Misanthropy

Call me Ishmael. Some years ago—never mind how long precisely—having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world. It is a way I have of driving off the spleen and regulating the circulation. Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off—then, I account it high time to get to sea as soon as I can. This is my substitute for pistol and ball. With a philosophical flourish Cato throws himself upon his sword; I quietly take to the ship. There is nothing surprising in this. If they but knew it, almost all men in their degree, some time or other, cherish very nearly the same feelings towards the ocean with me. (Moby Dick, Herman Melville)

We all know “Call me Ishmael,” but there is a reason that the narrator of Melville’s Moby Dick wants to be acknowledged as such. He has left the tribe. Or been summarily cast aside, born of the wrong parent, and replaced by Isaac—he who laughs. Today, I woke up at Ishmael’s side: no laughter, all asunder.

Whether you look to the ocean or not, who hasn’t woken up not just on the wrong side of the bed, but the side that leads you to swear at the news (It’s marginally better these days), then at the car (who designed doors that are guaranteed to make spilling my coffee a near impossibility?), then at the fellow travelers on the road (you cut me off when there was no one behind me to make a left hand turn?) , then at the people clogging the door at Un je ne sais Quois (In or out; I have croissants to buy), or at the spell check that insists on who the fuck knows what for “Un je ne sais Quois.” Yeah, and there it is: “fuck.” Everything is one long variation on that theme, culminating, without effort, in “I fucking hate people.”

Usually, that feeling is evanescent—gone with the glint of sun off a pane of glass. But—my big but—it is always there. The opposite is present as well—gloriously so, necessarily so. The world holds too much that is joyful, whimsical, and beautiful not to be shared and smiled over. I share a few thoughts about Dewing with a woman photographing his The Lute. A man and I share thoughts on Hokusai, and he gives me an added incentive to travel to Tokyo. I keep the persistent disdain and disgust to myself. Who needs more of that?

The Lute, Thomas Dewing

Even now, as I shared with you, I am writing my way out of it, careening toward something constructive. Ugh. Why does everything need to run aground on the shoals of constructive? There is rarely anything constructive in “Fuck you!” or “Fuck off!” Does that make it any less, what? energizing? It is not just an escape of steam but an increase in indignation. “I see your selfishness and raise you my rage.” Why wait for the dying of a light?

Except.

A year or so ago, I started writing about evil and had to put it aside. The news was too full of people accusing each other of evil. The moral high ground wasn’t a hill, rounded and easily climbed or rolled down; it was a mile high pinhead, with more angels crowded on it than can be counted. Except it wasn’t one pinhead. It was two, maybe three, but always two: good and evil, us and them. The clamor from one pinhead to the other was deafening. But, if we stood angel shoulder to angel shoulder on the head of our respective pins, the anger we wielded was a broad mallet. Brickbats of “fuck” dispatched with full flail—forget about nuance and contradiction. Unlike Ishmael, no one knew to run to the sea, and hats went flying.

Now, with lives on the line, people ally themselves with justified rage. Some conflate their rage at wearing a mask or getting a vaccine with the annihilation of 6 million Jewish people by the Nazis. When over 700,000 people have died of COVID in the United States and nearly 5 million in the world, what matters is me, and I will use the rhetorical and emotional arguments I need to make my case. The lack of perspective is mind-blowing. But we have clamored to such extremes for years. We borrow rage when it suits us, when we need to enhance and emphasize how right we are, and diminish and demean those who oppose us.

How hilarious that 4 years ago, people on the right chanted, “Jews will not replace us,” and now people in the same political galaxy are claiming a kind of solidarity with Holocaust victims; we are replacing Jews with us. And the late-breaking news is that Israelis with vaccine passports and will require the booster to be considered fully vaccinated. But, what do they know? Rage knows no shame.

The funny thing is, when Ishmael gets in his moods, he gets on a boat and heads to the ocean—the beautiful open sea. However, on a boat human contact is not just unavoidable but necessary. There are few places as confined as a boat on the ocean. You put aside differences in a hurry when you stand watch through the dog hours. This is a stirring contradiction. Ishmael feels misanthropic, so he goes where he cannot avoid contact.

I spent a chunk of my morning at “high fuck,” then settled in among strangers who are unified only by the call of free art and time to enjoy it. A man stares up at Calder’s Rearing Stallion, and I cannot help but assert how I think it is so cool that the shadow makes a second work of art. We both smile, and you can tell, even though we are both masked, and he tells me what he sees and likes. “It is so cool.” We are on the boat together, looking at the amazing world.

Rearing Stallion, Alexander Calder

I am honest with myself: I will not stop feeling rage. And love, the sweet balm of human contact in all its brilliant and unbearable forms. I lack a middle ground. I try to put myself in front of things that inspire love and unbridled delight. I will still mutter, “I fucking hate people,” and the angel on my shoulder will buzz in my ear, “Liar.” To borrow from Whitman again, “Do I contradict myself? Very well then, I contradict myself.” I am back on the boat, sailing once again, to you.

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Brian Brennan

I am a writer and a teacher. I have lived in Philadelphia, Binghamton, Pittsburgh, Baltimore, Norfolk, and Northern Virginia. I have sailed on the ocean and flown over the North Pole. I write fiction, poetry, and nonfiction.

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