Idle Talk-Antenarrative is what’s going on between Disneyland and Dismaland, Inspired Banksy’s Disneyland Theme Park
Finally, someone really gets my critique of Disneyland, for its Dismal Side of Storytelling, what I call Tamara-land (Boje, 1991).
I ask the question: “What are the collective and historical dynamics of the storytelling organization, viewed as a Tamara, as it writes its story onto the employees and the public?” (Boje, 1991: 998). The answer is something called Idle Talk, and antenarrative of the BETWEEN.
Idle Talk-antenarrative travels with and is interconnected with two other antenarratives: curiosity and ambiguity. These three antenarratives of attunement to Being-in-the-world are already emerging before the public (Heidegger, 1962: #174). There is a struggle in the world of homeless veterans, in all of homelessness, and in all the world of Being-veteran, Being-homeless. It is the struggle of being always defined as the “they” that Idle Talk knows all about being thrown into Homelessness World, yet has never spent 24 hours sleeping in a shelter-dorm, or the temporary shelter of a tent city. How different Tent City Solutions would be if the Mayor and City Council of Albrqueuque spent 24 hours in their own shelters. They would see the Dismaland, and not spew forth the Disneyland narrative of Homeless Veterans’ happiness, or the Happy to be in a tent, of the Homeless community.
Homelessness of veterans, Being-in-the-world of all homelessness, is ambiguously already-there, but the Homeless Veterans have the loudest idle talk and the more ingenious curiosity and at the bottom of the abyss of those thrown into the abyss of homelessness, nothing is happening (Heidegger, 1962: #174-5). This is because the public, the city and government, the agencies, have decided to play the Disneyland Game, and the Dismaland of Homelessness, its Theater, its Tamara-land, is hidden from public view, in ambiguousness of one social welfare agency to another, one homeless veterans agency to another. the ambiguity-antenarrative first conjures up its bet, its ante, that “thrown Being-with-one-another in a world” called Homelessness is a Disneyland, while what is hidden, the Dismaland is ambiguous, unInterpretable, not understandable (Heidegger, 1962: #175).
The Dismal Truth of Homelessness and the Homeless Veteran in America. Homelessness is a cost of war, the self-medicating, the VA meds, reduces the severity of the symptoms, but leaves the PTSD and TBI and the economic condition, untreated (Decker, 2014: 163, The Alchemy of Combat).
As I age, at going to be 68 in December, the stress of Being-in Vietnam, can become a chronic “way of living” (IBID. p. 164). At my phase of life, in my physical situation I look back at all the ANTES, the Bets I have made, and memories I must bear alone. What a burden I was to my x-wife, my daughter born while I was in Vietnam, then two more children when I came home. People keep telling me I am n my senior years, yet the symptoms of Vietnam Veteran keep appearing, not as severe as before, not that interfere with my effective functioning as professor, as husband in second marriage. I still find myself, escaping Vietnam, spending way too much time in front of the TV, and too much time at this computer, in a workaholic escape. But that is better than the alcohol escape, the over-eating, the over-everything.
I experience something Dismal, a “Sanctuary Trauma” (IBID. p. 176) which is a kind of homelessness that many veterans in a home are experiencing. The country they call ‘home’ has no space, and no place for them. When I cam home from Vietnam, the American Psychological Association (APA), had no designation for shell shock, battle fatigue, and the term PTSD had not yet been invented. The APA had taken such disorders out of its Diagnostic and Statistical Manual of Mental Disorders (called the DSM). It was all part of society’s total rejection of the Vietnam Veteran. Even the American Legion and the VFW, for a long while, did not allow Vietnam Veterans into its ranks. Not even the peers wanted us in their midst (IBID., p. 178). This has changed, but gives you some idea of Dismaland and Tamara-Land. The available jobs coming home form Vietnam, were few, and low paying, so I became the first child in my family tree to attend college, to graduate, and first to get a Ph.D. Upon applying to my first professor job, my committee advised me, ‘do not list that you are a Vietnam Veteran, keep that secret, out of your job application.’ I rejected their advice then, and I reject it now!
My talk to Post 10 American Legion, on 10 August 2015, told it straight up, I had never set foot in either an American Legion or a VFW building. Then I saw there were indeed Vietnam Veterans, and they were doing things for Homeless Veterans, and questioning, what was going on in Dismaland, so I paid my $100, and another $40 to be in the Vietnam Veterans, listed on the war memorial, and send them some photos.
This is me, in my day-job as a Golf Pro, in Vietnam 1969-1970. In my night job, I led a squad with my M-14, their M-60, M-70 and several M-16s. We did guard duty downtown Saigon, and watched the tracer rounds. It was 4th of July every night, a real Disneyland experience.
The shame of it, me having survived, that is the way of Sanctuary Trauma, becoming more and more socially isolated, from all the Idle Talk.
Idle talk is an attunement to Being-in-the-world everyday, as the spoke discourse is expressed in public, and what is “hidden” does not get disclosed” the understanding of Being” as the idle talk is “brining the hearer t participate in disclosed Being towards what is talked about in the discourse” (Heidegger, 1962: #168), that public media discourse, and the Idle Talk of a city, the state, their university. Its all superficial, a narrative of Disneyland, so attitudes are set “Beforehand” in ways that are “a matter of consequence” (IBID.). We experience this doing “Veterans Theater” the public expects a Disneyland Theater and we owe it to truth and justice to present Dismaland Theater, what it feels, smells, and tastes like to be Homeless in America. Answer: its a Sanctuary Trauma, the space for home that has no place in America.
Antenarrative also follows the rout of gossip and passing the word along, and keeping the talk going in wider circles, as if it has an authoritative character (IBID. #169). Gossiping, rumor, hearsay, passing the word along, those are the initial grounds that Idle Talk stands upon, all “the groundlessness of idle talk” becoming public, like the rumor falsely told that Sykes, Vietnam veteran is in permanent housing, not sleeping among the Hidden Homeless, in his car, and closed off from housing, as the City celebrates Functional Zero (no more homeless veteran who are eligible for housing for 30 days, but wait Sykes is homeless several months, but is no long on the list (# 169). What the news said “groundlessly, and the gets passed along in further retelling events to pervert in the act of disclosing” that is “closing off” and “leaves undone” the genuine possibilities for Sykes to get housing, such as it is, and he cannot even get in a tent city (IBID. # 169).
What is performed in the everyday idle talk, is something already Before, Sykes seeks shelter, seeks assistance, and its matters, in his spacetime, how he is uprooted in the idle talk so his “Being-in-the-world” of care is “cut off” (# 170).
It takes the “curiosity” antenarrative of Veterans Theater, “letting the world be encountered by us” so that the “existential-ontological” “care fore seeing” that comes from encounters with Sykes, these past two years, I have worked with him, comes to the fore (#170-172): and this is more than seeing with the eyes: because we see in other ways”:
“See how that sounds”
See how that is scented”
“See how that tastes”and
“See how hard that is” on the ground (# 171-172).
There are all these ways of seeing. Sykes was an actor and a scripted writer, his story the basis of our first Veterans Theater on April 30th, 2015 another that inspired his acting and his script in the second Veterans Theater on August 4th 2015.
VETERANS THEATER Steering Group MEMBERS: James Sassak (actor), David Boje (Vietnam Vet & Storytelling Officer), Traci Woolf (Secretary), Ernest Ramey (PRESIDENT), Dother Sykes (Sergeant-at-Arms).
Idle Talk “controls the ways one may be curious” and what is “read and seen” “being everywhere and nowhere” (Heidegger, 1962: #173).
In sum storytelling has its Being for discourse and in ways of fore-seeing (the antes, the bets on the future) in ways of attunement (idle talk, curiosity, ambiguity, being thrown into) homelessness. The tendency is to uproot the living story of Sykes and all of us, from the ground, into a public Disneyfied mythic-narrative, and miss the Dismaland Theater of Homelessness, and Homeless everywhere and nowhere, who have no space, no place in the city, and are thrown into the abyss of ambiguity, an antenarrative a very strange “Being-with-one-another” where the “potentiality-for-Being” is quite narrowed, limited by the idle talk (Heidegger, 1962: #175).
What gets scented out in our preparing Veterans Theater scripts, is the Dismaland encounters with a Society that believes in Disneyland, rather than looking to the deeds being Realized, as the idle talk, curiosity, and ambiguity antenarrative interact. “Idle talk and curiosity lose their power, and are already exact their penalty” (# 174). What we not ice is the speeds of idle talk, curiosity, and ambiguity, as they travel in discourse, are not at the same speed. Which is the faster? Gossip and rumer travel faster than lightning and then curiosity is more the speed of thunder, and ambiguity already is there in the dark before both of them. “Idle talk and curiosity take care in their ambiguity to ensure that what is genuinely and newly created is out of date as soon as it emerges before the public” (IBID. #174). They quickly move on to the next hearsay, the next leap to new positive possibilities. and ambiguity are ahead of the game.
This is why the petrified narratives about who, what, and why of homeless of a city, are just way out of touch, have lost the scent, and cannot really see the homeless, because the petrified narrative, in its public retelling, and spreading to wider circles, is just too slow, and the idle talk, curiosity, and ambiguity leave this tortoise in the dust.
Donate to Veterans Theater GoFundMe so we can get a van, to go to other cities and do our sniffing out of the storylines of homeless veterans, and all homeless living not in Disneyland, but in Dismaland – Thank you, Please leave a comment here and now.