailed southwards in the English Channel, more precisely, the Strait of Dover. We thus ultimately headed for the turbulent Atlantic.

I had earlier introduced myself to the rest of the crew, which, besides the Captain and the 1st officer, Mr. Midas Sully, who just looked stone-faced at everything, all were of the average competent kind.  I also learned the name and face of the 2nd officer, Alfonso Ruiz.

The stone-faced 1st officer, Sully, with hazel eyes, was a strange character. He was a tall guy, fifteen years my senior; big black tousled hair, whiskers, and light grey eyes. He spoke in a hollow voice and was a significantly dominant guy. He said he had seen my credentials and said that he, just like me, had attended Christ College.

Alfonso Ruiz, a young rather naïve fellow from Paraguay, stood at the steering wheel, and we had put out a whole bunch of sailors on the lookout. These waters by the French coast have heavy traffic by everything from fishing vessels to tankers. We wanted at least to come through the Channel before some of us went to bed that night. Sully and the carpenter stood aloft in the back talking, puffing cigars. Longitudinally on the port side, two dolphins were strangely spotted. They soon disappeared, though.

 I ransacked my memory. I thought I had met Sully on some occasions. But I did not know where or when. He was significantly older than I—I was just thirty-five—so I don´t think we had been in the same classes in high school or at the same parties. I often reflect on my year at Christ College because it was only one year due to a family catastrophe. I was not at all sure if I had met him at all.

Amidships, a sailor shouted out in a harsh voice that one of the horses had become sick. Some horses were located in large boxes in cargo compartment number two, where there were also a couple of other animals. In one of the boxes, a beautiful black creature was lying on the floor. If you know about horses, you know that they very rarely prefer to lie down. If a horse is on the ground, it is either sick or dead.

When I got aboard, I had laid out the course on our main chart and put up our destinations in our ancient logbook. We had told our telegraph operator, Ralph Bartlett, to cable to our destinations. Later, I could not find the chart. I told Sully. He could not find it either. Then I saw I had accidentally placed my coat on it. Paul Contour, a vain red-haired fellow with a tiny, bent nose, who had eyes like a hawk, but seemed a little mean, like a snake, laughed at me.

Just hours into this journey, this boded no good.

After dinner, which was a steak, we all ate in silence. The Captain, who said he had a headache, withdrew with his wife. The latter also felt sick and stumbled on a tall shipping threshold leading to the Captain's departments, a small suite of three rooms on the starboard side of the white ship.

“Well, at least we are on our way,” Ruth, who was black and ultimately from Trinidad, daughter of a drummer, flustered in my ear, before disappearing, probably in an attempt to make me feel cozy, despite the strange atmosphere on board and my own hasty departure. I had only had time to bring a fraction of my luggage due to the haste of the escape from London. Every hour in port costs millions of pounds to a ship of the Punjab´s magnitude.

She let her large, black, curly hair fall over her red dress, smiled generously, and her large, healthy teeth shone in the light from the small yellowish roof lamps. She occasionally carelessly licked her upper lip.

“Sure,” I said, echoing my younger self, adjusting my rather impressive uniform´s cap with its shining white cloth on top of it. “It will be a gas coming to Java.”

Just to be aware of Ruth made a man feel younger.

She had a broad face, looked a bit Latina, and her overall appearance was quite striking.

I then took a stroll on the deck. We were now well off the coast and should be able to relax a bit.

I then met with the doctors, who were highly taken aback by the sight of the North Sea. They flung bits of bread towards the seagulls, but the birds just looked perplexed. In the corner of my eye, I caught a glimpse of Sully, however, and I thought I could discover a wry smile.

This really was some boat, I thought to myself.

The next day, we would reach Cherbourg for sightseeing, Captain Stork had told us. They sent the luggage to Cherbourg for me to pick it up at the mayor´s office, he said.

None of the crew knew the exact plan of the journey to reach Java. This was all due to safety measures, according to what the Captain and the Rattner man, Mr. Weichsel, had told us. The other officers and I were just hired as crew, and the Captain is always the sole master of the ship. That is—as it has always been—the rule of the Sea and is an anthropological truth.

The “Punjab” had reached her maximum speed and had moved freely through the southwest trade in the Atlantic Ocean. I looked forward to the sightseeing in Cherbourg. I had a distant relative who lived there. When I stood on deck, feeling the massive body of the enormous vessel under my feet, trying to focus on three birds, seagulls, who had followed us all the time from London harbor. I was dressed in my uniform – black trousers, dark blue jacket, and a cap with an ornate gold brim - accompanied by the steward and the two doctors Williamson, I noticed that Mrs. Williamson rubbed her eyes and then, after a second of hesitation, cried out in a loud, harsh voice:

“I cannot see a thing! I am BLIND!”

 

  

First dinner.

 

I

 am sorry to interrupt my telling of the actual story, but I think it is right to do, to inform you a little about myself at once. There are two main reasons for this. It is because I am an essential part of the story you will read 1.) as an agent on board the Punjab, 2.) I am the one who narrates the story, and – as we all know – the sender of the message often controls its content, pitch, color, and tone.

I am from Glasgow. My parents, Espen and Elsa Diggerson, both of them architects, raised me there. I was their only child, apart from my sister Gwen, who – bright and beautiful as she has always been – did not pose any trouble of any kind.

With me, it was different. I had no real interests and no talents. I was not exceptionally bright and did not form any circle of friends around me.

My parents grew exceedingly worried, and at last, they decided to send me to New York to try to make me more competitive. At nineteen years of age, I was transferred from the suburbs of Glasgow, with no prospects or interests other than reading novels, to Queens, NY, where I began my real education at Columbia University.

I intended to become an author, and my idol was – and there was no question about that - Cornell Woolrich, the master mystery and thriller writer, whose book “Fright” I thought was the best book I ever read, and hence, the best novel that was ever written.

After a year, it turned out that I had absolutely no talent for writing.

I could not even find anybody who shared my interest in Woolrich, much less anybody who thought that “Fright” was the best book ever written. During this time, when I discovered this, I had found a new favorite author, whose name I will not publish here.

I then looked around for a real education. I soon found that being a sailor nowadays was not only reserved for boys who had grown up in canoes and on fishing boats but also a modern, quite technical occupation, with a good salary, regulated work hours, and a solid pension.

I decided to try to become a sea captain.

I asked Gwen about it. She said:

“Definitely! If it is not just another of your whims, that is!”

   -----------------------------------------------------

I immediately rushed up to Mrs. Williamsson to assist; however, both she and Mr. Williamson showed me away.

“Now let´s see, are you really blind, Tonya? Honey!” Nicholas, her husband, said, almost in a mocking way.

He waved his hand before her eyes as she was standing by the railing, clutching it with both her hands, but turning her head one way to the left, one way to the right, in what seemed a desperate try to be able to perceive anything of the outer world.

“Oh, I see now; on the right side, I can see.”

“On the right side…?”  Nicholas Williamson mumbled, disgruntled in disbelief but definitely more serious. His small face, a little reddish, was ridiculed by his abnormally small nose, which always had a tremble. The head was small, too, in relation to his body, which was 195 cm tall. Of course, as a doctor, he had known about one-sided blindness, homonymous hemianopsia, which, if not a symptom of stroke, is often just a hysterical condition. Still, he seemed to think that this did not usually occur during action, but more when a person is tense and immobile.

Here they were amid wind and air, the giant ship plunging southwards across the roaring Atlantic, and highly unlikely that any partial blindness of that kind would ever occur, he seemed to think.

“Yes, Nick,” she panted, grabbing his flannelly coat, ”it is just so strange. I know, I know, it is odd.”

Now the Captain became visible on the stairway, in his uniform, with an extra sweater, a green knitted one, just like mine, high up, his brimmed captain´s cap on, binoculars in his hands, and from this outpost he shouted:

“What is the matter, Mrs. Williamson?” in a high voice, his jacket waving in the chilly wind.

Midshipman Witherspoon, a young black fellow with a mustache, came running, bringing a deck chair, where Nick and I placed the woman who was, of course, very troubled by her, at least for the moment, inexplicable condition.

Ruth Stork, Captain Stork´s wife, also came rushing from the ship's aft, which she had a particular flair for, and took out a small bottle of whisky, containing at most 2 deciliters of fluid, from her handbag. Tonya, who saw (!) the tiny bottle, waved her away with a gesture of dismay.

“No-no, no whisky. This will pass.”, she said. ”This will pass by itself. It is probably just a tension of the ocular nerve, or the brain itself”, she said, broadly anatomically.

 

Sickness is in itself something quite out of the ordinary. It is an aberration, and it is not very common either. And life is such that the rareness of sickness and the sadness of many sicknesses do make sicknesses since they are a threat, a thing handled with as much fear as superstition. Doctors are welcomed, and doctors are feared. Doctors live amid a non-ironic duality, unlike anything the human community has ever produced. Doctors are people with a strange profession, and they are men and women from Hell and Heaven.

Mr. Nick nodded professionally.

After a couple of minutes, Mrs. Williamson was escorted by her husband to their quarters, which were far below deck on the starboard side of the enormous m/s Punjab, which continued its journey heading southward in the light breeze that caressed the faces of the rest of us, who were standing on different decks.

----------------------------------------------

Dinnertime was approaching. It was five o´clock, British time, and we all streamed on staircases and through narrow corridors which, due to the solidity of the ship, dampened all noise to a minimum in the two dining rooms.

As was the ruling habit in the old English commercial fleet, since Captain Bligh of s/s Bounty, the Captain was dining with his wife, the three mates, i.e., the officers, the Chief, and the passengers.

The rest of the crew - the “petty officers” and the able seamen - were dining in a larger dining room situated deep down in the center of the ship's hull, with only artificial lighting in it. However, the Captain´s dining room was on the third floor of the main deck´s building, with large square portholes on three sides and a panoramic view of the surrounding Sea. Out there, white foam erupted on the tops of the dark blue-green salty waves that swiftly ran northwards, coming way far from the waters of Madeira, the Canary Islands, and still further away.

------------------------------------------------

Mrs. Williamson did not attend the dinner. But all the others were there. All the other eleven persons sat down at the dinner table, all treated to by one single purser, the very competent Mr. Rufus Conway, who was from Lancashire.

Dr. Holtz, who had a degree in Economics and was thus the most educated person on board in terms of academic merits, started the conversation because a vital phone call had delayed the Captain. Stork stepped out on the side of the dining room, on a small runway on the side of the ship, where the rest of the dinner party members could watch him talking and making gestures.

“So delightful an assembly, a congregation of extinguished people I will have the luxury of dining with during the next thirty or forty days until we arrive at Surabaya.”

“Shouldn´t we be waiting for the Captain?” Linda commented, also with a small gesture, bidding the purser, who was just about to place some crawfish on her plate, to slow down.

Holtz waved her comment aside. Not only did the man have a degree. He was a multimillionaire too and owned 11% of the entire Rattner& Rattner sphere.

“I wouldn´t be surprised if we got acquainted very well and will have an extraordinary time all of us!” the banker continued, caressing his trim beard.

“I´ll wait for the Captain.”

“He told us to dig in.”, Contour, the author said, who apparently was in a state of hunger.

The Captain now returned in a state of commotion and anger.

“It was the Office. I had just forgotten to bring another man with us. I am sorry to trouble you with this information. It does not matter, because he will catch up with us in Cherbourg. Nothing to worry about.”, he said, panting, while he sank in his chair that had curved, rounded supports for both elbows and was made of Scottish pear tree.

“Aye, but who was that to be, sir?” Sully asked, almost before the revered Captain had finished his sentence.

“The security officer, of course.“ Stork answered, smiling a little, to release the tension around the table,” The man from Secret Service.”

Here Weichsel, who was a slim, tiny fellow with watery blue eyes, blushed. He realized that it could have been his realm of responsibility that, in an unfortunate and to him dishonoring way, had been thus displayed.

Ruth Stork, who wasn´t much of a talker, dressed in  a light blue frock, hindered further discussion on the subject since she now opened her mouth, smiled and bowed to everybody, and said:

“Very welcome, all of you!”

The entire dinner party, including Weichsel, highly appreciated this small speech. Verstegen, the Chief, even enthusiastically clapped his hands at Ruth´s words, hands that always had a small portion of motor oil on them, just by the sleeves of his shirt.

I enjoyed the assembly. Compared to my last journey on the Swanee, the giant oil carrier, where we had not a single passenger and indeed no animals onboard, this seemed to me, as it also seemed the case with all the others,  highly entertaining.

All of us thought little of Mts. Williamsson, since we all estimated her condition to be nothing but a temporary bout of hysteria.

 

We were all having dinner amid a heated discussion about the possible expectations for our exciting journey. Most of us were unfamiliar with Surabaya, and the excitement rose to ecstasy. We were - as I said - none of us much taken aback by either the incident with Mrs. Williamson´s vision nor – as a matter of fact - by the fact that we, until Cherbourg, did not have any man from the MI5, Secret Service, to supervise us. I immediately guessed that he had something of substantial economic value in our cargo that was not openly accounted for and which needed special protection. Still, as a newcomer on this ship, I thought it was not for me to start to question what it was all about openly.

I was increasingly delighted to be hired for this trip.

 

Verstegen, who sat by my side, whom I had never met before, asked about my previous experience of the Sea and welcomed me on board while drinking a pint of Scottish beer in heavy clunks.

“You are from Holland?”

“The Netherlands,” he corrected with a friendly smile and a wink of the eye. The man was utterly sympathetic, unpretentious, and seemed to have a heart of gold. He reminded me of my best friend in grammar school, whose father had looked like Mr. Verstegen and drove a taxi and who at that time had been my idol. As a kid, I thought that driving a taxi cab was the ultimate adventure.

Not much of value was said during the dinner, and afterward, we sat in the saloon, some of us watching the Telly, others just enjoying each other´s company. Since we were expected to spend a lot of time together, it seemed that all of us were careful in approaching each other, and eager not to ruin any future alliances by making a bad first impression on anyone. Dorothy, one of the young animal lovers, approached me and welcomed me as well, and asked me about my interests, aside from ships and the Sea. She said that I looked quite like a gambler, as I was good at playing cards.

“I actually don´t ever gamble,” I said, with a certain shyness before the young blond girl, with her intelligent eyes, one of which had a yellow speck in its green iris …”I mostly read books. I am pretty much interested in everything, aside from gambling and sports,” I answered modestly.

“Do you like animals?” she asked, and I wasn't sure if she was serious.

 

But when I was going to ask her if she was, Mrs. Williamson, accompanied by her husband, all of a sudden appeared eerily in the doorway to the dining room, where the rest of us had just minutes ago had our dinner. She probably had had some in solitude:

“I still cannot see anything on my left side.”

All of us went stark silent.

“Well,” Captain Stork said - since he was the Captain: ”We certainly hope that your eyesight will return by tomorrer.”

He did not sound exactly irritated, but there was a specific bite in his tone yet.

He was in total control of his universe, and at the same time seemed to take a philosophical attitude to everything that was said, as well as to every movement of a head or a limb. He had absolutely no pretense and was immediately respected.

 “It is not that,” Tonya said, while she turned her head in the broader circle, and here she was about to drop a real bomb:

”I have investigated the symptoms, and, although I have not yet conferred with my husband,” – she nodded at Nicholas,” I think the lioness could have infected me.”

“BY THE LIONESS??” the Captain, Dorothy, the banker, and the Chief shouted out.

Nicholas stood staring like he had seen a ghost.

“Are you sure?” he stuttered.

“Are you sure?”

Of course, Tonya was not sure, I thought to myself, while I, with my typical naiveté, tried to conclude what many of the people who had their job to look after the animals for sure already knew very well:

“So we have a sick lioness on board?” I asked.

“Yes, the lion is sick,” Nicholas said, ”but lions cannot infect people.”

   My throat went dry. I stared at Ruiz, who stared back.

“They can. It is rare. But they CAN!” Tonya said, mustering her man up and down with her gaze. Maybe she implied that she had looked up things in some books or on the internet, which was available on the ship due to the ingenuity of Mr. Bartlett, the communications officer, who, for some odd reason, was not invited to the Captain’s table.

“Now, I need clarity here. I will not let anybody leave this room until we have sorted this out!” the Captain said in a loud voice, shoving everybody. What a clear-cut skipper he was. Agile and ready to deal with whatever adversity came before him.

“Is there, or is there NOT a possibility for lions to infect people with eye disease?” the Captain – running his fingers through his thinning hair - asked all of us, but of course, the two doctors in particular, who seemed to have some marital trouble between them.

This question was hanging in the air. Soon, many of us realized that the answer would not be easily obtained. But for now, the able Captain insisted, and like a man entrusted with omniscience, he turned right away to the one person who, according to him, had at least part of the answer:

“How is the lion?”

The question was directed straight to young Dorothy.

 

            -----------------------------------------


CHAPTER THREE

 

              

LIKE A TRAFFIC LIGHT

 

“It is true,” Dorothy said, who seemed to be a clever, apt, and educated young girl,” that she came on board in Amsterdam a fortnight ago. She was in good shape, and she was part of the late Count Hillman Estate. Carson Hillman, the rolling-in-riches businessman who owned a castle outside Amsterdam, and his wife, Lorna-May, just died. In their multimillion-dollar will, some of the….”

She was interrupted by the pretentious banker, who seemed furious over the two young, uneducated girls, who got more attention than he did.

“Do we have to listen to this? Just kick the lion overboard and let us get on to Surabaya! For God´s sake!!” The tongue of the banker ran wild.

The Captain blinked coldly, and in a contrastingly calm and steady voice, he addressed the whole assembly, in a way we soon would be accustomed to. He was at the same time demanding and curious.:

“Proceed, please! I do want to listen to the whole story, in just the way Dorothy is presenting it.”

Dorothy, without any change in her tone, took up again:

“Sir! Some of the money, left by the Hillmans, was marked to ensure that their much-loved Betty – the lion – was brought back to her native Java.”

“Amazing story!” the author exclaimed, as he seemed to think it was almost a saga.

The author, like all authors, had a strange look at life.

To the author, events are real enough, but more real are events, if they are dramatized and described in a narrative. They are then transformed and transmogrified into the Universal and brought before the eyes of  Humanity, to the realm of understanding and reflection, and aesthetic beauty and inserted in human history and civilization. Drama is the form that the human mind most easily understands. Drama is the thrill of mind. All events ought to be part of the marvel of being put in the right place in a book. But most of all marvelous events, and fanciful things, like this about the Carson Hillman Estate.

“The lion was safely on board when there was an accident, though.” Dorothy said. “Five large boxes, containing four mongooses, from the Flanders, were taken in, and the personnel just dropped one of those boxes in proximity to the lion's cage. One mongoose got out, and out of fright, it happened to attack the lion, which had started to roar at the whole scene. The mongoose bit Betty in her nose. And a few days after this, Betty became sick and lost part of her vision. Mrs. Williamson - who was on board - decided when we were about to leave Amsterdam, on our way to Le Havre, that the mongooses should be kept under surveillance.”

“So?” said the Captain. “And why wasn´t the lion and the mongooses unloaded for care and examination in London? Or Le Havre?”

“Mr. Williamson thought that it would go away by itself.”, Dorothy said and rubbed her own nose as if she was going to sneeze or something.

“But the mongooses then?” the Captain insisted.

“They are still with us, in their boxes.”, Dorothy answered. “There is nothing wrong with them. They are thriving as usual. I see to them every day.”

“But why weren´t they taken off the ship? They are likely the source of the strange disease.”

“I don´t know. They are well, anyway, all four of them, sir. Two males and two females.”

“I bet they are.”, Stork said, relatively calmly.

There was a pause.

“I understand.” He then retook his seat, now slightly more pensive.

Stork looked down, his left hand again on his chin, as was his habit, and said, now to Tonya´s husband: ”Mr. Williamson, can you please tell us a little more about the exact health of the lion?”

The tall Nicholas was sitting straight-backed on the edge of a deck stool near the LED monitor.

“Of course, Captain …” he said, but without absolute conviction, ” … she lost her vision, alright, but I didn´t think it was more than a temporary effect of the mongoose attack. Nothing serious was my initial response to it. I actually didn´t even look it up in my books. I now can see that this was maybe rather unwise.”

“It probably was.”, Mrs. Williamson filled in, winking her eyes in all directions, now and then covering up one eye or the other with a piece of cloth.

“Don´t you have a diagnosis or something on this condition that this Betty is suffering from?” the Captain asked, whose determination and strength appeared to me of a grandeur that I had hitherto never met by any superior officer in any fleet with which I had served. Not to talk about the professors at Colombia, where I studied.

The Williamsons looked at each other. They shook their heads.

“No,” Tonya finally said, ”you see, the eye condition seemed so strange and varying. One day, she could see things with one eye and the other, and one day she couldn´t see a thing. But, at the time, we thought that we would soon figure it all out.”

“What about your own condition. How exactly is your own eye condition?”

“Well, sir. Not so well.”

Tonya, who was extraordinarily pale now, trembled and looked at her tall husband, a man whose body was as long as his head was small, and suddenly started to cry.

“You won't believe me!!” she shouted. “You will not believe me!”

The Captain, as well as Nicholas, rushed to her, and they both put their arms around her to try to console her.

“Now come on, come on!” the Captain said, comforting her, ”Nothing bad is going to happen to you. Just tell us how your eyes are! Please!”

“You won´t believe me. You´ll think I am mad!” she cried again, all red in her face.

I stepped into the discussion and humbly asked if she would like a glass of whisky or something.

“Yes, whisky,” she whispered and looked at me, in her curious way, with a little smile, which did not look much like a smile.

After Sully had brought her a glass of bourbon, she said:

“You know, I would not believe it if it were another person. It varies. It is like a stop sign. A couple of minutes, I can see clearly on the left side, and then, all of a sudden, I can only see on the right. And it just goes on and on and on….”

She cried and drank. Sully had to fill up her glass once more. Water poured down on her collar.

“You didn´t tell me that.” Nicholas groaned reproachfully. “If you had…”

“No, I didn´t.”

The Captain was, like all of us, bewildered.

“This is serious. This might cost millions and millions of pounds! If not trillions.”, he concluded.

“This is a disaster.”, he added.

We all stared at him.

“You are jumping to conclusions, aren´t you?” both the banker and Alfonso Ruiz, the 2nd officer, who had been almost silent all day, said in choir. Alfonso – the decent fellow - was not someone who generally participated in discussions without being asked to do so.

Then Linda, the other animal carer, lifted her head, which she had held low, and partly covered up with her hands, when she spoke.

“It is the same with me. JUST LIKE A TRAFFIC LIGHT. LEFT, RIGHT, LEFT, RIGHT, NOTHING, LEFT, RIGHT, NOTHING. And it goes on and on and on….”

 We all rose from our chairs and retreated from each other in a panic.

We were all amid a new, strange pandemic. Out on the Sea, and with a condition, which threatened us all, in a way, that nobody ever heard of! This was maybe way worse than the obnoxious COVID-19.

The Captain thought the name “Betty” was silly and suggested the lion should just be called “The Lion” because we only had one on our ship. Later, he apologized and told everybody that they, of course, could use whatever name they pleased. But he added that his late mother´s name was …“Betty”.

 

------------------------------------------------------

 an eary version of this story, and in its entirety, can be found as a book on Amazon. I  am now reworking it, for a second extended version.....

 

lördag 14 september 2024

What does Kafka mean today?

 

 

 

What does Kafka mean today?


                       Kaj Bernhard Genell 2023

 

 

 

 

 

           What was unique about Kafka?


              Kafka – as a matter of fact - used high-Romantic Ästhetik des Schwebens and without this reference to the Romantic Tradition, there would have been no Kafkaesque. The Kafkawsque – of course – is what most of all interests us, when it comes to Kafka.



            But what - then - is meant by the term "Kafkaesque"? We are - as our prime object of study - looking into this Concept.
THUS
Kafka - a Freudo-Structuralist Analysis is an analysis of Kafka's novels and short stories, with special regard to the concept of the Kafkaesque. This book concentrates on understanding what contributed to the famous Kafka effect. The author explains the structural triplicity of a discourse seen as consciousness. It also describes how Freud, Romantic irony, and Symbolistic literature simultaneously co-work as the mythical subtext of Kafka's work. Kafka created something that would become part of defining Modern Man. Understanding Kafka is the road to understanding Modernity.


    Many a Dissertation and many an Essay on Kafka have dealt with the strange "dreamlike character" or effect of Kafka´s novels and short stories. This has always been dealt with as if the "kafkaesque" was brought into the game by someone adding "Freudian symbols" to something. Nothing could be further from the truth! This is what Genell´s book
Kafka - a Freudo-Structuralist Analysis (2021) shows.

 

                    Rather, the case is this:


Kafka's structural, literary form is based upon a refined mega-structural narrative split.

    
It is the split between subject-"voice" and object-"voice" on the one hand, and human conscious and uncons©ious mind, on the other. This is not easy either to describe or to understand! The uniqueness of the works of Franz Kafka and the perplexing historical accuracy of the concept of Kafkaesque are both phenomena that many readers and scholars have noticed over the years. Through the years, a fruitful explanation of the uniqueness and accuracy of these works has been missing.

Scholars have ever from the 1930ies been noticing the extraordinary qualities of Kafka text. Strange - Kafkaesque - features have been attributed to the short stories and the novels of Kafka. The Kafka hero has - rightly - been seen as a mere figure, and the “dream-like” landscape universe has been seen as a characteristic, and one has frequently been looking upon these entities, together with a few stylistic features, as technical dominants in the shaping of the concept of the Kafkaesque.
Genell´s
Kafka - a Freudo-Structuralist Analysis displays a model, together with a biographical survey and a historical perspective on possible influences, that, reversely, forms a hermeneutic, actual explanation of these features, as well as to what is denoted by the concept, from the perspective of a dynamic contextual center, explained in a model containing three levels, levels forming the discourse, typical of Kafka.


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This book tries to unravel the enigma of the concept by reference to the process of creation and by Kafka´s implicit use of TWO unconscious levels within the universe of his most important works. The veil of mystery may never be lifted regarding Kafka´s eerie classics of Modernity like it will never be lifted when it comes to literature as a whole. Still, it might be essential - in order not to fall into any metaphysical trap - to know about the technique behind the Kafkaesque to be able to reflect upon the Self-Consciousness of Modern Man of the 20ieth century, a century so intensely marked by a dialogue between society and the works and ideas of Sigmund Freud. Self-consciousness of Man, as it appeared with St. Augustine, the great Italian Renaissance writers, Erasmus, Shakespeare, Montaigne, the German secular Romantics, and Hegel, swiftly developed into something even much more complex with the appearance of Freud and the groundbreaking publication of his Traumdeutung in the year of 1900, and, more so, with the creation of the Kafkaesque, with the works of Kafka, around the year of 1912. The birth of the Kafkaesque can be dated to the night in the autumn of 1912 when Kafka wrote Das Urteil.


The book,
Kafka - a Freudo-Structuralist Analysis revolves solely around this strange split of ©onsciousness and its ©onsequences.


    The Kafkaesque is brought about by two phenomena, and Genell is in his book discussing only the first one.
1.) A literary trick, built upon a split Unconscious ( strange as it of course may sound, and difficult -) and
2.) a unique mental sensibility.

 

WHAT IF one had a Dream of a Dream and the two of them could communicate?? That is what happens in a Franz Kafka story! The book Kafka - a Freudo-Structuralist Analysis deals with Kafka's novels and short stories from the aspect of the Kafkaesque, and it does so by looking for the means that create this effect. These means turn out to be largely technical. Thus, this book, Kafka - a Freudo-Structuralist Analysis, shows how Kafka uses a narratological split, split consciousness, and SPLIT Unconscious of the hero to create the Kafkaesque by a rare trick.


This new book shows how Kafka became one of the most prominent artists to create and define Modernity. Kafka took part in the thrilling creation of Self-conscience of the 20ieth century, marked by a constant dialogue with Freud and his works. Self-Conscience as Man knew it since St. Augustine, the Italian renaissance writers Erasmus, Shakespeare, and Montaigne, and later with the secular Romantics and Hegel swiftly developed within Modernism into something much more complex, primarily with the appearance of Freud's "Traumdeutung" in the year of 1900. And Kafka - rebutting Schnitzler - then set out to complete it all. The works of Kafka appeared as a reaction to 1.) Modern times, to 2.) his own personal alienation, and to 3.) Freud.


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        Kafka's answer to Modernity – to the modern condition – was astonishingly complex, but it turned out to be very accurate and accomplished right from the beginning. When other reactions to the Modern Condition, like Hugo Ball, Appolinaire, and Dada, displayed a picture of a chaotic and rebellious attitude to reason and morals, Kafka, much like Rimbaud actually, showed a far more complex ability to make modern society's human-understandable itself, in a universal narrative. Kafka, in exploring the Unconscious, as by Freud, and in doing so using a Romantic "Ästhetik des Schwebens," is the unique discoverer of the marvels of mind, and is, in this, equal to Freud.
Kafka - a Freudo-Structuralist Analysis sets out to explain how the Kafkaesque itself generates - even today, 100 years after its birth - an interrogation that scrutinizes the Freudian theory and our conception of the unique human consciousness.





    Kafka's relation to Freud was somewhat like a son's relation to the father. Hence, Kafka did not acknowledge Freud's discoveries, methods, and notions as truths. But he saw them – ironically enough – as facts. And in a sense, they were. Freud's views were historical facts in their profound influence on the Mind and Society of the century. Kafka used Freud as part of the revealing of Modern Myth,  and the myths used by Modernity.


Kafka used Freud, but Kafka added on top of Freud´s model of the human psyche another split to human consciousness in his literary universe. Kafka thus did not "believe in" Freud, but he was fascinated by him. Freud suited Kafka well. Almost too well. He did not look at all to Freud to a great extent, ... did not own several books by Freud ... but he had – like many others – acquired a sort of immediate understanding of Freud's ideas through a kind of everyday osmosis.



Kafka actually started as a writer of lyrical prose, short prose poems in the style of Goethe, Kleist, and Flaubert. But his dream was to write a novel, and it ought to be like the one Flaubert in his usual rage once claimed he wanted to write: a lovely book about nothing at all. So it happened that Kafka - not at all being highly intellectual or an eloquent philosopher - developed a technique for writing novels where he was extending a sole situation into a perfectly static ( i.e., nothingy ) drama displaying a struggle between conscious and unconscious. It also seems as he tried to develop the style of Tieck and the Romantics. Using his extraordinary ( perhaps autistic ) sensibility, Kafka's technique miraculously was born on one evening in 1912, writing the short story "The Verdict." The following day, he even asked his fiancée Felice for its meaning. Later, in 1912 with the writing of "The Metamorphosis" and, in 1913, the unfinished "The Trial," his technique of displaying the Kafkaesque was already full-fledged. Here he – almost FORCE by his own personal and social catastrophe - introduced a pseudo plot in a kind of pseudo novel displaying a story of a split, a struggle of a conscious instance of a person, shown as a hero-figure battling this person's OWN Unconscious. As it turned out, this battle caused a second unconscious part to appear in the universe of this fiction. ( Examples can be found in
Kafka - a Freudo-Structuralist Analysis .) It seems that the hero-figure, devoid of his Unconscious, HAD TO develop such an unconscious to be able to handle his surrounding world, which was his original Unconscious. Here we thus are having a triadic structure and a strange meeting of two unconscious instances. This fictional condition primarily results in a double exposure of the unconscious and a strange transcendence of the Ego, which cannot easily be reflected upon since it has no equivalent in reality.
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    This is NOT EASY TO UNDERSTAND!



       As a result of this Kafka-technique, which probably was unconscious (!) to Kafka himself, we are also – apart from the nausea of double Unconscious, a kind of self-consciousness of the Unconscious - experiencing a very intense poetry, depicting utter loneliness in a framework of a sad pseudo-protest, parallel to Weber´s, against the superpower of civil organization and law in general, as well as a hymn of the melancholy beauty of existence the like of which nobody else in the 20ieth Century has created: The concept of "Kafkaesque" has been created upon the experience of the works of Kafka by the Collective Mind, and in some yet not quite analyzed way, it also has extended our mode of perception. The concept of the Kafkaesque, and the Kafkaesque itself, AS IRONY, is vital for both the being and the understanding of our culture and being! The questions regarding this concept, raised in
Kafka - a Freudo-Structuralist Analysis questions somewhat elusive, are mainly two: [ 1. ]: what IS the kafkaesque? (…that is caused by this split ) And [ 2. ]: how did Kafka DO to create this, the" Kafkaesque"?

 


    These questions are highly original and deal with ideological, cultural, and psychological matters and tacit knowledge, and complicated issues concerning the ontology of fiction. Perhaps the concept of "Kafka" is an ongoing question in Modernity itself that will prevail no matter how much Kaj Bernh. Genell - and others - keep trying to sort out the problem?....

 

 

Kaj Bernh. Genell 2023.

 

Copyright Kaj Bernh. Genell 2023.

 

 

 

Kaj Bernh. Genell was born in Gothenburg, Sweden, in 1944. After having endured an adventurous youth, he became interested in philosophy and, in 1983, after many years at the University of Gothenburg, published a book exclusively on existential ( in the Sartreian sense of the word ) Irony - “Ironi och existens.” Genell here established himself as a fighter for irony. This position was and is a rare one in Sweden. Soon hereafter, Genell, who since his teens had a great interest in one of the giants of Modernism, Franz Kafka, wrote a series of papers at the University of Gothenburg related to Kafka, partly under supervision of the renowned stark Marxist Kurt Aspelin, who then was a senior teacher and avid lecturer there. This would later result in the now disappeared ebook “Kafka och det Kafkaeska” (2018), an essay in Swedish on the Literary Technique of Kafka, and then later - published in English - an extended version of this book as “Kafka - a Freudo-Structuralist Analysis” (2021).



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   As a fiction writer Genell started out with several books in the Swedish language, such as “Pistolen”, “Tavelstölden”, “Tegelkrona och skönheten”, ”Höstdrama” and the horror story “Skjuta sig fri”. These books – of course – have nothing to do with Kafka. Under the pseudo “ Bill Clactoe ”, the first novel in English by Genell appeared in 2021,” called Fell´s Point,” a small idyllic crime story set in Baltimore, USA. With “The Lion´s Disease,” Genell has under his own name in his second English novel created a psychological and philosophical comment on pandemics by describing an odyssey to Indonesia on a Bulk Cargo Carrier.
- Reading a book is to look into oneself.



In 2022 Kaj Bernh. Genell became a stipendiary, by being awarded a large sholarship from Sveriges Författarfond ( National Fund for Authors ).



www.kajgenell.com, Kaj Bernhard Genell Real Home Site. The main subject here is Kafka and the kafkaesque and the book, Kafka - a Freudo-Structuralist Analysis.

torsdag 12 september 2024

The Censor

 The problem with the reverence regarding the Freudian
Censor.
Amnesia is regulated from our innermost realm, or more

precisely, for Freudian analysts, from the Censor. Never-
theless, our inmost inner is never such that it asserts that

amnesia ought to be permanent. It is planned to be tem-
porary. Our inner world does not have absolute censor-
ship by the type: ”Such thing must not happen!” Thus it

ought to be erased from the protocol!” No, our inner has –
and we do not know why – kind of an absolute demand

for truth. Curiously enough, it has an insight in that eve-
rything A: has a value of its own, an innate value, a value

per se ( in sich ), AS OCCURRED. Moreover, B.) it also
has a mediating – instrumental – value, insofar as all
events can contribute to creating the most honourable
possible human being, for every possible length of any
life, where this inner subject is serving.
It is thus possible to imagine that the Censor always has
Death in view. Because the innermost inner spot, IS not
the individual, is not identical with the individual, but the
Censor is an essential and mysterious part of the scarry
and intricate system that composes Man. Furthermore,
the Censor is omniscient. He knows almost everything.
Certain phenomena, within this picture of Man, makes
everything quite uncertain. What? Well, we do not know
the exact agenda of the Censor? Who is THE MASTER
of the Censor? It most certainly is primarily not me ( in
my case ). The answer is: we do not know.
N

146

The Censor seems to have unlimited memory. Further-
more, the Censor seems to be extraordinarily bright.

Even in service with the dumbest person on earth, the
Censor has a clear head. The Censor seems to possess
almost supernatural wisdom.
We do not.
How does the Censor know that A.: We cannot stand to
remember the first day in school when we tripped on a
threshold and hit a tooth so bad that we lost the tooth.
Moreover, how does the Censor, or the Censor ́s cousin
know, that it is any method in that we always get nausea
when seeing an amissing tooth or spotting a first-grader?
Alternatively, has the censor nothing to do with nausea.
Do the Censor and those who are responsible for nausea
have responsibility for two different departments?
Before we continue, we should let ourselves remember
that the Censor is not an instance with any knowledge of

anything else than our person's history and the experi-
ences that we have made.

OR HAS HE?
Maybe he has been much more observant than I have.
When I have been busy looking only at beautiful girls,
HE might have taken time to observe all kinds of things,
like furniture, clothing, weather, manner of speech, yes,
God only knows! Maybe our Censor and we do not have
very much in common. Maybe our Censor has LEARNT
things that we have not?Maybe the Censor was the one
who picked up things from the books we read when we

just were having the trouble of figuring out what mean-
ings of the words were that we thought we

knew.....Maybe the Censor and we have not at all the

same background? Maybe he is the wise guy that we al-
ways dreamt of being? The Censor also knows what is

best for us. Of course, if he is that clever. Maybe our Cen-
sor is like Einstein?

147
BUT! And THIS is the important thing. Even if the
Censor is the most competent person in the world, he
STILL only is human. He does not have anything to do

with universal, absolute truth. This is important. Freudi-
an or other psychoanalysts claim that it is as if the mes-
sages from the dream and the Censor, which sometimes

are referred to in art and literature, these symbols, in
conjunction to events, CARRY UNIVERSAL TRUTH.
Art might rightly refer to our amnesia and point at the
truth of, but seldom the limitation of, the Censor. As
Freud put him forth, a Romanticist, who does not know a
thing about the Censor, might believe that there inside
every person is truth. The Romanticist, who is eager to
create a myth out of a person's kernel, sometimes thinks
he has the truth. Furthermore, when Schlegel wants to
create a myth based upon Man's inner kernel, it is this
dedicated inner area he is referring to. This inner kernel
might make us come to think of the Censor. Or not.

Schlegel ́s vision is, in short, built upon a vision of uni-
versal knowledge of the soul.

Now, back to the tooth and the schoolboy. We might
scrutinize how on earth the Censor can know about what
the boy can stand to remember.
The actual case with the tooth. The Tooth. The Censor
does notice from his central spot that we are hurt and
losing the tooth. The Censor knows that we are a small
child and that we are getting terrified and shameful. The
Censor concludes in a matter of seconds, that it is not the

case, that such a small boy can stand this amount of scar-
iness and shame. The Censor realizes that SOME chil-
dren, who are brave and tough, might stand it, but not

this very child, as a person.

It seems like the Censor might think that if the boy for-
gets this, he might be a better adult. But of course, the

Censor thinks, or have thought long ago, that erasing of
every unpleasantness might not be a proper thing to do.
After all, one never knows if this child NEEDS this

148

memory in the future. It is no way of knowing that. Per-
haps it would be a solution if we did it like this: we hide

the memory behind a riddle. IF the child is very eager to
know what happened on the first day in school, IF HE IS
DEAD EAGER, let him know. He must solve a puzzle,
however. Thus the Censor is letting the memory of the
tooth remain and does not erase it. Not at all. The Censor
also constructs a series of LEADS to the precarious
memory of the tooth. For the emergency rescue.
By any connection to something white, and at the same
time a little edgy, the Censor lets the individual, who now
grows up to a man, experience discontent. So the Censor
is exceptionally smart in his plan, based upon fairness,
justice, and thoughtfulness. The Censor lets the adult
experience this uneasiness, and then somebody says it is a
riddle in it. He is looking at some mountains with snow
on. Rocky mountains. What makes him so uneasy?
Suppose the adult man, who as a boy tripped and hurt
himself, now remembers and can come to grips with the
old event. Moreover, free himself from the terror and
shame? Because to realize all this by experiencing Rocky
Mountain was a good thing.
Now, let us ask the Censor what he thinks of why the
memory was kept! Well, it is not easy to say.

“I am not an innocent bystander exactly.” says the Cen-
sor, watching, ogling, looking sly... “Maybe,” continues

the Censor, ”I have not much of choice. Maybe the sys-
tem could not be arranged – for TECHNIVSAL REA-
SONS - so that some memories are set to delete. An erase

system would be tricky to construct. “Somebody proba-
bly arranged beforehand so that I, the Censor, HAD TO

exist and had to HIDE the unpleasant memories.” The
Censor remarks. “I had to be. I am, as a matter of fact, a
tragic hero.”; “Lots of intelligent people are trying to

outsmart me, all the time.”, the Censor complains. Amaz-
ingly no human being has ever asked himself ( or any

149

other person ) if possibly his Censor is lying! Neverthe-
less, maybe it would be too tricky a thought to think. We

cannot easily imagine a person who has got a Censor, that
is a liar.

Myths as predators

                           THE PROLIFIC MYTH     A common idea is that a myth is something one analyzes, and that it is somethin...