DIVERGENT: Shai Woodley and Theo James - What Real Beauty looks like

Theo James as Four in Divergent

Yes he is beautiful. The performed role of Four introduces the new masculine. What man can and could be.

Shai Woodley as Tris in Divergent

Tris is not pretty.

She is not sexy.

She is not cute.

She is not hot.

Shai is simply beautiful.

Tobias runs from Abnegation to Dauntless.

Beatrice runs to Dauntless from Abnegation.

In his fearscapes Four calms his breathing and heart rate. His approach is passive. Four advises Tris to calm her breathing and lower her heart rate. Deal with what's in front of you. Be brave.

Tris actively deals with what's in front of her, to confront and eliminate it so the simulation moves to the next one. An active approach.

Interesting inversion

Yosarrian  in Catch-22: “I’m not running away from my responsibilities. I’m running to them."

Rebecca Schwart/Hazel Jones in The 

Gravedigger's Daughter: Where we're from is nowhere, Mister. But somewhere is where we are going.

Or shall we just read Beatrice through Dante who first saw her when she was nine. As a woman she had the highest reputation of goodness and charity as did her father. Completely selfless. He loved her all his life. She accompanied his imagination through the Circles of Hell and to Paradise, always guiding him with her strength and goodness. 

Beatrice comes to a Circle of Hell which is Dauntless to rescue Tobias.

Greek form of TOBIAH. This is the name of the hero of the apocryphal Book of Tobit in many English versions of the Old Testament. It relates how Tobias, with the help of the archangel Raphael, is able to drive away a demon who has been plaguing Sarah, who subsequently becomes his wife. 

Dante's  Beatrice dies when they are both around 25 years old. Dante cannot be consoled and he writes poetry about death as in Medieval times love and death were joined - Courtly Love. For 2 years afterwards he has an infatuation with a "woman in a window' to whom he writes poetry. Beatrice will reproach him for this in his writing. Then Dante will go into local Florence politics until he is exiled with a threat of death over him. (Both of them had been betrothed as children to others and married others.)

...but the government was still essentially middle-class republican. At the head were the three priors, drawn from the major guilds and housed across the way from the Alighieri hose, in the Tower of Castagna. (p. 71 Dante by R. W. B. Lewis)- I found this floating sign interesting although unimportant.

DIVERGENT: Tris as a PARRHESIASTES in Divergent

Tris Standing as Target in Place of Al

"Anyone can stand in front of a target.

It doesn't prove anything." Tris Prior

The context: Al has been told to stand in front of the target and he is trembling with fear.

Dauntless Ideology: 

• We believe in ordinary acts of bravery, 
• And in the courage that drives one person to stand up for another.
• Dauntless never gives up.

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Tris stands watching as Four gets knives ready for throwing at Al. She wants to say something and is afraid to say it. 

But she believes in Dauntless Ideology.

 Ordinary acts of bravery and the courage that drives one person to stand up for another. 

Have you ever been in this situation?

This is the challenge to a PARRHESIASTES.

Compared to Snowden it is a small personal thing. But beginnings start somewhere.

The Meaning of the Word Parrhesia

• Frankness
• Truth
• Danger
• Criticism
• Duty

...the commitment involved in parrhesia is linked to a certain social situation, to a difference of status between the speaker and his audience, to the fact that the parrhesiastes says something which is dangerous to himself and thus involves a risk, and so on.

By inverting the paradigm, the searchlight is thrown on the Other, the more powerful entity, and we see that the parrhesiastes using parrhesia discloses the character and “truth” of the “sovereign” to the people. In that respect parrhesia lifts the mask of the “sovereign.”

If there is a kind of “proof” of the sincerity of the parrhesiastes, it is his courage. The fact that a speaker says something dangerous — different from what the majority believes — is a strong indication that he is a parrhesiastes.

Danger: Someone is said to use parrhesia and merits consideration as a parrhesiastes only if there is a risk or danger for him in telling the truth.

So you see, the parrhesiastes is someone who takes a risk….Parrhesia, then, is linked to courage in the face of danger; it demands the courage to speak the truth in spite of some danger. And in its extreme form, telling the truth takes place in the “game” of life or death.

When you accept the parrhesiastic game in which your own life is exposed, you are taking up a specific relationship to yourself; you risk death to tell the truth instead of reposing in the security of a life where the truth goes unspoken. Of course, the threat of death comes from the Other, and thereby requires a relationship to the Other. But the parrhesiastes primarily chooses a specific relationship to himself: he prefers himself as a truth-teller rather than as a living being who is false to himself.

so, you see, the function of parrhesia is not to demonstrate the truth to someone else, but has the function of criticism: criticism of the interlocutor….Parrhesia is a form of criticism either toward another or towards oneself, but always in a situation where the speaker or confessor is in a position of inferiority with respect to the interlocutor. The parrhesiastes is always less powerful than the one with whom he speaks. The parrhesia comes from “below,” as it were, and is directed towards “above.”…But when a philosopher criticizes a tyrant, when a citizen criticizes the majority, when a pupil criticizes his teacher, then such speakers may be using parrhesia.

Duty: The last characteristic of parrhesia is this: in parrhesia, telling the truth is regarded as a duty. The orator who speaks the truth to those who cannot accept his truth, for instance, and who may be exiled, or punished in some way, is free to keep silent. No one forces him to speak, but he feels that it is his duty to do so. …Parrhesia is thus related to freedom and duty.

in parrhesia the speaker uses his freedom and chooses frankness instead of persuasion, truth instead of falsehood or silence, the risk of death instead of life and security, criticism instead of flattery and moral duty instead of self-interest and moral apathy. (FS pp.11-20)

Foucault - Fearless Speech

This is the context that Tris finds herself in Dauntless training. Four would prefer that she keep quiet. She cannot. Her position is dangerous with Eric and she risks it all in doing this. Eric will pair her in a fight with Peter who can beat her and hurt her badly, which Eric gives the OK for by nodding his head at the end of the fight, and Peter kicks her into unconsciousness. 

_________________________________________

The part Foucault does not discuss is the assignation of scapegoat that falls on the Parrhesiastes. When Tris returns to her friends they cheer her for daring to speak out to Eric. The Parrhesiastes often says what the others are thinking and feeling but dare not say themselves. 

This was Snowden's dilemma. Who was going to tell the truth? Then he realized that he was going to have to be the one. And the fires of hell from the empire came down on him to kill him.

Tris

DIVERGENT: Reading Jeanine's Strategy and Tris's Radical Otherness Through Zizek

"Abnegation if left unchecked, will destroy the faction system"

Jeanine is absolutely correct in knowing that Abnegation will eventually ruin the peace based on the  faction system as it is, patterned closely on the Quakers and on Gandhi's method of Satyagraha that brought down the United Kingdom, and disrupted the Indian Caste system, where people were born into a caste (determining their entire lives) with never any chance of change. But what did the Quakers do? 

They began the resistance to slavery in 1760 in Virginia. They were active in the Resistance Movement against the Viet Nam War. Quakers believe in carrying their ideals and beliefs into action. They are not Sunday Christians. The Quakers initiated the abolition movement, destroyed slavery and the wealthy plantation system that depended on enslaved labor. It took about 100 years.The Quakers also fomented the resistance and end to the Viet Nam War. Does anyone think Abnegation cannot do this to the faction system?

Abnegation is obstructing Jeanine's plans to introduce materialism and prosperity, i.e. capitalism. They will not be complicit in fostering "capitalism" which will be less regulated, or unregulated by any moral codes of behavior.

The movie reveals many things to us without comment. We see some older people in Abnegation as the crowds move in the streets toward the Initiation Ceremony, but few if any in Dauntless. We also see older people in Amity. We slowly learn that the factionless mainly come from failed initiates, especially Dauntless. Dauntless is itself increasing the population of the factionless, increasing the problem of homeless hoards. Dauntless thus creates the factionless that they must protect the city against. Dauntless creates its own reason for being. This information comes to us in a purely visual form with the announcement of being chosen, some information that requires us to connect some dots. 

It is apparent that at one time Dauntless - and the other factions - were created by some spontaneous and authentic feelings. The factions as we see them 100 years after have become institutionalized. The factions have entered the Order of Production, ensuring irreversibility, metastasizing. What might have transpired is being changed into an Event by Jeanine.

This is what Edward Snowden warned about the NSA mass collection of information. He did not say that it was being misused BUT that at any time the administration of NSA changed, with those coming to leadership positions there, this could easily happen. That different people could decide to use the information in a different way that would compromise citizens and reveal their personal lives to their detriment.

Divergent gives us this moment in time where institutionalized factions - and we are most familiar with Dauntless - have metastasized into a totalitarian mini state and formed an alliance with Erudite.

As Baudrillard tells us through Nietzsche, when the Symbolic Order moves into the Order of Production it becomes IRREVERSIBLE. It metastasizes. This is what we see with Dauntless. New Rules. Roth's book makes this clear in Four's complaining to Tris, but if we can read through Baudrillard we need no explanation as to what's going on here. The Order has changed in Dauntless and in Erudite. Science and technology are on their way to endless complication. The Foucauldian Grid of power/knowledge is now visible.

Tris is a true revolutionary. Katniss is a figurehead and those using her are violently fighting the government. So why is Tris this radical figure? An imaginary figure Jeanine has had nightmares about is now present in her reality. 

Tris is exemplifying Zizek's prescription for breaking the system. One embraces the idealistic pronouncements and works to make them surface, to become reality, to truly be what they are. 

Dauntless Manifesto

• We believe in ordinary acts of bravery, 
• And in the courage that drives one person to stand up for another.
• Dauntless never give up.

So here we have the ideology. You know like our own freedom, equality and justice for all.  Zizek will say to over-identify with the ideology to force it to be what it says it is or disintegrate. Tris has over-identified and continues to push it.

HOW?

First she believes it. (Roth's book pushes this point over and over. To make sure we get it.) The movie shows us Tris's face as Max gives the Manifesto in an address to the new initiates and they are lifted and carried in a ritual of solidarity. An act now empty of meaning but an act of propaganda for the initiates who are seduced. Then she begins to participate in the reality of the training which has little to do with the ideology and a lot to do with obedience and "never giving up."

Discipline and Punish - Michel Foucault

Clearly only an Abnegation born and transferring to Dauntless is innocent enough to take this to their hearts. This is why they are a danger to Erudite. Tris  believes in the ideology of Dauntless that does not exist in the example of the leaders. Is this familiar to the reader?

This is what forces Tris to expose herself by becoming a PARRHESIASTES. This is the kind of behavior to expect from Abnegation. It is the kind of behavior to expect from the Quaker community, the Society of Friends. It was the kind of behavior that Gandhi displayed to bring down the United Kingdom. "That little man in the loincloth," as Churchill called him. So Jeanine is correct to fear it. Abnegation will eventually ruin her plans, obstruct them for sure. 

Jeanine opts for our present government's preference: PRE-EMPTIVE THREAT. That is, like the movie Minority Report, stop the projected violence before it happens, while it is just a small weed to be rooted out, as Mao says of capitalism. This is what our police and law enforcement are doing today. We are under surveillance to make sure we do not plan to do anything in the future that the government might object to. 

Jeanine is very modern. She is taking precautions and she is correct in doing so from her perspective.

REVIEW:Reading DIVERGENT Through Zizek and Lacan

First scene between Tris and Four

Beatrice is wrapped in the net as she comes to rest after her jump. She has an expression of happiness on her face for the first time that we see. She has faced a fear of plummeting seven stories down and is in a state of euphoria. This is what we see and what Four sees but we do not see Four seeing; only imagine his seeing. He pulls the net to allow her to sit up and he grabs and lifts her out.

Roth's account of this scene is fragmented between the action, what goes through Beatrice's mind about the name change, the dialogue between Lauren and Four and the snippets of conversation between Four and Beatrice/Tris. 

Beatrice/Tris is the first female Abnegation transfer so she is a surprise. The fact that she is first jumper is also a surprise. The screenwriting team has edited Roth's account. 

Our first look here at Four reveals his open and rather surprised face. He has witnessed a gift from the sky, from the Heavens miraculously appearing in the net. Like a Silkie from the deep. 

Four: What,you were pushed?(quietly)
Beatrice: No. (all breathlessly happy)Thank you. (as he helps her down)
Four: What's your name?
Beatrice: B......stuttering
Four: Is it a hard one? 
Beatrice: nodding yes embarrassed
Four: You can pick a new one. Make it good. You only get to  pick once.(emphasis on choosing with no reversal)
Beatrice: stuttering saying Tris. My name is Tris.
Four: First jumper - Tris! Welcome to Dauntless.

So quick. The contained surprise that the first jumper is a girl, from Abnegation, who appears elated rather than frightened by her ordeal so far. Four is open faced, nice, assertive and non-threatening, non-aggressive. 

The presentation of the ideal masculine social construction of gender is performed. Four has a beautiful face, intelligent and sensitive and sexy. But he is matter-of-fact all business here, gently and firmly. No provocation, just a short intimate moment.

People say that the first minutes of any encounter encompass the whole relationship in miniature. - ALEX by Pierre Lemaitre (p. 339)

There is quite a bit of subtext in this short and vivid scene:

1. He underestimates her sort of by alluding to the fact he thinks she was pushed.
2. He offers her a way to change her name with the limiting factor that it is a one shot choice with no return.
3. He intuits her dissatisfaction with Beatrice and suggests it is possible for her to change her name, become a different person, become Other.
4. His welcome is warm and accepting. This is unlike Eric's immediate dislike of her when she volunteers to be first.
5. Through Lacan, Tris rhymes with Chris, short for Christina her first friend. 

Here is Four's account of that first meeting with Beatrice/Tris in Allegiant:

When her body first hit the net, all I registered was a gray blur. I pulled her across it and her hand was small, but warm, and then she stood before me, short and thin and plain and in all ways unremarkable--except that she had jumped first. The Stiff had jumped first.

Even I didn't jump first.
Her eyes were so stern, so insistent.
Beautiful. (Allegiant p. 491)

All this in 9 short sentences and the images. Now that is a screenplay folks.
Four introduces himself to the group as their instructor and says: My name is Four.

Christina: Like the number four.
Four: Exactly like the number four.
Christina: Were one, two and three taken? 
Four: What is your name?
Christina: Christina.
Four: (stepping closer to her face, half smiling)
Four: Well Christina, the first lesson you will learn from me, if you want to survive here, keep your mouth shut. Do you understand?
Christina: (nodding yes) 
Four: Good. (stepping back from her)

All this is said firmly, assertively, non-threatening in a way that projects that he means what he says.

Later at dinner in the cafeteria Tris sits next to him because Christina has maneuvered herself away from him. They are with the transfers from other factions, the ones Four will work with.

Tris: Were you a transfer or Dauntless born?
Four: Are you kidding?(softly)
Tris: No, (smiling and flustered)
Four: (coldly) What makes you think you can talk to me?
Tris: (abashed now and slightly smiling in embarrassment) Must be because, you're so approachable.
Four: (muttering quietly) Careful.

His very un-approachableness signals approach, reading through Lacan. "Don't come near me" signals the opposite as a "floating sign" which Tris has accurately picked up.

There is more as he takes her through her fear simulations. He is puzzled by how fast she gets through them and her inability to say how she does it so well. After the water drowning sequence:

Four: How did you do that?
Tris: What?
Four: How did you break the glass?
Tris: I don't know. I just did it.
Four: (sitting down beside her) What were your test results?Your aptitude test.
Tris:  Abnegation (flustered)
Four: (continuing to look at her) I don't think so.
Tris: What?
Four:I think you're lying to me.
Tris: Why would I lie to you? 

Here is where it gets unusual. He does not accuse her, try to trap her in her lie, argue with her or threaten her. He avoids the Dominating Discourse and does not allow it to frame his thinking or his reply to her.

Four: I'm going to ask you one more time. What were your test results?
Tris: (still softly) Abnegation. 

Four gets up,  and says, "Time to go." Tris stands up and starts to walk out. (He says what he means and he means what he says.Consistent.) 

Four: Tris! Just so you know. (as she exits out the door) Dauntless never break the glass like that. 

Ancient Asian wisdom: To be sincere in the land of the insincere is dangerous.

Now we think that he has guessed the truth, that she is Divergent and no one has said a thing out loud. It is a fine, nuanced scene by both actors, subtly performed. A scene for adults I would say or for teens who are observant. The screenplay and the director have a respect for their audience that we don't often see so simply presented.( This is what makes the Divergent screenplay superior to all the others in these YA franchises. The screenplay transcends the plot.Unfortunately this screenplay team will not do Insurgent nor Allegiant nor will Neil Burger be back as director. So do not expect the same quality in the future.

Four is still puzzled. The next thing he will do on this subject is to invite her to go through his own fearscape partnering with him. 

If someone lies to you that means the truth is too dangerous for them to say. They feel threatened by you. They don't trust you. This is the meaning of the lie. This is what Four understands and by taking her into his own fearscape he offers his trust to her as a gift.
Tris: In my fear landscape? Four: No in mine. We're going to go in together.
Tris: Have you ever done this before?
Four: No.
Tris: You're going to let me see into your head? (astonished)
Four: (nonchalantly)Why wouldn't I?
Tris: I don't know. You've never told me anything about yourself and now you're going to just let me in your mind?!!!
Four: Are you afraid of that?
Tris: Aren't you?!!!
Four: No.

This is his gift of trust to her.

These early scenes establish the character of Four. This is communicated to us linguistically by unambiguous language. Assertive but not aggressive. Not especially emotionally rendered either, very matter of fact, nonchalant. He so far has been consistent. I have left out the exchanges taking place during physical training, but they are factual and low key also. 

This is a different kind of man and intimate conversation women want but have difficulty engaging in because of the man and their own preconceptions. In this setting we have a master(teacher)/student relationship that is very often emotionally and erotically charged.

Reading through Calchi-Novati: LINK

Who We Might Be

Performing the Potentialities of Otherness and Selfhood: Stephenie Meyer’s Twilight Saga
Gabriella Calchi Novati

Abstract
In Our Vampires, Ourselves, Nina Auerbach argues that vampires ‘can be everything we are, while at the same time, they are fearful reminders of the infinite things we are not’.

 Disagreeing with her reading, I will show that the Cullen family of vampires in the Twilight Saga tells us not who we are, but rather who we might be. Drawing primarily from the writings ofJacques Lacan and Slavoj Žižek, this paper aims to analyse the performance of otherness and selfhood in the Twilight Saga and the upshot of such a performance. 

In using this paper by Calchi-Novati in reading the performance of Four in Divergent, is to show a man, not as most men are, but as men might be.

Four is a Zizekian "sign from the future" that we must make space for in the words of Calvino:

Calvino:“seek and learn to recognize who and what, in the midst of the inferno, are not inferno, then make them endure, give them space.”

Of course Roth has begun to castrate Four in Divergent, increased  in Insurgent and finishing the job in Allegiant. Roth slops around in the psychological interpretive swamp until there's not much left of him. By the time she has finished Four is diminished and ground down into gray mediocrity. 

There are so many ways to be brave in this world. Sometimes bravery involves laying down your life for something bigger than yourself, or for someone else. Sometimes it involves giving up everything you have ever known, or everyone you have ever loved, for the sake of something greater.

But sometimes it doesn't.

Sometimes it is nothing more than gritting your teeth through pain, and the work of everyday, the slow walk toward a better life.

That is the sort of bravery I must have now. (Allegiant p. 509)

Ugh.

And then the Epilogue which is pretty bad also. Hopefully the movie will not follow the book literally. But with Scummit Summit's template of "directors for hire," after the first film, rather than a director like Burger who is an artist, I think we can expect the worst. 

Divergent Review of Divergent:Foucault;Baudrillard;Lacan

Divergent Review of Divergent:Foucault;Baudrillard;Lacan

An ordinary girl until she became the First Jumper.

The First Jumper.

 The first image we see of her after she lands in the net is of a happy, relieved, delighted young girl wrapped in her Abnegation robes lying innocently erotic, erotically innocent in the net. 

ONDINE

Like a Silkie or a mermaid from the deep. We are not given the cliched shot of Four looking at her, their eyes locked, but we can imagine Four sees her for the first time just as we see her for the first time. Silkies are women from the sea caught in the nets of fishermen as are mermaids. They can be captured and kept but if they find their pelts they will return to the sea. This Silkie in Divergent appears to have dropped from the skies, the Heavens as a gift, lying there in the net as she does. 

Reading through Lacan, Beatrice means "Bringer of Joy, Blesses, Dante's guide through Paradise, his lifetime muse." Tris is an off homonym with the French tres meaning very, excessively so, the diminutive for Beatrice. 

But the net is also a metaphor of the Foucauldian Grid, the mesh of the net of power/knowledge, The Matrix. It carries with it a Dominating Discourse of language and action just as Abnegation does.

Image of Foucault straddling the chasm

What is concealed immediately is her jump over the chasm, the abyss. Where Foucault stops at the edge of the abyss (where one resists) - as Baudrillard writes in Forget Foucault! - The soon to be Tris hurtles across it.

This is the metaphor for the EVENT!Beatrice becoming OTHER!

As Four addresses her and grabs her out of the net, the screenplay begins its wonderful editing process of Roth’s book defining Four’s character precisely and creating the new masculine ideal: Edward Cullen, dreamed by Stephenie Meyer into existence has now morphed into Four played by Theo James opposite Shailene Woodley's Tris.

Most of the reviews compare and contrast Divergent with the other YA franchises by Scummit/Summit with female leads. Then the interpretive critique begins. Everything sinks into that “swampland of psychological interpretation” Foucault — and Sontag — have demolished. Instead of pitting them as rivals against each other, I suggest reading each one through the other to deepen the meaning of each against the resonances of the others.

Each has a love story, but many books have this theme. What is unique about these three is what is revealed/concealed in them. We have the love story following Tristan/Iseult and Twilight’s Courtly Love, the Hunger Games romance and Divergent’s master/student relation. We also have the menacing presence of: 

surveillance; 

confinement; 

totalitarianism, 

Simulated Reality and 

Virtual Reality, 

all subsumed under the label of Dystopian Worlds, all of which are invisible.

Behind the story of young adult first love, finding identity, love and the coming of age rituals - We have no Vision Quest as Twilight, Katniss, Divergent does - into adulthood (This is the reality of the movies and the books.)

 — we have the Zizekian/Lacanian REAL — the invisible REAL — 

and a YA anxious, dreading preoccupation with a future of disaster, where only love can save us, or so they think. A world of totalitarian control unvisioned and unimagined by even Orwell or Huxley, where lies are truth and truth has only the credibility of speculation. An unimaginable horror as Simulated Reality steals our real world in homeopathic doses. The Borges map becomes the territory.

No crime-no victim-no criminal-no crime scene-invisible

In Twilight Bella is caught in the Foucauldian Grid of normality as described in Foucault’s Lectures in Abnormal at the College de France in 1974-75. It is invisible. She is confined in Forks. Simulated Reality occurs as the Cullens perform as humans at school, slowing their movements, during the boredom of classrooms repeating what they have already known for decades. Virtual Reality is what Bella embraces as she turns into a vampire: the acute auditory and visual perception that reads like an LSD trip or Huxley’s Doors of Perception. She desires this and wills it and will live it forever.Like being high an d knowing you are never going to come down.

The Hunger Games divides the people into districts in which they are confined and cannot leave. Panem the capitol is Simulated Reality and the Games themselves are Virtual Reality; meaning there is no escape as Simulated Reality has become total. Katniss will shoot her arrow into the invisible covering, short circuit it with lightning, with Jove’s thunderbolts, and “Welcome to the Desert of the Real” says Morpheus to Neo.

In Divergent there are five factions into which those that have been chosen and accepted live in confinement, more obvious than our own. And each has its Dominating Discourse of language and action. Simulated Reality is a bit more complex and occurs in simulations deliberately projected into people’s minds via serums and transmitters. But there is a strange twist to them. In the aptitude tests and the fear simulations the subject is as if in a dream.

In Journey to Ixtlan — as I remember — Don Juan is lecturing Castaneda on “Controlled Dreaming.” When you are in a dream and become aware that you are in a dream, knowing you are in a dream. This is Tris’s experience in Divergent. She knows she is in a simulation and manipulates it. This is what Don Juan is suggesting Castaneda learn to do in his apprenticeship to the Yaqui Indian. The process is:

1. Become aware that you are in a dream.
2. Bring your hands up in front of your face.
3. Look from your hands to the dreamscape and back again, repeating constantly.

As you do the dream will move to a different level, or as in Divergent, Tris changes the simulation as it changes in response to what she chooses to do. Just as your dream changes in response to your shifting perception going back and forth. If you stare too long at your hands their image becomes hallucinatory and you will go somewhere else without knowing anymore. The idea is to continue this practice and attain mastery over it.

In my case my spiritual quest was not so serious. After I began to be able to get my hands up — very heavy and clumsy at first — I began playing with it.

“If I am in a dream, then I could fly right now.” So I would fly higher and higher. At first it was very hard to get off the ground. Then if I were in a dangerous dream and “woke up in it” I would say to myself, “I can become invisible and they won’t see me.” And I dreamed that. Very freeing and exhilarating.

This is what Tris as a Divergent can do that the others cannot. She possesses the ability to think like the Dauntless, the Erudite and Abnegation where she was from. More flexibility which Don Juan is always forcing Castaneda into to break the conditioned frames his language and academic culture have imprisoned him.

I have much more to say about Divergent but my point here is that in our own classical Hegelian dialectical Dominating Discourse X is always rated against Y. One movie against another. This is Tabloid thinking. One book of the same genre against another. One person against another. The dichotomy of our language, our thinking, our writing, our behavior forces us into this frame.

Hey, you can just walk out of it if you want. It’s only a simulation. That’s all a Discourse is.