Process: Swimming and Writing (part one)

Every so often, Facebook reminds me of where I have been. I posted this a dozen years ago. I was still swimming, and this was the template for the 2500 meter swim I did that day. Not the most exciting workout, but after two or three hundred meters of warmup, I held hundreds at 1:15. Pretty fair for a non-competing 49-year-old swimmer. The swimmers out there will recognize that I was breathing bilaterally (on both sides) every five strokes; they will also acknowledge that I was taking 15 strokes each length. Again, pardon me for saying this, but that wasn’t bad for a 49-year-old. I trained myself to breathe bilaterally after I left college because my stroke had a hitch that breathing to each side helped eradicate. My right shoulder was happier.

A few things to note. First, I am virulently attentive to and oriented to process. Swimming was never a “zen” activity for me in which I transcended the effort to reach some peaceful state of mind. Instead, the effort focused me on the effort itself. I paid attention to where my hands entered the water, how they caught the water, how my body moved over my hands, and where my hands exited the water. I was aware of the position of my arms as they flew forward to grab the water again. And again. And again. In this case, I remember thinking, “1, 2, 3, 4, 5 (breathe)”—taking three breaths each length. Focusing on what I was doing helped fend off the building exhaustion.

I grew up swimming when there were no devices to pump music into wet ears to help keep the beat while you worked out. I developed an inner hortator who drummed out a rhythm to keep me on pace. It was similar to the inner voice that kept step following steps when I hiked 500 miles as a 12-year-old, but now more driven and more ecstatic.

“Ecstatic”? You maybe ask. Through my four years of high school, as I improved from a middling age group swimmer to what I eventually became, it seemed that every swim (in practices and meets) was faster than the last. Every set provided an opportunity for improvement. I may not have gone to the Olympic trials, but I swam faster, following the beat that my cruel inner taskmaster laid down. Swimming fast exhilarated me. The effort I made showed an immediate result. The sweeping second hand of the poolside clock never lied, never expressed an opinion. And I swam in the company of some of the fastest young men on the East Coast. Keeping up meant something. I never again swam without that goad in mind.

Throughout my life, swimming offered the solace of process, repetition, and speed. Tired and overworked? I swam. Heartbroken or happy, I swam. Sick? I swam. No matter the tumble of work and life, swimming was one thing I could control. It was years before I connected the bones of that daily practice with writing, drawing lines from “this” to “that.” While some people had told me that swimming and writing were twinned activities, I felt that writing required another kind of effort. I believed that creativity was antithetical to the dull repetition of physical exertion. Writing required audacious leaps. Even when I began to write, words ran like a flood, flowing from inspirations as varied as my life to what I read. And then, they didn’t.

When I lost the thread for writing, I poured my effort into teaching and, later, churchwork. I wrote everything an English teacher writes—class notes, assignments, student evaluations—and then curricula for Sunday school classes, children’s stories for worship services, and little else. I had a book in mind but no room in my day or brain. Work and family occupied my day—as they should. After years of being too busy to thrash about in the pool, as I approached 50, I answered the old call for 30-45 minutes in the pool. Everywhere else, I felt at someone else’s call.

So, I started swimming, and little by little started writing too. This post, with its repetition, was modeled on a kind of prose poem—a metapoetic “word word word word word punctuation ad infinitum.” I’m not claiming that it was a perfect prose poem. I have changed my mind about the value of writing when inspired. I have sung the praises of word counts in some of my blog posts. An accumulation of words will create its own gravity until it catches fire—almost the way the sun catches fire over and over again. Trust the process and write word after word after word. Don’t wait for inspiration—write yourself there.

My swimming post pointed me in a direction, and eventually, the fire took hold.

The Crooked Path

You can’t do everything.

I look at Hokusai’s screen that encompasses the twelve months and recall a writing task—a prose poem a day—that I imagined and attempted when I was in my early thirties. It was another opportunity to write; I had just finished Baudelaire’s Paris Spleen and felt inspired to follow his example. I wrote a bunch of prose poems centered around Philadelphia, and when I showed them to a teacher, he dismissed them as being too much alike—“in one voice,” he said.

I took the criticism to heart, added some comedic pieces, and stopped. I never felt an urge to get back into it. Or I always felt the urge to get back into it. Writing can be like that. Merwin wrote, “my words are the garment of what I shall never be/Like the tucked sleeve of a one-armed boy.” In a world that values completion, so many stray projects end up feeling unfilled. Here is the life you laid out clothes for last night, and nothing fits in the morning. When you get to work, you notice that everyone else is walking around in well-tailored suits. Your jacket has four arms as if made for a horse or a dog. We won’t talk about your pants.

I attended a graduate writing program that required a full slate of academic courses, which meant that I read Shakespeare and Bussy D’Amboise, Woolf and Dickens, Heidegger and Gallop, Baudelaire and Blake. And I taught. And, oh yes, I wrote. I read work by classmates and writers who my classmates and professors recommended. “You should read—.” There was also a fair amount of “You should write—.” Both “shoulds” implied something about what was good for me and what I would be good for—as if there was a menswear shop that had something in just my style. If only I could figure out my style. With so much swirling around me—and not just “so much” but so much that was exciting and excellent—it was easy to lose track of what I wanted. Other people claimed greater knowledge. Two of my classmates thought I should wear leather pants—that’s how they saw me. Another friend insisted that I put on sweats and play in the Sunday morning touch football game. Later, the same friend castigated me for having a hard time with the “O” word. Obey. Good luck. The only call I had to obey was write. And read. And teach.

Of course, I was disobedient—even to my own calling because I did not know where I wanted to go or what I wanted to write. In the garden of earthly delights, who could choose one pleasure? I was complimented that I could learn from anyone, and this is true. Whether a professor or poet, a work of fiction or philosophy, every teacher had something valuable to add to my world. Even my worst teachers, whose habit ranged into anger and vindictiveness, displayed some small nugget of positive enthusiasm, even if the display was unwitting. In The Marriage of Heaven and Hell, William Blake wrote, “Improvement makes strait roads, but the crooked roads without Improvement, are roads of Genius.” I read that during my first semester of college in 1978. It’s a damnably enticing bit of advice. Who wouldn’t aspire to genius?

But crooked roads don’t conform, and like it or not, conformity is a more guaranteed path. Improve! Improve! In Stumbling on Happiness, Daniel Gilbert wrote that the secret to uncovering happiness is following in others’ footsteps. If you want to know whether or not somewhere or something will make you happy, ask someone who has been there and done that. Obey the wisdom of the crowd—even if the crowd is relatively small and odd, as crowds of writers and artists tend to be. Or choose the Blake way and talk to imaginary friends. In the world of writers, there are iconoclasts—many who have disappeared from view, but a few who still hold our attention.

But. I cautiously add this proviso. Most iconoclasts we acknowledge as geniuses found a reasonably straight path, even if they wrote about the value of the crooked way. They dug trenches that ran long and deep. Many dug at their own peril. Some—a fortunate few—found acknowledgment early in their endeavors. Others—an even smaller few—were favored by enough fortune and privilege to sally forth in strange directions without fear. Many suffered. If you choose the crooked path, prepare for the worst and delight when the better comes.

I have a hard time advising blinders, but unless you have turned distraction to your advantage, avoid it. Figure out your ditch and get digging. I have repeatedly sung the praises of distraction in this blog, but I am also keenly aware of the price I paid for following a crooked path. Maybe you can do both. Maybe work (a job!), a relationship (spouse, partner, kids), and years of peripatetic exploration will not prevent you from piling up words. If you have succeeded, I venture that your work, partner(s), and exploration support your writing. Writing requires support. Virginia Woolf was right when she proclaimed that she—and any woman—needed a room of her own (and three guineas) to mine the creative ore. This is true of either gender. Time, space, and money must be managed. Mr. Micawber put it this way: “Annual income twenty pounds, annual expenditure nineteen pounds nineteen and six, result happiness. Annual income twenty pounds, annual expenditure twenty pounds ought and six, result misery.” If a writer does not build time and space for writing into that calculation: misery.

So, you can’t do everything. But you can write, which, if done well, will connect you to more of the world and to the essential everything you require. If the path is crooked, don’t worry, and take in the view. You are laying up treasures where it counts.

Wander: A Writing Method

On Sundays, I wander. Truth is, I wander most days. My colleagues and students see me in the halls, going no place in particular. When I attend baseball games in the spring, I do not take a seat in the stands, but pace, eyes focused on some part of the game, feet constantly moving. And yet, I have read 600-page novels in a sitting and watched Lawrence of Arabia in the theater, begrudging the roadshow intermission—and delighting in Maurice Jarre’s intermezzo.

I wander because my mind wanders. A problematic admission for a novelist. Yes, there are touchpoints in each of my Sunday rambles. Monet’s Houses of Parliament, Sunset, the Calder Room in the East Building of the National Gallery, Dosso Dossi’s Circe and her Lovers in a Landscape, all the Dewing at the Freer, all the Sargent everywhere, when the space is open at the Smithsonian American Art Museum, Butterfield’s Monekana, Thayer’s Stevenson Memorial. But my attention is drawn elsewhere. A piece of blue tape on the bottom of the pedestal supporting Houdon’s Diana. All the other Dianas. Ingres’s Madame Moitessier. A man sporting a yellow “YINZ” emblazoned on a black t-shirt (Okay, “gold”). An older man walks gingerly with a cane—his halting, carousel-like step revealing that one leg is three inches shorter than the other. A woman who is too beautiful for her date. Wait, am I her date? Is it today?

Wait. It’s not her date; he’s her husband, and they hold hands as they walk through the galleries. Definitely not me. And definitely today. Again.

As I make my way to the stairs that rise in the National Gallery’s East Building tower, I note that Edward Hopper’s Ground Swell is lovely, but who sails parallel to the swell? We sail through or across, never with. Pattern eclipses subject. Same with Ingres’s Madame Moitessier. She stands in front of a wall adorned with patterned red wallpaper. It turns her into part of the pattern. Compare this with Élisabeth-Louise Vigée Le Brun’s Madame d’Aguesseau de Fresnes hanging in the same room. Madame d’Aguesseau de Fresnes is the subject and the background Élisabeth-Louise Vigée Le Brun gave her is tantamount to a brown tarp. What matters to the artist is the woman, her dress, and her hat. Of course, these, too, are part of a pattern. What isn’t? But Ingres makes it obvious: there is no escape from pattern.

Two Portraits

My Sundays—all my days—have a pattern. On Sundays: Coffee, almond croissant, Freer/Sackler, National Gallery, lunch, Smithsonian American, and then home. Some days I add the Hirshhorn. Within each museum, I have a particular path. But I diverge. Today I skipped the Flemish paintings and headed downstairs to walk past Louis Maurice Boutet de Monvel’s Joan of Arc series. Just a glimpse. I recalled when I walked through the galleries almost too distracted to pay attention to Daumier’s heads. Almost.

And even if I did take the exact same route, the people around me would be different. Today, a man broke into impromptu yoga in front of Katharina Fritsch’s Hahn/ Cock. On the cement. In the Courtyard Café, a woman at a neighboring table talked about workers complaining about having to go back to the office. “With teachers back in classrooms, it’s hard to argue,” she said. “But teachers knew what they were getting into.” People change everything.

The secret is that even if I took precisely the same route—if the coffee was just as hot, if the croissant was just as flaky, and if the day were as perfect for jeans and a flannel shirt as today was, all the guards standing in the same places—it would still be different because I am different. Whatever has happened during the week, whoever I met, whatever words I put on the page, all these things and more changed me.

Twenty years ago, I stood up in Quaker Meeting at the opening meeting of my old school and praised the opportunity for change. In my hubris—I was 40, I thought I knew better—I called it “the blessing of change.” I had moved to Baltimore and started a career that would sustain me for 20 years. And then a series of unwelcome changes began: my mother got cancer; my relationship ended; my father died. The annus horribilis. Oh, so you like change? Here it comes.

Maybe because my life has taken enough (one can be enough, but who keeps track?) turns (expected, unexpected, this makes no difference), I feel ready to make a few proclamations. At the very least, I proclaim for me, but like Whitman (“And what I assume you shall assume,/ For every atom belonging to me as good belongs to you”), I proclaim for you.

Wander.

I recognize that in our self-driven culture, we value inward focus. I had a minister who emphasized, ala Jack Palance in City Slickers, “one thing.” On a more profound level, this impulse is driven by thinkers like Buddha or Henry David Thoreau. As for the Buddha, I have (not authoritatively) commented on suffering. Here in the United States, we celebrate Thoreau without knowing him. We acknowledge and follow his desire “to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.” But we forget that he “left the woods for as good a reason as I went there. Perhaps it seemed to me that I had several more lives to live, and could not spare any more time for that one. It is remarkable how easily and insensibly we fall into a particular route, and make a beaten track for ourselves .” Two years is enough. More lives wait.

Pattern and habit are as intractable as gravity, and this is not always a bad thing. If I was ever put in charge of a Creative Writing curriculum, I would insist on teaching the creation and maintenance of habit. What about artistic standards? Figure out what you need to do in any circumstance—in every place and weather—to keep a daily writing habit, and then worry about quality. Develop a practice that will survive against the “slings and arrows”; they are coming. The routine will help you improve. Words (writing and reading and listening) beget better words. Repetition begets mastery.

Except when it doesn’t. The rest of the time, habits get in the way. Habits become ruts. While a good groove can speed one on their way, how many times does expedience swallow excellence? Other than races, speed is overrated. And yes, this is the novelist talking. Endurance counts. There will be sprints along the way, but this is an ultra-ultra marathon.

Let me extend the sports metaphor one step further. We do not improve based on our intuition; we need a coach to help us succeed. Once upon a time, I was a recently separated father, and I researched how other recently split families managed the transition. I bought books. A friend teased me, “Don’t be silly. You know what to do.” Except, I didn’t. I did not know a thing about managing a split household—let alone a married household, but that’s another story.

In Stumbling on Happiness, Daniel Gilbert concludes that our lives are not all that unique; no matter how much we protest, “No one knows how I feel!” If you want to know whether something will make you happy—divorce or infertility regimens, for instance—ask someone else who has done it. “How did you feel when you divorced your spouse? How did your kids feel?” “How did it feel going through infertility treatments for a year?” Nobody has lived your exact life, but experiences start with incredibly similar foundations.

Intuition is an illusion. We do what we did yesterday, and we do it for a reason. “Wash, rinse, repeat” isn’t just a cheeky mantra. The brain loves to predict and then demands that we adhere tightly to its predictions. When we don’t, the brain sends error messages to our bodies, triggering all sorts of responses, most of which are angled to get us back on track—back into the predictable rut. We only learn when we err. Modern psychobiology is for the feint of head.

Wandering helps trick the brain. Surprises, collisions, and near misses open gaps in the “I-already-know-that” mental processes that keep us on course. “I-did-not-know-that” is the gold. Even if you look inward, if you want to learn yourself, then you will need to make yourself strange and surprising. You will need to interrupt the predicting mechanisms that perpetuate a kind of mental and emotional homeostasis.

Let me revise. I wander because my mind does not wander enough. The brain cannot; that is not how it evolved, not how it works. I seek out error messages—“This is not what I predicted”—lots of little ones to jostle the mechanism as gently as possible. Gently does not always do the trick—at least not if I am going to write.

Look, most people do not write. Why would they? It is hard work and requires tenacity and wildness—two qualities that do not play well together. A writer must be able to apply ass to chair (the commonplace starting point) and want to destroy—and re-create!—every chair that every ass occupies everywhere. I wander and re-create the world with every step, or I do when I finally stop and write.  And then, and this is the big secret, let your writing wander. Find the thing that breaks all predictions and deal with it.

Do you want to write? Sit down and wander. Or wander, then sit down. Either way. Wander.

Some Thoughts on Social Contracts

When I was 17, I read Thomas Hobbes’ Leviathan. Not on my own—it was for an Ethics class in high school. We also read Plato, Aristotle, Bentham, Mill, Kant, Golding, Dostoyevsky (Crime and Punishment over Winter Break!), Mishima, and Descartes. And when I wrote “Not on my own,” I lied. I chose the class, and I gobbled down everything Fritz Marks put in front of us. I still refer to Hobbes (40+ years later). I expanded on my understanding of the rationale behind Descartes in grad school, when I pulled apart the “cogito ergo sum” as it applied to ideas in William Blake’s prophetic poems. We are never done.

Hobbes’s vision of mankind, based so much on what was observable—limited, one might say—was grim—is grim—and foreboding. The social contract—or some kind of explicit and implicit agreement—was all that stood between us and the enduring war of all against all. Kant threw us a life preserver—the notion of the sunnum bonnum—but tell me when in history that any group of people could agree on a greatest good for more than 26 minutes. Hobbes hangs around the same way that Thrasymachus is craftily ushered out of Plato’s Republic. We may move on from the dark vision, but it’s hard to wash that blood off your hands.

This essay will head in two directions, and I’ll get the weighty one off first. I’m not sure how you feel about the social contract. We give it more than a little bit of lip service—some implicit set of agreements that keeps us from (figuratively and literally) eating each other. I once pointed out the difficulty of claiming a moral high ground because of the numerous daily petit disruptions to the explicit contracts. In a sermon, I pointed out speed limits as an indication of a rule that was almost designed to be broken—and was taken to task for asserting that people knowingly violated laws. But what high moral ground can we claim? I lived in West Philadelphia when the mayor allowed the police to drop an incendiary device—a bomb—on a row home; the resulting fire consumed 61 homes and killed eleven. In the final days of the US evacuation from Afghanistan, a drone strike killed 10 Afghan citizens, in what the US military admitted was a “fatal mistake.” Yesterday, 2000 people died of COVID in the United States, and we will never know how many of those were infected by people who refused vaccines or masks. We are always living in the fog of the war. Is it the war of all against all? I don’t know, but I know that despite best intentions or assertions of individual freedoms, someone, somewhere, is getting served. Again.

The will to power, in whatever form it takes, is hard to set aside. Jack Merridew (from Golding’s Lord of the Flies) stands as a perpetual caution. We want meat (metaphorical and actual), and we have Roger to keep the boys in order. I know that some point to the schoolboys who disproved Golding’s fictional account of our race to destruction. I will point to the differences: the Tongan schoolboys were not British schoolboys; the boys were friends and not assembled hodgepodge to avoid an oncoming nuclear war; there were only 5 boys joined in a common purpose as opposed to the 20-50 in Golding’s novel. And one is true, and the other rings true. So yes, given the circumstances, we can avoid eating each other. If we are those boys. An obvious common purpose wrapped in the warm cloth of friendship creates the conditions for a reasonable implicit contract.

In the end, I suspect that the social contract is a useful fiction, but I also acknowledge the power of story in our lives. We need good stories. Linda Cron says that we are “Wired for Story,” and I show my students clips of Marlon Brando weaving the story of Caesar’s assassination. Do you want to win the argument? Tell a better story. A bloodied body helps. Of course, Brando has the advantage of Shakespeare, but who hasn’t been swayed by rhetoric as sharp and story-bound? The line will be short.

One story is that we are brutish, that we are only a few thousand years removed from a more animal existence, and we must acknowledge that former life and behave accordingly. Our inherent biology drives us to fuck and fight and eat (Paleo!). This kind of biological absolutism ignores that whatever we evolved from, we did evolve (if in fits and starts) and continue to evolve. We are, always, changing—from our guts to our brains. One startling aspect of Iain McGilchrist’s The Master and his Emissary is how it posits an almost lightning-like speed of change.

Another story is that we are imbued with goodness or holiness. Or that at least a few of us have been chosen for such rewards. Can I not unpack the problems of us/them either/or here or the tribalism that religious fervor unleashes? The moment any group names itself “Select,” all those who do not face immediate peril. When a supreme being is the source of authority and man (any man) wields the will of God (any God), then disagreement and diversity become less than second thoughts. Or, to quote Hume, “[O]ne party by tracing up government to the DEITY, endeavor to render it so sacred and inviolate that it must be little less than sacrilege, however tyrannical it may become, to touch or invade it in the smallest article.” What you call Sharia, I call Texas.

Wealth and Benefits of Spanish Monarchy under Charles III, Giovanni Battista Tiepolo

It may seem as if misanthropy is the only safe harbor once one heaves the contract away. Still, this afternoon, I joked with complete strangers about the title of Tiepolo’s Wealth and Benefits of the Spanish Monarchy under Charles III. Beautiful painting. Hilarious title. I asked a guard about the signs surrounding parts of Sarah Cain’s installation. Huge single-colored circular inserts into stone benches have signs exhorting, “Please do not sit or stand on the colored circles.” As if. The guard laughed about the kids who could not help themselves. My daughter gets embarrassed by my exchanges, but they keep me sane. Without an esprit de corps, life becomes too ponderous. We are all in this together.

We all know this, especially after the past year. The virus ignored all divisions: class, race, gender, religion. The virus—as viruses always have—leaped across boundaries as nimbly as a 9-year-old leaping over hopscotch squares. COVID could have (should have?) been an occasion for recognizing our togetherness. After all, viruses have happened before and will happen again. Calling it a name or blaming someone (an animal, a person, a city, a nation) ignores history and biology. Viruses don’t mean to do anything; they have neither will nor strategy. Like the lilies of the field, they neither reap nor toil. You cannot go to war with a virus. We tried. And on a war footing, we—and this “we” is a particularly American “we”— got angry—and not at life in general or some god, but at each other. Perhaps, in our relatively comfortable lives, we forget that life is hard, that living in the world requires work and alteration.

A friend texted me Sunday morning with news of his family’s encounter with COVID. His daughter’s classmate brought the virus to school from her infected parents, and you can guess the rest. My initial response was anger, disgust, relief, and commiseration. I am a parent, and I teach.

I understand why we want our kids in school. Students do better when energized by each other and by teachers. Teachers also get more from the verbal and nonverbal give and take of the classroom. But schools, private schools too, are confluences of race, class, gender, religion, and now, attitude. We now claim attitude (I don’t like masks. What?) as a fundamental right, which strains even the fictional social contract. The virus has no attitude and no philosophy. Take a lesson.

I began this essay by explaining my first encounter with Hobbes. One of the initial contracts I entered into was a student. Throughout my life, I was an enthusiastic student, save for a few unfortunate cases. I never took to Mr. Ewell in chemistry, and as much as astronomy holds a charm for me today, I failed Wulff Henitz’s class at Swarthmore. Otherwise, I chased rabbits down the deepest holes, and learning never felt like a chore. Call me crazy (or seriously misguided), but I expected my students to feel the same way. I quickly recognized that I would need to persuade many of my students to my way of thinking, and I did. I cajoled. I amused. I swam across desks to demonstrate the power of metaphor. I taught for 25 years at various levels and enjoyed much of the task. This past year, when the pandemic tore the school year to shreds and sent us to zoom screens, I felt as if the implicit contract between my students and me—in fact, most of the unspoken agreements between administrators and teachers and parents—got tossed in the shredder. Contract, my foot.

Teaching English has always been a matter of teaching about humans. Writers may care about structure and grammar, but what matters most is the human condition. As a writer, the only thing that matters is getting a fully human experience onto the page. When I write “fully human experience,” I mean one that grapples with our brightest gifts and most dreadful failings. We live our lives veering from one to the other in some vast internal and external landscape. Mountain ranges and inward seas. Admirable struggles await.

Several years ago, I worked as a principal at an Orthodox Jewish Boys’ School, a Yeshiva. One of the Rabbis called me “The Warden,” and at that moment, I knew my time at that helm was short. I do not blindly accept authority, even my own, and I know there is so much that I do not know, and this goads me on to learn more, think harder, and dig deeper into this loamy life. The Cuban writer Virgilio Piñera has a story about a man who devours a mountain. If I am going to do the impossible, I will need to focus my efforts. This work will not devour itself.

I have chosen my mountain, and my ocean, my desert, and my city. I will write about what I find there, but I am no longer interested in standing at some imaginary gate telling students they didn’t qualify—either for entrance or escape. Not to put too fine a point on it, I am absolutely not interested in being the warden. I will wrestle with existential “no’s” in my work—and the existential “yes’s.” Always the Yes!  I choose to cheer in my life among the young. They have hills enough to chew (read the Piñera). That is my contract. For now.

Bi and the Dream

A placard on the wall of Gallery 19 at the Smithsonian Asian Art Museum announces that thousands of bi were found at “elite burial sites” dating from the Liangzhu culture (3300-2300 BCE). They are jade: nephrite colored richly by strains of iron and other ores over millions of years. Craftsmen sliced the discs with string saws.

The bi are displayed face on—almost perfect circles. Suspended in midair, they appear perfect: several circular discs floating behind plexiglass enclosures. This is, in part, a trick of the eye; we see what we expect (or want) to see. Actually, their shapes vary. While definitely circular, many are lumpy or lopsided. A long look from the side shows even more irregularities—thicknesses vary, and some of the bi undulate like warped records.

Some of the bi have barely intelligible marks. The note on one display explains that markings were “extremely rare.” What does that mean? 1 out of 100? 1 out of 1000? The marked bi are neither more nor less perfect than the others.

Nowadays, we mark everything. Like it or not, we even leave a faint digital signature on what we wish to be anonymous. Mostly. At my school, we check drafts of student essays for plagiarism, and when they come back with unnamed and unnecessary sources, it is an embarrassment of unoriginality. 5000 years ago, anonymous discs went to the grave and into eternity. We have them now—disturbed from rest—because of a construction boom at the beginning of the previous century. They could have slept longer.

Not surprisingly—or entirely a surprise—we have few records of the Liangzhu Culture. Evidence of the once-thriving culture ends abruptly. The people who lived in the region around Lake Tai seem to have disappeared. We don’t know why. We know that they thrived primarily because we discovered their funerary deposits: jade bi for the rich and pottery for the others. We build an idea of their lives on what they took to death.

We do not know why they prized their bi. Nor why a few of the bi have marks.

We do not know. Those words can feel intractable, like a dead end. Or like a challenge, a kind of epistemological “try harder.” But how can you know what you cannot know?

●●●

We coined the word “Kafkaesque” to describe the nightmarish world circumscribed by a bureaucracy of the soul. Franz Kafka, who repeatedly depicted such a world in his fiction, also told us how to escape. In his short story “An Imperial Message,” the emperor is dying. Before he dies, he sends a message for you. Sadly, or predictably, his messenger cannot get it to you. This is genuinely Kafkaesque—the emperor is at the center of a thicket of throne rooms, attendants, imperial bureaucrats, and cities within cities. Even though he is the emperor and his messenger bears the imprimatur of the emperor, the message will never arrive. However the story ends, “Du aber sitzt an deinem Fenster und erträumst sie dir, wenn der Abend kommt.” (Roughly, “But you sit at your window and dream it to yourself when evening comes.”).

Of course, the emperor is god—something or someone with absolute power. Except, once enthroned, the emperor’s power is circumscribed, in no small part by the same apparatuses of the power he wields. How often do we mistake the apparatus for the thing, imbuing that which is meant to do little more than act for or transmit with more? How often do we mistake laws for actual authority? We create limits (I can, or I can’t) because we cede control—and the attendant responsibility. Our current idea of self-authorized action is little more than lust and gluttony on steroids; to be the emperor, we must grapple with the full repercussions of having authority (read Shakespeare for a full gloss on the weight of the crown).

But, in Kafka, a dream cuts to the quick. You already know the message. You are the emperor.

In our dreams, we build worlds. A few nights ago, I dreamed of traffic patterns, and police, and cul de sacs. There were merge lanes and scofflaws who drove on the shoulder. I was looking for a purple Jeep. I didn’t make any effort; the world bloomed in my mind—a mind profoundly(and subconsciously) at work. So must it be as we sit by the window (a liminal space) in the evening (another liminal space). Dreams are no time for laziness but a bursting forth of our full power.

If I want to know what I cannot know, then I must dream.

●●●

We have found thousands of bi. Each one cut from a long round piece of jade. I wrote “craftsmen” earlier, but how did this not become domestic work—foisted, as much domestic work is, on women?  Or children? I think of the scene from Parasite when the family folds pizza boxes. Instead of sewing circles, sawing circles. Who did the repetitive work that wore down fingers, hands, and arms for hours at a time? Not a crew of slaves hoisting blocks into pyramids alongside the Nile, but an army of hands slowing sawing through stone.

Does this mean that the Liangzhu people had slaves? I don’t know, but I think about the tech factories outfitted with nets so that the workers do not find relief from their toil. Bone crushing construction or endless hours of grunting agriculture? Slaves, over and over again. Did they sing while they sawed? I try to imagine songs that keep to that frantic beat. Did they race each other to cut their slice first? We compete everywhere. Why not? Imagine a John Henry of the Neolithic Yangtze River delta, whipping a string bereft of crushed quartz through jade as if it was mashed rice paste.

We know that they did not speak Chinese. We know (from genetic analysis of remains) that they shared genes with Austronesian and Tai-Kadai people. But what we don’t know renders what we know into little more than conjecture and guess. Our knowledge is imperfect. In the same way that the bi have imperfect shapes and imperfect history, our understanding is imperfect. The message—the truth—is never coming from the emperor. All we can do is imagine.

More often than we would like to admit, we straddle the worlds of the known and not-known. We lead essentially liminal lives—caught between knowing and not-knowing. Too often, we trade hard-won ignorance (the awareness that as hard as we try—and we must try—our effort will not provide a satisfyingly clear answer) for arrogant correctness. We cannot admit that we do not know. We have a mechanical reflex against unpredictability—whether we read the past, present, or future. We value prediction over genuine discovery. “I was right!” supplants “I found out!”

If we are going to model reading on dreaming, part of the task is to recognize that we are out of control. We will predict—it’s what we do—but surprise will derail our predictions. Surprise is an error message in the infinitely predicting machine of our brains. However, if we substitute rigid certainty for precise and imaginative uncertainty, our interpretations will fail even if they are clear.

●●●

I’m going to make a leap here. Reading is prediction directed to the past; the words are already written. Even though it is past, we still try to fit what we read into models of everything else we have read. When my students assert, “I can relate to X, Y, or Z,” what they are saying is, “This fits with a model that I already know.” And those of us who teach know the living hell of relatability. Anything outside that narrow ravine threatens to stop the students in their tracks—already when they are 16. Earlier.

In the same way, when we encounter new situations, when a circumstance calls on us to genuinely predict, we predict following models we already know. It is nearly impossible to get someone to predict beyond what they expect to happen beyond the known. Happily, most things in our lives adhere to patterns. Until they don’t. Fortunately, most of us are not making predictions that will affect the lives of hundreds of thousands of people, but some are, and they fall prey to the same internal mechanisms. The results are too often catastrophic.

So, how do we avoid the quotidian and useful process of prediction? How do we read the exceptional? How do we incorporate the genuinely new and surprising into our homeostatically driven lives?

When I look at the bi, I can guess (which is not to say that I take incoherent swipes at possibilities) at their significance, but I realize that even my best guesses are circumscribed by the limits of my experience. I know there is something that I do not know, and I realize that ignorance will stymie me over and over. I return to the bi to marvel at them and to marvel at my ignorance. They remind me that despite my reasonably well-trained intelligence, that something as simple and elegant as a jade disc will remain out of bounds. I experience hubris in the face of the unknown. This drives me to consider the undiscovered countries. And consider them I must.

How then do we confront systems that are quantitatively more complex? We try to bridle wild horses (mistaking tigers for horses—they both have four legs!) with prediction and end up eaten. Our imaginations must be more thoroughly engaged.

When Kafka exhorts us to “erträumen,” I do not believe he is suggesting anything passive, or for that matter, lazy. The truth is like a message from the emperor. When we dream that message to ourselves, when we imagine it, our imagination must be fully engaged because it is not as simple as a dream for snack cakes or even a dream of bedding a fantasy partner.  Truth may be a dream, but it is, fortunately, a demanding and difficult dream. But if we do not dream the big dream, our thoughts will be confined to the palace’s myriad chambers and infinite passageways. Our imagination will take us to a place we do not yet know.

Losing & Learning—poker and writing

You are going to lose.

At some point, you are going down the tubes, over the edge, off the rails. You may have something to do with the inexorable demolition of your temporary hopes and dreams, or a house may fall on you from out of the sky, while you are in mid-sentence about to say the most profound thing anyone has ever heard. Or not. You may be doing nothing more than mowing the lawn and wondering why it has gotten so dark so suddenly.

What prepared me? Nothing. I led a life of easy glory. Success came without consequence, well other than the third grade geography teacher who told me that my coloring was atrocious, or awful, and I wondered how the other kids filled in the map without the striations of crayons. So what, I won the class spelling bee. I sang in the chorus and joined the math club. Years passed, achievements accumulated.

I sat in my car after the first night I played in our local poker game in Pittsburgh. My heart pounded wildly in my chest, and my hands shook too much to take the wheel. I had lost sixty dollars, which was, at the time, the most I had ever lost at cards. I had played in a casual game in graduate school, and rarely lost, and when I did, it was the cost of a couple of cups of coffee at the local diner. And my winnings were rarely more than a few plates of hotcakes. Sixty dollars hurt. When I returned the next week—it was an amiable bunch of guys, and I sought their company as much as the play of the game—I played to watch and learn. I did.

Over time, I earned back my initial loss, and rarely lost in that group of players. When I sat down to play, I sat down with a plan, and with the hard-honed anger that allowed me to focus on the task. One player’s wife remarked that I had more testosterone than anyone else at the table. It was a back-handed compliment. She was—still is—a feminist, and masculinity, even back in the nineties, was out of favor, especially among academics.  Which we were. The game was made up of Ph.D. candidates and recently minted Doctors, along with a few locals (a movie reviewer for a local paper, a former Priest turned pharmacist, a former UPS worker, a purveyor of goods imported from South America and Southeast Asia). We played the gamut of Friday night neighborhood poker games—all sorts of strange and changing wildcards. Maybe that was why I lost the first time I played. Probably not. Later, when Texas Hold ‘Em became de rigueur, the table talk abated. Most games are quieter now. I miss the conversation—it took the edge of the testosterone. But I never forgot that first night.

We don’t learn from losses unless they hurt. A short sharp shock teaches better than a slow accumulation of pain.  Maria Konnikova includes an early chapter on loss in her book about poker, The Biggest Bluff.  She writes, “After all, losing is what brought me to the table in the first place. It makes sense that learning to lose in a game, to lose constructively and productively, would help me lose at life. Lose and come back. Lose and not see it as a personal failure… When it comes to learning, triumph is the real foe. It’s disaster that’s your teacher. It’s disaster that brings objectivity. It’s disaster that’s the antidote to that greatest of delusions: overconfidence.”

Later in the book, when she begins to recount the disaster that ended one particular tournament to her mentor, Eric Seidel, he tells her, “Stop… Look, every player is going to want to tell you about the time their aces got cracked. Don’t be that player. Bad beats are a really bad mental habit. You don’t want to ever dwell on them.” This may seem contradictory. Learn that losing is part of the game, but don’t talk about them. As long as you made good decisions, the outcome does not matter. Win or lose.

But, you say, don’t we play for an outcome? No. We play because we love the thrill of sustained focus. Making precise, intricate, and meaningful decisions allows us to shine. Define “shine” as you will. I recall Baudelaire’s poem, “Get Drunk”—“With wine, with poetry, with virtue, as you choose!” Choose where you will shine, and focus furiously. I stopped playing poker, saving my focus for what brings me back to the world. I write.

In my classroom, there are a series of posters proclaiming, “Think like a poet,” “Read like a poet,” “Write like a poet.” They were there when I arrived, and I left them up. The joy of writing (and yes, here’s where this comes back to writing), is the simplest of pleasures—making decisions, and learning as you go. You learn the process when you learn to read. (Or not.) You approach the text as a series of branches. “Tomorrow and tomorrow and tomorrow…” Why the tripled “tomorrow’s”? Why the “and’s”? What comes next? (Creeps…). If you learned to read like THAT, then you have practiced how to write.

And losing? What is the bad beat in writing? Rejection? Better writers than I save rejection letters; there are even books full of them. A book of bad beats. Why? Writer’s block caused by what? A lack of simply sitting and scratching out a few words on unproductive days? Hardly. Turn on the music and write about that. Watch the news and write about that. Talk to your friends and write about them. Walk and write about what you saw. Just write.

The bad beat is the loss of faith, in the belief that your vision is enough. I don’t know what caused it for you, or how to restore your loss. Follow me, let me be the Virgil to your Dante. Imagine that—me, Virgil. You will lose—midway on life’s journey, the right road lost. But there is a way. Follow.

At War with the Virus

Say, you live in Maine, far from the coast, in the softly rolling hills in the part of the state known as “The County.” In Winter, the days are short and bitter with cold. You are not at war with the dark, and the winter wind is not your enemy. You may decide to move someplace warmer, where the sun rises earlier and warms the world even in January, but no matter where you go, The County will be cold in January.

Say, you live in Florida, and for four months each year, you pay special attention to the weather forecast in the morning. You have sheets of plywood stowed away in your garage, just in case. In Winter, the streets fill with license plates from places up North. Hurricanes and snowbirds are the limits of your life, but you aren’t ready to chuck it all and move to Tempe. You aren’t at war with hurricanes—what a futile battle that would be. They pass through, soaking the earth and knocking down trees. At least they aren’t earthquakes—unpredictable and worse than ornery.

My father planned his trips to Bermuda in late May and early June—when the weather was usually warm enough and before hurricane season roared into full flower. Only once did a tropical depression explode into hurricane force. We were still inside the reef, making our way from Hamilton to the customs house in St. George. One of the ferries veered off its routine course to check on us as we were about to depart Hamilton Harbor. My father’s stubbornness was as unrelenting as the weather. It took us a day to power around the island’s northern passage—a trip that usually took scant happy hours. I held the helm as we motored inch by inch into idiot winds. I slept well in an uneasy anchorage that night. By morning, most of the cell had crawled on, slowly dissipating in the pan of the chilly Atlantic.

A sailor, a Floridian, or a Down Easter all understand that weather comes and keeps on coming. Some cycles are reasonably predictable, but day by day, if you are planning a day sail, a picnic, or a ski trip, you better check ahead.

There’s a lesson here, and it’s full of holes. Not everything is like the weather. When we describe people as walking hurricanes or icicles, we make metaphors to explain their character. We know that their behavior did not originate as the result of cold air spinning over warm water, or that they are actually frozen. We alert ourselves to the difficulty of such people because we know that grappling with rain and wind or freezing cold is a fool’s errand.

The coronavirus is more like weather than some “invisible enemy.” We will not “contain it,” or “defeat it,” as much as adapt to it—the way that we put on a heavy coat in the Winter, or attach plywood outside our windows when the storm heads toward us. Yes, the virus can kill us, but it’s not a willful assailant. It did not attack us or declare war on us. It has no strategy learned at war college. The virus just is.

We think of the world in terms of stories. Even the way I began this—weather—is just a story based on my experiences, although I have never sealed a window behind plywood or hunkered out to check fields in the brief sun of Winter. I can imagine such things because I have seen them depicted in the news or heard these stories from people who have done them. Or because my life has brushed close enough to these places and that weather. Besides, these are common enough stories.

But war? A friend reminded me—over and over—how poorly the military was depicted in film and television. The military and war are described to conform to our sense of what they are—to fit the stories we already have. I recall Henry in The Red Badge of Courage, marching off to war with heroic accounts of the Greeks dancing in his mind. And then the battle happens.

There was a singular absence of heroic poses. The men bending and surging in their haste and rage were in every impossible attitude. The steel ramrods clanked and clanged with incessant din as the men pounded them furiously into the hot rifle barrels. The flaps of the cartridge boxes were all unfastened, and bobbed idiotically with each movement. The rifles, once loaded, were jerked to the shoulder and fired without apparent aim into the smoke or at one of the blurred and shifting forms which upon the field before the regiment had been growing larger and larger like puppets under a magician’s hand. (Crane, The Red Badge of Courage)

Of course, this is a little too poetic. Crane gets at the chaos and absence. The overall effect of his novel is the persistent shift from order to chaos and back again. He did not experience war but learned by listening to veterans as he prepared to write. We can learn new stories.

We fall back on stories that we already know. The gravity of the familiar is too powerful for most to escape. We repeat and replicate the stories from our lives with tidal regularity. We do it automatically and insensibly. And that is fine and sensible when what we already know helps guide us back to familiar places. However, when faced with the exceptional, we must learn, quickly, to adapt and revise those familiar stories into something that will suit the present moment. “Must”? Why “must”? We do well enough with the old ways.

Metaphors, which are all that stories are, helpful tools that can open and expand our understanding. In Range, David Epstein writes how Kepler used metaphors to help him discern the motion of the planets. However, metaphors come imbued with values and can ensconce our judgment with moral values that impede clear vision. In Illness of a Metaphor, Susan Sontag points how “[i]llnesses have always been used to enliven charges that a society was corrupt or unjust.”

So, if we are at war with the virus, it must be a foe with corrupt and evil origins. We demonize the virus to create a familiar story of us vs them. We go to war with the virus to stir a sense of urgency; war is the epitome of urgency. The evil enemy must be defeated. Leave out the chaos and unpredictability. The slip of genetic information becomes an “invisible enemy,” the President takes on the mantle of “War President.” Except this enemy does not stand on a field and fight, does not snipe at us from a jungle blind, does not line up or plan or have a General in charge of strategy. There is no Rommel, no Lee, no Hannibal directing the forces. No more than some angry, vengeful force directs the cold wind to gnaw off the fingers of your left hand, or tears trees up by their roots and smashes them down through your roof.

The man who attacks the wind is worse than a fool and doomed to fail. Even if the wind abates, and the serene sun returns like a balm, he did not defeat the wind, and he did not bring the sun.

Still, we feel the need to play the useful if futile part. We must do something. During the pandemic, many will do—and should do— much, as we slowly find out a way to live with this next new virus. There have been other illnesses, and there will be others. We can be sure of that. We will learn this lesson, or forget it and retreat to the familiar old story. The story was there before and will wait for us, as it always has.

Howl

Howl, howl, howl, howl! O, you are men of stones:
Had I your tongues and eyes, I’ld use them so
That heaven’s vault should crack. 

                                    King Lear V.III

My father and I traded knowing looks when one of our crewmates complained about the weather. Anyone who heads out onto the ocean for anything more than a day sail should understand that the weather will change and, then, change again.

My father, my brother Peter, and me

There is nothing a sailor can do to change the weather. You can alter course when conditions make the way forward nonsensically impassable. You should. Otherwise, onward.

That said, there are days on the ocean when all you want is weather of any sort, when the sea is glassy in every direction, and the horizon is a long uninterrupted line in the distance. The only wind blows in your memory, and even there, it is nothing more than a hot, lazy zephyr. If you chose to complain, your voice would rise only up to an endless and cloudless blue sky.

If you sail to find perfect weather, you waste your effort. Each day—whether bound with boredom or rapt with terror—is a test to match intention (your course) to the conditions. If you really are a sailor, the weather is always already perfect—such as it is. The same holds true for your vessel: the quality of your sails, the weight of your keel, the hull speed. Once you take the helm, you—your intentions, your ability, your fitness–are the only genuine, imperfect variable.

Complaint becomes, therefore, a reflection of the one thing that you can change: yourself.

When Lear unleashes his “Howl,” it demonstrates the dissonance between his internal state—his intellect and emotions—and the external state. He seeks to crack the vault of heaven not only to mourn Cordelia but because Cordelia died as a result of his inability to match his intentions to the world around him.  He rails against God because he cannot reconcile the failure of his plan.

So too, the sailor who complains, “The rain sucks.” Or, “I hate this rain.” No, it’s not quite a “howl,” but what that sailor really means is that she—or he—does not like rain. The rain, in and of itself, does not suck. The lack of proper heavy weather gear sucks (Be prepared, the old Boy Scout proviso). The desire for sunny weather sucks (the Buddhist approach). The pink beaches at our destination would be better (A quick visit to the deeper tangles of Epicurus). But complaint is not grief.

When I drove home after identifying my father’s body on the dock of the Tolchester Marina, I howled in the car as I drove west over the Chesapeake Bay Bridge. It was a rainy Wednesday night, and a cat had wandered onto the dock while the emergency crew arranged his body between two pylons. They pulled the tarp back, and there he was, sodden and swollen from 36 hours in the water, and torn from where the hook found his body on the silty bottom of the boatyard.

As I drove over the bridge under which I ended my first glorious sail home—making 8 knots on a firm beam reach, nearly a perfect sail in that old Cape Dory—I let loose one long howl, holding it for the length of the span, tears flowing freely. While we, my brothers and mother, all anticipated his death, we still mourned his passing. He was, as we continued to toast him in his absence, “the founder of the feast.”

A younger captain

He was also, over the last decades of his life, a sailor. He had his flaws—there were times when we should not have left port, despite the sacrosanct schedule that he typed up and kept in a folder on the navigator’s desk. But who’s perfect?

We looked at each other and then turned our vision to the horizon, grey and wet in every direction, as of no matter where we sailed, the rain would find us. We were wet beneath our foul weather gear. What did it matter? We are made of water. We never said as much, but we knew. It was perfect.

In the British Virgin Islands, 1972

I was not always a sailor, even though I learned when I was 11. Sailing on the Bay bored me;  even the crystalline beauty of the British Virgin Islands failed to hold my attention until we dropped anchor and snorkeled our way through schools of brilliant fish down to fans of coral 30 feet below the surface. I did not find my way until I was in my thirties, and we were on the ocean in heavy weather. Because I am not perfect, I left those lessons on the ocean for too long. Memory is a boon and a bounty—with each remembered hurt, there is a corresponding gift.

There is a time for grief, and for some, a time for complaint. For sailors, once the course has been settled, there is only the sail and a wish for steady wind. And then, an acceptance of whatever comes. There will be howls.

Sailing Over the Horizon

I don’t know how long I have been preparing for my mother’s death. It has been for some time. The first inklings came by way of my father.

My father had suffered with Parkinson’s Disease over the last ten years of his life. I choose “suffer” and not “struggle” because “struggled” is too valiant a word; he suffered from the diminution of his physical abilities, of a stutter, and drugs that knocked him out. Nonetheless, he insisted on driving, even after the autonomous reflexes that make safe navigation of country roads at high speeds had abandoned him. We—his family—worried that his end (and someone else’s end) would come on the road. It did not.

Before the disease, my father sailed. He began when I was 11, and I took lessons with him. He sailed on the Chesapeake Bay, spending weekends looking for wind. When he retired from full-time work, he began to sail on the ocean.

Everyone who has sailed on the ocean has a story of a near-miss. Some idiots sailed onto a reef, and lost their two million dollar boat. A cargo container (my father’s persistent concern) floated like a metal iceberg and ripped through the fiberglass hull of a ship. There was a boat whose hull breached when it was nudged by a whale—“Once the water got into the cabin, the keel pointed it to the bottom. Like an arrow.” Any number of unforeseen accidents could turn a gentlemanly jaunt across the waves into a disaster. Even without the gales and following seas, sailing, for all its trappings, is a dare.

When I sailed with my father, I was folded into the fraternity of casual, privileged risk. It is a different bargain than that made by those who forswear safety for a higher cause. Only a fool invites disaster, tempts it, for what? A dare? An assertion of meaning and purpose? A sunny destination? All those and more. We may have been foolish, but we prepared for the worst.

My father’s disease added to the risk. He was the captain and an unsteady hand. Often he was the only one on board who could do the little tasks that needed to be done in a storm. He wanted to do them; he liked to do them. When I sailed with him, he ruefully asked me to tie down a loose sail. “I can’t do it,” he admitted. He would not say why he could not. He never admitted to the disease.

When other less sure crew was with him, he pushed himself to do those tasks, and came off the ocean bruised and beat up. He knew his time of risk was drawing to an end. He told me that he was contemplating selling his sailboat and buying a motorboat to “gunkhole” around in the Chesapeake Bay. A signal of its own.

In 2002, cancer—non-Hodgkins Lymphoma—struck my mother. She was not pleased, just as she had not been pleased with my father’s illness. Disruptions were anathema to my mother. However, her illness stunned my father. Whatever else in his life was uncertain, my mother’s tenacity was inflexible. I drove from Baltimore to the Philadelphia area to take her to chemotherapy sessions, sparing him as much as comforting her. After a few months, her doctor thought she had gone into remission, but then a second wave collapsed on her. Her liver swelled to the size of a football, and her blood became the consistency of maple syrup. We girded ourselves for the worst. And then it passed.

Six months later, my father slipped on a wet dock, fell into the water, and drowned.

Because of this, for the past 18 years, death has been a sometime presence in my relationship with my mother. My mother was nearly 72 years old when her husband died. He was diseased and at risk; the reef was hidden under the waves. We knew the odds.

My mother was halfway through her 88th year when she died. Otherwise, she was not a halfway kind of person. She was a pistol—full of energy and ready to go off in an instant.  She was fiercely independent—a characteristic that could make her difficult, but which also fired her painting. She started making art in her forties. Painting was a source of independence, stability, and consistency in the second half of her life.

While others made paintings that were representational and, well, let’s be honest, commercial, she stuck to abstraction. A quick word about abstraction: while some might imagine that abstraction is easy—just smear some paint on canvas—my mother found a challenge in getting a gesture onto the surface, and then a further challenge in adding a color, a second gesture, then another color. She labored over maintaining control of her gestures and palette and took solace in the layering of decisions that created a finished work.

If you had ever seen our house and its spare, precise decor, you could have seen how she battled chaos. Add to your imagination the rambunctiousness of her three sons, and the knowledge that we were forbidden from several rooms of the house until we were older and more settled. Her artistic life stood against the (self-invited, self-created) disorder of the outside world. She did not take to sailing—to the unpredictability of wind. She would retreat to the cabin when the boat heeled on a beat. She poured a glass of scotch, finding ballast and balance where none existed.

When I visited her with my family in 2014, a copy of Derek Humphry’s Final Exit ( a handbook for assisted suicide) was on one of the side tables. She was 82 and fully in remission, but arthritis made walking painful. She was sending up a flare of dissatisfaction. She had watched her mother linger and die in a nursing home. If my mother was a pistol, her mother was a blunderbuss, sour with nostalgia for a time before her marriage—the good old days. My mother did not want the end she had witnessed there. She put the book out to warn us: I am unhappy, and will not fade out of control.

The intervening years have unfolded with a number of slaps—like a cat playing with a mouse. Small strokes and other ignominies took small but noticeable bites out of my mother. When she gave up her studio—located in a community art building about 20 miles from her home—it was a keen signal.

 The past year she has navigated toward an ending, and I have been, as I often was with my father, a helping hand on the helm. It has been a strange duty. I encouraged her to work because I knew and shared the value of daily work with her. But I also listened to her dissatisfaction. “When I go to the studio, all I do is nap,” she told me. She told me more and told others more as well. She did not withhold complaints.

Last year as my mother began to make this final journey, I had started to date a woman. I told her about where my mother was, and what she asked of me. Rightly or wrongly, this woman noted the possibility of “unhealthy” and retreated. I cannot disagree or blame. I took the helm for my mother the same way I did for my father when he—foolishly, dangerously—kept to a schedule despite the weather. If, in telling the story of my mother’s death, I have returned to my father and his end, it is because they are intertwined—bookends spaced twenty years apart.

I ended my brief graveside eulogy for my mother, “She leaves us with this legacy, and with a vision of how to thrive in the garden of challenges that faces us all. Even this challenge. We go on, making our marks, as she taught us.” While many of my posts have been about my father, my mother was also my teacher. The lessons—both fortunate and unfortunate—that I took from my parents shaped me and prepared me. For what? For his death? Hers? My father once asked me if I could bring the boat home without him. He was prepared for disaster. I answered, as I must, as was true, “Yes.” These are the sailing lessons.

The Promise of London: A Writer’s Promise

A year ago I was in London. My first night there, it was cold and rainy—the worst weather of my short trip. In spite of that, there was a walk to take—a walking tour of locations connected to Dickens and A Christmas Carol. Only a handful (6? 8 at the most) came out for that walk. At some point in the night, I was recruited to help read from The Pickwick Papers. The walk ended at The George with mulled wine, and guests out of doors in the cold singing.

The memory is happy and sad. I had traveled to London with a woman whom I deeply loved. I had traveled with some amount of trepidation; I knew she had other stars in her eyes, or, at the very least, that she doubted that I was star enough for her eyes. However, London was a promise I had made to myself long ago, and I was fulfilling that promise, or, again, at the very least, making the first steps toward that promise. The trip was a dream and reminded me of why I made that promise years ago.

One part of the promise involved travel. When I was a graduate student, I had been accepted to travel to London to help with a program at my school. I did not go. I had met a woman and thought we were going to be married, so I reneged on my duties and planned a wedding and a life. The marriage did not happen. I stayed in Binghamton for the spring instead of traveling. I promised myself that I would go, and go beyond.

The other part of the promise was to write.

I had gone to Binghamton to be a writer. I began grad school at 28 with only a thin idea of what I wanted to write. To be honest, my idea of myself as a writer was entirely romantic—in that way Shelley’s idea of the poet from In Defense of Poetry is romantic. Such an idea, without a steadily glowing ember of practice, is not sustainable. My writing, though full of hopeful ideas, had not taken proper root. I was a dilettante—determined, but without that obsessive drive that propels most writers. While I was in grad school, I delved into the academic side of my studies—the ideas were thrilling, and it was easier to make headway there.

My first writing workshop focused on short fiction. Although I had written a couple of short stories and read some, especially when I was younger and gobbled up anthologies of supernatural stories, I came to writing because of novels, especially the magical realism of Gabriel Garcia Marquez and Mark Helprin. I wanted big strange things to happen in my work, and for my work to reflect a world in which the impossible was ever-present—if stalwartly and stupidly ignored. I wanted to shine a light on that world. Did I know that then? I do not think that I could have made a clear statement of exactly what I wanted, besides to “be a writer.” That is hardly enough.

I struggled with short work. I wish I could say that I had ten dozen ideas waiting to spring Athena-like from my forehead. I did not. After two years, I somehow cobbled together enough work for a Master’s Thesis, but the work relied too much on retelling stories from my life. I invented nothing. It wasn’t until my third year that I began to find my footing, and then only in the shortest of pieces, prose poems.

While academic writing can flourish jumping from George Chapman to Virginia Woolf to Charles Dickens, from Michel Foucault to Alice Jardine to Judith Butler, creative writing needs a steady—almost boring—focus. You have to sit at the grindstone. You have to want to sit at the grindstone, putting the millstone around your neck the way someone else might blithely doff a silk cravat, tied while running toward a morning meeting, or an afternoon assignation. It’s a damned heavy tie. And there must be something magical and transformative. The words must have the power to change the world.

And here’s the thing—as I have written in some of these posts, obsessive drive was antithetical to my idea of how I wanted to live. I had seen too much obsessive drive and distrusted it. Where some saw vision, I saw blindness. I felt it in myself, especially when I was “in love.” I distrusted the way I experienced romantic love and doubted whether I would be able to love anyone. At 28. I may not have had a clear idea about my writing, but I did have a clear—if wrong-headed—idea about my heart. I had much to learn. Now, I feel called to write every day, and if I do not, I feel the bite of old dogs. If days go by, the dogs grow younger and hungry.

And, I had given up on magic. Are the two things, love and writing, all that separate? Sadly, or happily, for me, they are not.

What happened? Well, this, for one. In January of 2018, I started reflecting on lost bits of my life. I had something to reclaim. It started with reflections on love and what I learned from a selection of movies—some obscure, some well known. Then I started musing on happiness and moving and beginnings and, of course, writing. I had something to reclaim. I explained to a friend that my newfound sense of urgency was the result of losses around me and my own gnawing loss of self. I felt my life slipping away.

What am I to myself

that must be remembered,

insisted upon

so often?

Robert Creeley

One of the early writing lessons was that one had to fight against insistence on anything other than the artistic integrity of the work. Art was all that mattered. Everything else was selfish preoccupation. There is a nascent Buddhism in this practice. Writers must not crave; they must simply let the perfect “be” and then get the hell out of the way. Great writing was, at some level, an act of self-erasure—the presence of absence. Especially when I was a young romantic writer-to-be, this appealed to my innate perfectionism and idealism. In a world full of corrupted motivation and suspect morality, attempting to make something beautiful was honorable. This is part of the elusive call of writing, and of all art. Everyone else must live reined in by the art of the possible: politics and compromise. Writers and artists strive for the unobtainable. Even when we engage the flaws in our work, as often as not we are performing some subtle—or not so subtle—sleight of hand. We are like the carpet weaver adding the imperfection because the perfect is reserved for God alone. Or for Shakespeare.

Which brings me back to London, a city in which Shakespeare’s famous theatre was rebuilt through the efforts of an American actor. When I went to London, I was a month and a half into a novel, and I knew that it would be a novel. I had imagined other work as long as novels before, but this was different. I had never felt drawn into the writing as I had with my book about the djinn. I knew it was going somewhere, and I did not know how it would get there. I was not simply writing about characters who were magical and from the world of enchantment; I was enchanted by the work. I researched djinn as I wrote, and would go back and revise whole sections to suit what I learned while I wrote. I let myself be out of control and let the book go out of my control.

The closest comparisons I can make to this were the feelings I had when I was at the crest of a wave—either on my father’s boat on the Atlantic Ocean or when I was body-surfing off the coast of California. In both cases, I was out of control and exhilarated. I felt the same way in London—that the waves of history, of literature, of streets, of unknown alleyways, and yes, of love could all come crashing down. They could, and some did, and I had to go ahead and throw myself into the waves anyway.

I wonder how this last novel came about so easily, but, really, it did not come easily. It began ages ago and I did not know it. I made a promise. As I gear up for the next, I am surprised that I am finding enchantment. Again. I am also pleasantly surprised that I know, a little, how to uncover enchantment when I need it. I have not needed to travel back to London. And yet, on this day—and if I am honest, every day—I feel the call. I have promises to keep. And miles to go…