Login
If wonder springs from the quality of attention we pay to things and joy springs from our capacity for presence with wonder, then the quality of our attention shapes the quality of our lives. It is a dangerous falsehood that to find wonder in reality is to relinquish our realism — rather, this attentive gladness, this fluency in the native poetry of the universe, may be the truest realism we have.
That is what Robert Louis Stevenson (November 13, 1850–December 3, 1894) explores in some breathtaking passages from his long essay “The Lantern-Bearers,” found in his 1892 collection of personal writings Across the Plains (public library | free ebook).
Stevenson writes:
There is one fable that touches very near the quick of life, — the fable of the monk who passed into the woods, heard a bird break into song, hearkened for a trill or two, and found himself at his return a stranger at his convent gates; for he had been absent fifty years, and of all his comrades there survived but one to recognize him. It is not only in the woods that this enchanter carols, though perhaps he is native there. He sings in the most doleful places. The miser hears him and chuckles, and his days are moments. With no more apparatus than an evil-smelling lantern, I have evoked him on the naked links. All life that is not merely mechanical is spun out of two strands, — seeking for that bird and hearing him. And it is just this that makes life so hard to value, and the delight of each so incommunicable. And it is just a knowledge of this, and a remembrance of those fortunate hours in which the bird has sung to us, that fills us with such wonder when we turn to the pages of the realist. There, to be sure, we find a picture of life in so far as it consists of mud and of old iron, cheap desires and cheap fears, that which we are ashamed to remember and that which we are careless whether we forget; but of the note of that time-devouring nightingale we hear no news.
Half a century before Anaïs Nin contemplated the elusive nature of joy, he adds:
The ground of a man’s joy is often hard to hit. It may hinge at times upon a mere accessory, like the lantern; it may reside… in the mysterious inwards of psychology… It has so little bond with externals… that it may even touch them not, and the man’s true life, for which he consents to live, lie together in the field of fancy…. In such a case the poetry runs underground. The observer (poor soul, with his documents!) is all abroad. For to look at the man is but to court deception. We shall see the trunk from which he draws his nourishment; but he himself is above and abroad in the green dome of foliage, hummed through by winds and nested in by nightingales. And the true realism were that of the poets, to climb after him like a squirrel, and catch some glimpse of the heaven in which he lives. And the true realism, always and everywhere, is that of the poets: to find out where joy resides, and give it a voice far beyond singing.
For to miss the joy is to miss all. In the joy of the actors lies the sense of any action. That is the explanation, that the excuse… for no man lives in the external truth among salts and acids, but in the warm, phantasmagoric chamber of his brain, with the painted windows and the storied wall.
Complement with poet Ross Gay on the discipline of delight and René Magritte on the courage of joy, then revisit Hermann Hesse on the life-magnifying value of the little joys.
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.
If you have zero interest in the blues — the very foundation of American music — I can’t promise you a gripping tale. But if you have even a passing awareness of Robert Johnson, or the impossibly rich tradition that descended from his scant recordings, then you won’t be able to tear yourself away. Discovery, dispute, and deceit: from those three chords Michael Hall composes an unforgettable tune.
On April 4, Mack’s manuscript, Biography of a Phantom, was finally published, more than five decades after he started it. But it’s very different from the pages I held in my hands back in 2016. In parts of the book, Mack’s presence outweighs Johnson’s—and not to Mack’s benefit. By the last page, Mack has become the villain of his own life’s work.
Mack’s favorite Dickinson poem begins, “This is my letter to the World that never wrote to me.” If you’re familiar with the poem, you know that it ends, “Judge tenderly—of Me.” As Mack’s friend, I’m going to try to do that for him. Though he made it really hard, because a lot of what I thought I knew about Mack was all wrong.
In his sixth-and-lastly LOTR post, Adam Roberts graciously responds to my recent attempts to correct his errors, and this leads him into some fascinating territory, e.g. “the lack, or apparent lack, of the death penalty in Middle Earth.”
I can think of two examples in LOTR of a death penalty having been decreed, and they come close together: those who wander in Ithilien without the permission of the Lord Steward of Gondor, and those who come to Henneth Annûn, the Forbidden Pool, are alike to be killed. Yet Faramir overrides both decrees, in the full knowledge that his decisions, if his father hears about them, could cost him his own life. What underlies those decisions he explains to Sam, when the young hobbit rashly challenges Faramir’s treatment of Frodo:
‘Patience!’ said Faramir, but without anger. ‘Do not speak before your master, whose wit is greater than yours. And I do not need any to teach me of our peril. Even so, I spare a brief time, in order to judge justly in a hard matter. Were I as hasty as you, I might have slain you long ago. For I am commanded to slay all whom I find in this land without the leave of the Lord of Gondor. But I do not slay man or beast needlessly, and not gladly even when it is needed. Neither do I talk in vain. So be comforted. Sit by your master, and be silent!’
That is, Faramir has internalized the very standards that, as Adam notes, Gandalf articulates in the second chapter of the whole novel, “The Shadow of the Past”: the sovereignty (among moral imperatives) of pity and mercy. Gandalf on Bilbo: “It was Pity that stayed his hand. Pity, and Mercy: not to strike without need.” Faramir is indeed what his father accuses him of being: “a wizard’s pupil.”
“Sovereignty” is a key concept here, as Carl Schmitt realized when he said that the sovereign is whoever or whatever can “declare the state of exception.” Faramir assumes a local sovereignty when he overrides the death penalty in these two cases — as, by the way, do Eomer (when he allows Aragorn, Gimli, and Legolas to ride free in the Mark rather than bring them back to Theoden) and Háma, the doorward of Theoden, whose charge is to deprive visitors of their weapons:
‘The staff in the hand of a wizard may be more than a prop for age,’ said Háma. He looked hard at the ash-staff on which Gandalf leaned. ‘Yet in doubt a man of worth will trust to his own wisdom. I believe you are friends and folk worthy of honour, who have no evil purpose. You may go in.’
So you can see that one of the great themes in the middle two books of the novel is the necessity of wisdom — of prudential judgment that overrides the letter of the law. In the Nicomachean Ethics Aristotle says that any law is necessarily deficient because of its generality, so wise rulers will need to develop the virtue of ἐπιείκεια (epieikeia), a word impossible to translate: in many contexts it means clemency, gentleness, or, yes, mercy, but Aristotle seems to mean something broader: perhaps discretion is the best one-word translation. But discretion will typically, for Aristotle, involve relaxing or modulating the demands of the law. In any case, again and again in LOTR the success of our heroes depends on their encountering people in power who manifest such ἐπιείκεια.
But what is the origin of the laws they they thus relax? It seems that in every case they arise from personal decrees by rulers. (Denethor speaks and it is so.) Because the Shire doesn’t have a ruler, the hobbits who live there seem to depend not on law at all but rather custom. The law in any sense recognizable to us — an entity like the Code of Hammurabi or the Mosaic law — doesn’t appear to exist in Middle-Earth.
And I wonder if this absence of Law-as-such is related to the (oft-noted) absence of Religion-as-such. Our word religion comes from the Latin religio which in turn probably comes from religare, to bind. To be “religious” is to bind oneself to certain beliefs and practices. But in this context to bind is a reverberant notion: we may well think of the One Ring as the One Religion and One Law of Middle-Earth in the Third Age. It is noteworthy that most of the various decrees which good men exercise their ἐπιείκεια to relax were created in response to the increasing power and ambition of Mordor. Those who act wisely in this book seem to be aware, perhaps not quite consciously, that decrees made in order to respond to Mordor will likely be tainted by Mordor’s logic of power. Eomer and Háma and especially Faramir seem to intuit another logic, a greater logic of ἐπιείκεια that comes not from the decrees of the sovereign but rather … well, from where?
When I teach The Lord of the Rings I take my students through the book’s oddly pervasive use, in certain circumstances, of the passive voice. Gandalf tells Frodo that he and Bilbo were meant to find the Ring; Frodo asks, “Why was I chosen?” — by whom, we wonder; Elrond tells the council gathered at Rivendell that they were called there (“though I did not call you.”) There are many more examples. Says Gandalf, “Behind that” — Bilbo’s finding of the Ring — “there was something else at work, beyond any design of the Ring-maker.” But what? No one seems to know, though perhaps Gandalf does know and is reluctant (or forbidden) to say. But whatever it is, it seems to whisper of the sovereignty of mercy above that of legal decree. It shows us a world in which penalties of death are declared, but are then abrogated by the wise and kind. A world in which Schmitt’s “state of exception” is indeed instituted, but not by the power-hungry — rather, by the merciful, no matter what it costs them.
One of the most persistent critiques frequently lobbed at the modern era of filmmaking is that Hollywood is in the middle of a creativity crisis. The rise of mega blockbusters-with budgets starting at $200 million- and the success of the Marvel cinematic universe has created a false perception among disgruntled cinephiles and industry professionals alike that auteurs have suddenly become an endangered species in Tinseltown. — Read the rest
Dougal Robertson (January 29, 1924–September 22, 1991) was still a teenager, the youngest of a Scottish music teacher’s eight children, when he joined the British Merchant Navy. After a Japanese attack on a steamship during WWII killed his wife and young son, he left the navy and moved to Hong Kong, where he eventually met and married a nurse.
Together, they began a new life as dairy farmers in the English countryside, on a farm without electricity or running water. Eventually, they had a daughter, then a son, then a pair of twins.
After nearly two decades on the farm, the family had an unorthodox idea for how to best educate their children, how to show them what a vast and wondrous place the world is, full of all kinds of different people and all kinds of different ways of living: They sold everything they had, bought a schooner, and set out to sail around the world, departing on January 27, 1971.
After more than a year at sea, just after sailing through the Panama Canal to begin their Pacific crossing, killer whales attacked the schooner 200 miles off the coast of Galapagos, sinking it in less than a minute. They piled into the inflatable life-raft, managed to grab a piece of sail from the water, and rigged it to the 9-foot dinghy they had on board to use it as a tugboat for the raft now housing six human beings.
Suddenly, they were a tiny speck in Earth’s largest ocean, enveloped by the vast open emptiness of infinite horizons. With no nautical instruments or charts, powered only by their makeshift sail, they had no hope of reaching land. Their only chance was rescue by a passing vessel. Given the immensity of the Pacific Ocean, it was an improbability bordering on a miracle.
Seventeen days into their life as castaways, the raft deflated. All they had now was the narrow fiberglass dinghy, its rim barely above the water’s edge with all the human cargo.
By that blind resilience life has of resisting non-life, they persisted, eating turtle meat and sweet flying fish that landed in the bottom of the boat, drinking rainwater and turtle blood. Storms lashed them. Whales menaced them. Thirst and hunger subsumed them. Their bodies were covered in salt-water sores. Enormous ships passed within sight, missing their cries for help. But they pressed on, hoping against hope, toiling in every conceivable way to keep the spark of life aflame.
After 37 days as castaways, chance smiled upon them — a Japanese fishing boat spotted their distress flare and came to their rescue. Their tongues were so swollen from dehydration that they could hardly thank their saviors.
Throughout it all, Dougal kept a journal in case they lived — an act itself emblematic of that touching and tenacious optimism by which they survived. He later drew on it to publish an account of the experience, then distilled his learnings in Sea Survival: A Manual (public library).
Nested amid the rigorously practical advice is a poetic sentiment that applies not only to survival at sea but to life itself — a soulful prescription for what it takes to live through those most trying periods when you feel like a castaway from life, beyond the reach of salvation, depleted of hope.
He writes:
I have no words to offer which may comfort the reader who is also a castaway, except that rescue may come at any time but not necessarily when you expect it; and that even if you give up hope, you must never give up trying, for, as the result of your efforts, hope may well return and with justification.
Echoing Einstein’s views on free will and personal responsibility, he adds:
You can expect good and bad luck, but good or bad judgment is your prerogative, as is good or bad management.
This simple advice reads like a Zen koan, to be rolled around the palate of the mind, releasing richer and richer meaning, deeper and deeper assurance each time.
Complement with John Steinbeck on the true meaning and purpose of hope, Jane Goodall on its deepest wellspring, and some thoughts on hope and the remedy for despair from Nick Cave and Gabriel Marcel, then zoom out to the civilizational scale and revisit Road to Survival — that wonderful packet of wisdom on resilience from the forgotten visionary who shaped the modern environmental movement.
Thanks, Nina
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.
C. Denise Okafor, assistant professor of biochemistry and molecular biology and of chemistry at Pennsylvania State University has been selected as a recipient of the 2023 Marion Milligan Mason Award for Women in the Chemical Sciences from the American Association for the Advancement of Science.
The Mason Award commemorates the late chemist Marion Tuttle Milligan Mason, who wanted to support the advancement of women in the chemical sciences. The Mason Award is a highly competitive award that attracts applications from the very best early-career female chemists across the country. First awarded in 2015, the Mason Award has funded the research of 18 scientists who represent a diverse range of specialties within the chemical sciences.
Dr. Okafor’s research combines computational and experimental investigations to develop a fundamental understanding of how protein function is regulated. She investigates the structural mechanisms of signaling and regulation in protein complexes and uses simulations to determine how conformational dynamics of proteins are altered in different functional states.
Prior to joining the faculty at Penn State in 2020, Dr. Okafor was a postdoctoral researcher at the Emory University School of Medicine in Atlanta from 2015 to 2019.
Dr. Okafor earned a bachelor’s degree in biomedical chemistry at Oral Roberts University in Tulsa, Oklahoma. She holds a master’s degree in chemistry and a Ph.D. in biochemistry from the Georgia Institute of Technology.
“This isn’t a bunch of Black people in a pool,” remarks Nic Askew, the coach of the all-Black swim team at Howard University. “It’s young Black men and women succeeding in a sport that, for years, has shut them out of this experience.” For Sports Illustrated, Robert Sanchez spends time with Askew, a 44-year-old Howard alum and record-setting swimmer who agreed to take over the university’s swimming program. An inspiring coach, Askew has slowly but steadily breathed life into the program, creating, reports Sanchez, “arguably the most electric collegiate swimming environment in the U.S.”
Today, Black Americans are 5.5 times more likely to drown than white ones, and historically, racism has made pools across the U.S. — and swimming as both a sport and leisurely activity — less accessible to Black communities. While other HBCUs have cut programs over the decades, Howard’s swim program still stands, and stands proudly.
Askew is a font of positivity, a never-ending seeker of the good that’s just around the corner. It’s an attitude that dates to his time two decades ago as a record-setting swimmer and all-conference tennis player at Howard. “He always wants to know what’s next,” says King, Askew’s former teammate, who once starred as a distance freestyler. “And he’s bringing you with him.” Askew often talks about overflowing cups, about using his cup to fill others’, about the big idea he has for the Bison pool, about the team’s schedule, about winning, about the idea that America’s only all-Black college swim team could become a touchstone for underserved communities across the country.
Last week, we headed to Las Vegas to check out the 10th edition of the Kitchen and Bath Industry Show (KBIS) and we are still reeling from everything we saw! Did you catch our live coverage on Instagram? From fixtures to surfaces, ovens to wash basins, showers to closets, we got to see the latest products and collections from legacy and emerging brands coming out this year and beyond. If you missed out on attending, registration for the 2024 show is not yet opened but you can sign up here to be notified first thing. Until then, here is the best of KBIS 2023 to get you excited for next year’s festivities:
We’re not sure about you but we are still into the sage green trend, so this bathtub from Marmite made us stop mid-track. Look how thin the edges are!
Tech was a major component of the show and this smart garden by Natufia showed us how easy it is to cultivate and grow your green thumb, even if the season outdoors are less than ideal. If you don’t have any balcony or garden space, this would be a great alternative.
Another option for growing your own garden indoors is with LG’s “tiiun mini,” which allows you to grow just enough to enhance the dishes you whip up using fresh herbs. We love that this takes up very minimal space on a counter top.
Colors, colors, colors! There was no shortage of color options at this year’s show and that included wash basins. The rainbow of hues we saw (like these from Ruvati) made us question why we would ever choose white or stainless steel again!
We love a matte black fixture and this one at the Brizo booth called out to us for its clean, architectural lines. We also checked out the Jason Wu for Brizo Kitchen Collection (below) and it reminded us of our Friday Five with Wu here.
Kohler announced that it was bringing back two of their six most popular heritage colors for a production and we got to see all six up close. The colors were put to a vote and the winning hues were Spring Green and Peachblow! We love both and could see them in a colorfully bold, statement-making bath space.
Speaking of heritage collections, Bertazonni’s ranges made us wish for one in our own homes. Between the Professional line (above) and Heritage line (below), which would you choose?
We’ve written about Samsung’s Bespoke collection before (see here, here, and here) but seeing it in real life solidified our love for the series. The fridge color blocking is especially pretty in person and such a refreshing alternative to stainless steel.
Konkretus is a new-to-us brand but we love what this under-the-radar brand is doing and making. The booth showcased a monolithic concrete tub in beautiful bubble gum pink hue but it was the natural textures of the tub that really stood out to us. The brand offers a curated selection of colors to choose from if pink isn’t your thing.
This is what happens when fashion inspires the kitchen space! Cafe Appliances displayed various mood boards that these kitchen vignettes were created from and we love how unapologetically bold and colorful the results were. We especially love this eclectic pink/purple kitchen and the tropical beach vibes of this second kitchen.
Bath fixtures are something you should really see in person because photos don’t do them justice. The Central Park West series was a collaboration between Kallista and Robert A.M. Stern Architects and instantly elevates a bath space. Be sure not to drop that handheld shower head on your foot – it’s heavy but that makes it feel so much more substantial and luxurious!
With Smeg, we love how you can go bold with color or minimalist with classic stainless steel.
Finally, all the hardware at Emtek makes us want to change out every door and cabinet in our own home. Above, it looks like we’re looking inside a jewelry box with the various materials! Below is Emtek’s predictions for 2023’s colors and finish trends – which one is your favorite?
This post contains affiliate links, so if you make a purchase from an affiliate link, we earn a commission. Thanks for supporting Design Milk!
FreshRSS 