The Art of Un-Reading: Why We Must Question the History We Inherited

Paulo Freire once nailed it: true literacy isn’t just about reading the word, but reading the world. That means looking beyond the text and into the systems, the power plays, and the hidden agendas that manufactured that text in the first place.

And let’s be honest, this kind of intellectual excavation is most urgently required when we crack open the accounts we lazily call “history.”

The Lies We All Agreed Upon

Napoleon Bonaparte famously declared, “History is a set of lies agreed upon.”

It sounds like a cynical, high-level tweet. But the more you sit with it, the more ominous it becomes. Because when the folks with power write history, they aren’t writing a mirror for you to learn from. They’re writing a memoir—a meticulously edited, self-flattering, career-justifying memoir.

Napoleon proved this point on St. Helena, where he spent his final years mythologizing himself as a tragic hero, a visionary crushed by global fear. And the world? We just shrugged and accepted it. His version became the nation’s framework, and his self-portrait was adopted as their identity.

This is where Freire’s warning hits hardest.

When we inherit a compromised story, the lie becomes the foundation. We stop seeing history as a record and start treating it like a ghost map—a map drawn by the conqueror that shows only the boundaries they want you to respect, not the messy reality of the land itself.

The Problem With Hand-Me-Down Propaganda

The real punch in Napoleon’s quote isn’t that he lied, but that we collectively agreed to call it the truth.

History filtered through the powerful is a subtle, pervasive tool for control. When people—especially those historically marginalized—inherit the tales written by their oppressors, they unconsciously absorb the worldview that justifies their own limited position. They grow up unable to tell the difference between objective patriotism and high-budget propaganda.

If the history we start with is distorted, the lesson we pull from it is corrupted. And if the lesson is corrupted, the future we build is structurally flawed. This is precisely why entire societies keep repeating the same spectacular failures, just in trendier outfits. When the story is broken, the cycle is inevitable.

My own obsession with memory and truth comes from this very tension. Memory is always edited. Identity is always curated. History is always a negotiation. A nation remembers what makes it look good and conveniently forgets what makes it accountable. And wherever collective memory has a blind spot, future generations are left carrying inherited delusions as if they were established facts.

We Owe Honesty to the Future

Freire argued that liberation starts with critical consciousness—the willingness to question every tale, to unlearn every inherited illusion, and to “read the world” beneath the tidy surface. If we don’t do this work, we aren’t remembering history; we’re just running the script again.

The main imperative, then, isn’t to track down the elusive, perfect historical truth—that ship probably sailed—but to rigorously commit to the truth right here, in the present moment.

We don’t owe perfect clarity to the past. We owe honesty to the future.

If our children are going to build a smarter world, they can’t use our myths as blueprints. They deserve analytical clarity, not heroic self-narratives. They deserve a history that isn’t afraid to name its own shortcomings.

To “read the word and the world” is to hold both warnings at once: the stories we agree upon shape our societies, and only a commitment to truth keeps us from reliving the cycles we pretend we’ve outgrown.

Let’s commit to leaving behind fewer lies than we inherited. Only then will the next generation read the world not as it was edited for them, but as it actually is.

Shakespearean Love

Shakespeare’s tragic love stories didn’t dress up love in roses. He treated love with a seriousness we often shy away from—messy, dangerous, transformative, and sometimes absurd. That’s why centuries later, we still see ourselves in his stories. He didn’t write love as fantasy. He wrote it as it is: contradictory, fragile, and fierce.

But then why does it feel like every great love story ends in death? Were Romeo and Juliet doomed from the start? Couldn’t they have fought harder, endured, found a way? Maybe. But Shakespeare makes their demise feel inevitable because their love wasn’t just affection. It was rebellion. It was defiance. It was lust, destiny, and devotion tangled together.

Their love itself wasn’t the failure though. What destroyed them was everything around it—family feuds, pride, society’s rigidity. Shakespeare understood something we still struggle with: love may be pure, but people, society, and circumstance corrode it.

Look at Othello. He didn’t stumble into jealousy on his own. The seed was planted. Iago, with all his venom and cunning, represents the voice of society—the envious whispers, the jealous eyes, the forces that can’t stand to see love in its truest, most powerful form. Left to himself, Othello might never have believed Desdemona capable of betrayal. But once society’s hand reached into that sacred bond, twisting love into doubt, the poison spread too fast to stop.

Isn’t that what so many of Shakespeare’s tragic loves are really about? Romeo and Juliet undone by feuding families. Desdemona and Othello undone by Iago’s schemes. Love itself isn’t the flaw, it’s the world around it, with its pride, politics, and envy, that refuses to let love simply exist.

And this isn’t just a lesson for the 16th century. We still have our Iagos. They show up as gossip, as cultural expectations, as voices telling us who we should or shouldn’t love. The methods are different, but the effect is the same: outside forces planting seeds of doubt where trust should live.

That’s the caution Shakespeare leaves us with: it isn’t enough for love to be strong within two hearts. It must also be guarded fiercely against the noise of the world. Without that vigilance, even the most genuine love risks being undone, not by what’s inside it, but by everything trying to tear it apart.

How?

This is where the sacredness of love comes in. True love, the kind Shakespeare wrote as life and death, is not casual. It carries responsibility. If you are given the gift of such a bond, you don’t squander it on ego, lust, or convenience. You honor it as something rare, something that transcends lifetimes.

Shakespeare revered too much to take it lightly. He wrote its danger because he believed in its power. And maybe that’s the real question for us today: in a world that treats love as fleeting, are we still willing to carry it as something sacred?

And maybe that’s what he was showing us all along: love doesn’t always live in two people holding hands forever. That kind of love can break under pressure, or even die with them. But love itself outlives the lovers. It lingers as memory, transformation, legacy. Love endures, not always in the way we want, but in ways that ripple outward, changing everything it touches.

Into the Unknown

When we’re young, the world is filled with thrilling mysteries and untold wonders, and we dive headfirst into the unknown. But as we age, something shifts. Suddenly, the familiar feels safe, and anything out of the ordinary seems downright terrifying. Funny how that works, right?

Take me, for example. I had this ambitious goal of visiting 33 countries before I turned 33. Now, with just six months left and three countries to go, I’ve realized it’s not a lack of money or time that’s holding me back. Nope—it’s fear. Somewhere along the way, I traded my adventurous spirit for the cozy comfort of predictability. After a series of chaotic or unpredictable experiences, it’s easy to crave the certainty of knowing exactly what’s ahead. I’ve even found myself avoiding new books, movies and TV shows, hesitant to dive into the emotional rollercoaster of not knowing what’s coming next. When did I become so cautious? I mean, seriously, I’d rather risk becoming a midnight snack for a known deep-sea predator like a shark than take a dip in Lake Lochmond, because…what if the mythical Loch Ness monster gets me?!

But recently, I decided I didn’t like the person I was becoming—the overly cautious, play-it-safe version of myself. I used to be the kind of person who did crazy, borderline reckless things, like trying snake meat in Indonesia while chasing it down with vodka mixed with its blood. Extreme? Impulsive? Sure. But at least I was living. So, in the spirit of Halloween and reclaiming that streak of madness, I decided to face the unknown in the most dramatic way possible: attending a Victorian séance.

A séance, for the uninitiated, is like stepping into a whispered conversation with the afterlife—cryptic, unsettling, and impossible to ignore. This one took place at Stanley Barracks in Toronto, a building steeped in enough eerie history to send shivers down your spine. The strange part? It’s right in the heart of the city, next to a gleaming 5-star hotel. Haunted places are usually tucked away in remote locations, where desolate roads, overgrown trees, and creaky gates set the stage for whatever horrors lie within. It’s as if the ghosts have settled into the city itself, refusing to be forgotten.

Stanley Barracks is a notorious hotspot for paranormal activity, uncovered in a 13-month investigation by expert Richard Palmisano. Among the spirits he discovered is Jenny, a young girl tragically killed in a scarf accident, still searching for her lost cat. Then there’s a ghostly clown, communicating with bells and maracas, believed to have once performed at the nearby Canadian National Exhibition. The barracks, which also served as a dumping ground/hospital during a typhoid outbreak, is a graveyard for restless souls. This eerie site blends history, heartbreak, and unsettling hauntings.

So, did anything unusual happen? Oh, absolutely. I saw things, heard things—things I can’t fully explain. But here’s the kicker: once I faced it, the unknown wasn’t nearly as scary as I’d built it up to be. Turns out, fear thrives on our imagination. The ghosts were unsettling, sure, but they also reminded me of something profound: the unknown only has power over us because we let it. Once we face it, it becomes… well, just a little less scary in the case of this séance. It definitely helped me bring back the brave me that I had let go during the ‘To be > Not to be > To be’ process (see previous post, more on this in the next one).

This experience also made me realize that the unknown is only scary because it’s unfamiliar—what’s on the other side doesn’t really matter. It could be something truly frightening, like a séance with actual ghosts, or something completely harmless. Either way, if it’s new, it feels unsettling. The fear comes from not knowing, not necessarily from the thing itself. Even a positive unknown can trigger a “WTF, WHY?” simply because it’s outside your frame of reference. And when fear takes over, it’s tempting to avoid it, no matter how irrational that avoidance might be.

So, here’s to being brave. To stepping into the unknown not because we’re fearless, but because staying stuck in the comforting familiar might be even worse. Maybe one day, even the ghosts of Stanley Barracks will take this advice and move on. Until then, I’ll try practising what I preach—snake blood vodka shot optional.