The Marginalian
The Marginalian

The Three Elements of the Good Life

The Three Elements of the Good Life

To be a true person is to be entirely oneself in every circumstance, with all the courage and vulnerability this requires. And yet because a person is a confederacy of parts often at odds and sometimes at war with each other, being true is not a pledge to be a paragon of cohesion, predictable and perfectly self-consistent — the impossibility of that is the price of our complex consciousness — but a promise to own every part of yourself, even those that challenge your preferred self-image and falsify the story you tell yourself about who you are.

There is a peace that comes from this, solid as bedrock and soft as owl down, which renders life truer and therefore more alive. Such authenticity of aliveness, such fidelity to the tessellated wholeness of your personhood, may be the crux of what we call “the good life.”

That is what the pioneering psychologist Carl R. Rogers (January 8, 1902–February 4, 1987) explores in a chapter of his 1961 classic On Becoming a Person (public library), anchored in his insistence that “the basic nature of the human being, when functioning freely, is constructive and trustworthy” — a bold defiance of the religious model of original sin and a cornerstone of the entire field of humanistic psychology that Rogers pioneered, lush with insight into the essence of personal growth and creativity.

Illustration by Mimmo Paladino for a rare edition of James Joyce’s Ulysses

Drawing on a lifetime of working with patients — the work of guiding people along the trajectory from suffering to flourishing — he writes:

The good life… is the process of movement in a direction which the human organism selects when it is inwardly free to move in any direction, and the general qualities of this selected direction appear to have a certain universality.

He identifies three pillars of this process:

In the first place, the process seems to involve an increasing openness to experience… the polar opposite of defensiveness. Defensiveness [is] the organism’s response to experiences which are perceived or anticipated as threatening, as incongruent with the individual’s existing picture of himself, or of himself in relationship to the world. These threatening experiences are temporarily rendered harmless by being distorted in awareness, or being denied to awareness. I quite literally cannot see, with accuracy, those experiences, feelings, reactions in myself which are significantly at variance with the picture of myself which I already possess.

The necessary illusions Oliver Sacks wrote of are a form of that defensiveness — they help us bear the disillusionments difficult to bear: that we are invulnerable, immortal, congruent with our self-image — and yet they render us captives of the dream of ourselves, unfree to live the reality of our own complexity. Rogers writes:

If a person could be fully open to his experience, however, every stimulus — whether originating within the organism or in the environment — would be freely relayed through the nervous system without being distorted by any defensive mechanism. There would be no need of the mechanism of “subception” whereby the organism is forewarned of any experience threatening to the self. On the contrary, whether the stimulus was the impact of a configuration of form, color, or sound in the environment on the sensory nerves, or a memory trace from the past, or a visceral sensation of fear or pleasure or disgust, the person would be “living” it, would have it completely available to awareness.

Card from An Almanac of Birds: 100 Divinations for Uncertain Days.

The reward of this willingness to be fully aware is profound self-trust:

The individual is becoming more able to listen to himself, to experience what is going on within himself. He is more open to his feelings of fear and discouragement and pain. He is also more open to his feelings of courage, and tenderness, and awe. He is free to live his feelings subjectively, as they exist in him, and also free to be aware of these feelings. He is more able fully to live the experiences of his organism rather than shutting them out of awareness.

Out of this “movement away from the pole of defensiveness toward the pole of openness to experience” arises the second element of the good life: “an increasing tendency to live fully in each moment” and discover the nature of experience in the process of living the experience rather than in your predictive models, which are only ever based on the past. When you are fully open to your experience, Rogers observes, each moment is entirely new — a “complex configuration of inner and outer stimuli” that has never before existed and will never again exist in that exact form, which means that who you will be in the next moment will also be entirely new and cannot be predicted by you or anyone else — that lovely freedom of breaking the template of yourself and the prison of your story. Rogers writes:

One way of expressing the fluidity which is present in such existential living is to say that the self and personality emerge from experience, rather than experience being translated or twisted to fit preconceived self-structure. It means that one becomes a participant in and an observer of the ongoing process of organismic experience, rather than being in control of it.

Such living in the moment means an absence of rigidity, of tight organization, of the imposition of structure on experience. It means instead a maximum of adaptability, a discovery of structure in experience, a flowing, changing organization of self and personality.

[…]

Most of us, on the other hand, bring a preformed structure and evaluation to our experience and never relinquish it, but cram and twist the experience to fit our preconceptions, annoyed at the fluid qualities which make it so unruly in fitting our carefully constructed pigeonholes.

Card from An Almanac of Birds: 100 Divinations for Uncertain Days.

By discovering experience in the process of living it, we arrive at the third element of the good life — a growing ability to trust ourselves to discover the right course of action in any situation. Most of us, Rogers observes, consciously or unconsciously rely on external guiding principles in navigating life — a code of conduct laid down by our culture, our parents, our peers, our own past choices. He writes:

The person who is fully open to his experience would have access to all of the available data in the situation, on which to base his behavior; the social demands, his own complex and possibly conflicting needs, his memories of similar situations, his perception of the uniqueness of this situation, etc., etc. The data would be very complex indeed. But he could permit his total organism, his consciousness participating, to consider each stimulus, need, and demand, its relative intensity and importance, and out of this complex weighing and balancing, discover that course of action which would come closest to satisfying all his needs in the situation.

What makes this process most vulnerable to error is our continual tendency to lens the present through the past:

The defects which in most of us make this process untrustworthy are the inclusion of information which does not belong to this present situation, or the exclusion of information which does. It is when memories and previous learnings are fed into the computations as if they were this reality, and not memories and learnings, that erroneous behavioral answers arise.

Rogers paints a portrait of the person who has braided these three strands of the good life:

The person who is psychologically free… is more able to live fully in and with each and all of his feelings and reactions. He makes increasing use of all his organic equipment to sense, as accurately as possible, the existential situation within and without. He makes use of all of the information his nervous system can thus supply, using it in awareness, but recognizing that his total organism may be, and often is, wiser than his awareness. He is more able to permit his total organism to function freely in all its complexity in selecting, from the multitude of possibilities, that behavior which in this moment of time will be most generally and genuinely satisfying. He is able to put more trust in his organism in this functioning, not because it is infallible, but because he can be fully open to the consequences of each of his actions and correct them if they prove to be less than satisfying.

He is more able to experience all of his feelings, and is less afraid of any of his feelings; he is his own sifter of evidence, and is more open to evidence from all sources; he is completely engaged in the process of being and becoming himself.

On Becoming a Person is a revelatory read in its entirety. Complement this fragment with E.E. Cummings, writing from a wholly different yet complementary perspective, on the courage to be yourself and Fernando Pessoa on unselfing into who you really are.

BP

How to Be a Poet: Elizabeth Alexander on the Yin-Yang of Connection and Contradiction

How to Be a Poet: Elizabeth Alexander on the Yin-Yang of Connection and Contradiction

“The poets (by which I mean all artists) are finally the only people who know the truth about us,” James Baldwin wrote. “Soldiers don’t. Statesmen don’t. Priests don’t. Union leaders don’t. Only poets.” No matter how slant they may tell it, that truth tells us back to ourselves, helps us tell each other what it is like to be alive. It is not simple work, for its raw material is complexity. It is not easy work, for it demands a constant balancing act between passion and precision. Like most labors of the disciplined imagination we call creativity, it may not look like work at all. But it is the kind of work that helps us see the world and ourselves more clearly so we can love it and each other more deeply.

Elizabeth Alexander — the fourth poet in history to read at a U.S. presidential inauguration when she welcomed Barack Obama to the White House with her eternal poem “Praise Song for the Day” — takes up the question of what it means and what it takes to be a poet in Signals Across Vast Distances: Essays and Tales (public library). She writes:

I am a poet, having lived my life by and through the word. To me, being a poet not only means making poems. It also means being attuned and reverent to the power of distilled, precise words in the form of poems but also as carriers of souls… Being a poet means I believe in patterns, in serendipity. I follow the logic of Muriel Rukeyser when she says, describing islands, “O for God’s sake / they are connected / underneath.”

[…]

Poets — if we live up to our calling — are guided by a strange courage that takes us into thickets of self and society without fully knowing the answers, to bring into form what we see and seek to understand. We offer what we find to community, for the poem does not live until it has been set forth to be taken in by others.

If the pattern of revelation is woven on the enchanted loom of the poet’s imagination, its weft and warp are connection and contradiction: The poet’s job is to “make community through our words, and through listening”; it is also “to ask the mind to embrace paradox.” With an eye to Baldwin, she observes that great writing — truly transformative writing — “haunts you and makes you change your mind, and then change it again,” leaving you “multidimensional and enlarged.” Echoing Baldwin’s own insistence that “talent is insignificant [for] beyond talent lie all the usual words: discipline, love, luck, but most of all, endurance,” she attests that such potency is achieved only through “discipline, without which there is no art” — something she first learned in her fourteen years of classical training as a dancer. (Lest we forget, writers can learn a great deal from dancers.)

Art from This Is a Poem That Heals Fish — a French picture-book about how poetry works its magic in us.

A great poem, in the end, is a scale model of the world-building we do with language, whether we scaffold it with verses or with sentences. She offers a miniature manifesto for the great power and great responsibility of our words:

We live in language and it gives us the power to reach across the void between human beings. We live in sentence upon sentence. We speak and write millions of sentences in a year, crafting and refining what we think and know and believe and wonder about. Language is how we will most primarily offer ourselves to others, and that we will do mostly in sentences. Let them be sentences that are precise, that hold paradox and human complication and do not falsely resolve. Let them be sentences that always bear the truth.

Couple these fragments of the wholly wonderful Signals Across Vast Distances with Lucille Clifton on how to be a living poem, then revisit Wendell Berry on how to be a poet and a complete human being.

BP

Dostoyevsky, Just After His Death Sentence Was Repealed, on the Meaning of Life

Dostoyevsky, Just After His Death Sentence Was Repealed, on the Meaning of Life

“I mean to work tremendously hard,” the young Fyodor Dostoyevsky (November 11, 1821–February 9, 1881) resolved in contemplating his literary future, beseeching his impoverished mother to buy him books. At the age of twenty-seven, he was arrested for belonging to a literary society that circulated books deemed dangerous by the tsarist regime. He was sentenced to death. On December 22, 1849, he was taken to a public square in Saint Petersburg, alongside a handful of other inmates, where they were to be executed as a warning to the masses. They were read their death sentence, put into their execution attire of white shirts, and allowed to kiss the cross. Ritualistic sabers were broken over their heads. Three at a time, they were stood against the stakes where the execution was to be carried out. Dostoyevsky, the sixth in line, grew acutely aware that he had only moments to live.

And then, at the last minute, a pompous announcement was made that the tsar was pardoning their lives — the whole spectacle had been orchestrated as a cruel publicity stunt to depict the despot as a benevolent ruler. The real sentence was then read: Dostoyevsky was to spend four years in a Siberian labor camp, followed by several years of compulsory military service in the tsar’s armed forces, in exile. He would be nearly forty by the time he picked up the pen again to resume his literary ambitions. But now, in the raw moments following his close escape from death, he was elated with relief, reborn into a new cherishment of life.

Portrait of Fyodor Dostoyevsky by Vasily Perov, 1871

He poured his exultation into a stunning letter to his brother Mikhail, penned hours after the staged execution and found in the first volume of the out-of-print collection of his complete correspondence, the 1988 treasure Dostoevsky Letters (public library).

A century before Holocaust survivor Viktor Frankl offered his hard-won assurance 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,” Dostoyevsky writes:

Brother! I’m not despondent and I haven’t lost heart. Life is everywhere, life is in us ourselves, not outside. There will be people by my side, and to be a human being among people and to remain one forever, no matter in what circumstances, not to grow despondent and not to lose heart — that’s what life is all about, that’s its task. I have come to recognize that. The idea has entered my flesh and blood… The head that created, lived the higher life of art, that recognized and grew accustomed to the higher demands of the spirit, that head has already been cut from my shoulders… But there remain in me a heart and the same flesh and blood that can also love, and suffer, and pity, and remember, and that’s life, too!

Art by Shaun Tan from A Velocity of Being: Letters to a Young Reader. Available as a print.

Still, even through this elation, the animating force of his being — his identity as a writer — grounds him into a depth of despair. “Can it be that I’ll never take pen in hand?” he asks in sullen anticipation of the next four years at the labor camp. “If I won’t be able to write, I’ll perish. Better fifteen years of imprisonment and a pen in hand!” But he quickly recovers his electric gratitude for the mere fact of being alive and, reassuring his brother not to grieve for him, continues:

I haven’t lost heart, remember that hope has not abandoned me… After all I was at death’s door today, I lived with that thought for three-quarters of an hour, I faced the last moment, and now I’m alive again!

Art by Margaret C. Cook from a rare 1913 edition of Whitman’s Leaves of Grass. (Available as a print.)

In a beautiful testament to the elemental fact that when all the static of our self-righteousness dies down, what remains between good people is only love, he writes:

If anyone remembers me with malice, and if I quarreled with anyone, if I made a bad impression on anyone — tell them to forget about that if you manage to see them. There is no bile or spite in my soul, I would like to so love and embrace at least someone out of the past at this moment.

[…]

When I look back at the past and think how much time was spent in vain, how much of it was lost in delusions, in errors, in idleness, in the inability to live; how I failed to value it, how many times I sinned against my heart and spirit — then my heart contracts in pain. Life is a gift, life is happiness, each moment could have been an eternity of happiness. Si jeunesse savait! [If youth knew!]

Art by Jean-Pierre Weill from The Well of Being.

Half a century before Oscar Wilde penned his extraordinary letter about suffering as a force of transformation and transcendence from prison, where he was interned for having loved whom he loved, Dostoyevsky adds:

Now, changing my life, I’m being regenerated into a new form. Brother! I swear to you that I won’t lose hope and will preserve my heart and spirit in purity. I’ll be reborn for the better. That’s my entire hope, my entire consolation.

Life in the casemate has already sufficiently killed off in me the needs of the flesh that were not completely pure; before that I took little care of myself. Now deprivations no longer bother me in the slightest, and therefore don’t be afraid that material hardship will kill me.

Having spent years in material privation myself — though never, mercifully, nearly to the extent Dostoyevsky endured — and being always grateful for how those times annealed me, how they made me less afraid of poverty and hardship, more willing to take risks others might not, to take less materially secure paths in life (one resulting in the birth of Brain Pickings), I can’t help but wonder how much this harrowing experience fomented Dostoyevsky’s extraordinary perseverance as an artist against the tides of convention and the constant specter of poverty. It certainly reverberates throughout Notes from the Underground, Crime and Punishment, and especially The Brothers Karamazov; it certainly informed his ideas about the meaning of life, set forth decades later in the guise of a dream, and inspired his insistence upon the existential duty of seeing the goodness in people “despite the abundance of all sorts of wretches.”

Complement with a young neurosurgeon on the meaning of life as he faces his death and Walt Whitman on what makes life worth living, then revisit Anna — the love of Dostoyevsky’s life, who saved him from poverty and debtor’s prison — on the secret to a happy marriage.

BP

The Vampire Problem: The Paradoxical Psychology of Why It Is So Hard to Change

The Vampire Problem: The Paradoxical Psychology of Why It Is So Hard to Change

To be human is to suffer from a peculiar congenital blindness: On the precipice of any great change, we can see with terrifying clarity the familiar firm footing we stand to lose, but we fill the abyss of the unfamiliar before us with dread at the potential loss rather than jubilation over the potential gain of gladnesses and gratifications we fail to envision because we haven’t yet experienced them. Emerson knew this when he contemplated our resistance to change and the key to true personal growth: “People wish to be settled; only as far as they are unsettled is there any hope for them.” Rilke, too, knew it when he considered how great upheavals bring us closer to ourselves: “That is at bottom the only courage that is demanded of us: to have courage for the most strange, the most singular and the most inexplicable that we may encounter.”

When faced with the most transformative experiences, we are ill-equipped to even begin to imagine the nature and magnitude of the transformation — but we must again and again challenge ourselves to transcend this elemental failure of the imagination if we are to reap the rewards of any transformative experience.

In Transformative Experience (public library), philosopher L.A. Paul illustrates this paradox and examines how we are to unbind ourselves from it in a simple, elegant thought experiment: If you were offered the chance to become a vampire — painlessly and without inflicting pain on others, gaining incredible superpowers in exchange for relinquishing your human existence, with all your friends having made the leap and loving it — would you do it?

Art by Edward Gorey from his special illustrated edition of Dracula

Paul writes:

The trouble is, in this situation, how could you possibly make an informed choice? For, after all, you cannot know what it is like to be a vampire until you are one. And if you can’t know what it’s like to be a vampire without becoming one, you can’t compare the character of the lived experience of what it is like to be you, right now, a mere human, to the character of the lived experience of what it would be like to be a vampire. This means that, if you want to make this choice by considering what you want your lived experience to be like in the future, you can’t do it rationally. At least, you can’t do it by weighing the competing options concerning what it would be like and choosing on this basis. And it seems awfully suspect to rely solely on the testimony of your vampire friends to make your choice, because, after all, they aren’t human any more, so their preferences are the ones vampires have, not the ones humans have.

This hypothetical situation, she points out, is an apt analogue for our most important life decisions:

When you find yourself facing a decision involving a new experience that is unlike any other experience you’ve had before, you can find yourself in a special sort of epistemic situation. In this sort of situation, you know very little about your possible future, in the same way that you are limited when you face a possible future as a vampire. And so, if you want to make the decision by thinking about what your lived experience would be like if you decided to undergo the experience, you have a problem… You find yourself facing a decision where you lack the information you need to make the decision the way you naturally want to make it — by assessing what the different possibilities would be like and choosing between them. The problem is pressing, because many of life’s big personal decisions are like this: they involve the choice to undergo a dramatically new experience that will change your life in important ways, and an essential part of your deliberation concerns what your future life will be like if you decide to undergo the change. But as it turns out, like the choice to become a vampire, many of these big decisions involve choices to have experiences that teach us things we cannot know about from any other source but the experience itself.

Our minds, lest we forget, are prone to misleading us — just as people’s confidence in their beliefs is not a measure of the quality of evidence upon which those beliefs are founded, the cost-benefit estimations we make of an as-yet unknown state reflect the suppositions drawn from our current state and not the actual features of the potential and wholly unfamiliar state. When faced with a choice on one side of which lies life as we know it and on the other a transformative experience, we can’t imagine what life on the other side would be like — what we are currently missing — until after we’ve undergone the transformation. (Interestingly, an intuitive awareness of this is at the root of the psychology of our fear of missing out.) Paul writes:

You know that undergoing the experience will change what it is like for you to live your life, and perhaps even change what it is like to be you, deeply and fundamentally.

It seems, then, that there is an equivalent to Gödel’s incompleteness theorem about the limits of logic in consciousness and its vassal, the imagination.

In consonance with psychologist Daniel Gilbert’s memorable assertion that “human beings are works in progress that mistakenly think they’re finished,” Paul adds:

In many ways, large and small, as we live our lives, we find ourselves confronted with a brute fact about how little we can know about our futures, just when it is most important to us that we do know. For many big life choices, we only learn what we need to know after we’ve done it, and we change ourselves in the process of doing it. I’ll argue that, in the end, the best response to this situation is to choose based on whether we want to discover who we’ll become.

Art from An Almanac of Birds: Divinations for Uncertain Days (Available as a print and as stationery cards, benefitting the Audubon Society.)

In a sentiment that calls to mind the deaf-blind Helen Keller’s touching account of her first experience of dance and affirms the value of marine biologist Rachel Carson’s pioneering invitation to imagine Earth from the perspective of nonhuman creatures, Paul writes:

Unless you’ve had the relevant experiences, what it is like to be a person or an animal very different from yourself is, in a certain fundamental way, inaccessible to you. It isn’t that you can’t imagine something in place of the experience you haven’t had. It’s that this act of imagining isn’t enough to let you know what it is really like to be an octopus, or to be a slave, or to be blind. You need to have the experience itself to know what it is really like.

This brings out another, somewhat less familiar fact about the relationship between knowledge and experience: just as knowledge about the experience of one individual can be inaccessible to another individual, what you can know about yourself at one time can be inaccessible to you at another time.

How to access that invaluable perspective — what Seamus Heaney called “your own secret knowledge” — is what Paul explores in the remainder of her immensely insightful Transformative Experience.

BP

View Full Site

The Marginalian participates in the Bookshop.org and Amazon.com affiliate programs, designed to provide a means for sites to earn commissions by linking to books. In more human terms, this means that whenever you buy a book from a link here, I receive a small percentage of its price, which goes straight back into my own colossal biblioexpenses. Privacy policy. (TLDR: You're safe — there are no nefarious "third parties" lurking on my watch or shedding crumbs of the "cookies" the rest of the internet uses.)