Issue 46 - Way Down in the Hole

Welcome to Issue 46 of Deep Life Reflections, where I share five things I’ve been enjoying and thinking about over the past week.

In this week’s Friday Five, we drop into Franz Kafka’s surreal world, witnessing the metamorphosis of Gregor Samsa, revisit what is often hailed as the greatest television show ever made, The Wire, and reflect on the significant impact of institutions on individuals.

Join me as we explore this week’s Friday Five.

1. What I’m Reading

The Metamorphosis by Franz Kafka.

“When Gregor Samsa woke one morning from troubled dreams, he found that he had been transformed—in his bed—into a kind of giant bug.”

This is the opening line from Franz Kafka’s most famous work, The Metamorphosis, written in 1912. Kafka, a Bohemian writer at the turn of the 20th century, captured the anxieties of his era—marked by rapid industrialisation and the alienation of the individual within bureaucratic societies.

The Metamorphosis is both weird and wonderful. Kafka takes us into his favourite terrain—an isolated protagonist facing a bizarre situation. Kafka’s powerful narrative makes us suspend belief as we witness Gregor's distressing transformation, his family’s reaction, and his own growing sense of isolation. We feel Gregor’s pain and frustration. As he worries about losing his job, we learn that Gregor, in fact, hates his work. This might be Kafka’s own subtle critique of work and its oppressive nature—the “giant bug” we all have to bear.

Kafka’s metaphor extends to the human condition, exploring alienation, absurdity, powerlessness, and the dehumanising effects of modern life (as it was over a century ago, and as it is today). We see Gregor unable to effectively communicate and connect with others in his new physical capacity—he has no human voice, literally and figuratively. This chasm between mind and body points to the disconnect between our inner selves and how we’re perceived. As a salesman, Gregor was the sole provider for the family. Now, transformed, he feels the scorn of his family, especially from his father, highlighting the burden of familial expectations when one’s societal role is altered. Gregor becomes misunderstood and marginalised, his place in the structure of society forever lost.

In Gregor Samsa, Kafka presents the personification of alienation—powerless in the face of an absurd reality. Kafka doesn't just tell a story; he challenges us to ponder our place in a world as disorienting and impenetrable as Gregor’s new existence.

2. What I’m Watching

The Wire (2002-2008). Created by David Simon.

“All the pieces matter.” - Detective Lester Freamon

When people talk about the greatest television shows of all time, The Wire frequently makes the list. I’ve watched the series in its entirety three times, most recently, while recovering from my surgery. It’s lost none of its impact. It’s Shakespeare for the 21st century.  

Set against the backdrop of Baltimore, Maryland, The Wire brilliantly dissects an American city’s struggle with institutional decay—symbolic of America’s broader urban decline. The series grittily portrays a society caught in the stranglehold of systemic failure, from law enforcement and the drug trade to education, politics, and the press. It reveals a world where the powerful are often paralysed by the very systems they command, powerless to effect real change, and reduced to “juking the stats” (manipulating statistics to keep a higher power happy). As one character says, “The more things change, the more they stay the same.” The “wire” of the title represents the unseen undercurrent that connects everything across the city, where every action triggers a reaction, often with destructive and lasting outcomes.

Creator David Simon, a seasoned journalist with The Baltimore Sun, and writing partner Ed Burns, an experienced detective with the Baltimore Police Department, bring realism and edge to the narrative, drawing from their firsthand experiences. This is their city. The series introduces an array of memorable characters: from Dominic West's flawed detective, Jimmy McNulty, to Idris Elba’s Russell ‘Stringer’ Bell, a ruthless drug dealer who studies Economics at night school, to the late Michael K. Williams’ Omar Little, a Robin Hood-esque figure who lives by his own moral code. These characters, each with their flaws and contradictions, embody the show’s essence—steeped in reality yet touched by the absurd and the tragic, a vivid picture of the city’s many and complex challenges.

For those interested in exploring The Wire, I recommend watching with subtitles to help follow the often complex and multilayered plot (and the thick Baltimore accent and street slang). Additionally, film critic Alan Sepinwall has written a fantastic series of blogs for every episode which add a new level of insight and enjoyment to each episode. You can find these here.

While some may find The Wire’s honest portrayal of human struggle bleak, its brilliance in capturing a specific time and place at the start of the 21st century is undeniable, and a reason it’s often featured on “greatest” lists. We may be in 2024 now, but as the characters of The Wire might say, “the game stays the same.”  

3. What I’m Contemplating

Both Metamorphosis and The Wire, though separated by a century, offer poignant insights into the nature of institutions.

In Kafka's Metamorphosis, the institution manifests in its most primal and influential form: the family. The Samsa household, a microcosm of societal expectations and obligations, shapes Gregor’s life as profoundly as any government or corporation. His grotesque transformation into a giant bug exposes the fragile nature of familial support. Gregor, once the provider for the family, finds his worth—and by extension, his human identity—eroded when he can no longer fulfill his role in the family institution.

The Wire presents a broader canvas, depicting the city of Baltimore as a mosaic of institutional powers: the police department, the drug trade, the schools, the political sphere, and the media. Each of these entities exerts a gravitational pull on the individuals within them, often dictating the paths available to a person based on their socio-economic status, race, and other factors. Characters such as McNulty, Stringer Bell, and Omar navigate this complex network, sometimes exploiting institutional weaknesses to their advantage, at other times crushed by the weight of the system.

David Simon, creator of The Wire, has talked at length about his motivations behind the show, including the failure of the drug war, the systematic failure of institutions, and the decline of journalism. Both Metamorphosis and The Wire offer cautionary tales of institutional influence. They show us that while institutions are created by humans, they often evolve to serve their self-preservation, rather than means to address problems for the good of most people.

Despite their institutional critiques, both Metamorphosis and The Wire show a great deal of human affection for their characters. Kafka can take the cruel absurdities of life and make us laugh at them, while The Wire treats its characters—whether mid-level drug dealers, police detectives or beleaguered teachers—with a dignity and depth rarely seen on television. Through this, they keep our hopes in humanity alive, suggesting that meaningful change can only originate from the individual.

4. A Quote to note

“The great aim of education is not knowledge but action.”

- Herbert Spencer, British philosopher.

5. A Question for you

Have you ever experienced a moment in your life that felt like a personal metamorphosis? What sparked it, and how did you change?

Thanks for reading and being part of the Deep Life Journey community. Have a great weekend.

James

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