Prisons of the Mind

I’ve often daydreamed about being sent to prison. I’ve had many an argument in the shower with a scheming prosecutor, or an outraged judge, protesting my innocence and damning the hypocrisy of a system of so-called justice that could send me down for what is, after all, only an imagined crime.

But my protestations are only half-hearted, more rhetorical, for really I am not so worried about life in prison. I’m aware that life in prison isn’t as rosy as I would like to imagine (more keenly aware if I’m still in the shower at this point in my reverie), but I’ve often joked that my retirement plan, in an era of increasing retirement ages, an ageing population, and a bankrupt welfare state – is to start robbing banks: either until I gain enough money on which to live comfortably, or until I am sent to prison, and provided free of charge with a roof, three meals a day, medical care, and, of course, books.

The prison library trolley! That I think is where my daydream really leads me. The idea that, with no tuition fees or student accommodation expenses, I can devote the rest of my life to study, self-education and (necessarily) sober self-improvement, is a happy alternative to the reality of stressful jobs, long work hours, a cost of living crisis, and the frantic (though decidedly un-sober) leisure time that consumer culture has told us is the antidote to it. Though I live in London I’ve never minded the commute that much. My time on the underground, though cramped and sweaty, is strangely one of the most relaxing times of the day, and the time when I complete the vast majority of my leisure reading, safely uncontactable, secluded as it is from the real world, work emails and social media. The train is like a prison, and like a prison, the only real problem is the company. Otherwise it provides the seclusion needed for reading, reflection and self-development.

A stint in prison is always a transformative period for the heroes of literature – the Count of Monte Cristo, Hannibal Lecter – a place where, in obligatory isolation from the quotidian, they can hone their skills, their memory, and prepare for an explosive return to conquer the real world, when the time is right. The real world provides precious little time to allow one to recover from it, or to prepare a defence from it, let alone a decisive retaliation.

If it weren’t for the fact that our broken society uses prison as a holding pen for the hopeless, the illiterate, the mentally ill, and the most violent men (for whom the impotence our hierarchical system leads them to feel in their own broken lives compels them to vent their thwarted masculinity in physical domination of others); then what palaces of learning could they become. With their cloistered cells, enforced sobriety, and deprivation of all leisure activity save that which the state deems morally acceptable, they could be the modern equivalent of a Medieval monastery, or a state-sponsored university free of hangovers.

Alas, this cannot be, as I know only too well. For, even from the exaggeratedly pompous idiolect of this article, one could discern that such a vision is wholly detached from the political and social reality of the prison system. It is a system from which its original aim (to securely hold criminals before they receive a firmer punishment, such as execution or transportation) has become completely alienated from its current reality : a vat in which to stockpile the problematic human side-product of consumer capitalist society, with the clearly tagged-on delusion that this will somehow deter the desperate from acting out of desperation, or once inside, somehow reform them from being desperate. It can at least be said of my own delusion that after I get out of the shower, I’ll actually work.

Essay: All True Art is About Regret

There is no human emotion – none – as evocative, as conducive to art, as beautiful, as regret.

Regret encapsulates the “human condition” so succinctly that we might not even notice how, on an initial impression. We are burdened with the knowledge that our life is short, and time is linear. Our decisions are therefore definitive, irreversible, and, no matter how wise, every decision permanently closes an infinite number of alternative futures, with all the joy, love, and promise, that they might have held. Regardless of the fact that these alternative lives are hypothetical, fictional, indeed – according to the anthropic principle – impossible, still we cannot help but wonder what might have been, to wish impossible things, to envy the denizens of a different world, an alternative universe, another planet. Perhaps the escapism, the whole concept of fiction, hangs upon this regret, this yearning, for an impossible reality.

Every form of art relishes in the gorgeous pain of regret. Aesthetically, regret is bittersweet. It is the pleasant melancholy felt by Edmund Burke in his The Sublime and Beautiful. Every nostalgic longing hangs upon it, the tongue compulsively probing the livid root where the tooth used to be planted, and from which it is painfully, emphatically and undeniably missing. It evokes amber sunsets, wasted days. Regret is not just the funeral, but the forty sun-drenched years before it. When you grieve, it is regret. When someone you care about dies, and they visit you in your dreams, and you face them in the dead of night, affronted by their intrusion, guilty about your surprise, that is the regret, burrowing while you sleep into your subconscious, your fictionalising mind.

Where do we express, where do we feel, where do we experience this regret in art, then? There can be no definitive list, the works that depend upon regret are ubiquitous. The very concept of dramatic irony depends upon it. We know the choice our hero makes is wrong, doomed, it is laden with regret, but no alternative is possible. Consider the origin story, the bildungsroman, the tragedy, the dystopian novel that mourns the impossibility of a better world, lyrical celebrations of innocence, the epitaph. Genesis. Paradise Lost. Oedipus Rex. The Great Gatsby. A Christmas Carol. (And dare I add, The Muppets Christmas Carol.) Goblin Market. Carnation, Lily, Lily, Rose. The Fighting Temeraire. 1984. Music? To name a few songs that came up on my phone walking home, Bloodflowers. Creep. Just Like Heaven. Coffee and TV. The Universal. Perhaps it’s my specific tastes in music creating a biased sample here. But what if I were to add Sinatra”s My Way?

My Way may seem counter-intuitive – surely this is the ultimate defiance, the assertion of personal rectitude? But this song, along with any similar protestation of “I have no regrets” upon one’s deathbed, is the work of either psychotically blind vanity, or fear. Vanity, in believing that you always made the correct choice at every juncture of your life – a delusional belief, I’m sure we’d all agree. Or, fear: fear of the unknown, the other, the different. In an existential ontology, where “to do is to be”, and our existence, our definition of the self, depends upon the choices we have made and the actions we have performed; in such a mindset, to suggest that you could – and indeed should – have chosen, have acted differently, is to obliterate the legitimacy of your final self, your actions, your choices, your very existence, to destroy, splinter by splinter, the decisive planks that build the ships of our selfhood. Even in this raging against the dying of the light, this boastful declaration of one’s own moral righteousness in opposition to an infinite number of better worlds, lies a fundamental apprehension, understanding, and indeed acceptance, of this pervasive and powerful sense of regret.

Executive Pooches

I currently work at a headhunting firm, and part of our strategy is to see which companies are receiving venture capital or private equity backing and make a note of their leadership teams, their CEO’s (Chief Executive Officer), COO’s (Chief Operating Officer), CHRO’s (Chief Human Resources Officer) etc., many of which are freely available on their website. 

Many of these include dogs. 

I have started collecting them.

Welcome to the world of Executive Pooches. 

Keep an eye out for updates as this list will inevitably expand. 

 

  1. Simcoe, the BrewDog Contact Pooch. 

We’re starting off light here. As part of their Contact page, self-styled “punk” beer makers BrewDog have included their pooch, Simcoe, among their other executives, right next to the Managing Director. However, they’ve not given Simcoe a title or anything, just popped in the pooch along with the general contact information. It’s cute, but it’s not mental. Yet.

Simcoe Brewdog

 

2) Murphy, Feedzai’s Mascot Pooch

Feedzai go one step further, giving their Executive Pooch Murphy not only a place next to the Board Advisors, but also an official title. At least it’s just “Mascot.” No real responsibility. It’s not mental. Yet.

Murphy Mascot

 

3) Boo, CCO of Brandwatch

This is where we begin to fall down the rabbit hole. Boo is given a title. A C-level title. And a favourite link, which appears to be to an article about how dogs make staff more productive in what seems to reveal a rather cynical side to Boo. There’s also some unexplained thing about “grandma” and I have no idea what that means and I don’t think we’ll ever really understand it because we have finally reached Crazy Town.

Boo CCO

4) Pip, ANOTHER CCO OF BRANDWATCH

Crazy Town is twinned with Berlin, apparently.

Pip CCO

Keep an eye out for updates. Because this is just the tip of the iceberg, people. 

 

 

A Headhunter’s Vocab

Having recently started at the bottom of the ladder at a London headhunting firm, I am only slowly becoming accustomed to their distinctive idiolect. In the spirit of the great Samuel Johnson, I have set down here some morsels of their own unique vocabulary, with examples of the words and phrases used in context for illustration.

Bandwidth, noun. Time available to perform other tasks. “Have you got any bandwidth this afternoon? Because I’ve got loads of stuff that needs putting on the database and I’m more senior than you, okthanksbye.”

Digital, noun. What everyone does for a living now. “So your uncle works on a beetroot farm? And this is its website? Wow. I didn’t know he worked in digital.”

Executive search, noun. The name headhunters give to headhunting. “Stop saying that, mum, it’s not headhunting, I’ve told you, it’s executive search. Please stop crying.”

Make contact, verb. To speak to someone. “So it’s a twelve inch Hawaiian stuffed crust and a fourteen inch margarita, two portions of chips, four bags of onion rings and some coke. Doing an all-nighter. Yes it’s just me. Unless you want to, you know, hang out. Please don’t hang up. Ok, sure, good to make contact, yeah, bye.”

Ping, verb. To send an email. “He pinged for help but by the time they arrived it was too late. He was already dead.”

Rockstar, noun. Someone at the top of their given profession. “She arrived twenty minutes late, her upper lip covered in white powder, clutching a half empty bottle of single malt, kicked the door down and said we can add two zeros or she’d fuck us to death. Then she laughed, spat on Freddy’s face and left. What a rockstar.”

Show-stopper, noun. Deal-breaker; something which means a deal cannot proceed further. “I know he’s the best-qualified person for the role but I caught him in the meeting room with his dick in a Victoria sponge. I’m afraid it’s a real show-stopper.” N.B. Care is to be taken here, as in a BBC context “show-stopper” can also mean a really fancy cake.

War & Peace, noun. Any text which is not in bullet-point format. “I only wanted a detailed overview of Austro-German financial services firms, not bleedin’ War & Peace. Ping me an abridged version if you’ve got bandwidth or else this could be a real show-stopper with regards to you not getting fired with immediate effect. Ok, good to make contact. Rockstar.”

 

The Top Biggest 7 Songs Which Absolutely Most Don’t Understand Saying Sorry The Best

We all know what it’s like to go through a breakup, and to have that feeling that it was all about something so petty and small that it seems crazy. Sometimes all it takes is for someone to step forward and admit to having messed up. Thankfully there are a whole load of songs out there that are supposed to serve as inspiration to your apologies – but take a closer look and they may not be quite what they seem. Here are the definitive seven songs that even manage to screw up a simple apology.

1)      Take That: “Back For Good.”

On the surface it seems to be a song offering an apology and reconciliation after a break-up. But it’s actually really insincere. “Whatever I said, whatever I did I didn’t mean it, I just want you back for good.” If you don’t even know what you did wrong, how can you be sorry for it? Lame apology right there, people.

2)      Justin Bieber: “Sorry.”

He might say “I’m sorry” a lot in this song but he’s also quick to spread the blame. First he oh-so-graciously offers, “I’ll take every single piece of the blame if you want me to,” before adding, “But you know that there is no innocent one in this game for two”. You can’t say sorry and simultaneously spread the blame around! Unimpressed.

3)      Pet Shop Boys: “Always On My Mind.”

Apart from stealing this song from some guy nobody’s heard of, this song just does not understand apologies. “Maybe I didn’t treat you quite as good as I should have,” he concedes in broken English, but protests, “You were always on my mind,” as if that makes it all ok. If they were always on your mind, then why did you still go ahead and do all that stuff? What a pair of douche-bags.

4)      10,000 Maniacs: “Please Forgive Us.”

Although ostensibly this song expresses guilt for America’s imperial aggression in the Vietnam War, lyricist and singer Natalie Merchant never actually says “sorry,” jumping instead to pleading for forgiveness. It’s a bit difficult to forgive you for napalming civilians when you don’t say sorry, Natalie! Apology fail.

5)      Madonna: “Papa Don’t Preach.” 

For some people, it seems, sorry truly is the hardest word. Madonna remains recalcitrant about her flagrant sexual licentiousness, and, more crucially, her complicity in the environmental repercussions of global overpopulation. She just doesn’t want to hear it. Unbelievable.

6)      Madness: “Baggy Trousers.”

This song seeks to put a happy gloss on British culture and values, yet the band remain unapologetic about the failures of the UK throughout the 20th century and suspiciously silent on the matter of the firebombing of Dresden. Hardly apologetic, boys!

7)      Starship: “We Built This City.”

Slavery. It was built on slavery and colonial land-grabbing, and, far from apologizing for these crimes against humanity, Bernie Taupin attempts to rewrite history, anachronistically claiming the city was built on, of all things, a mid-20th century popular music genre. Disgrace.

The Number Eighty

Eighty is, you will agree, a frightening number, and I think I have figured out why.

I think I am not alone in having a particular impression about numbers, one we all share but may not consciously acknowledge.

If I ask you, “which way is the number nine looking?”, you might initially think it was an odd question. Numbers have no vision. They can’t be looking at anything. But if you actually see a number nine you won’t hesitate.

nine

 

Most of you will already have a clear impression in your head by now about which direction the nine is facing, but if not, don’t worry. I will just ask whether you think the nine is looking left or right.

For instance, here, is it looking at a spider holding a small umbrella, or at my neighbour Gary?

spider nine gary again

It is obviously looking left, towards the spider, and ignoring Gary, like everybody does (sorry Gary).

But we agree on a very odd fact that the number is definitely looking somewhere.

This applies to all numbers. So for instance, the number one.

one

Looking to the left, obviously. Two:

two

Also looking left, and I know I am not the first person to think this. BBC Two regularly use an anthropomorphic number two in their idents, and they work on the premise that the number is looking outwards through its left side.

BBC-Two-Logo

Also the number two can easily be imagined as a swan, again, facing to the left.

swan

You may now be thinking, “hang on, all numbers seem to be looking to the left.”

Well shut up you idiot because a few look to the right after all, for instance, the number six.

six number

Anyone who says that the number six is looking to the left here is a fucking nutcase.

So let’s do a run down of the numbers and which direction they are looking in.

line up of numbers

I think most people would agree with my assessment below.

number line up with notes

You will have noticed the green rings located on prominent line-ends of the numbers, which I think may be part of our understanding of which way the numbers are facing.

Some of you with a PhD in Mathematics from the Sorbonne will have noticed that there are two prominent omissions from this line up. There are two numbers which do not fit. There are two numbers who are not looking left or right.

eighty

Eight and zero.

eighty

It’s them. It’s eighty.

eighty

They are, subconsciously, terrifying.

eighty

Because they are not looking to the left.

eighty

They are not looking to the right

eighty

They are looking

eighty

Straight

eighty

Out

eighty

At

eighty

You.

scary eighty

Open

Times are bad.Children no longer obey their parents, and everyone is writing a blog.”

-Cicero (kind of)

Well well well. A number of excellent friends of mine have already made the plunge into blogging and I have finally caved in and joined them. There is something about blogging which feels like it needs justification and apology.Something at once navel-gazingly onanistic and exhibitionist, like running onstage at an open mic and having a wank in front of a small number of disinterested spectators. An open mic where all the other acts have also run onstage and done exactly the same thing. People have always felt this way though. Addison and Steele (featured above, for some reason) started both The Spectator and The Tatler with justifications of why they felt themselves especially qualified to publicly comment on current affairs, with a mixture of modesty and self-congratulation, even going so far as to create fictional personae to ventriloquize their content for them. In a crowded public sphere, ringing with the polyglossia of a million voices of varying experience and talent, and in a form which requires regular and non-professional production levels, any new contributor feels like they need to explain themselves, and justify their own contribution to the din. 

But why should any one person feel themselves more qualified to speak – and more importantly, to be listened to – than anyone else? There are millions of bloggers. We will not all be heard. There will be an awful lot of talking over each other, a lot of overlap, a lot of repetition. Even the paraphrased quotation from Cicero at the top of this post, which I thought would be quietly fun and original, I have since discovered has been said before – by another apologetic blogger.

But I will not remove it, and I will not apologise for what I post here. I am going to have fun, I am going to spew my brains out onto these electronic pages. I am not screaming into the void of cyberspace hoping to be heard, I am not competing for attention with a million other writers. I am hanging up my thoughts and ideas in a place where I can access them, and where others can stumble across them if they really, really have nothing better to do.

So: no apologies, no forewarnings of potentially mediocre or hackneyed content, no doomed promises to make regular and frequent posts. Just a bit of fun as and when I can scrape the time together. Let the brain-spewing begin!