The Marginalian
The Marginalian

Seneca on Grief and the Key to Resilience in the Face of Loss: An Extraordinary Letter to His Mother

Seneca on Grief and the Key to Resilience in the Face of Loss: An Extraordinary Letter to His Mother

“Grief, when it comes, is nothing like we expect it to be,” Joan Didion observed in her classic meditation on loss. Abraham Lincoln, in his moving letter of consolation to a grief-stricken young woman, wrote of how time transmutes grief into “a sad sweet feeling in your heart.” But what, exactly, is the mechanism of that transmutation and how do we master it before it masters us when grief descends in one of its unforeseeable guises?

Long before Didion, before Lincoln, another titan of thought — the great Roman philosopher Lucius Annaeus Seneca — addressed this in what might be the crowning achievement in the canon of consolation letters, folding into his missive an elegant summation of Stoicism’s core tenets of resilience.

In the year 41, Seneca was sentenced to exile on the Mediterranean island of Corsica for an alleged affair with the emperor’s sister. Sometime in the next eighteen months, he penned one of his most extraordinary works — a letter of consolation to his mother, Helvia.

Helvia was a woman whose life had been marked by unimaginable loss — her own mother had died while giving birth to her, and she outlived her husband, her beloved uncle, and three of her grandchildren. Twenty days after one the grandchildren — Seneca’s own son — died in her arms, Helvia received news that Seneca had been taken away to Corsica, doomed to life in exile. This final misfortune, Seneca suggests, sent the lifelong tower of losses toppling over and crushing the old woman with grief, prompting him in turn to write Consolation to Helvia, included in his Dialogues and Letters (public library).

Although the piece belongs in the ancient genre of consolatio dating back to the fifth century B.C. — a literary tradition of essay-like letters written to comfort bereaved loved ones — what makes Seneca’s missive unusual is the very paradox that lends it its power: The person whose misfortune is being grieved is also the consoler of the griever.

seneca
Seneca

Seneca writes:

Dearest mother,

I have often had the urge to console you and often restrained it. Many things have encouraged me to venture to do so. First, I thought I would be laying aside all my troubles when I had at least wiped away your tears, even if I could not stop them coming. Then, I did not doubt that I would have more power to raise you up if I had first risen myself… Staunching my own cut with my hand I was doing my best to crawl forward to bind up your wounds.

But what kept Seneca from intervening in his mother’s grief was, above all, the awareness that grief should be grieved rather than immediately treated as a problem to be solved and done away with. He writes:

I realized that your grief should not be intruded upon while it was fresh and agonizing, in case the consolations themselves should rouse and inflame it: for an illness too nothing is more harmful than premature treatment. So I was waiting until your grief of itself should lose its force and, being softened by time to endure remedies, it would allow itself to be touched and handled.

[…]

[Now] I shall offer to the mind all its sorrows, all its mourning garments: this will not be a gentle prescription for healing, but cautery and the knife.

Art by Charlotte Pardi from Cry, Heart, But Never Break by Glenn Ringtved, a remarkable Danish illustrated meditation on love and loss

In consonance with his strategy for inoculating oneself against misfortune, Seneca considers the benefits of such a raw confrontation of sorrow:

Let those people go on weeping and wailing whose self-indulgent minds have been weakened by long prosperity, let them collapse at the threat of the most trivial injuries; but let those who have spent all their years suffering disasters endure the worst afflictions with a brave and resolute staunchness.
Everlasting misfortune does have one blessing, that it ends up by toughening those whom it constantly afflicts.

In a sentiment of uncompromising Stoicism, he adds:

All your sorrows have been wasted on you if you have not yet learned how to be wretched.

Observing the particular difficulty of his situation — being both his mother’s consoler and the subject of her grief — Seneca finds amplified the general difficulty of finding adequate words in the face of loss:

A man lifting his head from the very funeral pyre must need some novel vocabulary not drawn from ordinary everyday condolence to comfort his own dear ones. But every great and overpowering grief must take away the capacity to choose words, since it often stifles the voice itself.

Instead of mere words, Seneca proceeds to produce a rhetorical masterpiece, bringing the essence of Stoic philosophy to life with equal parts logic and literary flair. He writes:

I decided to conquer your grief not to cheat it. But I shall do this, I think, first of all if I show that I am suffering nothing for which I could be called wretched, let alone make my relations wretched; then if I turn to you and show that your fortune, which is wholly dependent on mine, is also not painful.

First I shall deal with the fact, which your love is longing to hear, that I am suffering no affliction. I shall make it clear, if I can, that those very circumstances which you think are crushing me can be borne; but if you cannot believe that, at least I shall be more pleased with myself for being happy in conditions which normally make men wretched. There is no need to believe others about me: I am telling you firmly that I am not wretched, so that you won’t be agitated by uncertainty. To reassure you further, I shall add that I cannot even be made wretched.

We are born under circumstances that would be favourable if we did not abandon them. It was nature’s intention that there should be no need of great equipment for a good life: every individual can make himself happy. External goods are of trivial importance and without much influence in either direction: prosperity does not elevate the sage and adversity does not depress him. For he has always made the effort to rely as much as possible on himself and to derive all delight from himself.

Art by Maurice Sendak from We Are All in the Dumps With Jack and Guy

Echoing his animating ethos of deliberate preparation for the worst of times, he adds:

Fortune … falls heavily on those to whom she is unexpected; the man who is always expecting her easily withstands her. For an enemy’s arrival too scatters those whom it catches off guard; but those who have prepared in advance for the coming conflict, being properly drawn up and equipped, easily withstand the first onslaught, which is the most violent. Never have I trusted Fortune, even when she seemed to offer peace. All those blessings which she kindly bestowed on me — money, public office, influence — I relegated to a place whence she could claim them back without bothering me. I kept a wide gap between them and me, with the result that she has taken them away, not torn them away.

Seneca makes a sobering case for the most powerful self-protective mechanism in life — the discipline of not taking anything for granted:

No man has been shattered by the blows of Fortune unless he was first deceived by her favours. Those who loved her gifts as if they were their own for ever, who wanted to be admired on account of them, are laid low and grieve when the false and transient pleasures desert their vain and childish minds, ignorant of every stable pleasure. But the man who is not puffed up in good times does not collapse either when they change. His fortitude is already tested and he maintains a mind unconquered in the face of either condition: for in the midst of prosperity he has tried his own strength against adversity.

For this reason, Seneca points out, he has always regarded with skepticism the common goals after which people lust in life — money, fame, public favor — goals he has found to be “empty and daubed with showy and deceptive colours, with nothing inside to match their appearance.” But the converse, he argues, is equally true — the things people most commonly dread are as unworthy of dread to the wise person as the things they most desire are of wise desire. The very concept of exile, he assures his mother, seems so terrifying only because it has been filtered through the dread-lens of popular opinion.

With the logic of Stoicism, he goes on to comfort his mother by lifting this veil of common delusion. Urging her to “[put] aside this judgement of the majority who are carried away by the surface appearance of things,” he dismantles the alleged misfortune of all the elements of exile — displacement, poverty, public disgrace — to reveal that a person with interior stability of spirit and discipline of mind can remain happy under even the direst of circumstances. (Nearly two millennia later, Bruce Lee would incorporate this concept into his famous water metaphor for resilience and Viktor Frankl would echo it in his timeless assertion that “everything can be taken from a man but one thing: the last of the human freedoms — to choose one’s attitude in any given set of circumstances.”)

Seneca then comes full-circle to his opening argument that grief is better confronted than resisted:

It is better to conquer our grief than to deceive it. For if it has withdrawn, being merely beguiled by pleasures and preoccupations, it starts up again and from its very respite gains force to savage us. But the grief that has been conquered by reason is calmed for ever. I am not therefore going to prescribe for you those remedies which I know many people have used, that you divert or cheer yourself by a long or pleasant journey abroad, or spend a lot of time carefully going through your accounts and administering your estate, or constantly be involved in some new activity. All those things help only for a short time; they do not cure grief but hinder it. But I would rather end it than distract it.

Art from Duck, Death and the Tulip by Wolf Erlbruch, an uncommonly tender illustrated meditation on life and death

Seneca points unwaveringly to philosophy and the liberal arts as the most powerful tools of consolation in facing the universal human experience of loss — tools just as mighty today as they were in his day. Commending his mother for having already reaped the rewards of liberal studies despite the meager educational opportunities for women at the time, he writes:

I am leading you to that resource which must be the refuge of all who are flying from Fortune, liberal studies. They will heal your wound, they will withdraw all your melancholy. Even if you had never been familiar with them you would have need of them now. But, so far as the old-fashioned strictness of my father allowed, you have had some acquaintance with the liberal arts, even if you have not mastered them. If only my father, best of men, had been less devoted to ancestral tradition and had been willing that you be steeped in the teaching of philosophy and not just gain a smattering of it: you would not now have to acquire your defence against Fortune but just bring it forth. He was less inclined to let you pursue your studies because of those women who use books not to acquire wisdom but as the furniture of luxury. Yet thanks to your vigorously inquiring mind you absorbed a lot considering the time you had available: the foundations of all formal studies have been laid. Return now to these studies and they will keep you safe. They will comfort you, they will delight you; and if they genuinely penetrate your mind, never again will grief enter there, or anxiety, or the distress caused by futile and pointless suffering. Your heart will have room for none of these, for to all other failings it has long been closed. Those studies are your most dependable protection, and they alone can snatch you from Fortune’s grip.

He concludes by addressing the inevitability of his mother’s sorrowful thoughts returning to his own exile, deliberately reframeing his misfortune for her:

This is how you must think of me — happy and cheerful as if in the best of circumstances. For they are best, since my mind, without any preoccupation, is free for its own tasks, now delighting in more trivial studies, now in its eagerness for the truth rising up to ponder its own nature and that of the universe. It seeks to know first about lands and their location, then the nature of the encompassing sea and its tidal ebb and flow. Then it studies all the awesome expanse which lies between heaven and earth — this nearer space turbulent with thunder, lightning, gales of wind, and falling rain, snow and hail. Finally, having scoured the lower areas it bursts through to the heights and enjoys the noblest sight of divine things and, mindful of its own immortality, it ranges over all that has been and will be throughout all ages.

The full letter was later included as an appendix to the Penguin edition of On the Shortness of Life (public library) — Seneca’s timeless 2,000-year-old treatise on busyness and the art of living wide rather than long. Complement it with these unusual children’s books about navigating grief, a Zen teacher on how to live through loss, and more masterworks of consolation from such luminaries as Abraham Lincoln, Charles Darwin, Alan Turing, and Albert Einstein, then revisit the great Stoics philosophers’ wisdom on character, fortitude, and self-control.

BP

Orcas and the Price of Consciousness: Lessons in Love and Loss from Earth’s Most Successful and Creative Predator

Marbling the waters of every ocean with their billows of black and white, orcas are Earth’s most creative and most successful apex predator. Although they are known as killer whales, they are the largest member of the dolphin family. Older than great white sharks, they hunt everything from seals a tenth their size to moose bathing in the shallows to Earth’s largest animal — the blue whale, whose tongue alone can weigh as much as a female orca.

The secret to these staggering feats is not brute force but strategy and synchrony.

Beneath the shimmering surface that divides us from what Rachel Carson called “those six incomprehensible miles into the recesses of the abyss,” through the growling din of the engines that conduct consumerism between continents, orcas are communicating in their sonic hieroglyphics, speaking to each other in haunting and melodious voices that summon the most coordinated hunting strategy known in the animal kingdom.

Traveling in matrilineal groups, they search for seals across the frozen expanse, moving effortlessly through pack ice that sinks immense ships. As soon as they identify the prey, they swim together under the ice to shatter it with a sub-surface shock wave, then begin blowing bubbles beneath to push the broken pieces apart. Once the cracks are wide enough, they turn on their sides to create a synchronized surface wave so large its crest crashes onto the ice, pushing seals into the water, where the pod divides the bounty according to a complex calculus of social bonds.

All the while, they are teaching their young how to perform this collaborative symphony of physics and predation — a further testament to social learning as a key substrate of intelligence — and it is the females, particularly post-menopausal matriarchs, who are doing the teaching. Orcas have such strong maternal bonds that sons stay with their mothers for life — a phenomenon so well documented that the researchers behind one longitudinal study dubbed male orcas “mamma’s boys.”

Orca pod hunting a great blue whale. St. Nicholas magazine, 1920.

But while these bonds are the orcas’ great strength, they are also their great vulnerability.

In 2018, while secluded on a small mossy island in Puget Sound to finish my first book, I watched the world turn with shattering tenderness toward an unfolding local event — for seventeen days, across a thousand miles of ocean, an orca mother carried her dead calf draped over her head, hardly eating, barely keeping up with her pod. NPR called it her “tour of grief.” When she lost another calf in early 2025 — two thirds of orca pregnancies result in either miscarriage or infant death — she did the same, this time seventeen days.

Such sights so chill us because they are emblems of the miracle and tragedy of consciousness. Orcas would not be capable of such staggering success as predators if they were not also capable of such shattering grief, both a function of their intricate bonds, their collaborative interdependence, their complex consciousness that differentiates and bridges the difference between self and other. In the human realm, we call this love — the aspect of consciousness subject to the cruelest evolutionary equation: As Hannah Arendt so poignantly articulated, loss is the price we pay for love. It seems almost unbearable as we watch the mother orca carry her dead calf, and yet we too must bear it, and do bear it, however long and however far we may have to carry the dead weight of our grief — because we must, if we are worthy of our own aliveness, love anyway. “Gamble everything for love, if you are a true human being,” wrote Rumi. Perhaps we are here to learn that love is worth any price, any price at all.

BP

The Seamstress Who Solved the Ancient Mystery of the Argonaut, Pioneered the Aquarium, and Laid the Groundwork for the Study of Octopus Intelligence

Jeanne Villepreux-Power (September 24, 1794–January 25, 1871) was eleven when her mother died. Just before her eighteenth birthday, she set out for Paris from her home in rural France, on foot — a walk of more than 300 kilometers along the vector of her dream to become a dressmaker. On the way, the cousin assigned as her travel guardian assaulted her and fled with her identity papers. Jeanne made her way to a convent and, as soon as she managed to have new travel documents made by local police, kept going. But by the time she made it to Paris, the position she had been promised was already taken. The only job she could secure was as a seamstress’s assistant.

Jeanne Villepreux-Power

Four years and thousands of dresses later, Jeanne was tasked with outfitting a duchess for a royal wedding. At the ceremony, she met and fell in love with an English merchant, married him, and moved with him to the harbor city of Messina on the island of Sicily. There, she immersed herself in passionate reading about geology, archeology, and natural history — the closest a woman could get to a scientific education at the time — and set out to study the island’s ecosystem.

Walking the shoreline and wading into the sea in her long skirts, she fell in love with one of Earth’s most alien life-forms: the small sepia-like octopus Argonauta argo, known as paper nautilus for the thin, intricately corrugated shell of its females and the sail-like membranes protruding from it like a pair of bunny ears.

Argonauta argo by Frederick Nodder, 1793. (Available as a print and as a bath mat, benefitting The Nature Conservancy.)

The argonaut had fascinated naturalists since Aristotle with the mystery of its spiral shell.

They wondered whether the animal made it, or, like the hermit crab, inherited as a hand-me-down.

They wondered why only the females had a shell, why its shape was so unlike that of the animal body it housed, and why the dweller could completely detach from the shell like no other mollusk did, yet never abandoned it.

They wondered how the shell managed to quadruple in size during the five-month reproductive period — an astonishing feat of on-demand engineering seen nowhere else in the animal kingdom.

In the memoir of her researches, Jeanne Villepreux-Power wrote:

Having for several years devoted to the natural sciences the hours that remained to me free from my domestic affairs, while I was classifying some marine objects for my study, the octopus of the Argonauta transfixed my attention above the rest, because naturalists have been of such various opinions about this mollusk.

Argonauta argo from an Italian natural history book, 1791. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)

Observing argonauts in the wild is incredibly difficult — the shy, skittish creatures flee the surface and plunge into the depths as soon as they feel they are being approached, puffing a cloud of ink between themselves and their perceived predator, even if she is only a scientist:

When the air is serene, the sea calm, and she believes herself unobserved, the Argonauta adorns herself with her beauties; but I had to be prudent enough to enjoy her rich colors and graceful pose, for this animal is very suspicious, and as soon as it perceives that it is being observed, it withdraws its membranes into its shell in the blink of an eye and flees to the bottom of the cage or the sea, reemerging to the surface only when it thinks it is safe from all danger. It is at this time that we can observe its movements and its habits.

And so, for ten years, Jeanne Villepreux-Power made it her “duty” to do “serious research” on the most contested aspects of the physiology, morphology, reproduction, and habits of these tender cephalopods. A skilled self-taught artist, she made her own drawing of what she saw.

Argonauta argo by Jeanne Villepreux-Power, 1839.

Unlike other naturalists, who had studied preserved specimens, Jeanne realized that she could only discover the true origin of the shell if she observed living creatures. To bypass the evolution-mounted obstacle of their extreme shyness, she designed and constructed one of the world’s first offshore research stations — a system of immense cages she anchored off the coast of Sicily, complete with observation windows through which she could study the argonauts undisturbed. Every day, she prepared food for them, rowed her boat to the cages in her long skirts, and knelt at the platform, observing for hours on end.

But long skirts and long hours in cold water make not for a felicitous scientist. And so, in order to transfer her observations and experiments ashore, Jeanne Villepreux-Power pioneered the aquarium.

Her home became a marine biology lab, stacked with vast tanks, which she populated with living argonauts. Conducting experiment after experiment and observation after observation, magnifying eggs and shell fragments under her microscope, she set about illuminating the mysterious living realities of these otherworldly earthlings, following her intuition that — contrary to what her male peers believed — the females did make their own shells. She wrote:

I armed myself with patience and courage, and only after several months managed to dissolve my doubts and see my research crowned with happy confirmation.

In a series of groundbreaking experiments she began in 1833 — the final year of her thirties — the seamstress-turned-scientist solved the ancient nested mysteries of whether (yes), how (through a marvel of biochemistry), and when (within days of hatching) the argonaut makes its spiral home: With her elegant empiricism, Jeanne Villepreux-Power managed to “demonstrate, by unequivocal proofs, that the Argonauta octopus is the builder of its shell.”

She started with the obvious yet radical insight that you cannot understand the living morphology of a creature by studying dead specimens — to find out when and how the argonaut gets to have a shell, you must observe it from birth. And so she acquired three pregnant females, each housing thousands of eggs in its enlarged shell, and watched them hatch — tiny baby octopuses, naked in their gelatinous sacs. Every six hours, she visited the babies to observe them closely for three continuous hours.

One day, she carefully removed a nine-millimeter baby octopus from the mother and, upon examining it, noticed that it was in a position of self-embrace, its membranous arms enfolded around its sac, the end of which the baby had begun to fold into the shape of a spire. Not wishing to disturb the hatchling, she put it back under the mother and returned six hours later to examine it again. To her astonishment, the tiny octopus had already begun building its shell out of a thin film, following the geometry of the mother’s. Within hours, the thin film had begun to thicken into the signature furrows of the argonaut shell — here was living proof that the argonaut was the maker of its own shell, beginning almost at birth.

Extended morphology of a female argonaut with egg case by Giuseppe Saverio Poli. (Available as a print and as stationery cards, benefitting The Nature Conservancy.)

But her most revolutionary experiment demonstrated something no one else had even thought to wonder about — a living incarnation of Schopenhauer’s exquisite insight that “talent is like the marksman who hits a target which others cannot reach [whereas] genius is like the marksman who hits a target which others cannot even see.”

Jeanne made a small puncture in the shell of an adult female to see whether and how the animal would repair itself, and what that might reveal about its intelligence, in an era when science was yet to recognize the consciousness of non-human animals. She watched in marvel as the octopus protruded its front arms and, sweeping the silvery membranes previously thought to function as sails over the puncture like a windshield wiper, seal it back into cohesion with a glutenous substance, the chemical composition of which she analyzed and determined to be identical to the calcium carbonate of the original shell. The restored part, she observed, was more robust than the shell itself, “somewhat bumpy, puffy,” not following the regular furrows of the shell but corrugating sideways, almost perpendicularly to them — a sort of scar, the mollusk equivalent of what is known as “proud flesh” in horses.

In a wildly imaginative twist of the experiment, she decided to see whether the argonaut could repair its shell using not its own substance but spare parts, so to speak. She broke off a small piece of an adult’s shell, but this time she placed in the tank next to it fragments from other shells. To her astonishment, the argonaut rushed to the pieces and began feeling them out with its arms, searching for the suitable puzzle shape, then applied it to its own shell and, once again waving the membranes over it, began the work of welding, struggling to orient the furrows of the borrowed piece parallel to those of its existing shell.

She spent hours bent over the cage, watching this staggering feat of multiple intelligences. Naturalists before her, working only with dead specimens and theoretical conjecture, had declared this impossible. But after repeating her experiment for five years and obtaining the same result over and over, Jeanne Villepreux-Power demonstrated that the octopus is indeed this planet’s patron saint of the possible.

Since women were excluded from the scientific establishment, unable to attend universities or present at learned societies, her research traveled into the world by proxy. The week photography was born in 1839, Sir Richard Owen — England’s preeminent scientists in the era before Charles Darwin, with whom she had been in regular correspondence throughout her experiments — read one of her letters and presented her findings before the London Zoological Society. Her research was a revelation. Soon, it was being published in English, French, and German, and circulated widely across Europe. By the end of her long life, Jeanne Villepreux-Power belonged to more than a dozen scientific societies. Her research not only illuminated an enduring mystery about the physiology and biology of a particular species of octopus, but, through her experiments on shell repair, laid the groundwork for the study of octopus intelligence, which has forever changed our understanding of consciousness itself.

Complement with some stunning drawings of octopuses from the world’s first encyclopedia of deep-sea cephalopods, created a quarter century after Jeanne Villepreux-Power’s death, then savor Marilyn Nelson’s magnificent poem “Octopus Empire.”

BP

James Baldwin on How to Live Through Your Darkest Hour and Life as a Moral Obligation to the Universe

James Baldwin on How to Live Through Your Darkest Hour and Life as a Moral Obligation to the Universe

“Yesterday has already vanished among the shadows of the past; to-morrow has not yet emerged from the future. You have found an intermediate space,” Nathaniel Hawthorne wrote of life’s most haunting hour. But what we find in that intermediate space between past and future, between the costumed simulacrum of reality we so painstakingly construct with our waking lives and reality laid bare in the naked nocturnal mind, is not always a resting place of ease — for there dwells the self at its most elemental, which means the self most lucidly awake to its foibles and its finitude.

The disquietude this haunted hour can bring, and does bring, is what another titanic writer and rare seer into the depths of the human spirit — James Baldwin (August 2, 1924–December 1, 1987) — explored 130 years after Hawthorne in one of his least known, most insightful, and most personal essays.

Richard Avedon and James Baldwin. (Photograph courtesy of Taschen.)

In 1964, as the Harlem riots were shaking the foundation of society and selfhood, Baldwin joined talent-forces with the great photographer Richard Avedon — an old high school friend of his — to hold up an uncommonly revelatory cultural mirror with the book Nothing Personal (public library). Punctuating Avedon’s signature black-and-white portraits — of Nobel laureates and Hollywood celebrities, of the age- and ache-etched face of an elder born under slavery and the idealism-lit young faces of the Student Nonviolent Coordinating Committee in Georgia, of the mentally ill perishing in asylums and the newlyweds at City Hall ablaze with hope — are four stirring essays by Baldwin, the first of which gave us his famous sobering observation that “it has always been much easier (because it has always seemed much safer) to give a name to the evil without than to locate the terror within.”

At no time does the terror within, Baldwin argues in the third essay, bubble to the surface of our being more ferociously than in that haunting hour between past and future, between our illusions of permanence and perfection, and the glaring fact of our finitude and our fallibility, between being and non-being. He writes:

Four AM can be a devastating hour. The day, no matter what kind of day it was is indisputably over; almost instantaneously, a new day begins: and how will one bear it? Probably no better than one bore the day that is ending, possibly not as well. Moreover, a day is coming one will not recall, the last day of one’s life, and on that day one will oneself become as irrecoverable as all the days that have passed.

It is a fearful speculation — or, rather, a fearful knowledge — that, one day one’s eyes will no longer look out on the world. One will no longer be present at the universal morning roll call. The light will rise for others, but not for you.

Half a century before the physicist Brian Greene examined how this very awareness is the wellspring of meaning to our ephemeral lives and a century after Tchaikovsky found beauty amid the wreckage of the soul at 4AM, Baldwin adds:

Sometimes, at four AM, this knowledge is almost enough to force a reconciliation between oneself and all one’s pain and error. Since, anyway, it will end one day, why not try it — life — one more time?

Art from Trees at Night by Art Young, 1926. Available as a print

After singing some beautiful and heartbreaking Bessie Smith lyrics into his essay — lyrics from “Long Road,” a song about reconciling the knowledge that one is ultimately alone with the irrepressible impulse to reach out for love, “to grasp again, with fearful hope, the unwilling, unloving human hand” — Baldwin continues:

I think all of our voyages drive us there; for I have always felt that a human being could only be saved by another human being. I am aware that we do not save each other very often. But I am also aware that we save each other some of the time.

That alone, Baldwin insists, is reason enough to be, as Nietzsche put it, a “yea-sayer” to life — to face the uncertainty of our lives with courage, to face the fact of our mortality with courage, and to fill this blink of existence bookended by nothingness with the courage of a bellowing aliveness.

In a passage that calls to mind Galway Kinnell’s lifeline of a poem “Wait,” composed for a young friend on the brink of suicide, Baldwin writes:

For, perhaps — perhaps — between now and the last day, something wonderful will happen, a miracle, a miracle of coherence and release. And the miracle on which one’s unsteady attention is focused is always the same, however it may be stated, or however it may remain unstated. It is the miracle of love, love strong enough to guide or drive one into the great estate of maturity, or, to put it another way, into the apprehension and acceptance of one’s own identity. For some deep and ineradicable instinct — I believe — causes us to know that it is only this passionate achievement which can outlast death, which can cause life to spring from death.

Art by Margaret C. Cook from a rare 1913 English edition of Leaves of Grass by Walt Whitman. Available as a print.

And yet, so often, we lose faith in this miracle, lose the perspective we call faith — so often it slips between the fingers fanned with despair or squeezes through the fist clenched with rage. We lose perspective most often, Baldwin argues, at four AM:

At four AM, when one feels that one has probably become simply incapable of supporting this miracle, with all one’s wounds awake and throbbing, and all one’s ghastly inadequacy staring and shouting from the walls and the floor — the entire universe having shrunk to the prison of the self — death glows like the only light on a high, dark, mountain road, where one has, forever and forever! lost one’s way. — And many of us perish then.

What then? A generation after Little Prince author Antoine de Saint-Exupéry composed his beautiful manifesto for night as an existential clarifying force for the deepest truths of the heart, Baldwin offers:

But if one can reach back, reach down — into oneself, into one’s life — and find there some witness, however unexpected or ambivalent, to one’s reality, one will be enabled, though perhaps not very spiritedly, to face another day… What one must be enabled to recognize, at four o’clock in the morning, is that one has no right, at least not for reasons of private anguish, to take one’s life. All lives are connected to other lives and when one man goes, much more goes than the man goes with him. One has to look on oneself as the custodian of a quantity and a quality — oneself — which is absolutely unique in the world because it has never been here before and will never be here again.

Baldwin — whom U.S. Poet Laureate Gwendolyn Brooks described as “love personified” in introducing his last public appearance before his death — wedges into this foundational structure of soul-survival the fact that in a culture of habitual separation and institutionalized otherness, such self-regard is immensely difficult. And yet, he insists with the passion of one who has proven the truth of his words with his own life, we must try — we must reach across the divides within and without, across the abysses of terror and suspicion, with a generous and largehearted trust in one another, which is at bottom trust in ourselves.

Art by from Little Man, Little Man — James Baldwin’s only children’s book, written to foment his own young nephew’s self-regard.

Echoing his contemporary and kindred visionary Leonard Bernstein’s insistence that “we must believe, without fear, in people,” Baldwin adds what has become, or must become, the most sonorous psychosocial refrain bridging his time and ours:

Where all human connections are distrusted, the human being is very quickly lost.

More than half a century later, Nothing Personal remains a masterwork of rare insight into and consolation for the most elemental aches of the human spirit. For a counterpoint to this nocturnal fragment, savor the great nature writer Henry Beston, writing a generation before Baldwin, on how the beauty of night nourishes the human spirit, then revisit Baldwin on resisting the mindless of majority, how he learned to truly see, the writer’s responsibility in a divided society, his advice on writing, his historic conversation with Margaret Mead about forgiveness and responsibility, and his only children’s book.

BP

Dostoyevsky on Why There Are No Bad People

Legendary Russian writer Fyodor Dostoyevsky (November 11, 1821–February 9, 1881) is best known as one of literary history’s titans, but he was also a brilliant entrepreneur and pioneer of self-publishing. Under the auspices of his enterprising wife Anna, Dostoyevsky overcame his ruinous gambling addiction to become Russia’s first self-published author. But it was the release of A Writer’s Diary (public library) — the same collection of his nonfiction and fiction writings that gave us Dostoyevsky’s memorable recollection of how he discovered the meaning of life in a dream — that turned him into a national brand.

In February of 1876, reflecting on the unanimous acclaim with which the first volume of the journal had been received, 55-year-old Dostoyevsky contemplates the paradox of people-pleasing and writes in the very diary whose success he is pondering:

I am interested only in the question: is it, or is it not, good that I have pleased everybody?

Portrait of Fyodor Dostoyevsky by Vasily Perov, 1871

From this, under the heading “On the Subject That We All Are Good Fellows,” he springboards into an exquisite discussion of our deepest goodness, emanating a deep faith in the human spirit — all the more impressive given what Dostoyevsky himself endured — and a conviction that we are inherently good despite the badness we sometimes put on like an ill-fitting suit to impress by imitating those we mistake for impressive.

A century before Isaac Asimov’s memorable invitation to optimism over cynicism about the human spirit, Dostoyevsky writes:

We are all good fellows — except the bad ones, of course. Yet, I shall observe in passing that among us, perhaps, there are no bad people at all — maybe, only wretched ones. But we have not grown up to be bad. Don’t scoff at me, but consider: we have reached the point in the past where, because of the absence of bad people of our own (I repeat: despite the abundance of all sorts of wretches), we used to be ready, for instance, to value very highly various bad little fellows appearing among our literary characters, mostly borrowed from foreign sources. Not only did we value them, but we slavishly sought to imitate them in real life; we used to copy them, and in this respect we were ready to jump out of our skins.

While much of Dostoyevsky’s discussion of such misplaced imitation pertains to that specific point in Russia’s cultural history, embedded in it is a broader reminder that, to borrow Eleanor Roosevelt’s memorable words, “when you adopt the standards and the values of someone else … you surrender your own integrity [and] become, to the extent of your surrender, less of a human being.” In a remark particularly poignant in the context of Russia’s troubled present-day civic climate, Dostoyevsky considers the allure of imitating such villains:

We used to value and respect these evil people … solely due to the fact that they appeared as men of solid hate in contradiction to us Russians, who, as is well known, are people of very fragile hate, and this trait of ours we have always particularly despised. Russians are unable to hate long and seriously, and not only men but even vices — the darkness of ignorance, despotism, obscurantism and all the rest of these retrograde things. At the very first opportunity we are quick and eager to make peace… Please consider: why should we be hating each other? For evil deeds? — But this is a very slippery, most ticklish and most unjust theme — in a word, a double-edged one… Fighting is fighting, but love is love… We are fighting primarily and solely because now it is no longer a time for theories, for journalistic skirmishes, but the time for work and practical decisions.

Noting that the Russian people must recover from “two centuries of lack of habit of work,” he articulates the more universal and rather lamentable human tendency to deflect insecurity by lashing out:

The more incompetent one feels, the more eager he is to fight.

And yet Dostoyevsky approaches the problem with deep compassion rather than harsh judgment:

What, I may ask you, is there bad about it? — Only, that this is touching — and nothing more. Look at children: they fight precisely at the age when they have not yet learned to express their thoughts — exactly as well. Well, in this there is absolutely nothing discouraging; on the contrary, this merely proves to a certain extent our freshness and, so to speak, our virginity.

Illustration by Maurice Sendak from ‘Let’s Be Enemies.’ Click image for more.

He observes how this tendency plays out in his own craft — something undoubtedly amplified today, when criticism is not only professionalized but also sensationalized for profit by the commercial media industrial complex:

In literature, because of the absence of ideas, people scold each other, using all invectives at once; this is an impossible and naïve method observed only among primitive peoples; but, God knows, even in this there is something almost touching: exactly that inexperience, that childish incompetence even in scolding in a proper manner.

But underneath such defensive insecurity and cynicism, Dostoyevsky argues, lies a deeper, most earnest yearning for goodness:

I am by no means jesting; I am not jeering: among us there is a widespread, honest and serene expectation of good (this is so, no matter what one might say to the contrary); a longing for common work and common good, and this — ahead of any egoism; this is a most naïve longing, full of faith devoid of any exclusive or caste tinge, and even if it does appear in paltry and rare manifestations, it comes as something unnoticeable, which is despised by everybody… And why should we be looking for “solid hate”? — The honesty and sincerity of our society not only cannot be doubted, but they even spring up into one’s eyes. Look attentively and you will see that … first comes faith in an idea, in an ideal, while earthly goods come after.

It is our responsibility as human beings, Dostoyevsky suggests, to peer past the surface insecurities that drive people to lash out and look for the deeper longings, holding up a mirror to one another’s highest ideals rather than pointing the self-righteous finger at each other’s lowest faults:

A true friend of mankind whose heart has but once quivered in compassion over the sufferings of the people, will understand and forgive all the impassable alluvial filth in which they are submerged, and will be able to discover the diamonds in the filth.

He urges that such compassion be granted to the Russian people, but in his words there is to be found an enduring case for all disenfranchised groups and harshly judged communities:

Judge [the people] not by those villainies which they frequently perpetrate, but by those great and holy things for which they long amidst the very villainy. Besides, the people are not composed of scoundrels only; there are also genuine saints — and what saints! They themselves are radiant and they illuminate the path for all of us!

More than a century before modern psychology exposed the creative mental gymnastics of how we rationalize our bad deeds, Dostoyevsky speaks to the perils of such rationalization:

Somehow, I am blindly convinced that there is no such villain or scoundrel among the Russian people who wouldn’t admit that he is villainous and abominable, whereas, among others, it does happen sometimes that a person commits a villainy and praises himself for it, elevating his villainy to the level of a principle, and claiming that l’ordre and the light of civilization are precisely expressed in that abomination; the unfortunate one ends by believing this sincerely, blindly and honestly.

With the wry caveat that he is “speaking only about serious and sincere people,” Dostoyevsky reiterates his appeal at the heart of his creed:

Judge [people] not by what they are, but by what they strive to become.

All of A Writer’s Diary is a trove of Dostoyevsky’s great sensitivity to the human experience and his enduring wisdom on literature and life. Complement it with Tolstoy and Gandhi’s little-known letters on why we hurt each other and Kierkegaard on why haters hate.

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