Sociopathy—the lack of conscience or empathy—has long been a subject of interest for psychologists and criminologists who have defined and diagnosed it as a mental disorder. Philosophers, too, have their own discussions about how much of moral awareness is inborn and how much is acquired. And what do poets say…? Kristin Garth’s Shakespeare for Sociopaths(Hedgehog Poetry, 2019), while perhaps agnostic on the definition of sociopathy, takes an entirely different approach: she examines what it feels like to interact with dangerous people.
Garth’s sonnets are about poignant moments with unsavory characters. She depicts sociopaths she saw on the news; those she encountered at work (her jobs included “stripping and court reporting”); those she got to know in her neighborhood and in her bed; and those she invented as fictional characters.
One example from each of these four sections:
“A body wrecked requires the best of care. / Your mother with you, examination room, / he talks to her, his hands everywhere.” (“Expensive Leotards,” about a young gymnast abused by her doctor)
“A sting they call / the trap he’s tangled in. A reptile calm, / a predator who still has teeth and tongue.” (“Dora,” about a man who boards an airplane with a doll to bribe a young girl)
“Such faces, flush with heat and glimmer, clone / a sun’s salvation, sequence stretched to Mars, / but I pick you.” (“If the Star Fits…,” about online dating)
“one last acidic sip three letters reveal. / One word at bottom, tea all done. / in cursive, lavender, and it is ‘run.'” (“Insanitea,” about a threatening conversation over tea)
The ordering of the sonnets suggests increasing levels of nearness to danger. After all, a crime overheard on the news can be absorbed impersonally. Sociopathic behavior encountered in the workplace—even if it is part of the job—is riskier, and the sociopath’s presence is felt. A sociopath in the home is of course an intimate disaster. And, lastly, to find such a character in one’s imagination suggests that the bits and pieces of previous threats have been drawn so near that they have finally been absorbed and can appear in one’s own dreams.
Garth doesn’t inquire academically why it’s wrong to treat people like playthings, nor does she interrogate the details of the crimes. Instead, her poems focus on the feelings that the interactions produce. Even though (and perhaps because) she has been hurt by such people, she draws these images romantically. She shows us the aesthetics of the dance. Some poems focus on the predator; others, on the prey. To be entranced or ensnared by a sociopath is to lack a simple path out. “Run,” indeed, if you can.
That may be a shortcut through much psychological and philosophical musing on this topic: Revel less in the bewitching “reptile calm” of the adversary, and focus more on how you feel and what you’ll have to do to escape.
If something else had happened, life would mean something different now. But what happened is in the past, and the past can’t be changed. I have to accept what is.
Most of the time, we hear this as a truism. When we emotionally grapple with certain past events and their consequences, however, it’s a major personal victory when at long last we take a deep breath and resign ourselves to the realities.
Imagine I turn my vehicle left at an intersection and suffer an accident. My arm is broken. The car is totaled. My passenger is dead.
I might wonder what would have happened if I had turned right instead of left. Those thoughts might be intrusive, even obsessive. I will never find out the answer to What if something else had happened?
Some game pieces are still in play, and I can change those outcomes. I bounce back financially; I get a new car; my arm heals; survivors forgive me. But other outcomes are already set in stone. The old car, reduced to twisted pieces of metal, isn’t worth fixing and is sent to the scrap heap. The dead person does not come back to life. The meaning of these events is distressing; I resist the meaning, which leads me to resist the reality of the events that produce this meaning. I “know” the events were real and can’t be changed, but I wish that weren’t true and I search in vain for another workaround. The ultimate solution may be simply to accept what is.
In this hypothetical example, I am considering meaning as an emergent property of material reality. Emergence means that the whole is greater than the sum of its parts. A certain confluence of events in my life doesn’t leave me only with the events themselves, but it also yields meaning: psychological, social, financial, and so on. Wanting to change the meaning means wanting to change the realities on which the meaning is based. If I’m stuck with the relevant realities, I may be distressed at finding that I am stuck with the meaning, too.
I recently heard this described using the example of a mosaic. (It happened to be a mosaic of Darth Vader, which is appropriately dark.) David Kyle Johnson says in “Naturalism Undefeated” in the anthology C. S. Lewis’s Christian Apologetics that “it makes no sense to suggest that you could subtract Vader and yet leave all the individual frames of the mosaic alone. If the tiles are arranged just as they are, Vader necessarily exists.” Johnson is writing about the mind arising from the physical brain. I’m applying the same idea to deriving meaning from the world, a more popular daily concern. The world has given us a bunch of mosaic tiles and we see that they form an image. Sometimes we don’t like the image. If we can rearrange some of the tiles, great; but if all the tiles are glued and dried, we’re stuck with what the overall image means to us.
“Emergence” (or, similarly, “supervenience”) is an academic term, but it yields a practical insight for dealing with emotional distress:
If I want to change what my situation means to me, I have to take action and do something differently.
If I can’t or won’t change my situation or at least allow in new information and experiences, then I have to accept that the meaning isn’t going to change, either.
How do conspiracy theories arise? Why, despite how implausible they sound to most people, are they so “sticky” for others?
Telling stories that aren’t true
Neal Roese, in If Only: How to Turn Regret Into Opportunity (2005), discusses the role of counterfactual expressions—that is, things that just aren’t so. At their best, they help us analyze a situation and seek a better path. One type of counterfactual is “it could have been worse” which is supposed to serve as consolation.
Here’s one of Roese’s examples. An employee of Cantor Fitzgerald—a company that suddenly lost hundreds of employees in New York City when the World Trade Center fell on September 11, 2001—survived because he happened to be inquiring about a gym membership and was not in the office when the plane hit the building. The counterfactual narrative that he easily might have died does not meaningfully explain why he lived. The simple observation of his near-brush with death, applied to this situation of survivor’s guilt and when taken up as an existential perspective, “is a counterfactual that shoots blanks,” Roese says. Such an approach “can get in the way of successful coping by conjuring phantom explanations and phony sense making or simply by failing to provide resolution and understanding.”
The man’s survival is random, yet that answer leaves most of us itching. Some will contort themselves to come up with a different explanation.
What existential function might a conspiracy theory serve?
A conspiracy theory—pick one, any one—is, in my view, a more elaborate kind of counterfactual. It asserts itself to be true, or at least plausible and meriting more inquiry, but it is not true. Like other counterfactuals, it serves the need to point out unresolved questions and find some way to make sense of the world.
“seems to be part of a coping mechanism: a human instinct to deal with large, unexpected, and often tragic events. Sometimes things just happen randomly; not for any reason, not because of sinister forces. And in human psychology, randomness is much more threatening than discernible causes, even if those causes are shadowy or sinister.”
We tend to want to believe that Someone (or Something) is calling the shots and that what happens to us (or to our known world) matters within some grand plan.
Conspiracy theories are often products of paranoia. A paranoid person believes that “you can’t trust what you see, so you need to interpret and see behind the surface presentations of situations,” David J. LaPorte wrote in Paranoid: Exploring Suspicion from the Dubious to the Delusional (2015). Such people report experiencing a “sudden clarification,” which feels as if they “immediately recognize [an event] for ‘what it really is.’” Their sudden clarification feels true even if it is not.
A believer in a conspiracy theory, Klaas says, is “choosing to discount evidence and rational thought in favor of snippets of ‘What if?’ speculation.” In this case, unfortunately, “the normal way of convincing someone of an idea by presenting rational thought and evidence just isn’t very effective.” It is hard to persuade someone to abandon these theories. They are constructed in such a way that they cannot be falsified, and criticism only triggers a paranoid person’s suspicion of outsiders.
I have never knowingly been a conspiracy theorist on any matter. Generally, such stories are repugnant to my occasionally obsessive fact-checking habits, to my worldview in which ethics does not reduce to a battle between good and evil, to my personality that tends to be more trusting and less paranoid, and to the social bonds I form with people whose attitudes are similar to my own.
I do, however, see how conspiracy theories might appeal to someone else. Counterfactuals more generally—the past that wasn’t, the future that isn’t yet—are “entertaining,” according to Roese, because they are imaginative variations on a known theme, and they are “cognigenic, meaning that they spur further creative thought.” I suggest that conspiracy theories, too, fit this description. They are intricate fictions and mostly self-contained worlds. If I were to allow myself to spend time with one and if I were to engage it on its own terms, I could see myself growing fond of it.
One of Klaas’ interviewees for Power Corrupts says that believing in a conspiracy theory predisposes one to begin believing in yet another, even if the two theories are unrelated or contradictory. Klaas describes conspiracy theories as having “a weird way of metastasizing: they morph as they spread; they grow more outlandish; the conspiracy gets weirder and weirder as people build on the unhinged beliefs of others.” For this reason, to me, such stories feel a bit dangerous, like ideological gateway drugs, and I have always avoided them when I recognize them.
What we become
At the end of the road of a multitude of conspiracy theories, a person may be well trained in the consistent rejection of logic.
According to Michael Specter, author of Denialism: How Irrational Thinking Harms the Planet and Threatens Our Lives (2009), the rejection of science is a coping strategy for living in an increasingly technological society that every day becomes a little harder to understand. When people are fearful and “decide that science can’t solve their problems,” they may abandon scientific process and findings, gravitating instead toward some other answer on the merits of its perceived popularity. This is a problem: “Either you believe evidence that can be tested, verified, and repeated will lead to a better understanding of reality,” Specter warns, “or you don’t. There is nothing in between but the abyss.”
In politics, similarly, embracing a multitude of conspiracy theories may lead a person to distrust and reject democratic principles. Ultimately, experts are not believed; leaders are not trusted; process is not given credibility; norms are not understood; facts cannot be verified; no one can be held accountable. This is a terrible outcome, but it is hard to stop conspiracy theories from starting and spreading. Perhaps being aware of their psychological function can prompt us to think of other ways to confront the human fear of random, small, and impersonal causes.