Raja ne gami te raani
Chaana veenthi aane
Kya karega kaaji
My mother spouted these words during another one of our marriage talks, which seem to be the ultimate tangent in any family conversation now. As more of my friends tie the knot, younger generations of my family dive into romantic exploits, and I near 30, there seems no escaping it.
Roughly translated, the folk saying means:
A king makes a queen [of any who he fancies]
Even if she’s making cow pies
And what can the priests do
In it lies the implied sense of manhood’s rule over anyone he sets his eyes on, regardless of what his educated elders have to say about it. It’s a folksy saying, innocent and dated, but it cuts to the core of where I stand in the world: An Indian-American man, instilled with and expected to live up to societal duties to establish my castle and spread my seed.
The cultural disposition of just “going along” with these things to please the family — as a writer, it feels antithetical. Would I write something just to please the culture?
In speaking of the social role of literature, Indian writer Govardhanram Tripathi wrote in the preface to his novel Saraswatichandra, “Both women and the novel desire to be beautiful, but our fulfillment of this desire just be a means to achieve higher goals. Striving for mere aesthetic pleasure is not only understandable, it is futile — and indeed it could be harmful — to attain that step and not rise upwards.”
Tripathi’s belief was that the novel should project an ideal future, but should remain in-step with the quotidian, avoiding any real radical divergence. That’s not good for society. It’s not good for the family. Literature, like all art, becomes an avatar of the cultural identity, and in Indian publishing, the country’s complicated relationship with autonomous female narratives continues.
It is no secret that this idea lies at the root of a larger social ill in India today. The headlines are flush with stories that range from men whistling and pawing at women walking down the street, to, at their most vile, incidents like Delhi’s 2012 bus gang rape, or last New Year’s Eve in Bengaluru, where 1,500 police officers couldn’t control thousands of drunken revelers snatching at the clothing of women trying to get home.
I used to have an easy target: Bollywood. Entire plotlines of lovesick boys chasing their consorts through forests and mountains, their affections easily reciprocated after a song-and-dance number, have brainwashed generations into thinking that romance starts with lighthearted stalking, and flourishes through female obligation. But Bollywood, whose male stars are propelled to near-mythic status, revered as Gods walking the earth, gestures towards a deeper ritual of masculinity worship that is central to the Indian condition.
Many cultures are built on a similar patriarchal notions that codified into the social fabric in different ways. In India, many will claim that female equality had been the norm in Vedic times, citing principles like ardhangini, that men and women are complementary halves of a whole. They will point to the images of Goddesses, and professing an insult to wife or mother is unconscionable. Somewhere along the way — Muslim empires, British colonials — it all got messed up.
Literature however, preserves a record of women perhaps, yes, having a voice and role — but one dictated by the whims of men.
The uber-mensch is no doubt Krishna, who toyed with the bathing Gopis by stealing their clothes along the river bank. His love story with Radha is our Romeo and Juliet, without the familial strife. Krishna of course, is a supporting player in the epic The Mahabharata, chronicling the battle between the cousin clans of the domineering 100 Kauravas against the heroic five Pandavas.
The tale’s pivotal moment comes during a game of dice, where the Pandava King, Yudhishthira, is cheated out of his kingdom by his cousins. One by one, he stakes his own throne, then each of his brother’s estates, and finally their polyamorous wife, Draupadi. At this point, Draupadi is dragged by her hair into the main hall, and the Kauravas begin pulling at her clothes, crying that if she can be married to five men at once, what’s the point of covering up? As her linen is torn from her, she prays to Krishna, who blesses her with a never-ending strand of clothing so that she doesn’t experience the ultimate shame of nudity, and in doing so, seals her holiness in the annals of myth.
Now, it’s important to mention that Draupadi is revered across India as a goddess in her own right, and celebrated as a feminist figure. But what of the feckless Pandavas, her husbands, who sit by and watch, unable to act because they’ve “rightfully” lost her?
The Pandavas, we are told, are virtuous, stalwart, underdog heroes — but at every beat they seem to buck their superlatives. They give in to the cheating and hostile bureaucracy of their cousins. Throughout the epic, they all fall prey to various vices: Yudhishthira loves to gamble; Bhima is a bully with seemingly insatiable bloodlust, brutally dismembering, crushing, and decapitating several characters through the story. Arjuna famously has a crisis of faith and confidence moments before battle, prompting Krishna to recite the Bhagavad Gita (and only then fights because Krishna tells him to). And there’s poor pretty-boy Nakula and dutiful Sahadeva, victims of vanity and pride, who barely register in the tale.
Indian children are raised on similar tales of kings wandering the wilds and happening upon village nymphs, struck with cupid’s arrows and picking up new wives. These are our mythical heroes and role models. We’re told they act out of honor and passion; when their actions are questionable, it is waived by divine destiny.
Through time, the examples multiply: the poet Kālidāsa in the 5th century dramatized the story of Shakuntala, another forest nymph who ensnared King Dushyanta. Their offspring Bharata founds the dynasty leading to the Pandavas.
Upon the Muslim invaders, the culture ripens with more stories of star-crossed lovers: Leila and Majnun; Shah Jahan and Mumtaz Mahal (of the Taj); or the Hindu warrior Bajirao and his lover Mastani, who commits suicide upon hearing of his death in battle, an act of Sati, where Hindu widows are bidden to throw themselves onto their husband’s funeral pyres. (Let’s add that Sati herself is a goddess, and first of two consorts to Shiva.)
The folk saying Raja Ne Game Te Raani is also the title of a popular contemporary Gujarati stage play, about a middle-aged couple whose three daughters run the household instead of learning wifely duties from their mother. It takes a strong-willed servant — male, of course — to show the daughters their rightful way and bring peace to the home.
Modern feminism in India has often been dictated by men, first by colonialists trying to tame “savage” rituals like Sati, and later by Gandhi and other reform leaders hoping to envelope women’s liberation as a component of Independence. Today as women wrestle control of their own narratives, men tax them by attacking their moral standing. When the women assaulted in Bengaluru reported to the police and caused a national uproar, the politicians were quick with stock answers — they shouldn’t have dressed immodestly, they should have known better, it was New Year’s — what did they expect? Karnataka State’s home minister G. Parameshwara remarked, “They try to copy westerners not only in mindset, but even the dressing, so some disturbance, some girls are harassed, these kind of things do happen.” #NotAllMen trended the next few days, as if India’s stalwart Pandavas threw their hands up and claimed, “Hey, don’t look at me.”
The lack of women’s agency in their own narratives was chronicled famously by Sandra Gilbert and Susan Gubar in their seminal work, The Madwoman in the Attic, examining writers like Jane Austen, Emily Brontë, and Emily Dickinson, and noting that even the most prominent women writers worked under the shadow of their male counterparts. They pose the question, “If the pen is a metaphorical penis, with what organ can females generate texts?”
As in most cultures, the Indian woman writer has often been placed in the position of being reactive to male hegemony. For every Mirza Ghalib there is a Begum Zeb-un-Nisa; both prized Mughal-era poets, only one imprisoned the last 20 years of her life for being too freethinking. For every Munshi Premchand, an Ismat Chughtai; both crafting socio-realist fiction about female sexual identity, yet only one summoned to court on grounds of indecency.
In her autobiography My Story, the late writer Kamala Das characterizes her life living under a conservative father and later a conservative arranged husband. She tries to dutifully please both of them, but they fail to ignite any intellectual and emotional connection with her. Even after achieving literary prominence, she writes in the preface: “This book has cost me many things that I held dear, but I do not for a moment regret writing it.”
There is no shortage of amazing writing coming out of India today. Novels about cultural displacement by authors of Indian descent like Jhumpa Lahiri, Kiran Desai, Chitra Banerjee Divakaruni, and their contemporaries have found global success. A diaspora bubble shifts the critical focus of diaspora writers away from gender, and makes it a battleground for class. In the eyes of India’s patriarchal culture wardens, their work is now Western, immoral, published by the big New York and London houses, printed for English-only eyes. It’s not Swadesi, not of this land. Their stories are dictated by a migration and divorce from a culture that then remains untouched, unchanged.
Meanwhile, writers like Arundhati Roy and the late Mahasweta Devi who remain in India are often perceived more as leftist activists than storytellers. It’s a longshot to assume their rich, nuanced works have any traction with India’s cricket-playing, paan-chewing working class. The current Hindu nationalist government staunchly opposes voices that threaten a particular religio-nationalist narrative (in one example from outside the country, University of Chicago professor Wendy Doniger’s book on Hindu sexuality was banned in India). Writers like Anjum Hasan, Anita Hair, and Anuradha Roy battle for bookshelf space against the likes of Chetan Bhagat, whose simple prose about cricket and call centers flies off the shelves. They are competing with Shobhaa De, a former model and Mumbai socialite, dubbed the “Jackie Collins of India,” whose bestselling tawdry Sex-in-the-City-esque tales serve to titillate schoolboys as much as give a feigned sense of female success in books.
Recently Bollywood has trended toward women-centric stories. Films such as Pink, Queen, Gulaab Gang, and Piku have all been smash hits at the box office, yet come with the stamped approval of male directors, male co-stars, and plotlines circling around and back to the women defying fathers, marriage, rape, or ignorance. And again, we find that any directorial voice — say a Mira Nair or Deepa Mehta — looks to markets abroad to find a platform.
Admittedly, I am also covering here only the writers who have risen high enough in the Indian literary scene that I, as an American, can identify them. There’s much to be said of small presses like Zubaan and Women Unlimited, as well as authors writing in one of India’s many regional languages. But in an increasingly globalized country, the success of English-language publishing remains the most profitable benchmark, which only threatens to further limit Indian women’s narratives.
In speaking of literature from South Asia, I admit this is a cursory overview of a millennia-spanning history. But as an Ahmedabad-born immigrant in a growing diaspora, my identity remains its product — through literature, through film, through every custom.
We pray to the feminine image with ultimate, unreciprocated piety, but in practice it’s considered a two-way street. We elected a woman prime minister before it was common to do so, then brutally assassinated her at the gates of her own home. Bollywood’s current screen queen, Deepika Padukone, drew scorn for a Vogue short film by proclaiming sex was “my choice.” A woman with power is a woman unchecked. Woman is either heretically subversive or divinely transcendent; there is no middle ground.
In a workshop in my early 20s, my writing was torn down over one prevalent problem: All of my female characters were immaculately beautiful, endearingly personable, cherished by my protagonist — like a goddess, and were just as intangible. I resist marriage, not because I detest the prospect of a devoted relationship (or the lavish wedding party), but because I’m uncertain of my own place in it, suffering from what Harold Bloom dubbed, “the anxiety of influence.” How does one escape the ills of heritage without leaving it behind entirely?
When the conversation arises — and it does with growing frequency — my family talks as if it’s already a done deal. Just say the word and we’ll find the girl. Do it for us. You’re a great catch — you even know how to cook! Most Indian girls don’t bother to learn anymore.
I’ve stood in the corner of those banquet halls, watching grooms draped in dowries, riding in on stallions and carried to the mandap on shoulders of their brothers. It was nauseating.
As of now, even the best of us may have to settle with the fact that we are reserved Pandavas, and no more or less righteous.
The Disrobing of Draupadi, Wikimedia Commons
1. Step One: Admit You Have a Problem
Last month, New York Times critic Dwight Garner wrote a lukewarm review of two “philosophical” self-help books, the first installments in a series edited by Alain de Botton called The School of Life. Towards the beginning of the review we are cautioned that self-help books can be “fraught with peril,” attended by the risk “of leading millions of your innocent brain cells into the killing fields.” (The books under consideration appear to have been only mildly perilous.)
Garner’s disdain for the genre is nothing new. Disgust with self-help has been around since Dr. Samuel Smiles wrote his lucrative 1859 classic Self-Help, followed by a popular series of sequels: Character, Thrift, Duty, and Life and Labour. A laudatory 1893 review of this oeuvre begins with a telling disclaimer: “It is the fashion these days to speak in anything but complementary terms of Dr. Smiles and his different books…” Apparently hating on self-help was common practice by the turn of the century. The preface to the Oxford Classics edition of Self-Help cites a particularly blunt example, written by Irish author Robert Tressell in 1906: “[Self-Help] is suitable for perusal by persons suffering from almost complete obliteration of the mental faculties.”
Yet, in one of his many legacies to modern self-help, Smiles was both widely reviled and fantastically successful. He quickly became a household name in the English-speaking world — early printings of Self-Help sold out instantly, one of them reportedly purchased by Charles Darwin, whose Origin of Species was published in the same year. Success was equally explosive abroad. Nakamura Masanao’s somewhat liberal 1871 Japanese translation Saigoku risshihen (“Success Stories of the West”) eventually sold a million copies, serving as an exotic Western repackaging of stale Neo-Confucian values. (Scholars also credit Saigoku risshihen with introducing Hamlet to Japan: three lines from Polonius’s “Neither a borrower nor a lender be…” are the epigram for Chapter 10, “Money, It’s Use and Abuse.”)
Self-Help achieved a near-sacred status across the globe. It was translated into over a dozen languages (Dutch: Help u Zelfen) and did well in all of them. In his autobiography, Smiles recounts the following illustrative anecdote, related to him by a friend (and there is no reason to disbelieve it):
An English visitor to the Khedive’s palace in Egypt asked from what source the mottoes written on the walls were derived. “They are principally from Smeelis,” he was told, “you ought to know Smeelis! They are from his Self-Help; they are much better than the texts from the Koran!”
There are some for whom the very act of comparing “Smeelis’s” work with a foundational religious text will feel vaguely sacrilegious. The same kind of sacrilege is committed by Tom Butler-Bowdon in his meta-self-help bestseller, 50 Self-Help Classics, a Cliff’s Notes style alphabetical review in which Martha Beck’s Finding Your Own North Star is followed by the Bhagavad-Gita, and Wayne Dyer’s Real Magic precedes Ralph Waldo Emerson’s Self-Reliance.
Self-help detractors would want to accuse the Khedive palace architect of poor taste, and Butler-Bowdon of making a self-serving category mistake, elevating profitable trash by placing it in illustrious company. Others, like Alain de Botton, might call such accusations snobbish and unjustified, reflexive dismissals of recent work in the venerable tradition of wisdom literature, a tradition that traces its lineage back to the Dao-de-jing. Stoic philosophy, and the Bible.
No one expresses this tension better than Scottish historian and essayist Thomas Carlyle. Although Carlyle makes a cameo in Self-Help (as an exemplar of indefatigable industriousness), Smiles seems to have missed the appearance of his favorite concept in Carlyle’s satirical novel, Sartor Resartus. The novel purports to tell the true story of a German philosopher who develops a transcendentalist theory of clothing. In one of the earliest non-juridical uses of the term, this sartorial philosopher “acquires for himself” the virtue of Self-Help, which Carlyle’s narrator describes as “the highest of all possessions.”
But we cannot trust this description. Sartor Resartus is laced with irony (a rhetorical technique notably absent from most self-help, which is nothing if not earnest). Carlyle’s protagonist, for instance, is named Diogenes Teufelsdröckh, which translates to God-born Devil’s Shit. In the ironizing shadow of Teufelsdröckh, everything in Sartor Resartus looks a little like divine truth and a little like incoherent platitude, from the self-helpish notion of the EVERLASTING YEA, “wherein all contradiction is solved,” to the very concept of self-help that Carlyle helps inaugurate. In other words, Teufelsdröckh makes me wonder: The EVERLASTING YEA, Self-Help, Samuel Smiles, The School of Life — are these essentially God-born or Devil’s Shit? That’s my problem. I don’t know how to feel about self-help. And like it says in the Bible, or the Bhagavad-Gita, or maybe it was Ben Franklin, 99% of solving a problem is identifying it, so I’m well on my way!
2. Step Two: Look Inside Yourself
It is always tempting to answer questions via a scholarly, objective route: are we more convinced by sociologist Micki McGee, whose analysis reveals self-help literature as a pernicious facilitator of American egoism and oppressive social norms, or by folklorist Sandra K. Dolby, who identifies in self-help the universal rhythms and patterns of parables and folk wisdom? While researching this essay, however, I learned from numerous self-help authors that answers to profound philosophical questions don’t come from other people, especially not scholars. I also learned the sad truth about “objectivity,” a pseudo-concept that Daoist sages, quantum physicists, and Deepak Chopra’s tweets have all shown to be objectively false.
What’s left? Where can we turn?
The only person you can depend on for answers is YOU, which means consulting your own, unmediated, subjective feelings, and then allowing them to speak the Truth.
Okay, here goes. When it comes to self-help, my unmediated, subjective feelings place me squarely in the Devil’s Shit camp. Just reading certain titles (Learning to Dance in the Rain, To a Child Love is Spelled T-I-M-E) prompts a deep and spontaneous revulsion. This revulsion is both aesthetic, a matter of taste, and intellectual, a matter of truth. And it is unique, reserved for a very small number of cultural products — off the top of my head I come up with Thomas Kinkade paintings, smooth jazz, and televangelism. (Olive Garden? Close, but not quite.)
It’s clear to me why televangelism makes the list. There’s obvious crossover between evangelism and self-help, their easy synthesis epitomized by Joel Osteen and Rick Warren. Christian self-help is a sub-genre so ubiquitous that when I entered a Christian bookstore and asked for the self-help section, one employee looked at me quizzically and said, “Well, that’s pretty much everything in here, unless you’re looking for a Bible.” Nominally secular self-help routinely borrows Christian terms and metaphors (calling, mission). Even science-y Tony Robbins is indebted to televangelism — sociologist McGee quotes Robbins’s infomercial co-producer Greg Renker: “The infomercial boomed because the televangelists ran into problems. We are the new televangelists.”
The link between self-help and televangelism helps make sense of my intellectual revulsion. Rick Warren may be a charismatic speaker, but he is a lousy interpreter of the Bible. Take, for example, his reading of Jeremiah 29:11, where God says, “For I know the plans I have for you, plans to prosper you and not to harm you, plans to give you hope and a future.” Warren takes the passage out of context and reads it as an uplifting message for everyone. But God’s words in Jeremiah 29:11 are actually meant specifically for the Israelites exiled from Jerusalem to Babylon. Contextualization is important, because without it one could appropriate Jeremiah 29:18 to show that God suffers from wild mood swings (“I will send the sword, famine and plague”), or Jeremiah 29:26 as justification for locking up people like Rick Warren: “You should put any maniac who acts like a prophet into the stocks and neck-irons.”
Many self-help books take similar liberties with science, history, and Eastern philosophy, my own area of expertise. I can only assume that quantum physicists are as frustrated by Deepak Chopra’s Quantum Healing as I am by the short biography of Laozi on the front flap of Dr. Wayne Dyer’s version of the Dao-de-jing: “Five hundred years before the birth of Jesus, a God-realized being named Laozi in ancient China dictated 81 verses…” While I share Dyer’s admiration of the Dao-de-jing, it’s unclear to me why extolling its virtues entails willful ignorance (or duplicity) about its origins. Wikipedia helpfully points out that sinologists have serious doubts about Laozi’s historical existence, and a quick read of D.C. Lau’s preface to the Penguin edition explains the composite nature of the text. One thinks Dyer’s extensive research (mentioned repeatedly) would have turned up Lau’s influential analysis, but it is nowhere to be found.
So, unsurprisingly, my intellectual revulsion is a reaction to untruth, the result of either idiocy or mendacity, depending on the self-help author in question. In order to explain my aesthetic revulsion, then, I merely need to figure out what self-help shares with smooth jazz and Thomas Kinkade.
Hmm. What could the Painter of Light™ have in common with self-help authors? Famous for his religiously-themed art, yet fond of public urination, accused of ruthless business practices, dead at 54 from a valium and alcohol overdose, the subject of posthumous scandal when his wife placed a restraining order on his girlfriend. Surely famous self-help authors don’t have similarly sordid and profit-driven biographies…
No! Wait! This is just a distracting, ad hominem argument that can’t prove anything about the aesthetics of Kinkade’s work or self-help books. Block out the negative energy. Focus. Look through your inner eye (eyes?) at the glowing pink cottage. What do you see? Listen with your inner ear to Kenny G. What do you hear? Read Stephen Covey with your heart. What do you feel?
I see… I hear… I feel… nothing. Nothing! That’s it! Kinkade’s over-saturated pastels, Kenny G’s bland solos, The Seven Habits of Highly Effective People: they have no soul. And this, ultimately, is the source of my aesthetic revulsion. It’s not that self-help writers are unskilled, though many of them are. It’s that they exploit a formula: co-opt an established authority (religion, philosophy, science, historical hero, literary master), add uplifting anecdotes, mix with self-adulation and empty promises, season with acronyms or lucky numbers, and serve! (I’ll leave it to art critics and music critics to detail the formulas behind smooth jazz and Kinkade’s mass-produced schlock.)
But true soullessness goes beyond formula. After all, fairy tales and blues are as formulaic as it gets, and they are God-born through and through. No, Devil’s Shit only results when formulas are calculated to produce maximal ease and safety, and then used to manufacture religious insights, jazz, or the self, products that are by nature challenging, dangerous, and complicated. That’s why 18th century morality tales for children (The History of Little Goody Two-Shoes, etc.) are so repugnant. Seven Easy Tricks for a Delicious Sandwich isn’t sacrilege — it’s a cookbook. But Seven Easy Tricks to Save Your Soul…
In short: Only Satan could enjoy reading The Purpose Driven® Life while listening to smooth jazz in a room filled with Kinkade landscapes. Actually, that’s not quite it. Only Satan could enjoy producing such a scene.
3. Step Three: Stand Up for What You Believe
Objection 1: Self-help books work for me/work for people, so why be nasty about them?
Answer: This objection rests on two flawed premises. The first is that self-help books work for people. While twelve-step programs (a noble relative of self-help books) enjoy some empirical validation, self-help books do not. This lack of validation will not deter self-help fans, fond as they are of anecdotal evidence. That’s fine. Victims of medical quackery are notoriously unwilling to admit the inefficacy of their favored panacea, even when it has obviously failed them. Why should it be any different for victims of spiritual quackery? Nevertheless, for the sake of explanation: as in those cases when astonishing cancer recoveries are misattributed to faith-healing or coffee-enemas, it’s likely that the perceived efficacy of self-help books is due to chance, the passage of time, or unsung orthodox treatment (therapy, exercise, friendship) undertaken in conjunction with the miracle cure.
The second flawed premise is that one shouldn’t be nasty about things that work. The geocentric model of the universe worked (Gee, our planet is super-special!). Propaganda works (Gee, our country is super-special!). Falsehoods and empty rhetoric deserve to be unmasked because people are entitled to think for themselves about important truths, even at the cost of happy complacency. And never fear, there’s all sorts of writing that can replace the crap I’m spoiling—just comb the epigrams of any self-help book and read whatever it is they came from.
Objection 2: But there’s lots of good self-help! Haven’t you heard of Aesop’s Fables?
Answer: Fair enough. A wildly broad definition of self-help ends up including everything from Aesop’s Fables to Rilke’s Letters to a Young Poet to Thomas Merton’s New Seeds of Contemplation, books well-worth reading and re-reading. But the problem is not with offering life counsel. The problem is with counsel that promises quick fixes and simple solutions, promises that are definitive of self-help. Otherwise there would be no need for the term at all: we already have philosophy, religion, fiction, psychology, economics, biography. What distinguishes self-help from these other categories is how it markets the allure of certain success in an endeavor where success is never certain, an approach evident in less unholy forms of self-help like diet books. As with propaganda, the evil is built right into the meaning of the genre, poisoning anything so-classified (even decent stuff) simply by association.
In an essay defending self-help, Alain de Botton writes, “The ancient philosophers recognized we all need help navigating our lives – so what explains self-help books’ decline in prestige?” But he is conflating wise masterpieces, which haven’t declined in prestige (does anyone trash Letters to a Young Poet?), with self-help, which, as we have seen, was always immensely popular and never prestigious. Ancient and modern philosophy already have a section in the bookstore. Categorizing them as self-help is a straightforward move made to sell more books by lacquering them with false hope. (Which is why it’s no shock that de Botton’s spirited defense appeared in the Guardian just after his School of Life series debuted.)
Objection 3: You’re a cultural elitist.
Answer: Really? George Carlin, the same guy who hated parents that wear Baby-Bjorns, put “these people that read self-help books” first on his list of “people who ought to be killed.” The problem with this objection is that it confuses good judgment with elitism, a confusion that is itself elitist. In a recent New York Magazine article, Kathryn Schulz describes her vision of someone who looks down on self-help: “I know people who wouldn’t so much as walk through the self-help section of a bookstore without The Paris Review under one arm and a puzzled oh-I-thought-the-bathroom-was-over-here look on their face.” De Botton agrees: “The unstated assumption of the cultural elite is that really only stupid people read them.”
Actually, it is an unstated assumption of the cultural elite that only those with high-falutin’ humanities degrees have a nose for Devil’s Shit. This is manifestly false. All you need to loathe smooth jazz is an ear for music. Anyone equipped with a moral compass who has heard the Sermon on the Mount will be revolted by Osteen’s pearly-toothed prosperity gospel. And it doesn’t take a rocket scientist to see the paradox in self-help’s insipid affirmation of its readers’ inner strength. In Carlin’s words, “The part I really don’t understand, if you’re looking for self-help, why would you read a book written by somebody else?! That’s not self-help, that’s help! There’s no such thing as self-help… if you did it yourself, you didn’t need help. You did it yourself! Try to pay attention to the language we’ve all agreed on!”
To be fair, Carlin might be trying to put his competition out of business, since he’s hawking his own brand of simple, formulaic wisdom: “Life is not that complicated. You get up, you go to work, you eat three meals, you take one good shit and you go back to bed. What’s the fucking mystery?”
Now there’s some good self-help, straight from the mouth of Diogenes Teufelsdröckh.