Drama

Having something at stake

This weekend I read Sohrab Ahmari’s new book The Unbroken Thread. While there is much upon which I could comment and that I plan to discuss with friends, for the purpose of this post I refer ever so briefly to his final chapter on death.

In this concluding chapter, Ahmari raises his twelfth question of the book: What’s Good About Death? (The other day an excerpt of this chapter was published, here.)

Throughout this section, Ahmari largely discusses Seneca, a Stoic philosopher who said, “Whoever doesn’t want to die, doesn’t want to live.”

In considering why this is, Ahmari explains:

Here is why: The state of being alive—fully alive—is possible only in relation to an endpoint, death. It is the certainty of an end to life that allows us to appreciate sacrifice, heroism, love, beauty, the kind of virtuous life a man like Seneca lived of the self-sacrificing death of a Maximilian Kolbe. As any decent novelist or screenwriter knows, if there is nothing at stake in the story, the story is boring. If there is no final terminus to life, life loses its vitality, its zest, its drama.

What is good about death is that its inevitability means that there is always something at stake in life.

The vulnerability of life increases its preciousness; the risk in life increases the adventure.

This “goodness” of death does not diminish grief or sorrow, though. Instead, it makes the drama of human responses to death intelligible, meaningful, and even capable of pointing beyond themselves to realities transcending this-worldly concerns.



I Want What You Have Lived And Suffered

Among my hobbies these days is attending a bioethics book club every two weeks on O. Carter Snead’s new book What It Means to Be Human: The Case for the Body in Public Bioethics. The book is about how the dominant view in our time of persons as expressive individualists contradicts the lived experience of our embodied reality. Snead analyzes why we go astray in our public bioethics when we do not account for the realities of vulnerability and mutual dependence in and throughout our lives.

Most recently the study group finished reading the chapter on Death and Dying. In it, Snead notes: “By far the most common rationales cited for seeking assisted suicide were concerns about ‘losing autonomy’ (92 percent) and being ‘less able to engage in activities making life enjoyable’ (91 percent).”

Since there are many reasons why we can lose autonomy and the ability to engage in activities that make life enjoyable, it is worth scrutinizing these ideas of “freedom” – the loss of which risks rendering life seemingly not worth living.

I am reminded of Russian filmmaker Andrey Tarkovsky’s reflections. In Sculpting in Time, he says: “And the longer I lived in the West the more curious and equivocal freedom seems to me. Freedom to take drugs? To kill? To commit suicide?”

He goes on:

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The Tombs of the Protagonists

Among my favourite sites to visit when travelling anywhere are the cemeteries. A couple years ago, I visited the Campo Verano cemetery in Rome to seek out a particular grave. One of the things I remember most is the pamphlet given to visitors to facilitate a self-guided walking tour of the cemetery. The pamphlet was in several languages and in Italian there was a heading that said, tombe delle protagoniste. Wow, I thought: tombs of the protagonists! Such a heading is probably simply rendered into English as “famous tombs”, but this idea of a cemetery having leading characters thrilled me. As I walked throughout the cemetery, I thought about the major and minor characters, the settings, the rising actions in world affairs corresponding to the dates inscribed upon tombstones. The Italian wording filled my imagination with a sense of drama and excitement.