Good story telling allows for us to experience the many human emotions that we understand, and know intimately. Despite its more recent incarnations, Star Trek told stories rich in life. An exploration for philosophy and humanity, challenged through narratives and character exchanges. Presented before, at times gaudy backdrops or technobabble laden jargon required to embed us into a place where technology itself is magic. In an episode from Star Trek – The Next Generation, Captain Jean Luc Picard found himself pulled into another life. One beyond a star ship, and the obligations of command.
The Inner Light, is about an alien probe infectingCaptain Picard, once under it’s influence he falls into a coma. Or, so it seems to his friends and colleagues. Picard is in a dreamstate, living the life of another man. A man, from the civilisation that had sent the probe out, on it’s journey.
Picard finds himself living as a husband, a father of two children. He is Kamin, from the planet Kataan. A lifetime of memories. Intimate and vivid. As Kamin, he loves his family. Proud and protective. He learns to play a flute, sitting beneath the sun which would soon doom the planet as he plays. Picard loses himself in his life as Kamin.
The score by composer Jay Chattaway gives us a simple and iconic sound. The flute sounding as though played by a man, a father, a husband. The music basic, though living. Optimistic and yet, sad. Twisting into a haunting melody, one that becomes an epitaph to the planet. Kamin, his family and the community he lived with and loved are long dead. Desperate to save themselves, all they can do is send out a probe. A lingering legacy of the planet and all who lived there. To be known. Remembered.
There could be no salvation, not from the might of ones own sun. Instead, the people lived and died beneath its cosmic indifference. And the probe, wandering the stars until it finds a mind to implant a life worth of memories. For Picard, it was Kamin. It is not that he learned about the people of the extinct planet, he lived them. Picard also understood himself better. Through the eyes and life of another man, another people.
It was a gift. A joyous life. All things must end.
Such story telling when written well, and with a human regard, can be a message of consideration and life or, in the Rick and Morty age, a punchline.
In the Christopher Reeves and Jane Seymour film, Somewhere in Time, the planet is not alien and far into the stars, but the past itself. As a college student in 1972, an elderly woman approaches Reeves handing him a gold watch, “come back to me.” Eight years pass and Reeves in a hotel, sees a beautiful young woman in a photo. It was taken in 1912, when that elderly woman was young. In a, ‘don’t think about it’, writers trick, Reeves returns to 1912 and falls in love with the woman from the photo.
Pretty and sentimental, carried by the music of John Barry, we have a movie that is not meant to make logical sense. Instead it’s to be felt, a romantic embrace assuring us love can overcome, in this case the tyranny of time. For, Picard as Kamin, it was also a tyranny of time, though one where the very people had been long extinct. In both depictions, life is precious. Moments are sacred and time, moves fast.
I loved a woman, who had in her room a poem written long ago by a poet on her death bed. I forget the poets name, only some verses and the meaning of the poetry remain with me. In her final years, the poet wished that she could have told her younger self to enjoy the hum of the bees, the scent of a flower and to gather them in fields far and wide. It’s only when the sands of youth have fallen by that we realise the wisdom of our elders all too late. The poetry of one with regrets, a barb beneath a flower.
The poem was dear, and majestic in its place of my then girlfriends mind, that years later she would have it as a tattoo. The words spiralling around Kamin’s flute from the episode, The Inner Light. For the real poet, and the fictional Kamin, the light had been long snuffed out. Though, through memory and their words they linger in our minds, our hearts. They can be washed by, not regarded or they can touch us, inspire thoughts and become so precious that skin permanently stained for them. Or, twenty years later I find myself writing on such a thing.
It’s with the distance of time that we can find ourselves lost on islands of regret, wandering the beaches with uncertain steps, only to see those impressions from others who walked the sands before us. Or, are they our own steps, we find ourselves re-tracing them, over and over again. Unable to reclaim them, or to steer ourselves in another destiny. Only to be reminded, of those footprints. For better and worse. The beach endless, until eventually we come to learn, the sand itself is us. A grain, washed by the waves of time, crashing or steady or in an hour glass, one by one running down.
In subsequent episodes, Picard would hold Kamin’s flute. His mind no doubt returning to a life he had lived, even if as a rationale man, he knows it was not his, or not even really a life that he did in really live. Those memories and moments ever as precious. His wife, unlike Jane Seymour to Reeves, can not hand him the flute and plead, “come back to me.” None of us can, even if we wanted to.
So what good are memories? If we don’t learn, and cherish them. If we don’t embrace them with dignity or misery, or joy and disappointment. We cannot learn without them. We can’t improve, or guide ourselves better if we are not reminded of regrets, shames and pains. We also don’t appreciate and value, life and those who we lived alongside, without those memories.
There is no inner light, or somewhere in time for any of us, without those memories. There is no future either if we can not understand our pasts, or what we did or did not do. We will repeat the worse of ourselves, if we do not reflect. Do not regret.
Through the eyes of Kamin, Picard felt love. Something he never truly experienced in his life as an officer in the federation. Family would become a dear character point, with the loss of his estranged brother, and then his nephew. Picard would be alone, the last of his family. He had chosen the stars, a career above all else. It had steered him into a life of objectives and ambitions, not love and tenderness. But for the memories of Kamin, The softer underbelly of a man who now could understand the depths of life, it would become his inner light.
There are stages, or maybe geographical points of our time lines we once lived and it was for that time, all we knew. All we had. We travelled through it, whether we wanted to or not. In time, that past becomes a distant memory, a place we once knew. Our own Kamin. Dare we return to it, what would we find?
Through the eyes of Kamin, and the probe, a planet of people can be remembered, not through cold demographics and archaeological data points, rather as living beings. With each, single being who is touched by the probes memories, a lifetime is shared. Precious. Not as a great empire of monuments, with statues and imperial might, to be remembered for its plunder and war. A people, familiar, and living who now are lost to the depths of the past. In living memory, for those who like Picard found their inner light.
Pick more flowers, smell them, listen to the bees, feel the touch of a lover, swim in the feral waters, look to the stars, find shapes in the clouds, the things that you think matter, in the end don’t. The things that truly do, are taken for granted. They pass on by, play the flute beneath the moon and sun. Unlike Kamin and his people, there is no probe to share our living world into the minds of another, only fabricated depictions and theatrical exhibitions. We only have those who know us, and who we know and knew for ourselves. What Picard experienced as Kamin was real, truth, a memory of life. Felt.
“ Live now. Make now always the most precious time. Now will never come again.”