Corporeal integrity

Download audio file read by Glyn Moody.

In Michelangelo's 'Last Judgement' in the Sistine chapel, the damned fall to the left while the saved rise to the right.  Amongst the latter is St. Bartholomew who, following the ancient iconography, bears his identifying emblem - in this case the flayed skin of his martyrdom.  In a sardonic touch, the features the artist has given the slack skin are his own.

Death by being flayed alive seems particularly horrific.  Not just because it must be slow, lingering, and presumably excruciatingly painful, but also on account of its metaphorical stripping away of a protective outer layer that we take so much for granted - indeed, that we mostly take to be nothing less than ourselves.  Doing so reveals the truth about our bodies: that we are not the neat flesh and blood we call ourselves, a sturdy frame of bone swathed in a substantial and homogeneous muscular wadding, but rather a thin sack of skin in which myriad organs and mechanisms knock about in an uneasy and fragile equilibrium.

Medicine acknowledges this explicitly in its treatment of the skin as a single organ in itself.  But we do not like to think of an organ on the outside; in fact we do not like to think of organs at all.  The kidneys and livers and hearts of animals that we eat seem gross and disturbing when raw, their bloody details exposed.  Once the body loses its undifferentiated consistency, and begins to be perceived as made up of disparate entities, with functions like parts of a machine, we begin to feel ourselves the ragbag of offal and lights that we truly are.

Most of the time we contrive to ignore this fact with the ready connivance of society.  The images of bodies that greet us everywhere emphasise their hardness and compactness - the slim, svelte figure of the athlete and model - or their smoothness and evenness of colour.  Human nakedness is disturbing partly because it confronts us with the reality - that most bodies are nothing like these idealised images from magazines and hoardings, that they sag and droop and bulge, that they are blotchy and rucked; in a word, that they are just so many lumps of stinking meat.

Nakedness we can ignore.  But there is a more brutal revelation of our body's terrible secret.  The horror of physical violence is born of its power to tear open the bag of our body, to show us with shocking explicitness the seemingly random mess that lies within.  This is partly why blood is so disturbing: spilt, it is a gory emblem of the body's lost closure, of the fact that far from being firm flesh we are mostly liquid - by definition, a state of matter that can offer no resistance to force. The irruption of violence into our lives frightens us because it says we are weak and helpless in our circumstances - superior numbers will always overcome us; worse, it says that we are weak and helpless in essence - that our very structure is irremediably flawed.

Violence leads to wounds, damages to the system.  Wounds are illness, the negation of health.  And health means literally wholeness.  Corporeal integrity is a kind of health beyond the absence of sickness, one we desperately need to hold in not just those bloody, squirming organs, but our entire sense of being.

(1989)

Download CC0-licensed text file

Contents

Rubbish

Download audio file read by Glyn Moody.

There is a received image of archaeologists as lean, snowy-haired old men who spend their time on distant Anatolian hillsides, caressing the earth with a toothbrush in a narrow trench marked out by twine strung between small pegs, uncovering great, lost civilisations.  Just as Michelangelo said he saw within the rough-hewn marble block a statue, complete and fully-formed, which he then liberated with his mallet and chisel, so the archaeologists seem to be hunting for entire Atlantises drowned not by the surf but the sand, to be freed with a trowel and a bucket.  According to this view, archaeology is the combination of a recondite skill, an upmarket academic dowsing, with a kind of genteel, Surrey-garden delving such as you might apply to the cultivation of delicate orchids.

This is total rubbish.   For archaeology is actually about sifting through the detritus of ages, wading into the refuse tips of history, digging past all the old fish bones and rubble and pulling out an ancient - broken - bottle once used for storing horse embrocation fluid.

The past, as the word itself suggests, is to do with things which are finished with.  By definition, everything that is not being employed or kept for a purpose is either intentionally thrown away, lost or destroyed.  The archaeologist is concerned, therefore, with a class of objects conjugate to those which survive in use.  If they are not sorting through the successive layers of broken pots at the bottom of a well - a rich mine of old, dropped junk - then they are scrabbling for coins among the foundations of burnt cities like a posse of latter-day looters.

Certainly, there are finds which transcend these activities.  The hidden tombs of the Pharaohs, the great heroic ship burials, the vast ossuaries - all these may offer the archaeologist richer treasures than the base rubbish dumps.  Skeletons are often undisturbed; perhaps even the skin and hair remain where embalming has been carried out.  They will probably be adorned with dazzling jewels, and alongside there may fine furniture, earthenware, a comprehensive array of domestic items for the next world.  Understandable indeed is the archaeologists' joy when they happen upon such troves and cart them off to a museum.  It is unfortunate, then, that in doing so they act no better than the other grave-robbers they curse.

Whatever our feelings about the archaeologists' activities in despoiling graves or rooting around in old ordure, there is an interesting implication.  For ancient history emerges as predominantly the study of rubbish, supplemented perhaps by an odd document here or there - itself thrown away and preserved only as hidden backing to a later book.  A civilisation is known not by its ephemeral artistic achievements, but by the perdurable pile of leftovers from the great feast of its daily activities.

On this basis, then, ours will be a deathless civilisation; our fame - and our rubbish - will live for ever.  In our huge though blind generosity, we have donated to posterity unimaginable tons of the stuff, sitting there in the earth, buried like a dragon's hoard, waiting for future archaeologists to stumble across it, to enjoy and appreciate as only they can.

(1989)

Download CC0-licensed text file

Contents