Showing posts with label dangers of language. Show all posts
Showing posts with label dangers of language. Show all posts

Thursday, 8 January 2026

Family lines, or: Alchemising lineage. A pair of personal tunes

One of the most primal ways in which fear is programmed into our cells is through language and stories. The songs, rhythms, idioms, parables and tales we hear as babies and toddlers shape our thinking and feeling bodies for a lifetime. That surely is a reason why Struwwelpeter and Noddy, for example, have been much debated and, to some extent, adapted as to their ‘suitability’ for our children and, by implication, our future. The writer Janosch even made attempts to re-write the Brothers Grimm stories, censoring or altering the crueller parts into more innocent or jovial fare.

A case can be made – as Clarissa Pinkola Estes does in Women who run with the Wolves, and as Robert Bly does in his engaging discussion of Iron John – that conflict, rendered symbolically in frightening and gruesome incidents, conveys an indispensable message to our souls (much as the figure of Satan does in the Bible). We need to be aware that life is not without challenges, conflict and, above all, the presence of evil, whether that evil be “banal” and perfectly everyday, or self-consciously gleeful, like Heath Ledger portrays the Joker.

It is my own position that the vital factor is not so much the presence of what is ugly, awful and unwelcome, nor how the ugliness is depicted, but the happy ending. Happy endings seek to redeem the greatest horrors, if not with saving grace, then at least with understanding. Certainly a story addressing children must end or resolve, if not to happiness, then at least to peace and order. If it leaves disturbing questions hanging, it will very likely harm an innocent mind. A writer with the desire to disturb the peace needs to use their discretion as to whose peace exactly it is they wish to destroy in the name of whatever cause.

Two common German rhymes I grew up with have repeated on me willy-nilly throughout many decades. One of them is a proverb, which, however silly one may deem it to be, runs in its groove at the sight of a spider, as follows:

Spinne am Abend                                Spider at evening

Erfrischend und labend                       Refreshing and inspiring

Spinne am Morgen                              Spider on the morrow

Bringt Kummer und Sorgen                Brings grief and sorrow

Now any experienced person will quickly realise that these idle, easy rhymes (in the original)  can only come from an addict, most likely an alcoholic, whose mood of happiness at sundowner time has given way by morning to a hangover, and the spider – that mistress of endless, intricate creation and renewal – is roped into the human’s tragic cycle of self-harm and lack of will. And language, that treacherous tool, is only too willing to bend to human weakness.

Being one of those ‘sensitive’ people who are condemned to misery because of other people’s carelessness with words and images, I found that the power of those lines continued to force me to feel fear and anguish whenever the sight of a graceful daddy longlegs in the early morning triggered the ‘poem’. It was not the arachnid I was afraid of, mind you, it was the ill-humoured human rhymes.

Until I decided to act. I wanted none of this grief and sorrow thrust on me by ‘good ol’ tradition’ anymore and altered the lines accordingly:

Spinne am Morgen                  Spider in the morning

Geschützt und geborgen         Protected and sheltered [It rhymes in the German]

I repeated this whenever I saw a spider, until my new rhymes became so entrenched as to be triggered in place of the old, sour lines, reminding me each time, with a small sense of triumph, of my own true desires.

The second groundbreaking transformation came only two days ago, in relation to a truly horrific song, which my mother used to sing to us blithely as a lullaby. It goes like this:

Maikäfer flieg                                      May beetle [cockchafer] fly

Der Vater ist im Krieg                         Father is in the war     

Die Mutter ist in Pommernland           Mother is in Pomerania           

Pommernland is abgebrannt                Pomerania is burnt down

Maikäfer flieg                                       May beetle fly

This horrible ditty, with its innocuous tune, was triggered for me when I returned the hand-embroidered Christmas tablecloth to the cupboard and tucked it in underneath the hand-embroidered birthday tablecloth. My birthday is in May, and my grandmother’s hands had once upon a time lovingly stitched May beetles (cockchafers), birch tree catkins, ladybirds and four-leafed clovers into the cotton fabric that was smoothed over the table with my candle and gifts each year.

Embroidered May beetle

A spoiled child was I, to be given so much! Indeed, the wars featured magnificently and unavoidably in the transgenerational, mostly silent pain of my family on all sides, not eased by the fact that there were intermarriages with French, British and Jewish individuals, and the merry little melody with its dark lines perfectly captured the bitter contrasts. Historically accurate though they may have been, by the time we slipped into the year 2026, their purpose seemed spent and their energy far from helpful.

The birthday table cloth.
Obviously I will only iron it when it comes out of the cupboard in May.

Again, I was gripped by a sudden urge to strengthen myself by means of linguistic alchemy. The mention of the Father and Mother figures in the May beetle song made me think of my parents as they are now – together in a home for people with dementia, both in nappies, my mother half-paralysed in a wheelchair for ... going on nine years in April. When she suffered her debilitating stroke, my father dropped his work, all future travel and research plans, and transformed himself from a pampered, tempestuous patriarch into a patient house husband and carer of his beloved wife. He learned to cook, took her on outings, wiped her bum, and generally ran the household as best he could at the tender age of 78. (Although I am the eldest daughter, I could not assist as I had been expected to do, as my husband was busy dying and I had to tend to him at the time.)

That was the one time in my life that I witnessed my mother eating with a hearty appetite! She put on so much weight with my dad’s dishes that we had to replace her kiddies’ wheelchair with an adult one. She’d been a pretty discontented wife all her life, and her frustrations had made her an expert at tiny, toxic remarks to and about my father, whose love she diligently kept at arm’s length, and whose retorts and behaviour in turn I leave it to you to imagine.

With my father’s self-engineered career change from award-winning physicist to devoted minder of my mother, she fell in love with him all over again, and her respect for him blossomed in a completely new way. Despite this, however, he never managed to upstage two rivals (whom he himself wisely never perceived as rivals), namely, Beethoven and the sun. Since her stroke, the sun is definitely my mother’s first love; as for Beethoven, he has always been the one she wants to be the first to greet her when she gets to heaven. Or wherever. She isn’t altogether sure about post-mortem geo- or celestiography, but that’s beside the point. She has always been touched by and grateful for my father’s goodwill and total absence of jealousy in this regard. I confess I have seen him just a little bit envious of her adoration of the sun every now and then. But let’s be bighearted enough as to let that pass.

My parents directly inspired my reconstitution of the May beetle song as follows:

Maikäfer flieg                                                  May beetle fly

Der Vater hat den Sieg                                    Father has the victory 

Die Mutter trinkt das Licht der Sonne             Mother drinks the light of the sun           

Beide haben ihre Wonne                                  Both are blissful, having fun

Maikäfer flieg                                                   May beetle fly

I wasn’t sure about the word “victory”, as it’s of course closely tied to violent conflict and war. I ran the lines by my sisters, who also felt that it was wrong. My youngest sister (she is seven minutes younger than my middle sister, as they are twins) – anyway, my youngest sister came upon this perfect solution:

Maikäfer fliege                                                 May beetle fly [above]

Der Vater hat die Liebe                                    The Father has the love

We are officially shedding the cruel karma planted through our soft ears into our bodies, and are literally singing a new song. I look forward to my birthday. It might take a lifetime to get to re-write ‘a harmless ditty’, but more’s the pity of you don’t!

My parents on their diamond wedding anniversary, in the sun, perusing their wedding album.


Diamond wedding anniversary outing.


Saturday, 10 August 2024

Loss of enchantment: an exercise in self-editing (in real time)

On 3rd August, I hiked up Muizenberg Peak on the Cape Peninsula, in the company of my son and his friend. The period of deluges in that part of the country had given way to a splendid sunny day and there were several other people about, who had had the same idea. 

This included a number of people who had not come to hike, but who, once reaching a chosen altitude or particular spot on the mountain, prayed aloud in a language I do not understand, nor did I, for discretion's sake, pay any attention to them or to what they might be saying. They had not grouped together, but were separately absorbed, at distances to one another. 

Water was running plentifully down the mountain, whose slopes still partially bore traces of some of the ravages of the previous summer's hectic fires. From the heights of a perfectly blue sky, sunrays pierced and lit the tanniny brown hue that is typical of water in fynbos regions, turning it to gold. All in all, the scene, and all the physical activity in it, conspired to enchant me utterly and, in that state, I created this poem:

Going up Muizenberg Peak

We see prayerful Xhosas,
dotted alongside the stream
that's hurrying down
the mountain slope.

Between, and upon, rocks,
beside the tannin-gilded brook,
they sit or crouch or sway, 
eyes closed, worshipping aloud,
at distances from one another.

One man, at a far off cliff,
holding onto a ledge,
bends and straightens his knees rhythmically,
vocalising passionate pleas
that echo across the valley.

Another, higher up, close to us,
immerses himself
under a small, golden waterfall's fresh, icy water,
and his lean body shivers gladly in the sun,
as his friend holds up a hand in greeting,

and we three step
further up the superbly chiselled path,
built by unknown ancestors, 
Italian prisoners, perhaps.

While these select people claim the body
of the earth and its waters,
chanting it into their bones, 
and into mine.

- Silke Heiss, 4th August 2024 

A few days later, I met a friend and told her of my experience and she educated me: things may not have been as they seemed. I had to face the fact that, as Robert Frost put it so memorably in his poem: Nothing Gold Can Stay. I realised that I was obliged to revisit my enchanted poem, which I had allowed to gush out of me in a state of ignorance, which I now felt shamed me. I spent a few days rearranging my disenchantment. This is the result:

Firebreak poem

Going up Muizenberg Peak revisited

 

i. My friend says

 

My friend says, the worshippers on the mountain

are likely not locals. She says, as a part of their rituals,

they’re sometimes known to make fires,

which they don’t always fully extinguish.

She says, she’s not saying they weren’t Xhosas,

or that these particular people made fires,

but she’s heard there are Malawians,

who practise religious rites above St James,

and on other slopes of the Table Mountain Chain.

 

But, she adds, there are also many homeless people,

living in the mountains, who make fires,

who use the buchus and heathers and proteas,

sometimes forgetting to kill the coals.

She says she’s come across little, glimmering hearths

she’s had to put out herself, to protect the mountain,

its plants and animals and people’s houses,

because a single gust can fan a blaze,

as we know.

 

ii. Incendiary property

 

And I think how dangerous a little knowledge is,

how lethal it can be: not to know.

What did I know, what do I know,

about the folk whose voices touched my soul the other day?

Do they – Xhosas or Malawians or the homeless –

know the incendiary property of fynbos in the Cape winds?

 

iii. Next door neighbours

 

And I think about the ‘homeless’,

whose shelter is the mountain,

whose roofs are rock overhangs,

whose stoves and heaters are fuelled

by the vegetation they are helping themselves to

indiscriminately – without knowing.

Whose beds are enclaves of soft bush and dry sand,

whose showers are waterfalls,

whose society are dassies, caracal, snakes and tortoises,

and other small wildlife, which we value (unlike the homeless)

as our next door neighbours.

 

iv. Consideration

 

And I think, who are we? Who is we?

I buckle, language buckles, crackles.

Language, too, fans fires

in people’s hearts and minds.

 

Look at yourself, reading these lines, and ask:

Where’s my heated mind leaping,

what glowering feelings

are fuelled by these dry twigs of grammar,

what burning thought does this brush of questing words feed?

 

Ask, ask, and perhaps we (who is we?) can find

a little golden water, some sunlit pool of calm,

along this rough attempt at a firebreak poem

 

– in consideration of all

we (who?) don’t know.

 

 Silke Heiss, 6th – 9th August 2024

There is one overarching aspect that brings these two poems together of necessity, and that is the somewhat painful self-editing process, requiring a degree of honesty that is not at all pleasant to the ego. My main cringe is that I could not even identify the language, which the praying people were speaking. While it is true that I 'switched off', and did not tune into either their faces or voices, because I feared to intrude on them with my conscious interest, I judge that timidity or fear, in hindsight, to have been a deliberate stupidification I committed on myself.

The second poem, however, allows me to redeem myself in my own eyes, in that I dive into that place I feel I know best: the English language, using it to affirm one of my dearest values: Know Thyself.

One's self is, after all, perhaps the only phenomenon that is vaguely knowable in this life.