The Marginalian
The Marginalian

Thomas Bernhard on Walking, Thinking, and the Paradox of Self-Reflection

By Maria Popova

Thomas Bernhard on Walking, Thinking, and the Paradox of Self-Reflection

“I: how firm a letter; how reassuring the three strokes: one vertical, proud and assertive, and then the two short horizontal lines in quick, smug succession,” the adolescent Sylvia Plath wrote in her diary as she contemplated free will and what makes us who we are. “This is the entire essence of life: Who are you? What are you?” proclaimed Leo Tolstoy in the diaries of his own youth a century earlier. These are abiding questions we all ask ourselves and answer with our selves, but also impossible ones. To hold up a mirror to oneself is to become both the looking-glass and the eye doing the looking — a sort of infinite Borgesian mirror of self-reflection reflecting itself. (Borges himself, in his own youth, danced with the paradox of self-awareness.)

No one has paced this labyrinthine paradox more elegantly, nor reached its center with richer insight, than the Austrian novelist, playwright, and poet Thomas Bernhard (February 9, 1931–February 12, 1989) in his novella Walking (public library) — his unusual 1971 masterpiece exploring the nature of thinking and the impossibility of accurate self-reflection.

Painting of Thomas Bernhard, with photographer’s reflection. Thomas Bernhard House. Photograph by Mayer Bruno.

Half a century after The Wind in the Willows author Kenneth Grahame asserted that to walk is “to set the mind jogging” and a generation before Rebecca Solnit defined walking as “a state in which the mind, the body, and the world are aligned,” Bernhard writes:

If we observe very carefully someone who is walking, we also know how he thinks. If we observe very carefully someone who is thinking, we know how he walks. If we observe most minutely someone walking over a fairly long period of time, we gradually come to know his way of thinking, the structure of his thought, just as we, if we observe someone over a fairly long period of time as to the way he thinks, we will gradually come to know how he walks… There is nothing more revealing than to see a thinking person walking, just as there is nothing more revealing than to see a walking person thinking… Walking and thinking are in a perpetual relationship that is based on trust.

Art by Shaun Tan for a special edition of the Brothers Grimm fairy tales.

In a brilliant conceptual twist, which turns the mirror of self-reflection into a Möbius strip, Bernhard adds:

However, we may not ask ourselves how we walk, for then we walk differently from the way we really walk and our walking simply cannot be judged, just as we may not ask ourselves how we think, for then we cannot judge how we think because it is no longer our thinking. Whereas, of course, we can observe someone else without his knowledge (or his being aware of it) and observe how he walks or thinks, that is, his walking and his thinking, we can never observe ourselves without our knowledge (or our being aware of it). If we observe ourselves, we are never observing ourselves but someone else. Thus we can never talk about self-observation, or when we talk about the fact that we observe ourselves we are talking as someone we never are when we are not observing ourselves, and thus when we observe ourselves we are never observing the person we intended to observe but someone else. The concept of self-observation and so, also, of self-description is thus false.

Art from What Color Is the Wind? by Anne Herbauts

Bernhard extends this logic to the vastest questions about how the native limitations of our consciousness shape our perception and interpretation of reality:

Looked at in this light, all concepts (ideas)… like self-observation, self-pity, self-accusation and so on, are false. We ourselves do not see ourselves, it is never possible for us to see ourselves. But we also cannot explain to someone else (a different object) what he is like, because we can only tell him how we see him, which probably coincides with what he is but which we cannot explain in such a way as to say this is how he is. Thus everything is something quite different from what it is for us… And always something quite different from what it is for everything else.

Walking, translated into English by Kenneth J. Northcott, is a stunning read in its unparagraphed totality, fusing philosophy’s depth of thought with poetry’s contemplative spaciousness. Complement this fragment with Hannah Arendt on time, space, and the thinking ego, Lauren Elkin’s manifesto for peripatetic empowerment, and Solnit’s indispensable Wanderlust, then revisit former U.S. Poet Laureate Tracy K. Smith on the persistence of the self and the great physician, etymologist, poet, and essayist Lewis Thomas on how a jellyfish and a sea slug illuminate the mystery of the self — the most original, science-governed, yet deeply poetic perspective on the subject I’ve ever encountered.

BP

The Peace of Wild Things: Wendell Berry’s Poetic Antidote to Despair, Animated

By Maria Popova

The Peace of Wild Things: Wendell Berry’s Poetic Antidote to Despair, Animated

UPDATE 2022: For more soulful animated poems, see my collaboration with On Being on an animated season of The Universe in Verse.

Two hundred years ago, in a prophetic book envisioning a twenty-first-century world savaged by a deadly pandemic, Mary Shelley considered what makes life worth living, insisting that in the midst of widespread death and despair, we must seek peace in the “murmur of streams, and the gracious waving of trees, the beauteous vesture of earth, and sublime pageantry of the skies.” A century later, Willa Cather — another immensely talented, immensely underappreciated novelist and poet laureate of the human spirit — contemplated the deepest wellspring of happiness and located it in those moments when, immersed in nature, we find ourselves “dissolved into something complete and great” — a line now emblazoned on Cather’s tombstone by her partner.

In another half-century, Wendell Berry (b. August 5, 1934) — one of the great poets and wisest elders of our time — arrived at this elemental truth, a truth we so easily lose sight of in those times of despair when we most need it, articulating it with his uncommon tenderness and clarity of vision in the title poem of his 1968 collection The Peace of Wild Things (public library), composed under a thick cultural cloudscape of despair — at the peak of the Cold War and the Vietnam War, after the successive assassinations of John F. Kennedy and Dr. King, in the wake of Silent Spring and its disquieting wakeup call for our broken relationship with nature.

Art from The Blue Hour by Isabelle Simler

Berry — a rare seer into those subterranean landscapes of being where nature meets human nature and a rare voice of our collective ecological conscience — reads the poem in this breathtaking short film, produced by On Being and illustrated by English artist Charlotte Ager.

THE PEACE OF WILD THINGS
by Wendell Berry

When despair for the world grows in me
and I wake in the night at the least sound
in fear of what my life and my children’s lives may be,
I go and lie down where the wood drake
rests in his beauty on the water, and the great heron feeds.
I come into the peace of wild things
who do not tax their lives with forethought
of grief. I come into the presence of still water.
And I feel above me the day-blind stars
waiting with their light. For a time
I rest in the grace of the world, and am free.

At the last Universe in Verse — my charitable celebration of science and the natural world through poetry — On Being creator and host Krista Tippett read Berry’s poem with a lovely prefatory meditation on how poetry gives us the language to remember our creaturely nature, which in turn reroots us in the larger web of belonging as “creatures among creatures”:

Complement with Wendell Berry on delight as a force of resistance, how to be a poet and a complete human being, his conscience-clarifying poem “Questionnaire,” and Krista’s soul-salving OnBeing conversation with him, then revisit two kindred-spirited animated poems: Marie Howe’s “Singularity” and Linda France’s “Murmuration.”

BP

Seneca on True and False Friendship

By Maria Popova

Seneca on True and False Friendship

“Friendship is unnecessary,” C.S. Lewis wrote, “like philosophy, like art, like the universe itself… it has no survival value; rather it is one of those things which give value to survival.” Darwinian caveats aside, the truth of this beautiful sentiment resonates deeply for anyone whose life has been enriched or even saved by the existence of a genuine friend. And yet today, as we face the commodification of the word “friend,” what do we even mean — what should we mean — by this once-sacred term, now vacated of meaning by chronic misuse?

That’s what the great first-century Roman philosopher Seneca examines in a series of correspondence with his friend Lucilius Junior, later published as Letters from a Stoic (public library) — the indispensable trove of wisdom that gave us Seneca’s famous letter on overcoming fear and inoculating yourself against misfortune.

seneca

Eighteen centuries before Emerson wrote in his meditation on the two pillars of friendship that “a friend is a person with whom [one] may be sincere,” Seneca considers the uses and misuses of the term in a magnificent letter titled “On True and False Friendship”:

If you consider any man a friend whom you do not trust as you trust yourself, you are mightily mistaken and you do not sufficiently understand what true friendship means… When friendship is settled, you must trust; before friendship is formed, you must pass judgment. Those persons indeed put last first and confound their duties, who … judge a man after they have made him their friend, instead of making him their friend after they have judged him. Ponder for a long time whether you shall admit a given person to your friendship; but when you have decided to admit him, welcome him with all your heart and soul. Speak as boldly with him as with yourself… Regard him as loyal and you will make him loyal.

In another letter, titled “On Philosophy and Friendship,” Seneca examines the common bases upon which friendships are formed and admonishes against the tendency, particularly common today, toward seeing others as utilitarian tools that help advance one’s personal goals. Observing that some people form so-called friendships by estimating how much a potential friend can help them in a moment of need, he writes:

He who regards himself only, and enters upon friendships for this reason, reckons wrongly. The end will be like the beginning: he has made friends with one who might assist him out of bondage; at the first rattle of the chain such a friend will desert him. These are the so-called “fair-weather” friendships; one who is chosen for the sake of utility will be satisfactory only so long as he is useful. Hence prosperous men are blockaded by troops of friends; but those who have failed stand amid vast loneliness their friends fleeing from the very crisis which is to test their worth. Hence, also, we notice those many shameful cases of persons who, through fear, desert or betray. The beginning and the end cannot but harmonize. He who begins to be your friend because it pays will also cease because it pays. A man will be attracted by some reward offered in exchange for his friendship, if he be attracted by aught in friendship other than friendship itself.

With an eye to such arrangements of convenience and favor, which he condemns as “a bargain and not a friendship,” Seneca adds:

One who seeks friendship for favourable occasions, strips it of all its nobility.

My visual taxonomy of the four levels of platonic relationships

In another letter, Seneca cautions against mistaking flattery for friendship — an admonition all the more urgent today, in the Age of Likes, when the forms of flattery and the channels of positive reinforcement have proliferated to a disorienting degree:

How closely flattery resembles friendship! It not only apes friendship, but outdoes it, passing it in the race; with wide-open and indulgent ears it is welcomed and sinks to the depths of the heart, and it is pleasing precisely wherein it does harm.

He turns the beam of his wisdom toward the only valid and noble reason for forming a friendship:

For what purpose, then, do I make a man my friend? In order to have someone for whom I may die, whom I may follow into exile, against whose death I may stake my own life, and pay the pledge, too.

Illustration by Maurice Sendak from a vintage ode to friendship by Janice May Udry

In another letter, Seneca suggests that such genuine friendship extends its rewards beyond the personal realm and becomes the civilizational glue that holds humanity together:

Friendship produces between us a partnership in all our interests. There is no such thing as good or bad fortune for the individual; we live in common. And no one can live happily who has regard to himself alone and transforms everything into a question of his own utility; you must live for your neighbour, if you would live for yourself. This fellowship, maintained with scrupulous care, which makes us mingle as men with our fellow-men and holds that the human race have certain rights in common, is also of great help in cherishing the more intimate fellowship which is based on friendship… For he that has much in common with a fellow-man will have all things in common with a friend.

Letters from a Stoic remains a timelessly rewarding read. Complement this particular portion with Eudora Welty on friendship as an evolutionary mechanism for language, Irish poet and philosopher John O’Donohue on the ancient Celtic ideal of friendship, and the epistolary record of Mozart and Haydn’s beautiful and selfless friendship, then revisit Seneca on the antidote to the shortness of life and the key to resilience in the face of loss.

BP

The Moving Story of the Dawn Redwood: How a Fossil Came Back to Life to Bring Humanity Together in the Middle of Our Deadliest War

By Maria Popova

Sixty million years ago, when tropical climes covered the Arctic, a small redwood species developed an unusual adaptation that shaped its destiny: Despite being a conifer — needle-leaved trees that are usually evergreen — it became deciduous, losing all of its needles during the months-long lightless winter to conserve energy, then growing vigorously in the bright summer months — the fastest-growing of the redwoods. With this uncommon competitive edge, it conquered large swaths of the globe, spreading the seeds of its handsome cones across North America and Eurasia. But when the global climate plunged into the Ice Age, its victory march came to an abrupt halt.

We know this because, at the peak of WWII, Japanese paleobotanist Shigeru Miki discovered fossils of this small, mighty redwood species. Nothing like it had ever been described in the botanical literature, so he deemed it extinct, naming it Metasequoia after its kinship to Earth’s most majestic tree.

Metasequoia in winter. (Photograph: Arnold Arboretum)

The World War was still raging when a Chinese forester traveling through Central China in the winter of 1941 came upon a majestic old tree of a kind he had never seen before. There was a small shrine at its foot, where locals had been lighting votives and leaving offerings for decades. They called it, he learned, shui-sa, or “water fir,” for its love of moist soil — a name he had never heard before. Because the tree was already denuded of needles for its seasonal hibernation, he was unable to collect a proper specimen for identification — but he told other foresters and botanists of it, until word reached Zhan Wang, director of China’s Central Bureau of Forest Research.

Intrigued by this unheard of species, Wang set out to see it for himself and to collect specimens, which he shared with colleagues. One of them was Hsen Hsu Hu. A diligent paleobotanist, he had read of Miki’s fossil discovery five years earlier. As soon as he saw the peculiar needle pattern, Hu recognized the “water fir” as a Metasequoia.

Dawn redwood

Here was a living fossil — a lovely ghost of evolution that had somehow survived the unsurvivable.

Across the flaming divide that placed China and Japan on opposite sides of the World War, a small group of scientists had transcended the deadly artifice of borders and the ugliness of weapons to remind the world that the human longing for truth and beauty is greater than our foibles.

The first Chinese person to be awarded a Ph.D. in botany from Harvard University, Hu still maintained a relationship with Harvard’s Arnold Arboretum — one of the world’s largest living museums of trees. As news of this ancient tree began making international headlines, lauded by journalists as a “living vestige of younger world,” “as remarkable as discovering a living dinosaur,” the director of the Harvard arboretum cobbled together funds for a collecting expedition in China across the ashen world — one of the last collaborations between Chinese and Western scientists before the Chinese Revolution dropped its leaden wall for decades.

Metasequoia cones. (Photograph: Arnold Arboretum)

As soon as the samples arrived at Harvard, the arborists planted several trees on Massachusetts soil — the first to grow in North America in more than two million years — and began distributing a kilogram of precious seeds to universities and botanical gardens across the globe. Hundreds of human hands from different nations and different creeds pressed them into moist soil, until this global effort to reanimate a ghost of evolution populated parks all over the world with Metasequoia.

Perhaps due to the rich orange color its feathery needles turn before falling, perhaps in homage to its improbable chance at a new day in the epochal calendar of existence, it became known as dawn redwood.

Metasequoia needles and bark. (Photograph: Arnold Arboretum)

In the 1950s, a retired forester planted eight in Oregon; the fire chief of a California county planted one at the fire department headquarters; eventually, many more were seeded across California and the Pacific Northwest. In the 1970s, New York City community garden patron saint Liz Christy planted one at the iconic Bowery community farm-garden now bearing her name. Today, dawn redwoods rise from the heart of London and thrive in Istanbul’s arboretum. Three stand sentinel over Strawberry Fields — the John Lennon memorial in Central Park. In the final years of the twentieth century, it was declared “the tree of the century.”

The year of the living fossil’s discovery, Einstein’s voice unspooled from the British radio waves, passionate and accented, to make a case for “the common language of science” as the only impartial understanding that can save humanity from itself. Each dawn redwood rising from a patch of spacetime somewhere on this divided and indivisible world is a living monument to what is truest and most beautiful in the human spirit.

BP

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