Chaos abounds in the darkness. In the light, even if there is motion, or disorganization, or interaction, or conflict, these are all seen, are all understood, are all mapped inside our consciousness and prepared for, planned for, contemplated by those lovely lumps of brains atop our spinal cord, and we have no fear. We do not stress. We do not wonder. Seeing is believing? No, seeing is truth, and acceptability, and regularity, and pattern, even if it is wild, incoherent, and random-ish.
But in the dark, in the absence of light, in the places where you sense with infrared and ultraviolet in the realm of navigating the world through our other nine senses (smell, taste, touch, hearing, balance, time, ESP), these are still not enough for us, for humans, to feel as if we have control of the situation. For is that not what chaos really is, but lack of control? We may not have authority over the teeming mass of wandering hordes out for destruction, yet if we see them we fear them much, much less than when they come under cover of darkness.
No other sense, no other attribute, contributes as much to our fear as our lack of vision. Were we to see but not hear, their terror in us would, paradoxically, be lessened, for that is one which, by its absence, reduces th threat. We don’t believe silent things can hurt us. For, what do we fear more, the snake’s rattle or the owl’s quiet wingbeats? precisely.
We fear those things which are loud, and unseen, and so adding a chorus of clanging boots and rattling armor to the darkest night is a combination fit to turn even the most self-professed brave soul into a withering baby. This combination takes away the one sense which adds assurance, sight, and adds another element which increases terror in its own right, sound.
The others – smell, taste, touch, we are too undeveloped in yet to have a way to know whether these will increase or decrease our fear. At long distance, that is. In the immediate presence, if you can smell the putrid, rotting flesh of the zombie horde, you may as well give up, because if they’re close enough for you to smell, they’ll be on top of you soon enough. And at the same time, touch, taste, require a physical intimacy which beggars belief of fear. So, then, this fear of the unknown, this fear of change, of the “other” out there, is heightened, and is birthed out of, chaos, disorder, unreality, irrationality, and the way the world works is far, far beyond our own mortal capacity to understand. WE have limited scope of using our brains, and we have devoted much of that to sensing in the visible spectrum. When a creepy-crawling comes approaching outside of that spectrum, then is when our distrust kicks in, our fear of chaos (destruction, impermanence, intransigence, ending, power, power to finalize, power to transform, power to erode) takes over, and we turn away as soon as possible, as strongly as possible, and we seek out that alternative, of places of light, and order, and permanence, and connectivity.
Commentary: So, this isn’t a great essay. It doesn’t hold any special revelations. I didn’t find any unique turns of phrase. I didn’t really “lose control” at the end. I felt like I sort of stopped a couple of times along the way, and just sort of plodded through it all. I could go back and edit, to make it flow better, to make it more impactful. It doesn’t even really end well. So why do I post it? Why do I let you see it? Why do I expose my soft underbelly of semi-incompetence?
Trust me, it’s not to fish for compliments. If that were so, I’d be ultra-negative on myself and expect someone, anyone, any reader, to correct me and tell me it’s fine, it’s great, it’s still inspiring. No, I don’t do this to garner sympathy or comments or feel-good-ness.
I post this in its mediocrity as it is because that’s what writing is about.
Writing is about doing the writing. Writing is about doing it even when it doesn’t feel great, even when it’s kind of boring at the end and you’re like, “yeah, nobody’s ever going to read that.” And you know what? They’re probably not. But you do it anyway. Because that’s how you get through the really low periods to the points where it’s great, where your pen is just banging, where you’re in the flow and you’ve got it all good and things just couldn’t get any better. Those things don’t just happen because you decided to show up once or twice or even ten times. Those things come when you’ve put in the work, when you’ve been steady and faithful to the muse, and when hit happens… damn. There’s nothing like it. So that’s why you write the crap pieces, the drudgery, the stuff about chaos and leadership and boring descriptions of shoes and conversations. So that you’re there and ready to strike when called. If you’re skipping out, you’re missing out.