Dalinar’s Wholeness: “Journey Before Destination”

This is the final post to a three-part series written by Savannah Jackson; ed. assistance by Nancer Ballard.


In our most recent posts on the the Stormlight Archive series, we examined Dalinar Kholin’s route through multiple cycles of the Heroine’s Journey and the Healing Journey. In The Start of Journey, we introduced Dalinar and his world and examined Dalinar’s first cycle through the stages of the heroine’s journey. In Healing in the Search for Wholeness, we examined Dalinar’s second cycle through the heroine’s journey and his complete healing journey (which encompasses two cycles).

Through the character Dalinar, author Brandon Sanderson demonstrates how complex, enduring, and protracted the search for a meaningful sense of wholeness can be. The Stormlight Archive also highlights the importance of internal healing as an essential part of wholeness. Healing internal wounds or fractures is necessary to find wholeness, but healing and wholeness are not the same concept. In this post, we will consider Dalinar’s third heroine’s journey cycle, in which he is finally able to push past the Moment of Truth to Return to World Seen Through New Eyes and find wholeness.

At the start of the series, Dalinar, a young warrior, was already nearly a fully realized Hero. He was young, rich, powerful, privileged, and revered. He didn’t worry about bettering himself except perhaps in regard to his physical strength. When he was told to go fight somewhere, he did. When he was told to marry someone, he did. It was as if his (Hero’s) journey had been made for him. When his wife stood up against violence and urged him to spend time with his children and be a father rather than a heroic icon, Dalinar began to consider that there could be more to life than glory and blind bloodlust. But only when his wife died as a result of his actions did Dalinar truly question his world view and his place within his world. Dalinar did not, at first, seek wholeness, but he did need healing. When Dalinar met with the Nightwatcher to change his life and then chose to forget his past actions and his wife rather than do the harder work of facing his past and seeking forgiveness from himself and others, his healing journey was stalled. However, the relief from the unbearable pain of self-loathing and grief that memory loss provided Dalinar gave him the psychic space to question his way of operating in the world rather than spending all his time overwhelmed by intense pain.

Concept art of the Almighty by Botanica Xu.

Dalinar’s brother, Gavilar, was the first Stormlight Archive character to seek a sense of wholeness (although his initial efforts were primarily focused on simply living honorably). Dalinar did not yet understand this journey, but he started to try to copy the steps out of respect for Gavilar; he tried to reject blind bloodlust by reading The Way of Kings and following the ancient Alethi War Codes. Dalinar truly began to seek a new perspective—instead of just following a laundry list of steps—when he started to receive visions during highstorms. He moved in the direction of wholeness, but could not cope with the knowledge that the Almighty was dead and consequently began another cycle of the Heroine’s Journey. Again, he moved towards wholeness, but then he could not cope with his returning memories of his past actions and his wife’s death.

Dalinar’s experience of betrayal/disillusionment when he realizes the Almighty is dead is external and global in scope; his realization of his second (self) betrayal is internal and deeply personal. To address this pain he must embark on a second cycle of the Healing Journey. Wholeness requires both an internal and external realignment, and Dalinar experiences both in extreme ways.

Dalinar eventually learns and grows in addressing both of these betrayals and continuing to seek wholeness. Although he proceeds through three cycles of the Heroine’s Journey, each cycle is part of one single, sustained, complex attempt to find wholeness. Dalinar’s multiple setbacks and adjustments demonstrate how much determination and commitment can be required to sustainably and meaningfully integrate competing cultural expectations and the way of life you want to embody.

Depiction of Dalinar’s third journey through Schmidt’s Heroine’s Journey cycle.

Dalinar’s memories of his wife slowly return. At first he is shaken, but he is determined to continue to recruit allies and Prepare for His Journey. He learns that he is able to enter his visions at any time and invite others to participate in them rather than having to wait for a vision to seize him alone during highstorms. Sharing his experiences of the visions helps Dalinar persuade other leaders that his cause is true, and he recruits allies by being authentic and open with them. He learns that he does not need to appear perfect in morals and strength in order to convince people to trust him—he needs to be himself.

The coalition grows and appears strong, and Dalinar enters the Eye of the Storm. But when the capital city falls and the king (Dalinar’s young nephew) is killed, Dalinar feels that All is Lost again. He begins to struggle with the Thrill once more and realizes that he never truly overcame it. The Thrill merely lay dormant for a while. The wisdom from the Way of Kings no longer comforts him and Dalinar considers using force (returning to his masculine, mythic identity) to make his allies comply with his wishes. He also returns to alcohol to numb the pain of his memories of his violent past and his present failures.

In Dalinar’s third cycle through Schmidt’s Heroine’s Journey stages, Support comes from psychological/visionary higher powers. In a vision, a young version of the philosopher author of the Way of Kings tells Dalinar that he is neither a tyrant nor a hypocrite; he is merely a man in the process of changing. Dalinar does not yet believe this, but the conversation sticks with him and later rings true. 

Concept art of Dalinar Kholin by HW Lee.

In the third cycle Moment of Truth, Dalinar faces his past, but instead of being crippled by it, he grows and develops a more complex understanding of himself and the world. He engages with the possibility of forgiveness instead of masking his guilt with dichotomies.

Dalinar’s coalition dissolves and he enters the Thrill once more, but this time he does not use the Thrill to block out his pain. He accepts that his own pain is part of his life, and he accepts responsibility for the pain he has caused others. Crucially, he also recognizes that he is capable of good. With this new-found clarity, Dalinar is able to win the battle without causing the massive casualties that have been the hallmark of his past battles.

At the end of Oathbringer, the third book in the Stormlight Archive, Dalinar and his allies have won a significant battle, but the war is far from over. Dalinar is able to accept who he is as a complex being and accept the world as a complex space. He rejects dichotomies of Good vs. Evil and Past vs. Present vs. Future. Although reading and writing are skills reserved for women in his culture, he begins to learn to read and write in order to express himself in a new way. At the end of Oathbringer, Dalinar is finally able to answer the riddle posed by his dying brother in book one, who told him to “find the most important words a man can say.” 

The most important words a man can say are, “I will do better.” These are not the most important words any man can say. I am a man, and they are what I needed to say. The ancient code of the Knights Radiant says “journey before destination.” Some may call it a simple platitude, but it is far more. A journey will have pain and failure. It is not only the steps forward that we must accept. It is the stumbles. The trials. The knowledge that we will fail. That we will hurt those around us. But if we stop, if we accept the person we are when we fall, the journey ends. That failure becomes our destination. To love the journey is to accept no such end. I have found, through painful experience, that the most important step a person can take is always the next one.

-Brandon Sanderson, Oathbringer, bolded emphasis added

Thus, ironically but also inevitably, Dalinar finds a sense of wholeness when he realizes that the process of journeying does not end. Another book in The Stormlight Archive series is currently in the works, and Brandon Sanderson reports that there are many scheduled beyond that, so it is likely that Dalinar’s story and journeying will continue. Dalinar’s sense of wholeness may be challenged again as his reality changes, his sense of self changes, and he must recalibrate his worldview. This future wholeness that Dalinar may find will not negate the validity or meaningfulness of the sense of wholeness he has found at the end of book three. Neither context nor wholeness is static. As our context changes, and we ourselves grow and change, so too must our understanding of wholeness evolve.

“We Undertake this Healing Journey Together”; an Indigenous Peoples’ Pursuit of Wholeness

Written by Savannah Jackson; ed. assistance by Nancer Ballard.


“Everyone who belongs to the First Nations, Inuit, and Metis communities has been affected by the residential school experience …”

– Where Are The Children website 

Complicated stories rarely fit neatly into the theoretical stages of Mauren Murdock or Victoria Schmidt’s Heroine’s Journey cycles, as we’ve seen in stories such as Willa Cather’s Coming, Aphrodite! and Barbara Leckie’s Kicking the StoneThe real life stories of people who struggle toward wholeness–and toward being recognized as an essential, respected part of the larger world’s narrative–are even more complex. In this post, we want to recognize and examine the struggles of the indigenous peoples of Canada.

Beginning officially in 1831 and extending to as recently as 1996, indigenous children were forcibly removed from their homes and communities, and placed in residential schools. The residential school system was ostensibly designed to help native youth assimilate into the settler Canadian society, but the schools functioned more as work-houses. In these schools, the children were constantly reminded that they would never belong in their own communities, nor in the settler communities. Virtually all of the children endured years of emotional, physical, and/or sexual abuse. An estimated 35-60% of the children did not survive the experience. The residential school “history” is a story that stretches into the present day. Today, native communities continue to struggle with survivor’s trauma, substance abuse, and interpersonal issues.

This post will view the experiences of the First Nations, Inuit, and Metis’ children and communities through the lens of a heroine’s journey framework. Can doing so can help us to empathize with those impacted by the Canadian residential school system and to become allies in the joint effort toward recovery and reparation?

Study Period at Roman Catholic Residential School

A study period in Fort Resolution, Northwest Territories.

Using Maureen Murdock’s heroine journey arc, the indigenous children’s involuntary removal from their communities can be interpreted as a separation from the born-into culture (which Murdock terms “the feminine”). Similar to the so-called feminine approach to child-rearing, the traditional indigenous educational approach emphasizes guiding and nurturing children when teaching them holistic life skills, while also recognizing and respecting the integrity of the child.

Murdock’s separation from the feminine often involves a heroine’s voluntary decision to reject a limited identity that has been thrust upon them by society. However, the forcible separation of indigenous children from their identities better resembles Victoria Schmidt’s betrayal. This stage launches the heroine’s pursuit for wholeness. The indigenous communities experienced a profound betrayal when their children were taken from them. Although some indigenous community leaders had wanted to learn more of Western culture, and to consider how some integration might be beneficial, they never intended to reject the native identity, community, or way of life.

The non-indigenous narrative may have claimed that the residential school system would allow the children to identify with the dominant culture (eg. the masculine) and assimilate (eg. gather allies). However, this was not the reality. The children were discouraged from befriending each other and were punished for speaking their native languages. The “teachers” consistently humiliated the children and physically punished them for anything the teachers deemed to be mistakes or misbehavior. Few staff or faculty provided any comfort or support. Instead, they inflicted, or turned a blind eye to the emotional, physical, and sexual abuse of the children by those in positions of authority.

On the rare occasions that children saw their parents, many children did not know how to communicate their experiences, which were so foreign to their native lifestyles. Some children reported feeling ashamed and did not want to explain what had been done to them, or they felt too distant from those in their native communities, which seemed to be a separate reality. Those who did seek help were ignored by law enforcement. Many children entered the residential school system between when they were four and seven years old and were forced to remain within the system for eight or more years. Their roads and trials seemed to stretch on forever.

“The residential schools thing is the biggest factor that has shaken the Indian people down to their roots and it’s the thing that has changed our total look on history.”

Basil Ambers, survivor

Indigenous children may have imagined that they would experience a boon of success when they survived, finally exited the residential school system, and could return to their communities. The community may also have imagined its children would be able to heal and reintegrate when they returned. Both the children and their communities suffered and continue to suffer from the trauma of the forced removal, separation, and abuse.

The community leaders were able to take control of and abolish the residential schools, but the trauma remains. This ongoing impact can be likened to Murdock’s feelings of spiritual aridity. In many cases, the children subjected to mistreatment within the residential schools grew up to have children who were also taken from them, as were their children’s children. Unsurprisingly, many survivors and their families are troubled by alcohol and substance abuse, depression, anger, doubts regarding their ability to control their own lives, an inability to fully connect with either native or settler identities, and/or a lack of experience creating and functioning within loving, supporting relationships.

Students at Blue Quills Residential School

Students at Blue Quills Residential School in St Paul, Alberta.

The children and their communities have been irreparably damaged in that they cannot reestablish the life and identity they would have had without the residential school system. The strategies that were forced upon them to help them contribute to mainstream Canada have not had the desired benefit. Neither their traditional (so-called feminine) nor Western (so-called masculine) living strategies work for them and this situation can be seen as parallel to the initiation and descent to the goddess stage.

Survivors have tried (and continue to try) to reclaim their indigenous identities, practices, and cultures. This is akin to Murdock’s yearning to reconnect with the ancestral (goddess). Their ability to reclaim their cultural identity is complicated by the fact that multiple generations have had their identities stripped from them.

Reconnecting with their indigenous identity and then reconstructing their relationship with a non-indigenous society is an even more complicated, reciprocal, nonlinear process. It necessarily contains provisional solutions that may later be changed or replaced, and effort on behalf of both non-indigenous and indigenous individuals and communities. Healing and the pursuit of wholeness involve both a yearning to connect to one’s own origins and the need to heal the original/dominant cultural identity (eg. the mother/daughter) split. Indigenous community members can provide some of the necessary support, but the burdens of healing cannot rest solely on those hurt by the experience and legacy of trauma. To expect indigenous communities to provide for all of their own healing for tragedies foisted upon them by the dominant society is to continue the marginalization of indigenous people. Wholeness is a process that involves all of us.

Cree Students and Teacher

Cree students and teacher at the All Saints Indian Residential School in Lac La Ronge, Saskatchewan. 1945.

In our next post, we will focus on the present-day relationships between and among indigenous peoples, the Canadian government, and non-indigenous people. We will consider what the heroine’s journey framework might teach us about strategies for healing and pursuing wholeness.

“Everyone who belongs to the First Nations, Inuit and Metis communities has been affected by the residential school experience. Only through understanding the issues can we undertake this healing journey together.” 

– Where Are The Children website

For more information on the history of the residential school system, and the indigenous experience and perspective, you can visit wherearethechildren.ca/en 

 

 

Wholeness Introduces Herself to Promises of Happiness and Success

Written by Nancer Ballard; ed. assistance Savannah Jackson.


Unlike Heroines’ Journeys, The Hero’s Journey ends with the hero returning to his tribe, kinsmen, country, or home with the Elixir. In Hero Journey stories such as the Lion King, Star Wars, Lord of the Rings, or Wonder Woman, the hero (male, female, or otherwise) finds the treasure, restores his tribe’s lost honor, learns the magic code, or discovers the key to success and is rewarded with recognition, status, and respect.

Maureen Murdock describes the heroine’s quest as an “inner journey toward being a fully integrated, balanced, and whole human being.”  Although Murdock focuses on the integration of feminine and masculine personality traits, the heroine’s journey can be understood as a quest to integrate almost any two dichotomies, binaries, opposing concepts, or ideologies. Victoria Schmidt’s version of the heroine’s journey concludes with a “Rebirth– the Moment of Truth” when the protagonist faces her own (and others’) fear with compassion and returns to the “perfect world” or  “the world seen for what it is.”  The reward for the journey is an integrated connection to the world and something larger than herself.

The Heroine Journeys Project team believes that the Heroine’s Journey is, in essence a search to affirm and experience wholeness. By definition, wholeness necessarily includes both sides of a binary including the masculine and feminine, but also success and failure, perfection and imperfection, joy and grief, happiness and despair, respect and disrespect, glory and stunning disappointment, etc. The world and human experience encompasses each of these things, so respite from disappointment or suffering is temporary so long as life, or the story, continues.

Creative Cycle by Nancer Ballard

Artist book by Nancer Ballard depicting pleasant and unpleasant aspects of  creative cycle

Throughout our lives, most of us are told that loyalty, hard work, sacrifice, and some notion of universal fairness (sometimes called Destiny) will bring us Happiness and Success and eradicate our suffering, frustrations, and disappointment. We are taught that it is possible to “make it,” and become our family/tribe/community leader or win a coveted personal relationship and live happily ever after…. or at least a relatively care-free comfortable life.  Many of us know differently but still secretly believe in the mythical hero’s journey arc because we have grown up in a binary-soaked culture and recoil from the unpleasant aspects of wholeness we have been led to believe are unnecessary.

A few months ago I was given a poem by Lynn Ungar (which she has graciously allowed us to share) that describes the kind of stories and lives that royalty and most of us commoners actually live rather than the make-believe myths we think we want to live.

The Story

I’ll tell you a secret.
There is no happy ending.
Also no tragic conclusion.
The prince and princess don’t
live happily ever after.
They live happily sometimes,
and sometimes they are stricken
with so much grief that they know
their hearts will explode—
which never actually happens—
and sometimes they are
well and truly and deeply
bored, and ready for the tiniest
of catastrophes to shake them awake.

They will not, of course,
live ever after.  No one does.
But they might have children
who carry on the royal line,
or friends who tell the story
of how the witch showed up
at the baby shower, or maybe
they planted trees. One way
or another the story
inevitably continues.
Pray that it is some kind of
story about love.

In this poem, love is viewed as the best glue for a full evolving life rather than the reward that ends the story-life arc with flatlining good fortune. A good working definition of “love” is an enduring, positive, attentive connection between two (or more) separate beings that creates a relationship.  The relationship is distinct and larger than its individual members or constituents. Love does not abolish loneliness and vulnerability, but having a positive, enduring connection with others can make the pain of being alone and being imperfectly understood tolerable. A loving connection also provides company in times of vulnerability.

In Maureen Murdock’s formulation of the Heroine’s Journey, the final step in the cycle is integration.  Integration has several meanings. It can refer to the act or an instance of combining disparate elements into an integral whole—as in the integration of personality.  But integration can also refer to harmonious behavior of individuals within a larger environment, or to the coordination of distinct previously segregated elements within a unitary system—as in the integration of a school system.  In other words, integration can refer to blending or synthesizing or to the coordination of parts in which the parts retain their individual distinctness and integrity within a larger whole.  Love draws upon both types of integration. Unless the individuals in a loving relationship maintain their individual selves and identities, the result is a merging of one person into another, or domination and subordination, rather than connection borne by love. Love’s connection also produces a relationship which neither person can create by themselves.  Their relationship, a product of their connection to themselves and each other, is a third thing that is something different than the sum of its parts—just as a story depends upon character, action, motivation, and result but is more than the sum of these elements. As in a relationship, each element in a story is necessary and significantly influenced by other elements but can still be somewhat differentiated from the other parts.

Integration of the masculine and feminine, and whatever other binaries are at stake, can involve blending, synthesis, or the coordination of separate elements that retain their individuality within a larger whole.  The best stories and fullest of lives involve evolving combinations of each of these.

DSC_1489

We appreciate Lynn Unger’s allowing us to share “The Story” in this post. To learn more about Lynn Unger’s work and/or purchase her book of poetry, Bread and Other Miracles, go to http://www.lynnungar.com.