Evil, Meet Science

The concept of evil is so ancient, vast, and complex that even though I think about it often I hesitate to write about it.  A story on NPR yesterday made me change my mind.

Consider this (emphasis added is mine):

Inspired by the structure of Dante’s circles of hell, Michael Stone has created his own 22-point Gradations of Evil” scale, made up of murderers in the 20th century. “I thought it would be an interesting thing to do,” he says.

Dante's 9 Circles of Hell

His scale is loosely divided into three tiers. First are impulsive evil-doers: driven to a single act of murder in a moment of rage or jealousy. Next are people who lack extreme psychopathic features, but may be psychotic — that is, clinically delusional or out of touch with reality. Last are the profoundly psychopathic, or “those who possess superficial charm, glib speech, grandiosity, but most importantly cunning and manipulativeness,” Stone says. “They have no remorse for what they’ve done to other people.”

Stone hopes the scale could someday be used in prosecutions. “The people at the very end of the scale have certain things about their childhood backgrounds that are different,” he says, from those who appear earlier in the scale.

That a modern-day psychology/medical professional would use Dante to consider how to interpret and respond to criminal activity fascinates me.  I have a foundation of respect for things that are ancient and complex, and genuinely believe that no matter how “evolved” we become as a species we may never be able to get any closer to the Truth of some things than we did hundreds of years ago.  In fact, I often think we lose knowledge by insisting that something explained by older civilizations must need polish and improvement.  If it’s old-school, primitive hindbrain stuff, maybe not.  Avarice, gluttony, wrath, betrayal, etc. seem resistant to “evolving” out of human nature.

But how we interpret and label our condition is important.  How we position the concept of “evil” in the world is crucial to how we respond to it.  My life changed the day I internalized the concept, “We are not punished for sin, but by sin.”  Naturally the human justice system can only focus on punishment for, but the larger idea of why we suffer is directed by the idea that following certain inclinations rather than resisting them inevitably will lead to a bad situation.  It’s as guaranteed as basic addition.

When we label people themselves as evil, we are taking the easy way out.  If anything, Michael Stone’s analysis of the 22 murderous types indicates that the more abuse and trauma an individual as suffered, especially early in life, the more prone they are to a psychotic break that disconnects them from a capacity to participate in anything but increasingly violent and disturbing behavior.  There is clearly a stress point for the mind, and the scale suggests that it’s the passing of that point that creates an inability to ever go back.

Which brings us full circle (pardon the pun) to Dante.  

Reading Stone’s profiles of murderous behavior and its origins supports Dante’s story.  What we call “evil” is a concentric, spiralling energy that with each pass pulls one deeper into a level more difficult to escape.  Properly managed, this connection of old and new thoughts on the influence of evil on our lives has the potential to reinvigorate public interest in prevention of and intervention in abusive environments, especially for the very young.

It also reminds me that, past a certain point, there are still limits on what people can fix.  That doesn’t mean it can never be repaired.  See Dante.

Elements of Style, Served Whole

A Single Man is a truly wonderful, heart-rending story and a beautifully constructed film.  I had some questions about how this movie would work out, as it was directed and written for the screen by Tom Ford, who built a decade of fashion and design credibility at the house of Gucci.  I have respect for what Ford has done in that field, but that was no guarantee of a cross over talent to writing and directing.  Zippee.  I was on board for Colin Firth (George).

Style is a whole thing.

This story portrays a deep and unyielding grief at the loss of a long-term partner and love.  It also is incredibly stylish down to every detail, and one can really see the hand of  haute couture creative direction in each element.  Costumes, accessories, hair styles, make-up, decorated rooms, offices, drawers, cars, bars…….everything has a refined finish that speaks of a world that rests on a foundation of commitment to design and beauty.

What most impressed me about Ford’s directing and screenwriting was his ability to avoid letting the elements of style mask the agony of the characters’ struggles.  In fact, he is masterful at using style as a vehicle for a theme of what happens when wholeness is severed.  The pretty things remain, but they are shadows and copies of what was once a complete life. 

Some characters cling desperately to the shadows, trying to leverage some kind of unity through lavender cigarettes and Tanqueray gin.  There is only one character unaffected by a splintered life; not coincidentally, it is George’s lost love, Jim.  Jim appears in flashback only, as when the story opens he is already dead.  He appears only in George’s memory, a memory steeped in devotion as well as the happiness and fulfullment that Jim brought into his life.

Ford is excellent at showing George’s attention to details like a beautiful smile, well coiffed hair, or a Windsor knot as what they are — the last grasps at pieces of beauty in the face of having lost what was truly beautiful and irreplaceable.  Never contemptuous but consistently honest, Ford manages to show even his own biographical engagement with style as walking a fine line between holding on to what is beautiful in appearance and being willing to embrace “the awful” — in this case the truth of homosexuality in the 1960s, grief, and growing old — as “having its own kind of beauty.”

I highly recommend watching this film with someone with whom you are completely, unrepentantly, and wholly in love.