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“A rough sound was polished until it became a smoother sound, which was polished until it became music,” the poet Mark Strand wrote in his ode to the enchantment of music. Music is the most indescribable of the arts, and that may be what makes it the most powerful — the creative force best capable of giving voice and shape to our most ineffable experiences and most layered longings, of containing them and expanding them at once. It is our supreme language for the exhilaration of being alive.
I have come upon no finer definition of music than philosopher Susanne Langer’s, who conceived of it as a laboratory for feeling in time. Time, indeed, is not only the raw material of music — the fundamental building block of melody and rhythm — but also its supreme gift to the listener. A song is a shelter in time, a shelter in being — music meets us at particular moments of our lives, enters us and magnifies those moments, anchors them in the stream of life, so that each time we hear the song again the living self is transported to the lived moment, and yet transformed.
That is what the uncommonly insightful painter, poet, and writer John Berger (November 5, 1926–January 2, 2017) explores in his essay “Some Notes on Song,” composed in the last months of his life and included in his altogether wonderful final collection Confabulations (public library).
Berger considers how music, in bridging the universal and the deeply personal, illuminates the meaning of intimacy:
Much of what happens to us in life is nameless because our vocabulary is too poor. Most stories get told out loud because the storyteller hopes that the telling of the story can transform a nameless event into a familiar or intimate one.
We tend to associate intimacy with closeness and closeness with a certain sum of shared experiences. Yet in reality total strangers, who will never say a single word to each other, can share an intimacy — an intimacy contained in the exchange of a glance, a nod of the head, a smile, a shrug of a shoulder. A closeness that lasts for minutes or for the duration of a song that is being listened to together. An agreement about life. An agreement without clauses. A conclusion spontaneously shared between the untold stories gathered around the song.
It is the luscious corporeality of song that lends music its extraordinary powers of intimacy. In consonance with Richard Powers’s arresting observation that “the use of music is to remind us how short a time we have a body,” Berger writes:
A song, when being sung and played, acquires a body… Again and again the song takes over the body of the singer, and after a while the body of the circle of listeners who, as they listen and gesture to the song, are remembering and foreseeing.
A song, as distinct from the bodies it takes over, is unfixed in time and place. A song narrates a past experience. While it is being sung it fills the present. Stories do the same. But songs have another dimension, which is uniquely theirs. A song fills the present, while it hopes to reach a listening ear in some future somewhere. It leans forward, farther and farther. Without the persistence of this hope, songs would not exist. Songs lean forward.
[…]
A song borrows existent physical bodies in order to acquire, while it’s being sung, a body of its own.
Music is so embodied an experience because it is made of the same substance we ourselves are made of: time. With an eye to how “songs put their arms around linear time,” Berger adds:
The tempo, the beat, the loops, the repetitions of a song offer a shelter from the flow of linear time — a shelter in which future, present, and past can console, provoke, ironize, and inspire one another.
[…]
Songs are like rivers: each follows its own course, yet all flow to the sea, from which everything came.
Complement with the poetic physicist Alan Lightman on music and the universe and the fascinating science of how music casts its spell on us, then savor Beethoven’s “Ode to Joy” brought to life in a Spanish flashmob of 100 musicians.
For a decade and half, I have been spending hundreds of hours and thousands of dollars each month composing The Marginalian (which bore the unbearable name Brain Pickings for its first fifteen years). It has remained free and ad-free and alive thanks to patronage from readers. I have no staff, no interns, no assistant — a thoroughly one-woman labor of love that is also my life and my livelihood. If this labor makes your own life more livable in any way, please consider lending a helping hand with a donation. Your support makes all the difference.
The Marginalian has a free weekly newsletter. It comes out on Sundays and offers the week’s most inspiring reading. Here’s what to expect. Like? Sign up.
In the pre-scientific world, in the blind old world with its old language, we had a word for those people most awake to the sacred wonder of reality, most capable of awakening the native kindness of human beings — the kindness that flows naturally between us when we are stripped of our biases and liberated from our small, constricting frames of reference. That word was “saint.”
Saints still walk our world, though now we might simply call them heroes, if we recognize them at all — heroes whose superpower is love.
Leonard Cohen (September 21, 1934–November 7, 2016) — one of the modern heroes — explores what makes a saint in a passage from his 1966 novel Beautiful Losers (public library).
He writes:
What is a saint? A saint is someone who has achieved a remote human possibility. It is impossible to say what that possibility is. I think it has something to do with the energy of love. Contact with this energy results in the exercise of a kind of balance in the chaos of existence. A saint does not dissolve the chaos; if he did the world would have changed long ago. I do not think that a saint dissolves the chaos even for himself, for there is something arrogant and warlike in the notion of a man setting the universe in order. It is a kind of balance that is his glory. He rides the drifts like an escaped ski. His course is the caress of the hill. His track is a drawing of the snow in a moment of its particular arrangement with wind and rock. Something in him so loves the world that he gives himself to the laws of gravity and chance. Far from flying with the angels, he traces with the fidelity of a seismograph needle the state of the solid bloody landscape. His house is dangerous and finite, but he is at home in the world. He can love the shape of human beings, the fine and twisted shapes of the heart. It is good to have among us such men*, such balancing monsters of love.
A year later, Cohen contemplated what these “balancing monsters of love” do for us in his song “Sisters of Mercy”:
If your life is a leaf that the seasons tear off and condemn,
They will bind you with love that is graceful and green as a stem.
Complement with Walter Lippmann’s magnificent meditation on what makes a hero, inspired by Amelia Earhart, then revisit Leonard Cohen on creativity at the end of life, language and the poetry of presence, democracy’s breakages and redemptions, and when (not) to quit a creative project.
For a decade and half, I have been spending hundreds of hours and thousands of dollars each month composing The Marginalian (which bore the unbearable name Brain Pickings for its first fifteen years). It has remained free and ad-free and alive thanks to patronage from readers. I have no staff, no interns, no assistant — a thoroughly one-woman labor of love that is also my life and my livelihood. If this labor makes your own life more livable in any way, please consider lending a helping hand with a donation. Your support makes all the difference.
The Marginalian has a free weekly newsletter. It comes out on Sundays and offers the week’s most inspiring reading. Here’s what to expect. Like? Sign up.
“The perilous time for the most highly gifted is not youth,” the visionary Elizabeth Peabody, who coined the term transcendentalism, wrote in her timeless admonition against the trap of complacency. “The perilous season is middle age, when a false wisdom tempts them to doubt the divine origin of the dreams of their youth.”
A century and a half after her, contemplating how to keep life from becoming a parody of itself, Simone de Beauvoir observed: “In old age we should wish still to have passions strong enough to prevent us turning in on ourselves.”
Moving through the stages of life and meeting each on its own terms is the supreme art of living — the ultimate test of self-respect and self-love. Often, what most blunts our vitality is the tendency for the momentum of a past stage to steer the present one, even though our priorities and passions have changed beyond recognition.
How to honor the unfolding of life without a punitive clinging to past selves is what Nick Cave explores in a passage from Faith, Hope and Carnage — one of my favorite books of 2022.
At sixty-five, he reflects:
We’re often led to believe that getting older is in itself somehow a betrayal of our idealistic younger self, but sometimes I think it might be the other way around. Maybe the younger self finds it difficult to inhabit its true potential because it has no idea what that potential is. It is a kind of unformed thing running scared most of the time, frantically trying to build its sense of self — This is me! Here I am! — in any way that it can. But then time and life come along, and smash that sense of self into a million pieces.
In consonance with the great Buddhist teacher Pema Chödrön’s insight that “only to the extent that we expose ourselves over and over to annihilation can that which is indestructible be found in us,” he considers what is found on the other side of that self-shattering:
Then comes the reassembled self, the self you have to put back together. You no longer have to devote time to finding out what you are, you are just free to be whatever you want to be, unimpeded by the incessant needs of others. You somehow grow into the fullness of your humanity, form your own character, become a proper person — I don’t know, someone who has become a part of things, not someone separated from or at odds with the world.
A generation earlier, Bertrand Russell touched on this in his astute observation that growing older contentedly is matter of being able to “make your interests gradually wider and more impersonal, until bit by bit the walls of the ego recede, and your life becomes increasingly merged in the universal life.”
Complement with Grace Paley on the art of growing older, then revisit Nick Cave on self-forgiveness, the relationship between vulnerability and freedom, and the antidote to our existential helplessness.
For a decade and half, I have been spending hundreds of hours and thousands of dollars each month composing The Marginalian (which bore the unbearable name Brain Pickings for its first fifteen years). It has remained free and ad-free and alive thanks to patronage from readers. I have no staff, no interns, no assistant — a thoroughly one-woman labor of love that is also my life and my livelihood. If this labor makes your own life more livable in any way, please consider lending a helping hand with a donation. Your support makes all the difference.
The Marginalian has a free weekly newsletter. It comes out on Sundays and offers the week’s most inspiring reading. Here’s what to expect. Like? Sign up.
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