The Marginalian
The Marginalian

The Body as Revolution: Che Guevara on Social Medicine and Personal Health as a Political Act

The Body as Revolution: Che Guevara on Social Medicine and Personal Health as a Political Act

“If the body is not the soul, what is the soul?” wrote Walt Whitman in his heroic revolt against the lasting tyranny of Descartes, whose dismissal of the body and disdain for the soul may be the single most damaging ideological misstep of modernity. Long before we had evidence that the body is where we heal the traumas of being, that it is our mightiest instrument of sanity and joy, that “the mind narrates what the nervous system knows,” Whitman ministered to disfigured soldiers as a volunteer Civil War nurse, knowing what we still, in our age of disembodied intellects, deny — that the body is the frontline of our values, the revolutionary battleground on which all of our ideas and ideals are won or lost.

A century later and a hemisphere over, a young medical student mounted his motorcycle to tour his continent, an inhaler in his battered backpack. Along the way, Ernesto “Che” Guevara (May 14, 1928–October 9, 1967) dreamt up a revolution on the scale of the world, the fundaments of which — a refusal to accept the givens, a defiant will to take charge of the possible — he had learned on the scale of the body.

Born two months premature and almost immediately afflicted with bronchial pneumonia, Ernestito was a sickly, chubby child who wore heavy glasses to correct for his astigmatism and carried a vaporizer at all times to ameliorate the regular attacks of asthma so severe that his mother home-schooled him until the authorities demanded he enroll in a state school. He did, but his attendance record was punctuated by frequent asthma-induced absences, sometimes lasting weeks, during which his mother continued to tutor him, teaching him French. From the moment he learned to read, books had been his solace through the long and lonely quarantines, and now he was reading the poetry of Baudelaire and the novels of Émile Zola in the original. But with each paginated portal into another world, he suffered the tension of a mind so free, so limitless, captive to the limitations of the body.

Just as the young Beethoven had resolved to “take fate by the throat” as he began losing his hearing, Ernesto took his destiny in his own hands. He fasted, became fastidious about his everyday diet, started swimming, took to the outdoors, trying to find his limits, to push them, sometimes so hazardously that his friends had to carry him home wheezing. As a teenager, he joined a local rugby team coached by a young biochemistry and pharmacology student several years his senior, who became a close and dear friend. During practice breaks, Ernesto would sit with his back against a light post reading Freud and Faulkner, Dumas and Steinbeck, beginning to think about what it means and what it takes to be free — thoughts that would deepen and complicate a decade later as he witnessed the hunger, poverty, and disease throughout South America from his motorcycle, thoughts that would lead him to approach the body politic of the world with the same defiant will to change the givens, to prevail over the forces that keep people unfree.

In the high summer of 1960, having anchored one major revolution and inspired many, Che Guevara addressed young doctors at the inauguration of a new training program at Cuba’s Ministry of Public Health. Although much of his speech, appropriately titled “On Revolutionary Medicine,” speaks to the particular conditions of Cuban society in the wake of the revolution, pulsating through it are timeless insights into the deepest meaning of health for any person and any society in any epoch.

The Human Heart. One of French artist Paul Sougy’s mid-century scientific diagrams of life. (Available as a print.)

Arguing that a revolution aims to create “a new type of human being,” that this is “the greatest work of social medicine,” and that “social change demands equally profound changes in the mental structure of the people,” he throws a gauntlet at Descartes with the intimation that the body is the substrate of the mind — for a person and for a people. Health, he argues, is a personal responsibility that has political power, which in turn makes it a collaborative intention:

For one to be a revolutionary doctor or to be a revolutionary at all, there must first be a revolution. Isolated individual endeavour, for all its purity of ideals, is of no use, and the desire to sacrifice an entire lifetime to the noblest of ideals serves no purpose if one works alone, solitarily, in some corner of America, fighting against adverse governments and social conditions which prevent progress.

[…]

The battle against disease should be based on the principle of creating a robust body — not creating a robust body through a doctor’s artistic work on a weak organism, but creating a robust body through the world of the whole collectivity, especially the whole social collectivity.

Art from The Human Body, 1959.

He envisions the best possible fruition of revolutionary personal and public health:

One day medicine will have to become a science that serves to prevent diseases, to orient the entire public toward their medical obligations, and that intervention is only necessary in cases of extreme urgency to perform some surgical operation or to deal with something uncharacteristic of that new society we are creating.

Paradoxically, this collective triumph hinges upon the personal responsibility of the individual, who (as Eleanor Roosevelt also knew) is the fulcrum of all social change:

As for all the revolutionary tasks, fundamentally it is the individual who is needed. The revolution does not, as some claim, standardize the collective will and the collective initiative. On the contrary, it liberates man’s individual talent. What the revolution does is orient that talent.

[…]

If we know the direction in which we have to travel, then the only thing left for us is to know the daily stretch of the road and to take it. Nobody can point out that stretch; that stretch is the personal road of each individual; it is what he or she will do every day, what a person will gain from their individual experience, and what they will give of themselves.

BP

Love, Lichen, and the Art of Trusting Time: The Best of The Marginalian 2025

Bless hindsight for how it clarifies the confusions of time, for how precisely it plots the true highs and lows on the terrain map of life once the quakes of the moment have died down, for how dispassionately it reveals what was a fleeting enthusiasm and what a lifelong gift. It is good to have an annual hindsight ritual in one’s life and one’s work, the more so the more the two converge. Here are the twenty-five “best” Marginalian essays of 2025 — a composite measure of what you most loved reading and what I most loved writing, which never perfectly coincide. (Bless the otherness of minds.)

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The Three Elements of the Good Life

Read it here.

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Do Not Spare Yourself

Read it here.

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An Almanac of Birds: 100 Divinations for Uncertain Days

Read it here.

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How to Be a Lichen: Adaptive Strategies for the Vulnerabilities of Being Human from Nature’s Tiny Titans of Tenacity

Read it here.

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A Defense of Joy

Read it here.

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HOLD ON LET GO: Urns for Living and the Art of Trusting Time

Read it here.

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How to Be a Good Explorer on the Lifelong Expedition to Yourself

Read it here.

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The Coziest Place on the Moon: An Illustrated Fable about How to Live with Loneliness and What It Means to Love, Inspired by a Real NASA Discovery

Read it here.

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Any Common Desolation

Read it here.

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What a Weasel Knows: Annie Dillard on How to Live

Read it here.

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How Humanity Saved the Ginkgo

Read it here.

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The Stubborn Art of Turning Suffering into Strength: Václav Havel’s Extraordinary Letters from Prison

Read it here.

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The Souls of Animals

Read it here.

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How Two Souls Can Interact with One Another: Simone de Beauvoir on Love and Friendship

Read it here.

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Mushrooms and Our Search for Meaning

Read it here.

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By Contacts We Are Saved: The Forgotten Visionary Jane Ellen Harrison on Change, the Meaning of Faith, and the Courage of Heresy

Read it here.

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Anima: One Woman’s Search for Meaning in the Footsteps of Bulgarian Mountain Shepherds

Read it here.

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Hope Is the Thing with Feathers, and with Fangs: The Alchemy of Unrequited Love and the Story Behind Emily Dickinson’s Most Famous Poem

Read it here.

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Forgiveness

Read it here.

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Arundhati Roy on the Deepest Measure of Success

Read it here.

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Little Free Library Divinations: Searching for the Meaning of Life in Discarded Books and Found Objects

Read it here.

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Carl Jung on Creativity

Read it here.

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The Search for Meaning Cast in Clay: 19 Years of The Marginalian in 19 Ceramic Sentences

Read it here.

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How Not to Waste Your Life

Read it here.

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Favorite Books of 2025

Read it here.

BP

The Continuous Creative Act of Holding on While Letting Go: 10 Cultural Icons on the Art of Growing Older

A great paradox of being alive in this civilization is that we have come to dread and devalue the triumph of having lived, forgetting that to grow old is not a punishment but a privilege — that of having survived the loneliness of childhood, the brash insecurity of youth, the turmoil of middle age, in order to begin the continuous creative act of holding on while letting go.

This is not easy in a culture that fetishes youth, that clothes us in an invisibility cloak as life strips us of time. We could use all the help we can get — a psychological equivalent of what Eva Perón set out to do politically with her constitutional decalogue for the dignity of growing old. Here is the best help I have encountered over the years — a kind of decalogue for the constitution of the inner country.

JANE ELLEN HARRISON

The first thing one must do in this culture is refute the romanticizing of youth, recalibrate the value metrics of the self, and no one has done it more concisely and creatively than Jane Ellen Harrison (September 9, 1850–April 15, 1928) — one of the most daring and underappreciated intellects of the past century — in her altogether superb disquisition on youth and old age:

People ask: “Would you or would you not like to be young again?” Of course, it is really one of those foolish questions that never should be asked, because they are impossible. You cannot be — you that are — young again. You cannot unroll that snowball which is you: there is no “you” except your life — lived. But apart from that, when you rise from what somebody calls “the banquet of life,” flushed with the wine of life, can you want to sit down again? When you have climbed the hill, and the view is just breaking, do you want to reclimb it? A thousand times no! Anyone who honestly wants to be young again has never lived, only imagined, only masqueraded.

URSULA K. LE GUIN

At the dawn of her sixties — that threshold moment when people, women especially, first begin to feel the cold shoulder of society, the small cruelties of daily dismissal, the subtle intimations of irrelevance — Ursula K. Le Guin (October 21, 1929–January 22, 2018) took up the question of what beauty really means as one grows older, cutting through the collagen of our cultural ideology to celebrate the most beautiful thing about growing older: how it anneals personhood, chiseling away the marble of personality to reveal the sculpture of the naked soul:

For old people, beauty doesn’t come free with the hormones, the way it does for the young. It has to do with bones. It has to do with who the person is. More and more clearly it has to do with what shines through those gnarly faces and bodies.

[…]

There’s something about me that doesn’t change, hasn’t changed, through all the remarkable, exciting, alarming, and disappointing transformations my body has gone through. There is a person there who isn’t only what she looks like, and to find her and know her I have to look through, look in, look deep. Not only in space, but in time.

Also well worth reading is Le Guin’s meditation on change, menopause as rebirth, and the civilizational value of elders

BERTRAND RUSSELL

In the first year of his eighties, already a Nobel laureate who had lived through two world wars, the polymathic philosopher and mathematician Bertrand Russell (May 18, 1872–February 2, 1970) wrote a short essay about how to grow old, anchored in this life-magnifying advice:

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. An individual human existence should be like a river — small at first, narrowly contained within its banks, and rushing passionately past rocks and over waterfalls. Gradually the river grows wider, the banks recede, the waters flow more quietly, and in the end, without any visible break, they become merged in the sea, and painlessly lose their individual being.

HENRY MILLER

Upon turning eighty, Henry Miller (December 26, 1891–June 7, 1980) set down everything he knew about growing old and the secret to remaining young at heart, his long reflection best distilled in this one short passage:

If you have your health, if you still enjoy a good walk, a good meal (with all the trimmings), if you can sleep without first taking a pill, if birds and flowers, mountains and sea still inspire you, you are a most fortunate individual and you should get down on your knees morning and night and thank the good Lord for his savin’ and keepin’ power… If you can fall in love again and again, if you can forgive your parents for the crime of bringing you into the world, if you are content to get nowhere, just take each day as it comes, if you can forgive as well as forget, if you can keep from growing sour, surly, bitter and cynical, man you’ve got it half licked.

SIMONE DE BEAUVOIR

Wading into her sixties, Simone de Beauvoir (January 9, 1908–April 14, 1986) looked ahead to old age in a passage of her memoir and offered her characteristically passionate yet unsentimental advice, largely to herself, as the best advice to others tends to be:

There is only one solution if old age is not to be an absurd parody of our former life, and that is to go on pursuing ends that give our existence a meaning — devotion to individuals, to groups or to causes, social, political, intellectual or creative work… In old age we should wish still to have passions strong enough to prevent us turning in on ourselves. One’s life has value so long as one attributes value to the life of others, by means of love, friendship, indignation, compassion.

JOAN DIDION

Joan Didion (December 5, 1934–December 23, 2021) was only thirty-four when, thinking about the value of keeping a notebook, she found herself shining a sidewise gleam on what may be the most important orientation we can have to ourselves as the years advance, the most important thing we can do to keep the arrow of time from becoming a deadly weapon of revisionism and regret:

I think we are well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind’s door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were.

[…]

It is a good idea, then, to keep in touch, and I suppose that keeping in touch… keeping those lines open to ourselves.

NICK CAVE

Not long after offering a thirteen-year-old some excellent advice on how to grow up, Nick Cave, midway through his sixties, considered the two qualities cultivating which ensures that growing older is a broadening rather than a narrowing of life, a way of seeing the world with more nuance and moving through it with more tenderness:

The first is humility. Humility amounts to an understanding that the world is not divided into good and bad people, but rather it is made up of all manner of individuals, each broken in their own way, each caught up in the common human struggle and each having the capacity to do both terrible and beautiful things. If we truly comprehend and acknowledge that we are all imperfect creatures, we find that we become more tolerant and accepting of others’ shortcomings and the world appears less dissonant, less isolating, less threatening.

The other quality is curiosity. If we look with curiosity at people who do not share our values, they become interesting rather than threatening. As I’ve grown older I’ve learnt that the world and the people in it are surprisingly interesting, and that the more you look and listen, the more interesting they become. Cultivating a questioning mind, of which conversation is the chief instrument, enriches our relationship with the world. Having a conversation with someone I may disagree with is, I have come to find, a great, life embracing pleasure.

KAHLIL GIBRAN

Although Kahlil Gibran (January 6, 1883–April 10, 1931) never lived past middle age, he was born an old soul and saw clearly the rewards of life’s later years. His excellent lyric meditation on the art of becoming yourself across the arc of life is anchored in the hard-earned self-trust that steels you against the winds of circumstance:

In my youth I was but the slave of the high tide and the ebb tide of the sea, and the prisoner of half moons and full moons.

Today I stand at this shore and I rise not nor do I go down.

PABLO CASALS

Shortly after his ninety-third birthday, the legendary cellist Pablo Casals (December 29, 1876–October 22, 1973) reflected on his life, locating the key to contentment in never ceasing to work with love, to live awake to wonder:

If you continue to work and to absorb the beauty in the world about you, you find that age does not necessarily mean getting old. At least, not in the ordinary sense. I feel many things more intensely than ever before, and for me life grows more fascinating.

Continuing to practice and perform, Casals approached his daily routine as a microcosm of that orientation:

I go to the piano, and I play two preludes and fugues of Bach. I cannot think of doing otherwise. It is a sort of benediction on the house. But that is not its only meaning for me. It is a rediscovery of the world of which I have the joy of being a part. It fills me with awareness of the wonder of life, with a feeling of the incredible marvel of being a human being. The music is never the same for me, never. Each day is something new, fantastic, unbelievable. That is Bach, like nature, a miracle!

GRACE PALEY

At the sunset of her sixties, Grace Paley (December 11, 1922–August 22, 2007) took up the question of “upstaging time,” ending her magnificent meditation with the parting gift of life-changing advice she herself had received from her aging father:

My father had decided to teach me how to grow old. I said O.K. My children didn’t think it was such a great idea. If I knew how, they thought, I might do so too easily. No, no, I said, it’s for later, years from now. And besides, if I get it right it might be helpful to you kids in time to come.

They said, Really?

My father wanted to begin as soon as possible.

[…]

Please sit down, he said. Be patient. The main thing is this — when you get up in the morning you must take your heart in your two hands. You must do this every morning.

That’s a metaphor, right?

Metaphor? No, no, you can do this. In the morning, do a few little exercises for the joints, not too much. Then put your hands like a cup over and under the heart. Under the breast. He said tactfully. It’s probably easier for a man. Then talk softly, don’t yell. Under your ribs, push a little. When you wake up, you must do this massage. I mean pat, stroke a little, don’t be ashamed. Very likely no one will be watching. Then you must talk to your heart.

Talk? What?

Say anything, but be respectful. Say — maybe say, Heart, little heart, beat softly but never forget your job, the blood. You can whisper also, Remember, remember.

BP

How to Bioluminesce: Artist Ash Eliza Williams’s Reveries of Wonder

“Our origins are of the earth. And so there is in us a deeply seated response to the natural universe, which is part of our humanity,” wrote Rachel Carson. “Our world, and the worlds around and within it,” wrote Sy Montgomery a generation later, “is aflame with shades of brilliance we cannot fathom… far more vibrant, far more holy, than we could ever imagine.”

There are people whose eye is more sharply focused on those brilliances, whose ear is more finely tuned to the murmurations of the mountains and the oceans and the trees, whose orientation to the world is more tenderly in touch with our creaturely origins. Some of them become artists, some scientists, and some boundary-spanners who refuse the divide, who know that to partition our ways of seeing is to keep ourselves from apprehending the magnificent whole.

Growing up in the Blue Ridge Mountains, a child so shy as to dream of being able to communicate via bioluminescence, Ash Eliza Williams came to realize that, lacking the luciferin necessary for the language of light, the human animal has evolved its own alchemical means of silent communication: art.

Animated by “a fascination with alternative languages and methods of connection,” Williams draws on medieval bestiaries and geophysics, on 19th-century zoological illustrations and graphic novels, to conjure up the wonder Rachel Carson insisted is our inheritance and our best protection from ourselves. Emanating from the paintings and sculptures are the “endless forms most beautiful and most wonderful” that enchanted Darwin — from bioluminescent moths to the bat (that living triumph of the possible over the probable), from chlorophyl (that ongoing mystery of chemistry and chance) to clouds (those abiding spells against indifference) — arranged in series whose very titles are miniature poems, titles like Urgent Beings and The History of Weather.

One began as a book about Rachel Carson and instead became a series of durational paintings about the lives of different creatures — a starling, a violet-eared waxbill, an orange fruit-dove, a hickory tree — using the graphic novel format to explore their experience of time, “to think,” Williams writes, “about the expansiveness or endlessness of a creature’s Umwelt.”

Thoroughly enchanted as I am by all of this work, none thrills me more than Williams’s painted reveries of lichen, that uncommon teacher in how to be better humans.

Radiating from it all is what may be the most fruitful orientation a person can have to a world — an obsessive yet spacious curiosity that, through the pinhole of the minutest details, reveals the grandeur of the big picture. “The whole is simpler than its parts,” observed the visionary physicist Willard Gibbs in what remains the finest koan of science, but it is only by attending closely and with a great kindness to the parts, discrete yet intertwined by threads of ceaseless silent communication, that we can contact the majesty and mystery of the whole.

BP

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