On Friday I tentatively concluded that the introduction of radical anomaly into ordinary reality, with grim comic effect, is a literary deployment of hammerspace — a reminder that even a seemingly realistic narrative is, after all, imaginary. More aptly, a fictional narrative never corresponds fully to the real world; it’s a mongrel entity, combining aspects of both the actual and the imaginary. Roadrunner drawing a door on the face of solid rock and running through it, Bullwinkle pulling a roaring lion out of a top hat: even little kids who’ve grown accustomed to cartoon animals talking and scheming like humans respond with surprised delight when sheer impossibilities show up in cartoon world.
True, This! —
Beneath the rule of men entirely great
The pen is mightier than the sword. Behold
The arch-enchanters wand! — itself is nothing! —
But taking sorcery from the master-hand
To paralyse the Cæsars, and to strike
The loud earth breathless! — Take away the sword —
States can be saved without it!
Thus spake the Cardinal in Edward Bulwer-Lytton’s 1839 play Richelieu, or the Conspiracy (of course I’ve never seen or read it: that’s what Wikipedia is for). Writers of fiction can, like sorcerers, use words to conjure things in readers’ imaginations, can deploy imaginary objects metonymically or metaphorically or symbolically, can build up whole realities out of thin air. But actual little kids literally pick up pens and joust with them like medieval knights. The kids know that pens aren’t real swords, that they themselves aren’t real knights, that the loser lying slain and bloodied in the castle keep is going to hop back up for another round. It’s fun to pretend.
Is pretend play instrumentally useful, a kind of practice session for later in life when kids grow to adults, wielding real weapons in real battles or staging real theatrical enactments of imaginary battles? Kids often gloat when they win and sulk when they lose, just like adults do; kids try to get better so they can win another day, just like adults are encouraged to do. The justification of playground as training ground has been extended to “serious” fiction, the reading of which purportedly enhances language skills, or the ability to navigate conflicts, or empathy. Even kids though know that sometimes winning is beyond your control. You need a miracle, but you know you don’t deserve one. Or luck, but you’ve found that it tends to work in the other guy’s favor. You need hammerspace to open up a portal for you, like it does when Bugs Bunny needs to escape the clutches of Elmer Fudd. It’s kind of like cheating, but you’re not morally culpable. Hammerspace is the instrumental irruption of a surreal absurdity, letting you beat the odds and your opponent.
But kids don’t always play to win; sometimes they just play. No goal to be pursued, no tactics to accompish the desired goal, no instrumental agency for deploying tactics, no well-defined outcome, no exultation in victory or desolation in defeat, no lessons to be learned on how to play better and win next time. Aimless play — it seems to escape the boundaries of the training ground, where children acquire the skills and attitudes necessary to achieve success, not just individually but also for those who benefit from their achievements: parents, societies, investors. Jokes without punchlines, stories that diverge from well-defined linear plots and character development, activity without production. Maybe aimless play is a training ground for insurgents, exposing them to a different sort of game, a game where the rules aren’t constraints on play but are part of the game, to be altered at will or even discarded; where process is the outcome; where the play’s the thing, play for play’s sake, art for art’s sake; play staying play without getting co-opted into work; where the aggregate of all games isn’t a zero-sum killing field of winners and losers but a playground where everybody wins or, even better, where nobody wins or loses.
It turns out though that the insurgency playground, just like the competitive playground, is owned and controlled by the players of a larger game. They don’t have to win because they’ve already won, don’t have to resist because nothing stands in their way. You can play whatever games you want — in fact you’re encouraged to do so — but you always have to buy the equipment and rent the playing field, to defer to the refs and in the last resort to the Commissioner. Whatever game you play and however well you play it, you’re bound to lose. Even hammerspace is controlled by The Man, letting him rig the game to suit his own purposes.
The situation is ripe for random irruptions of surreal absurdities.