The Right to Die

Without the right to die, there is no right to live.

The right to live means your life is yours. No one is allowed to take it from you. This right relies on the belief that life belongs to the individual. That’s why we find murder so horrible, but also why many are against capital punishment.

A duty is something you must do. You do not have a choice to give up a duty, unlike a right. People have the right to drive cars today, yet it doesn’t mean they must. Therefore, the right to live means you’re allowed to live, not must.

A person doesn’t choose whether to be born or not. Life is something that is forced upon us. The paradox is that we cannot chose between life and death unless we’re already alive. In order to choose, you have to exist first.

The problem is, if you choose not to live there is no easy way to do it. All suicide methods are painful. The quickest suicide methods are the most painful, while the less painful ones take a lot of time.

This is a terrible place to be. The damage from a bullet that missed the brain is horrible. Chocking on helium might not be so painful, but it takes time and the result of failure is equally horrifying. Either you’re living with a memory of trying to kill yourself, or you have brain damage.

Why force people into this position? A person didn’t choose to live. If the person finds that life isn’t satisfying or worthwhile, the person sees no way of improving his situation then he deserves a painless death. A person may not even be interested in improving. It could be that once you look back at your life, you decide you don’t want to carry that past anymore and want to die.

Suicidal people are trapped. Either you continue living and continue suffering, or you do something painful that might get rid of it. You do it all because two people were certain it was a good idea to force a child into the world.

Sure, everyone suffers in their life but not everyone finds the suffering worth it.

Suicide will hurt others, too, but is that a good reason?

We don’t expect a person to have sex with another if he doesn’t want to. Witholding sex is hurting. Sexual frustration can do its damage. Yet we don’t expect the attractive person to have pity sex just so the unattractive person will feel better. In fact, we push for saying that no matter how you act, nobody owes you sex.

I agree with this, and that’s why I take it further. Nobody owes you their life. A suicide of a close person is painful, but what would you prefer for that person to stay and stay in pain?

Suicide prevention is inheritenly selfish. People who don’t want you to kill yourself want it so they won’t experience grief and loss. That’s okay, because loss is terrible. Yet, if you truly cares about the well-being of a person, you wouldn’t try to ‘prevent suicide’. You would listen to the person and try to understand him. If you start off with the conclusion that suicide is bad, you’re not interested in listening.

Also, how do we know that the grief the people will feel is not as bad as the cotinous suffering the suicide person feels?

Euthanasia will actually ease the pain. Instead of impulsive suicides that will suckerpunch everyone, people will be able to prepare. There will be a date, and people could say their final goodbyes. It will also be cleaner, and the body can easily used for medical research or organ donation.

Nobody owes you anything, true. The world doesn’t owe you sex and it doesn’t owe you a fulfilling life (it also doesn’t owe you help in giving birth). If this is all true, then suicidal people owe us nothing and we shouldn’t prevent it. If we want to have a compassionate society that recognizes the pain of these tragic deaths, we need to have enough empathy to realize it’s okay to die.

Most people who object to this right, in my experience, have been successful and well-adjusted people. They assume that since life is working well for them, it therefore works well for everyone. It’s not. Some of us are born with a chemical imbalance, in the wrong environment, or made a series of mistakes we don’t want to carry any more.

We did not choose to live in the first place, so let us choose to die.
Let my people go.

Advertisements

Siri Hustvedt – The Summer Without Men

summer_without_men_199x293

Chick Lit is a dirty word. Reading other reviews of this novel, many expressed fear that this would be Chick Lit and therefore a waste of time. While I didn’t have the fortune of reading Chick Lit, I heard it’s full of romance and character drama. Why is that considered so bad while Game of Thrones is praised for being ‘surprising’ is unclear. Maybe it’s just our society’s fear of femininty.

Femininity is a big issue in The Summer Without Men. The novel does live up to its title. There’s a moment where, instead of a teenage boy meeting the teenage girl it’s just her friends trapping her. Even the best female singers sing about wrecked relationships, while Marilyn Manson writes about metaphysical rebellions. We could definitely use a story to show us women can have a life outside relationships with men.

It happens in real life, too. I met many ‘tomboys’, women who’d rather be one of the boys and only get along with fellow tomboys. The subtle bullying of Cat’s Eye makes an appearance. The whole premise of the novel is, what do you when the opposite gender rejects you?

There are two possible conclusions here. One is not convincing enough and the other isn’t explored. Mia looks at her rubble and builds a house. That’s nice and all, but we’re just told that it happens instead of seeing it.

Siri employs a style similar to Paul Auster. It’s an introspective style with more telling than showing. It creates a maze of thoughts that you’re supposed to swim through and come up with something of your own. The key to making the style works is to make the narrator unreliable and deeply flawed.

Narrators of such stories tend to have an emotional affliction they can’t get over. It clouds their judgment and so we get two different versions of reality. One is presented in the details. The other is in the langauge and sentence structure. These are often obsessive characters, going over certain details over and over.

By presenting these characters as flawed and often the opposite of heroic, we’re invited to try to find the reality beyond the character’s perception. Mia lacks such an internal struggle. She has a psychotic episode, but we’re told that instead of being shown. In Catcher in the Rye, we’re not told that Caulfield has PTSD but we’re shown it by seeing him going over and over his brother’s death. A maze of thoughts tells us how reality is while showing us who the character is by his choice of langauge.

I never got an idea of who Mia is. What is her complex? What are her priorities? What is her worldview? She’s supposed to have had a psychotic episode, but the prose is clean and precise. It makes it easy to read, but I’d expect someone in an emotional turmoil to not be very coherent. The rambling style was necessary in those aforementioned novels because a character with emotional problems would be too busy venting them then making sure his words make sense.

The closest she come to doing that is breaking up the structure. She moves from topic to topic, rather than follow the typical “this happened and then this happened”. This works because the novel has a few different storylines that stand on their own, but that’s not a way to express Mia’s character. It’s just a way to make us take each individual story on its own, rather than try to make sense of the chronological order.

The stories themselves, while good, don’t rely enough on the rambling narrator tool. Stories with rambling narrators aren’t eventful. It’s less important what happens and more how it affects the characters. The action in this novel doesn’t, if it’s psychological, with Mia’s psychology.

There are two main arcs. One has a group of old ladies slowly dying out, and the other a group of young girls who are just entering the teenage wasteland. At this point, the novel is less about Mia and more about these characters. We get Mia’s opinion of them, but we also get some showing.

Siri needed to decide whether Mia gives us only her point of view, or whether she’s an observer who just reports what she says. We get something in the middle, which means it’s teasing without the orgasm. The arc with the old ladies is well-meaning, but is doomed from the start. One of the old ladies’ secret is that she makes quilts with hidden, profane images.

Siri was, what, 55 when she wrote the novel? There is the perception that old people are all prudes, but making them be into profanity doesn’t add any more life to them. The cliche of the Dirty Old Man or the old woman who seeks a sugar daddy are boring. If the only proof we have that this old lady still has life in her is her interest in profanity, then I don’t think she has much life in her left. Profanity is attention seeking. True rebels don’t care.

Profanity is impressive when you’re young, but by the time high school started it lost its charm. You occasionally get people who know how to use it, like what Bring Me the Horizon did in “Happy Song”. Most people, including the character in this novel, use it for pathetic shock value. When Abigail showed Mia that she put naked women in hidden in the quilt, I did not see an old lady with life still in her. I saw an old lady whose horizons are now so limited she can’t imagine anything more exciting other than profanity. By the way, this novel was published before Bring Me the Horizon’s album.

The almost-teenagers work better, but they deserve a whole novel to themselves. They are forced to write about the incident of bullying from the perspective of everyone else. This is a brilliant idea. How a character writes about another can tell us about both, and if an author is going to tackle this idea head-on we can get some serious character development.

Siri doesn’t do it. All we get is some snippets. They’re interesting enough, but again it’s all just teasing without even foreplay to compensate. There’s an attempt to understand the bully just like the bullied. It’s an interesting take that recognizes the cruelty of bullying, how these little thing produces social retards. It also tries to understand why bullies start in the first place. Many of them are sure they’re in the right and that the bullied just has a superiority complex. Siri touches that, but not enough.

There are off-topic digressions which don’t contribute much and reinforce the feeling this is just a collection of notes for an incomplete novel. Siri at least puts effort into writing her notes. Her prose flows smoothly and whenever she sinks deep into Mia’s psyche it gets better. The beginning is powerful, throwing us right in the middle of heartbreak and all the self-pity and anger that accompanies it. If Siri would let her loose a little and let Mia ramble, this could’ve been a great novel.

The Summer Without Men is too written-well to be bad. Even if everything in it is left unexplored, everything is interesting enough to make you want to do something with it yourself. The prose is pretty good and it’s short enough so it doesn’t drag. A good choice if you want a light read that’s not stupid, but that’s it.

3 summers out of 5