The Heroic Wisdom of Yuval Noah Harari

By Scott T. Allison

The ancient Greeks referred to prophets as individuals with the capacity to foresee the future. Israeli scholar Yuval Noah Harari would deny being a prophet, as he admits to not knowing how the future will unfold. But perhaps no one alive today is more skilled at describing with intelligent detail several different possible outlooks for humanity.

Harari argues that the year 2050 can either look like a Utopia, with humans all around the globe enjoying unprecedented prosperity, or it can descend into a catastrophic “digital dictatorship”. The key centers on how we manage the potentially disruptive merging of information technologies and bio-technologies. This merging will produce revolutionary changes in our personal lives, reshape society as a whole, and may even mark the end of homo sapiens.

Some of these radical changes are already happening, and Harari implores us to develop ethical guidelines for the appropriate application of emerging technologies. These ethical guidelines must be developed and applied globally, as the reality of climate change, the threat of nuclear war, and impending technological revolutions affect our entire interdependent planet.

For details of Harari’s visions of the future, you’ll need to read one or more of his best-selling books: Sapiens, Homo Deus, and 21 Lessons for the 21st Century.

What is the source of Harari’s visionary wisdom? Our research on heroism suggests that heroes are able to see the world through a deeper and broader lens. The ancient mystics and Buddhists called such viewing nondualistic thinking. This style of perceiving reality refers to the ability to go beyond seeing world in terms of simple binary categories. Nondualistic thinkers like Gandhi, Lincoln, and Harari all have the gift of going deeper and seeing nuance that goes beyond mere black-and-white dichotomies. Simple dualistic thinking contributes to a host of damaging “isms”: racism, sexism, and ageism, to name a few.

Nondualistic thinking refers to broader, more mature contemplation of perceived events. It resists the urge to feed one’s own ego or the collective ego. Nondual thinking is humble and patient with mystery and ambiguity. Abraham Heschel (1983) described it as the ability to let the world come at us rather than us coming at the world with preconceived categories skewing our perceptions. Rohr (2009) describes nondualistic thinking as “calm, ego-less seeing” and “the ability to keep you heart and mind spaces open long enough to see other hidden material.”

Asian spiritual philosophies describe it as the third eye, which is the enlightened ability to see the world with balance, wisdom, and clarity. In our writings of the hero’s journey, we have argued that heroes almost always descend into darkness before they achieve self-insight and acquire the wisdom of transformation (Allison & Goethals, 2016). Heroic experiences are rife with phenomena that can only be understood by seeing the world through a nondualistic lens.

An example of Harari’s nondualistic wisdom is seen in his view of nationalism, which has burgeoned around the world in recent years. One might think that Harari would condemn nationalism, given that he champions a globalized approach to dealing with current and future planetary problems. But Harari doesn’t believe that a nationalistic mindset is completely wrongheaded. Instead, he adopts a balanced, nondualistic perspective of nationalism.

Nationalism, he argues, is only bad if it involves viewing the lives of one’s own nation’s citizens as more important than the lives of people residing in other nations. Nationalism is good if it is defined as treasuring one’s own national culture as beautiful, distinctive, and special — not better or worse than those of any other nation. Harari believes it is possible to eliminate the bad aspects of nationalism (a belief in superiority) while retaining the good aspects (a love for one’s unique culture). In this way, all human life is equally precious regardless of national boundaries.

A healthy nationalism, adopted by many countries, can lead to a healthy globalized approach to the problems of climate change and the potentially disruptive effects of emerging technologies. Below is a Youtube video of Harari’s heroic vision for a world community that can effectively bring about the best possible future for us all.

https://www.youtube.com/watch?v=8x3zaIYrHTs

References

Allison, S. T., & Goethals, G. R. (2016). Hero worship: The elevation of the human spirit. Journal for the Theory of Social Behaviour, 46, 187-210.

Allison, S. T., Goethals, G. R., & Spyrou, S. P. (2019). Donald Trump as the archetypal puer aeternus: The psychology of mature and immature leadership. In K. Bezio & G. R. Goethals (Eds.), Leadership and populism. Northampton, MA: Edward Elgar.

Heschel, A. J. (1983). I asked for wonder. New York: Crossroad Publishing.

Rohr, R. (2009). The naked now. New York: Crossroad Publishing.

Growth, Wholeness, and Intelligence are at the Core of the Universal Journey

By Scott T. Allison

A central part of Joseph Campbell’s (1949) genius resided in his ability to see a universal journey among all the great heroes of mythology across the globe and throughout all time periods in human history. Swimme and Tucker (2011) take this universality to its furthest extreme in suggesting that the hero’s journey and the human journey – which are arguably one and the same – represent a microcosm of the journey of the entire known physical universe.

They propose that “the universe is best understood not as discrete incidents of evolution, but as a whole unfolding dynamic and developmental process, which is a like a story” (Mowe 2017, p. 48-50). Swimme and Tucker boldly set out to “create a new genre of a fusion of science and humanities”:

“We’re not looking at science as just facts or numbers or equations or graphs, but science in relation to the humanities – literature, history, art, music, philosophy, and religion and so on. These are the disciplines that have tried to understand how humans have lived in the past and how might we live more integrally in the future. So Journey of the Universe is a conscious fusion of fact, metaphor, and meaning.”

Swimme and Tucker (2011, p. 15) first examine the origins of the physical universe, including the Big Bang and the creation of galaxies and solar systems. Patterns among physical entities, both immensely small and infinitesimally small, show emergent qualities that are reminiscent of the hero’s journey — birth, expansion, calamity, contraction, and then repetition of the cycle. The authors argue that the universe’s “overall journey depends, in critical moments, upon the transformations taking place in the microcosm.” These transformations, moreover, show the same tendencies toward integrated wholeness that every hero shows on the classic journey: “To commune may be one of the deepest tendencies in the universe.” (p. 51).

The Universe is drawn toward learning, growing, and truth-seeking, with the ultimate truth pointing toward wholeness: “The ancient process of evolution can be understood as a higher-level form of ‘learning’” (p. 60). For example, the entire process of adaptation and memory in animal life is responsible for the ability to turn breath into energy and to transform food into flesh. “Life adapts. Life remembers. Life learns” (p. 61).

This inherent drive to learn is the key toward achieving wholeness and communion. According to Swimme and Tucker, “Humans have at their disposal vast storehouses of learning accumulated and refined over millennia in written and oral traditions. There is little validity to the idea that humans are isolated individuals, for each of us arises out of an ocean of experience and understanding acquired by our species as a whole.” (italics added, p. 90).

The pervasive rhythmic cycle of nature, especially that of expansion and contraction, ensures that death and life form an intelligent whole. Swimme and Tucker (2011) review many recurring patterns of growth and development in the physical universe that map onto patterns found in humanity. The authors pose a number of questions: Does deep geological and cosmological time offer us useful insights into human meaning and purpose? How can the rhythms of the physical world inform us of our own human destiny? “Can it be that our small self dies into the large self of the universe? Are our passions and dreams, as well as our anguish and loss, woven into the fabric of the universe itself?” (Swimme & Tucker 2011, p. 69).

These ideas are reminiscent of the ancient Greek notion of sympatheia, which refers to the phenomenon of all beings on earth and in the heavens as inextricably linked together to form parts of a whole. Sages over several millennia have sensed the centrality of sympatheia in the cosmos, and Swimme and Tucker (2011) invoke Zhang Zai’s Western Inscription from the 11th century as one telling example:

Heaven is my father and Earth is my mother and even such a small creature as I finds an intimate place in their midst. Therefore that which extends throughout the universe I regard as my body and that which directs the universe I consider as my nature. All people are my brothers and sisters, and all things are my companion.

Swimme and Tucker (2011, p. 109) suggest that the human journey is a product of deep time, originating with the Big Bang and marked for eternity. “We can begin to reflect on the way in which time, in a cosmological sense, is the creativity of the universe itself… We live not in any mechanical time but in this enveloping cosmological time. We live in that time when Earth itself begins its adventure of conscious self-awareness.”

Swimmer and Tucker (2011, p. 112) further suggest that our purpose may be “to drink so deeply of the powers of the universe that we become the human form of the universe.” Human being may be answering a call to “become not just nation-state people, but universe people…. knowing how we belong and where we belong so that we enhance the flourishing of the Earth community” (p. 113). Swimme and Tucker then make the leap from the universality of the journey to human well-being. First, the authors emphasize the centrality of storytelling in mapping out the realities of the physical universe as well as the human world. “We have discovered the ongoing story of the universe, a story that we tell, but a story that is also telling us” (p. 114).

According to the Swimme and Tucker, the Earth has given rise “to the possibility of an empathetic being who could flow into and become one with the intimate feelings of any being. Our human destiny is to become the heart of the universe that embraces the whole of the Earth community… That is the direction of our becoming more fully human” (p. 115). From this perspective, the connection to well-being is a logical one: “Our human role is to deepen our consciousness in resonance with the dynamics of the fourteen-billion-year creative event in which we find ourselves…. Our role is to provide the hands and hearts that will enable the universe’s energies to come forth in a new order of well-being” (p. 117).

All heroes begin their journey missing an important inner quality that they must either recover or discover during their heroic quest (Allison & Smith 2015). Swimme and Tucker (2011) propose that creativity may be humanity’s missing inner quality. Their analysis implies that life on our planet has always been on a hero’s journey and that it has relied on extraordinary creativity for survival and well-being:

“We find ourselves inside an amazing drama filled with danger and risk but also stunning creativity. Two billion years ago, when the [Earth’s] atmosphere became so filled with oxygen, all of life was deteriorating. The only way for the life of that time to survive was to burrow deep into the mud at the bottom of the oceans. The future of Earth seemed bleak. And yet, in the midst of that crisis a new kind of cell emerged, one that was not destroyed by oxygen, but was in fact energized by it. Because of this miracle of creativity, life exploded with an exuberance never seen before…. It is the nature of the universe to more forward between great tensions, between dynamic opposing forces.”

The idea that creativity is essential for heroic transformation is consistent with the metaphor of heroic imagination put forth by Franco, Blau, and Zimbardo (2011). At the human level, heroic imagination “can be seen as mind-set, a collection of attitudes about helping others in need, beginning with caring for others in compassionate ways, but also moving toward a willingness to sacrifice or take risks on behalf of others or in defense of a moral cause” (p. 111). From this metaphorical perspective, unleashing the heroic imagination involves igniting people’s drive to create the best life for themselves and others.

Such heroic imagination implies creativity borne of non-dual thinking (Rohr 2009) and transdisciplinary thinking (Efthimiou 2017a, 2017b; Efthimiou & Allison 2017). Swimme and Tucker (2011) have extended this metaphor of imagination to include the idea that it is embedded in the universe. As products of the universe, the human race has a built-in predisposition toward fulfilling its heroic personal imperative to imagine and create heroic growth for each individual, for all of humanity, and for the planet and cosmos in which we live.

Leading scientists are coming to embrace this direction of the universe. Celebrated physicist and mathematician Freeman Dyson once observed: “The more I examine the universe and study the details of its architecture, the more evidence I find that the universe in some sense must have known that we were coming.”

Astrophysicist Neil deGrasse Tyson, moreover, has said: “We are part of this universe; we are in this universe, but perhaps more important than both of those facts, is that the universe is in us.”  The journey we’re all on is the universal journey.

References

Allison, Scott T., and Greg Smith. 2015. Reel Heroes and Villains. Richmond: Agile Writer.

Campbell, Joseph. 1949. The Hero with a Thousand Faces. Princeton: Princeton University Press.

Efthimiou, Olivia. 2017a. “Heroic ecologies: embodied heroic leadership and sustainable futures”. Sustainability Accounting, Management and Policy Journal, 4, 489-511.

Efthimiou, Olivia. 2017b. “The Hero Organism: Advancing the Embodiment of Heroism Thesis in the 21st Century”. In Handbook of Heroism and Heroic Leadership, edited by Scott T. Allison et al. New York: Routledge.

Efthimiou, O., & Allison, S. T. 2017. Heroism science: Frameworks for an emerging field. Journal of Humanistic Psychology.

Efthimiou, O., Allison, S. T., & Franco, Z. E. (Eds.) 2018. Heroism and wellbeing in the 21st Century: Applied and emerging perspectives. New York: Routledge.

Franco, Zeno E., Kathy Blau, and Philip G. Zimbardo, 2011. “Heroism: A Conceptual Analysis and Differentiation between Heroic Action and Altruism”. Review of General Psychology, 15, 99-113.

Rohr, Richard, 2009. The Naked Now: Learning to See What the Mystics See. New York: Crossroad Publishing Company.

Swimme, Brian T., & Tucker, Mary E. 2011. Journey of the Universe. New Haven: Yale.

Hero Stories Give Us Wisdom

By Scott T. Allison and George R. Goethals

In Part 1 of this series, we introduced the concept of the Heroic Leadership Dynamic, which we define as a system of psychological forces that can explain how humans are drawn to hero stories, how they benefit from these stories, and how the stories help people become heroes themselves.

We suspect that early humans first told hero stories at the end of the day, in the darkness, huddled around fires. These narratives supplied meaning, hope, and a welcome escape from the miseries of life. The earliest known hero tales, such as Gilgamesh, Etana, Odysseus, and Hesiod, taught important values, offered role models, provided inspiration, and healed psychic wounds.

We propose that people benefit from hero stories in at least two essential ways. These stories serve epistemic and energizing functions. The epistemic function refers to the wisdom that hero stories impart to us. The energizing function refers to the ways that hero stories heal us, inspire us, and promote personal growth. Let’s look at these two functions in greater detail.

THE EPISTEMIC OR WISDOM FUNCTION

Theologian Richard Rohr argues that hero stories encourage people to think transrationally about ideas that seem to defy rational analysis. The word transrational means going beyond or surpassing human reason. Hero stories reveal truths and life patterns that our limited minds have trouble understanding using our best logic or rational thought. Transrational phenomena that commonly appear in hero stories include suffering, sacrifice, meaning, love, paradox, mystery, God, and eternity. These phenomena beg to be understood but cannot be fully known using conventional human reason.

Hero stories unlock the secrets of the transrational.

How do hero tales help us think transrationally? We believe that there at least three ways: Hero stories (a) reveal deep truths, (b) illuminate paradox, (c) develop emotional intelligence. Let’s examine each of these:

A. Hero Stories Reveal Deep Truths. According to Joseph Campbell, hero stories reveal life’s deepest psychological truths. They do this by sending us into deep time, meaning that they enjoy a timelessness that connects us with the past, the present, and the future. Richard Rohr notes that deep time is evident when stories contain phrases such as, “Once upon a time”, “A long time ago in a galaxy far, far away”, and “they lived happily ever after.” By grounding people in deep time, hero stories reinforce ageless truths about human existence.

Hero stories also reveal deep roles in our human social fabric. Norwegian psychologist Paul Moxnes believes that the deepest roles are archetypal family roles such as mother, child, maiden, and wise old man.  Family role archetypes abound in classic hero tales and myths, where there are an abundance of kings and queens, parents, stepparents, princesses, children, and stepchildren. Interestingly, Moxnes’ research shows that even if hero stories do not explicitly feature these deep role characters, we will project these roles onto the characters. His conclusion is that the family unit is an ancient device for understanding our social world.

B. Hero Stories Illuminate Paradox. Hero stories shed light on meaningful life paradoxes. As author G. K. Chesterton once observed, paradox is truth standing on her head to attract attention. Most people have trouble unpacking the value of paradoxes unless the contradictions contained within them are illustrated inside a good story. It turns out that hero stories are saturated with paradoxical truths, such as those mentioned by Joseph Campbell in the quote that began Part 1 of this series. Let’s look at each of them:

* Where we had thought to find an abomination, we shall find a god. Carl Jung is famous for saying, “what you resist persists.” Every human being encounters difficult people and challenging issues in life. Hero stories teach us that avoiding these people and issues is not the answer. Once we confront our dragons, they can become the seeds of our redemption.

* Where we had thought to slay another, we shall slay ourselves. What Campbell means here is that when heroes face their greatest fears, they are entering the dragon’s lair. And when heroes slay the dragon, they are slaying their false selves or former selves, thereby allowing their true heroic selves to emerge.

* Where we had thought to travel outward, we shall come to the center of our own existence. In the opening act of every hero story, the hero leaves her safe, familiar world and enters a dangerous, unfamiliar world. Going on a pilgrimage of some type is a necessary component of the hero journey. Hero stories teach us that we have to leave home in order to find ourselves.

* Where we had thought to be alone, we shall be with all the world. The hero’s journey is far from over once the dragon has been slain. Campbell observes that the now-transformed hero in myth and legend will now return to his original familiar world and transform it in significant ways. The hero, once alone on his journey, becomes united and in communion with the world.

C. Hero Stories Develop Emotional Intelligence. Psychologist Bruno Bettelheim believed that children’s fairy tales were useful in helping people, especially children, understand emotional experience. With their many dark, foreboding symbols and themes, such as witches, abandonment, neglect, abuse, and death, these heroic fairy tales allow people to experience and resolve their fears.

Bettelheim believed that even the darkest of fairy tales, such as those by the Brothers Grimm, add clarity to confusing emotions. The hero of the story emerges as a role model by demonstrating how one’s fears can be overcome. The darkness of fairy tales allows children to face their anxieties and grow emotionally, thus better preparing them for the challenges of adulthood.

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This series is based on a chapter in our book, Conceptions of Leadership, published by Palgrave Macmillan. The citation for this chapter:

Allison, S. T., & Goethals, G. R. (2014). “Now he belongs to the ages”: The heroic leadership dynamic and deep narratives of greatness. In Goethals, G. R., et al. (Eds.), Conceptions of leadership: Enduring ideas and emerging insights. New York: Palgrave Macmillan. doi: 10.1057/9781137472038.0011

 

The Deal We Strike With Our Heroes

By Scott T. Allison and George R. Goethals

The price of greatness is responsibility.” – Winston Churchill

Recently we posted a blog entry that posed the question of whether we expect too much from our heroes.  With so many heroes falling from grace in the past few years, we suggested the possibility that we hold them to too high a standard.  We also offered some reasons why we might expect more virtuous behavior from heroes than we do from the average non-hero.

Our good friend Greg Smith, who is the founder of Agile Writers, read our blog post and contributed a thoughtful comment that really got our attention.  Greg raised the possibility that we enter into an implicit exchange relationship with our heroes.  The exchange relationship carries with it an unspoken agreement that we make with heroes, and it goes something like this:  We agree to give heroes our adulation and support, but in return they must maintain an idealized image of human greatness.

Our bargain with heroes can be described this way:  “You [the hero] reflect what we want to see in ourselves.  But if you reflect the reality of us as people and a society, then you’re just one of us after all.  And therefore, you’re no more special than we are and you have to come down from your pedestal and stand in the muck with the rest of us.”

If a hero misbehaves, we consider it a breech of contract and we withdraw our admiration and support.  We may also show considerable anger about the contract violation — witness the outrage directed toward Tiger Woods that still lingers to this day.  A broken agreement can turn a hero into a villain rather quickly and easily. Prominent examples, besides Tiger, include Kevin Spacey, Lance Armstrong, and Joe Paterno.

The idea that we enter into implicit agreements with the successful and powerful is not a new one.  In 2005, psychologist David Messick published an article in which he proposed that an implicit contract exists between leaders and followers.  The contract states that we’ll let leaders lead us if they provide us with a vision, a sense of pride in the group, and group security and protection.  In return, we’ll give leaders our loyalty, effort, and support.

We may have a similar implied agreement with celebrities and the rich.  The terms of the unspoken agreement may be that we’ll let famous celebrities have their fame and wealth, and we may even become their fans, but only as long as they earn their affluence honestly, pay a higher percentage of taxes, behave well, and don’t abuse their privileged status.

What’s most interesting about these implicit agreements is that highly successful people are either not aware of them, or they find it extremely difficult to honor them.  Those of us among the lowly masses seem to be much more sensitized to these informal contracts with heroes.  Maybe this is because we’d much rather be a hero than a hero would want to be us.  If we’re going to put them up on an enviable pedestal, the least they can do is follow basic rules of common decency.

Sometimes, after they’ve fallen, former heroes know they violated the contract.  Tiger Woods admitted as much.  “I knew my actions were wrong but I convinced myself that normal rules did not apply,” he said.  “I ran straight through the boundaries that a married couple should live by – I thought I could get away with everything I wanted to.  I felt that I had worked hard my entire life and deserved to enjoy all the temptations around me.  I felt I was entitled.”

Tiger’s confession is consistent with the results of several psychological studies showing that the more power and success that people enjoy, the more they believe they don’t need to play by the same rules as the rest of us.  And yet it is when someone becomes a hero that we most expect them to play by those rules.  For this reason, maintaining one’s heroic status may be just as challenging as becoming a hero in the first place.  Ironically, one of the most common ways to become a villain is to become a hero first.

All because of the deal we strike with our heroes.

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ReelHeroes.net — Over 350 Reviews of Movie Heroes

By Scott T. Allison

My good friend Greg Smith and I have two things in common:  We love heroes and we love movies.  Greg is an expert in fictional writing and character development in storytelling.  I’ve been studying heroes for more than a decade and have published many books on the subject.  And so by establishing ReelHeroes.net back in 2013, Greg and I found a way to combine our interests and our expertise.

What is the mission of ReelHeroes.net?  Our goal is to critique the heroic characters in recent and classic movies.  Typically, movie reviewers focus on the quality of the movie.  We do that, too.  But we’ve found in our research that people need heroes.  Hero stories are psychologically important to us.  These tales educate, they inspire, and they entertain.  And the typical hero journey follows a classic pattern and a series of stages that are characteristic of all hero stories throughout the ages.

When movie-makers acknowledge these patterns, we usually get a satisfying movie-going experience. But when they ignore these ancient, time-honored paradigms, the story usually falls flat.  So at ReelHeroes.net, we’re not only be able to tell you if a movie was good or bad, but we can also pinpoint where the hero-storytelling was good or not so good.

We base much of our hero analysis on the work of Joseph Campbell, a comparative mythologist who detected the following pattern in all hero stories:

(1) The hero starts out in a safe, familiar world.

(2) The hero is summoned, either willingly or unwillingly, into a new, dangerous, unfamiliar world.

(3) The hero is charged with some goal or mission.

(4) The hero encounters other people who fill important social roles — mentors, lovers, villains, sidekicks, & father figures are common.

(5) The hero then overcomes some missing internal quality to attain the goal.

(6) The hero is transformed significantly and returns to the familiar world.

(7) The hero then delivers the meaning of the journey.

Greg has used this pattern extensively in Agile Writers to help his students compose effective and entertaining novels.  In the past few years, he’s helped people compose over a dozen first drafts and several self-published books.  They’ve all relied on these tried-and-true stages of the hero journey.  Two members of the Agile Workshop have been nominated for the coveted James River Writer Best Unpublished Novel Contest.

At ReelHeroes.net, we  sometimes refer to other models of heroism in our reviews.  Paul Moxnes has a model based on family structure, arguing that heroes emerge within a family hierarchy (e.g., Fathers, Mothers, Sons, Daughters, Servants, etc).  In our own research on heroes, we’ve found that heroes tend to possess The Great Eight characteristics.  Heroes are smart, strong, selfless, caring, resilient, charismatic, reliable, and inspiring.

We’ve reviewed over 350 mainstream movies that people who appreciate heroes will want to see. We even occasionally review old classic movies with an especially strong hero story. We’ll avoid genres such as horror or slapstick comedy (although we confess to being avid Three Stooges fans). We love to review bad films as much as good films because it gives us a chance to see where the artist deviated from the acknowledged structures — and wonder how in the world did this film get made!

So join us as we explore the hero journey in action on the big screen.  We use the word “action” deliberately, as the work of any good hero involves acts of good deeds.  As Robert Downey, Jr., once observed, “Hero is not a noun, it’s a verb.”

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The Grinch: A Villain Makes a Hero’s Journey

tumblr_lwoa32M1pW1qcyr71By Suzanne Lucero

Around this time of year a person might find his or her thoughts turning to a well-known literary character whose ultimate redemption holds hope for even the most hard-hearted of individuals.

I am speaking, of course, of the Grinch.

In the first sentence of How the Grinch Stole Christmas (by Dr. Seuss), we are introduced to the villain of the piece.

Every Who

Down in Who-ville liked Christmas a lot …

But the Grinch,

Who lived just north of Who-ville,

Did NOT.

That’s terrible, we think. Who doesn’t like Christmas? A few sentences later, though, we are given the probable reason for the Grinch’s dislike. His heart, you see, is two sizes too small. Suddenly, the Grinch is a tiny bit sympathetic, and we sort-of understand when he declares,

“Why, for fifty-three years I’ve put up with it now!

“I MUST stop this Christmas from coming!

… But, HOW?”’

This is the inciting incident. The Grinch thinks Christmas means noisy toys and feasting and singing, so how does he stop all this from happening? The Grinch comes up with a plan, a “great, grinchy trick,” and puts it into action. In other words, his journey begins.

He begins by making a Santa Clause hat and coat. (He foregoes the snowy-white beard, though. Maybe it itches.) Then he decides grinch+with+doghe needs a reindeer to complete his St. Nick impersonation. For this he enlists his tiny dog, Max. The Grinch ties a horn on top of Max’s head, thereby changing the dog from a mere pet to a minion: Max will be aiding the Grinch by pulling his sled.

The plan starts well. The Grinch has Max pull the sled into Who-ville and proceeds to steal everything from the first house he sees. The only obstacle that presents itself to the Grinch comes in the shape of a child who has woken up to get a glass of water. When she asks why he is taking the Christmas tree, he placates her with a lie and sends her back to bed. The Grinch continues to ransack the village until all the presents, all the decorations, and all the food for the feast is packed into bags, loaded precariously on the sled, and pulled:

Three thousand feet up! Up the side of Mt. Crumpet,

He rode with his load to the tiptop to dump it.

(You’ve really got to be feeling sorry for Max at this point.)

The Grinch gloats. He’s won! Christmas can’t come, now. Everything is gone and the Whos will all be crying. He pauses to savor his victory and puts his hand to his ear to listen.

And he did hear a sound rising over the snow.

It started in low. Then it started to grow…

But the sound wasn’t sad!

Why, this sound sounded merry!

It couldn’t be so!

But it WAS merry! VERY!

In the hero’s journey, there comes a point where he or she must “enter the cave.” This is the ultimate low point in the story. The hero is alone, either physically or emotionally. Everything he or she has been working for is crumbling and the antagonist has triumphed; the hero is, actually or metaphorically, dead.

This is the Grinch’s cave. This is where he realizes he’s failed.

 He HADN’T stopped Christmas from coming.

IT CAME!

Somehow or other, it came just the same.

But How the Grinch Stole Christmas is a hero’s journey, not a morality tale. For all villains, unless they are true psychopaths (which is a medical condition), the cave offers a final chance to redeem themselves. When their defenses have been beaten and they are no longer fighting but only trying to understand why they failed, their hearts can be touched with a little thing called grace.

Then the Grinch though of something he hadn’t before!

“Maybe Christmas,” he thought, “doesn’t come from a store.

“Maybe Christmas … perhaps … means a little bit more!”

That was the elixir the Grinch found in his cave, the piece of him that was missing. He realized that material things don’t bring happiness. Simply being together with those we love is reason enough to sing.

the_grinch_cut_the_first_roast_beast_by_rhetoric_of_sushi-d4jyzdfAnd what happened then …?

Well … in Who-ville they say

That the Grinch’s small heart

Grew three sizes that day.

With this new understanding and (we hope) love in his heart, the Grinch completes his hero’s journey by returning everything he has taken from the Whos and sharing in their celebratory feast.

Merry Christmas everyone.

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Suzanne Lucero is a wife, mother, and pre-published author who knows a little about a lot of things and is constantly learning more. She is passionate about writing and is determined to publish her novel-in-progress within 5 years.