(click on painting to see more narrative artwork by Jacob Lawrence)
Mediation to Correct the Epistemological Error in the Adversarial Legal Narrative
We tell ourselves stories in order to live, wrote novelist and essayist Joan Didion.
The princess is caged in the consulate. The man with the candy will lead the children into the sea. The naked woman on the ledge outside the window is a victim or an exhibitionist, and it would be "interesting" to know which. We tell ourselves that it makes a difference whether she is about to commit a mortal sin or is about to register a political protest or is about to be snatched back to the human condition by the fireman in priests clothing. We look for the sermon in the suicide, for the social or moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices. We live entirely, especially if we are writers, by the imposition of a narrative line upon disparate images, by the "ideas" with which we have learned to freeze the shifting phantasmagoria which is our actual experience.
Joan Didion, The White Album
The Rat Litigation
The small man in the incongruously meticulous three-piece suit and skullcap is sitting behind an enormous desk strewn with files, photos, pleadings, paper-clips and crumpled Styrofoam coffee cups. There is even evidence of yesterday’s lunch or last night’s late snack – a Fiestaware salad plate smeared with the congealed remains of something unidentifiable.
Mr. Segal’s face reddens as he stabs his finger repeatedly into a yellow legal pad that carries his firm’s embossed name.
“They disrespected my niece,” he is repeating, his voice rising with each iteration. “She grew up in Budapest. She knows something about rats.” He is sputtering now, on the verge of losing the professional demeanor I am certain he values.
“And that fake Jew,” he snarls, “The Company’s lawyer. His client disrespected her and now they’re disrespecting me.”
It is nine o’clock on a warm Los Angeles morning and my business day has just begun. Mr. Segal’s Santa Monica law office has one of those unexpectedly magnificient ocean views – the kind that make you feel guilty about an unmerited grace. The counterpoint between ocean, swaying palms and joggers in brightly colored sweats on the Palisade and Mr. Segal’s claustrophobic office is unsettling.
Open boxes spill out exhibits from his last trial and colorful graphic boards lean against the wall. He has already explained the trial victory these graphics helped him achieve – one of numerous injustices rectified by a Los Angeles Superior Court jury.
The Adversarial Legal Narrative
I used to be in the business of telling these stories myself – pushing the square pegs of my clients’ actual experiences – the shifting phantasmagoria – into the round holes of the pre-determined American legal conflict narrative. Duty, breach, proximate cause, damage. Now, as a mediator, I listen for character and plot, theme and moral, reliable and unreliable narrators, and, most importantly, character.
Writers have long known that we impose narrative lines on our often random experience. Told with hope, these stories weave nets to catch us when we fall; braid ropes to throw out our prison windows; forge keys to unlock the doors that separate us one from another.
Fake Jew. The raw emotion of this epithet startles me, though it doesn’t surprise me. I’ve met with Mr. Segal, counsel for his Eastern European niece, once before. We exchanged pleasantries about the neighborhood in which we both live – one with a large Orthodox and Ultra-Orthodox population. He knows my husband is Jewish and that I am not. According to Mr. Segal, “with all due respect,” I and those of my cross-marrying kind will eventually be responsible for the destruction of world Jewry. I’m easy-going on this topic and have not taken offense.
Meta and Master Narratives
With Mr. Segal's "fake Jew" accusation, I've hit mediation pay dirt. He'd already alerted me to the “meta” or “master” narrative that might have transmogrified this small claims case into a hotly contested Superior Court action. A narrative of a community splintered and in danger of destruction. This additional comment reminded me of just how important this interest was.
The “meta” or “master” narrative is the national and religious story that shapes the way we think and live. It acts as a lens through which the “dominant” culture perceives itself and in opposition to which ethnic, religious and other sub-cultures are defined.
Social psychologists tell us that we all make use of this cultural stock of stories. In novel situations, we browse more or less consciously through them to find one or more narratives that fit -- or can be adjusted to fit -- our own experience.
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