Against the morphological backdrop of the rest of nature, a giant pink bird on stilts sounds like something out of Lewis Carroll’s imagination. And yet flamingos came out of evolution’s laboratory, surprising and inevitable as the neocortex, so extravagant in their improbability that a group of them is called a flamboyance.
But the flamboyance of flamingos does not come from within — it is acquired the way experience and life-history color a person. The story of how pink traveled from volcanos to wings is the story of life on Earth, the beauty of it and the bewilderment of it, forever defying and dismantling the categories in which we try to contain it.
When Carl Linnaeus laid the foundation of biological nomenclature in 1735, he divided the living world into two categories: Regnum Animale (the “animal kingdom”) and Regnum Vegetabile (the “vegetable kingdom”). Although microscopes had existed for more than a century, he excluded single-celled organisms, unsure where to place them. (It is the nature of the human animal to dismiss and negate what it cannot classify.) More than a century later, the year he coined the word ecology, the German marine biologist Ernst Haeckel proposed a third category for microscopic organisms, which he called Protista — “the kingdom of primitive forms.” (Haeckel was so bewildered by the multifariousness and complexity of fungi, which defy our basic intuitions about life, that he kept moving them between Plantae and Protista, finally settling them in the latter; it would be another century until they were given their very own kingdom or, in the more representative term of mycologist Giuliana Furci, “kindom.”)
Ernst Haeckel’s kingdoms of life, 1866.
Pulsating beneath all these distinctions was the fundamental assumption that all organisms are either eukaryotes, ranging from the unicellular paramecium to the immense blue whale, or prokaryotes — bacteria and all remaining microscopic life-forms.
But then, in 1977, as the Voyager sailed into space carrying the Golden Record meant to represent life on our Pale Blue Dot, the microbiologist and biophysicist Carl Woese made a startling discovery — the tiny organisms found in volcanic hot springs, whose ribosomal DNA sequences he was investigating, turned out to be a wholly different microbial life-form sharing as little with bacteria as it did with eukaryotes. He called it Archaea. Suddenly, the tree of life had a third branch.
Aerial image of Yellowstone’s Grand Prismatic Spring.
Born with grey plumage, flamingos spend the first years of their life feasting almost exclusively on brine shrimp — aquatic crustaceans that in turn feast almost exclusively on organisms containing the same carotenoid pigments that remain in autumn leaves when chlorophyll falls away. Haloarchaea — extremophile Archaea that thrive in hypersaline environments — are a chief source of these carotenoids in shrimp. (They are also why Himalayan salt is pink.) Unperturbed by the unremitting sun exposure of open water, these tiny titans of survival protect their DNA from UV radiation by synthesizing a red carotenoid that makes its way across the metabolic Rube Goldberg machine into the feathers of flamingos.
It is not simply that flamingos metabolize archaea, digesting them to turn their pigments into plumage coloration — modern molecular analysis reveals that archaea still live intact in the feathers of flamingos, perhaps the way our own past moves through us, lives in us, colors our present with the hue of something deeper than memory, something shimmering with the mystery of what makes life alive.
“Life will break you,” Louise Erdrich wrote in her passionate insistence that “you are here to risk your heart.” It can happen with a shattering, or with a thousand small fissures, but the great paradox — the great salvation — is that every time it happens, you live to see you are unbreakable.
And so, a poem.
CORRECTIVE FOR A BROKEN HEART by Maria Popova
Why all the threadbare drama,
the stale catastrophism
of calling it broken?
It still beats,
doesn’t it,
still trembles at the sight
of fog flowing through the forest
like a slow dance song.
It was only
dislocated,
lost its locus
for a while,
popped out of the socket
of good sense.
There is no one
to pick up the pieces
because there are no pieces.
Only the firm, fastidious
hand of time
to slide it back
into place.
And after all
who can fault
the wayward compass
when the magnetic north pole
is in constant motion
drifting by fifty kilometers a year
and reversing itself altogether
every few centuries
while each twenty-six thousand years
a different north star
comes to shine its guiding light
above all the confusion.
The only thing more dangerous than wanting to save another person — a dangerous desire too often mistaken for love — is wanting to save yourself, to spare yourself the disappointment and heartbreak and loss inseparable from being a creature with hopes and longings constantly colliding with reality, with the indifference of time and chance, with the opposing hopes and longings of others.
We have, of course, always invented institutions of salvation — religion to save us from our sins, therapy to save us from our traumas, marriage to save us from our loneliness — in order to salve our suffering, which is the price we pay for the fulness of living. And salve it we must, yet there is no damnation greater than spending our allotted days in the catatonia of comfort and certainty, our inner lives automated by habit and halogen lit by convenience. To try to save ourselves from the despair by which we contour hope, to spare ourselves the fertile doubt and the gasps of self-surprise by which we discover who we really are, is to live a safe distance from alive.
That is what the Uruguayan novelist, journalist, and poet Mario Benedetti (September 14, 1920–May 17, 2009) explores in his astonishing poem “No Te Salves” — part indictment, part invitation, reminding us that we most often break our hearts on the hard edges of our own fear of living, on the parts of us so petrified that they have become brittle to the touch of life, the touch of love.
Since I didn’t feel that the standard English translation quite captures the urgency and intimacy of the original language, I have translated it anew. It is read here in the original Spanish by my friend Karen Maldonado (who introduced me to the poem), in English and Bulgarian by me, and in Russian by my mother (who translated it into Russian and our native Bulgarian), to the sound of Bach’s Cello Suite No. 4 in E-Flat Major.
NO TE SALVES por Mario Benedetti
No te quedes inmóvil
al borde del camino
no congeles el júbilo
no quieras con desgana
no te salves ahora
ni nunca
no te salves
no te llenes de calma
no reserves del mundo
sólo un rincón tranquilo
no dejes caer los párpados
pesados como juicios
no te quedes sin labios
no te duermas sin sueño
no te pienses sin sangre
no te juzgues sin tiempo
pero si
pese a todo no puedes evitarlo
y congelas el júbilo
y quieres con desgana
y te salvas ahora
y te llenas de calma
y reservas del mundo
sólo un rincón tranquilo
y dejas caer los párpados
pesados como juicios
y te secas sin labios
y te duermes sin sueño
y te piensas sin sangre
y te juzgas sin tiempo
y te quedas inmóvil
al borde del camino
y te salvas
entonces
no te quedes conmigo.
DO NOT SPARE YOURSELF by Mario Benedetti translated by Maria Popova
Don’t stand motionless
by the side of the road
don’t petrify your joy
don’t desire with reserve
do not spare yourself now
or ever
do not spare yourself
don’t fill up on tranquility
don’t claim from the world
only a quiet corner
don’t let your eyelids fall
heavy as judgments
don’t remain lipless
don’t fall asleep unready to dream
don’t think yourself bloodless
don’t deem yourself out of time
but if
in spite of it all you can’t help it
and petrify your joy
and desire with reserve
and spare yourself now
and fill up on tranquility
and claim from the world
only a quiet corner
and let your eyelids fall
heavy as judgments
and remain lipless
and fall asleep unready to dream
and think yourself bloodless
and deem yourself out of time
and stand motionless
on the side of the road
and you have been spared
then
do not stay with me.
НЕ СЕ ЩАДИ Марио Бенедети превод от Лилия Попова
Не стой неподвижно
край пътя
не вкаменявай радостта си
не желай неохотно
не се щади сега
и никога
не се щади
не се изпълвай с покой
не искай от света само едно тихо кътче
не позволявай на клепачите ти да паднат,
тежки като присъди
не оставай беззвучен
не заспивай без сънища
не се мисли за безсилен
не се съди без време
но ако
все пак не успееш
и вкамениш радостта си
и желаеш неохотно
и се щадиш сега
и си изпълнен с покой
и искаш от света само едно тихо кътче
и позволиш клепачите ти да паднат,
тежки като присъди
и останеш беззвучен
и заспиваш без сънища,
и се мислиш за безсилен,
и се съдиш без време
и стоиш неподвижно край пътя
и си пощаден
тогава
не оставай с мен.
НЕ ЩАДИ СЕБЯ Марио Бенедети перевод Лилии Поповой
Не стой тихо на краю дороги
не загораживай свою радость
не желай с неохотой
не щади себя сейчас
и никогда
не щади себя
не исполняйся покоем
не проси у мира только тихий уголок
не дай опускаться векам твоим,
тяжелыми, как приговор
не оставайся безмолвным
не усыпай без снов
не думай, что безсилен
не суди себя без времени
но если
однако не сможеш
и загораживаешь свою радость
и желаеш с неохотой
и щадишь себя сейчас и навсегда
и исполнен покоем
и просишь у мира только тихий уголок
и даеш опускаться векам своим,
тяжелыми, как приговор
и остаешься безмолвным
и засыпаешь без снов
и думаешь, что ты бессилен
и судишь себя без времени
и стоишь тихо на краю дороги
и щадишь себя
тогда
не оставайся со мной.
One of the 35 girls among the 2,000 students at Mexico’s National Preparatory School, Frida Kahlo (July 6, 1907–July 13, 1954) was fifteen when she met Alejandro Gómez Arias. Both were passionate and erudite, both were members of the anarchist student group known as Los Cachuchas for the pointed cloth caps they wore in defiance of the era’s restrictive dress code, both became each other’s first love. Alejandro was on the bus with Frida that fateful late-summer day shortly after her eighteenth birthday when a tram collision killed several other passengers and left her so severely injured — her pelvis fractured, her stomach and uterus punctured by a rail, her spine broken in three places and her leg in eleven — that the doctors at the Red Cross Hospital did not think she could be saved. It was Alejandro’s unrelenting insistence that made them try. Against all odds, Frida lived — but her life was irrevocably changed. How she coped with what she had to live through in turn changed the history of art.
Her letters to Alejandro, collected in the altogether stirring volume Frida Kahlo: Love Letters (public library) edited by Suzanne Barbezat, offer a rare glimpse of her becoming — as an artist, as a lover, as a person who lived with extraordinary vulnerability, extraordinary courage, and the precocious awareness that the conversation between the two is the measure of a life.
From the outset, her letters command and caress at the same time. “Write to me often and long, the longer the better,” she urges him in one. “On Saturday I’ll bring your sweater, your books and a lot of violets,” she tells him in another. She takes love as seriously as it ought to be taken but also knows it dies without play: “Sorry about constantly repeating the word ‘love’ five times in a row, but it’s just that I’m very silly.” She signs herself “your pretty girl (monkey face),” “your girl, buddy, woman or whatever you like,” “your sister (girlfriend, buddy, wife).” (It starts so early, that trembling gamble of the heart by which a person tries to discern what they man to another.) Over and over, she offers glimpses into her uncommon inner world. In a letter penned the summer she turned seventeen, after some arrangements for how they can see each other — Frida’s parents disapproved of the relationship — she writes:
Now I’m going to read Salambo until half past 10, it’s 8 o’clock now, and then the Bible in three volumes and, finally, think for a while about huge scientific problems and then go to bed, and sleep until half past 7 in the morning, eh? Until tomorrow, may we have a good night and may we both think that great friends must love each other very, very much, much, much, much, much, mucho . . . with “m” for music or for “mundo.”
A month later, she offers that lovely unasked assurance that makes a fragile young love feel safe and solid:
My Alex, since I won’t see you for two days and I miss you so much, I’m writing you this so that you will start to believe something that you don’t believe, but which is very true.
And then, beneath a drawing, she adds:
Please forgive me for not writing any more but I started to draw the doll at 9 and it took me an astronomical three quarters of an hour to draw and another half hour to write, so it’s about 10 now and you know that makes me sleepy like the hens, but I’ll keep writing this letter in my dreams and you know that I would write enough to fill at least a thousand pages.
I love you very much.
Your pretty girl (monkey face)
On Christmas Day, she tells him:
My Alex: I loved you since I first saw you. What do you say to that? Since we probably won’t see each other for several days, I’m going to beg you not to forget your little woman, eh?
[…]
You must like easy things… I would like to be even easier, a tiny little thing that you could just carry in your pocket always, always… Alex, write to me often and even if it’s not true, tell me that you care for me a lot and that you can’t live without me…
Your girl, buddy, woman or whatever you like
Frieda
Punctuating the teenage ardor is the stuff of life — she tells him about taking classes in shorthand and typing so as not to waste money on paying the telegraph operator, tells him about applying for a job at the Education Library for four pesos an hour, tells him about her material and domestic struggles, but always places him above all else. When he gets sick, she writes to him:
Right now the only thing I want is for you to get better and all the rest is in 5th and 6th place, because in 1st to 4th place is that you get better and that you love me… Get better very, very soon and think about me a little bit, that’s what your sister (girlfriend, buddy, wife) wants.
She couldn’t have known, in comforting him through his minor ailment, that only a few months later her own embodiment would be pushed to the brink of mortality. Twenty-five days after the accident, bedridden at the hospital where her mother had only visited her twice and her father once, she writes in a letter adorned with a drawing of skull and bones:
Alex of my life: You know better than anyone how sad I have been in this filthy hospital… Everyone tells me not to despair; but they don’t know what it is for me to be bedridden for three months, which is what I need to be, after having been a first-class stray cat all my life, but what’s there to do, since la pelona didn’t carry me away. Don’t you think?… The day I see you Alex, I’m going to kiss you, there’s no help for it; now I see more than ever how I love you with all my soul and I won’t trade you for anyone; you see how suffering something is always worthwhile.
On the eve of her discharge, she writes:
Here or there, I’ll be waiting for you. I’m counting the hours as I wait for you wherever, here or at home, because seeing you, the months in bed will pass much faster… Life begins tomorrow…! — I adore you —
But rather than revival, she entered a long convalescence, confined to bed and savaged by pain in every region of her body as both of her parents fell seriously ill. Six weeks into her confinement, just after her mother had a seizure, she writes to Alejandro:
I want you to come see me because I’m in over my head and I can’t help but hold on, because it would be worse if I despaired, don’t you think? I want you to come and talk to me like before, to forget everything and to come see me for the love of your holy mother and to tell me that you love me even if it’s not true, ok? (The pen doesn’t write very well with so many tears.)
Alejandro remained by her side for more than a year into her convalescence, then left for Europe in the early spring of 1927. In her passionate dispatches, she never minimized her pain, but she never let it dominate her stubborn will for life.
Self Portrait with Velvet Dress, 1926.
Four months into their separation, having just completed one of her tenderest self-portraits, she writes:
My Alex: I still can’t tell you I’m doing better, but nevertheless I feel much happier than before, I have so much hope of getting better by the time you return that you shouldn’t be sad on my account for a single moment. I almost never lose hope now… There is no reason for you to suffer for me, everything I tell you in my letters is because I’m such a “cry-baby” and at the end just a young girl, but it is not that much, it is fine to suffer a little, don’t you think, my Alex?… You are coming back, what more could I ask for? You can’t imagine how marvelous it is to wait for you with the same serenity as the portrait… Write to me a little bit more, your letters really heal me.
Two weeks later, amidst worries about having enough money for another X-ray, she writes:
You can’t imagine with what pleasure I would give all my life just to kiss you. I think this time I have really suffered, so I must deserve it.
[…]
Your Frieda
(I adore you)
Seven months into Alejandro’s absence, she names the terror of abandonment trembling in every lover’s heart even in the closest proximity, for between two people there is always an ocean in which to meet or drown:
Life is ahead of us… In Coyoacán the nights are amazing… and the sea, a symbol in my portrait, synthesizes life, my life.
You haven’t forgotten me?
It would almost be unfair, don’t you think?
She had first voiced this fear a season earlier, writing to him at the peak of summer:
Alex: I’m going to confess one thing: there are moments that I think you’re forgetting me, but you aren’t, right? You couldn’t fall in love with the Mona Lisa.
But he did. Alejandro broke off the relationship shortly after returning to Mexico that autumn. Frida may have intuited it, but she was not prepared, the way we never really are even for the blows we feel coming. Barely twenty, her body shattered and her heart broken, she found herself reeling with that most difficult, most eternal question: Where does love go when it goes?
It went where it always goes — into the totality of her person. We make everything we make with everything we are, everything we have touched that has touched us back in that tender and terrifying contact with life we call experience.
Portrait of Alejandro Gómez Arias, 1928.
Several months later, Frida completed a portrait of Alejandro looking plaintive, almost fragile, and inscribed it at the top:
Alex, with affection I painted your portrait, that he is one of my comrades forever, Frida Kahlo, 30 years later.
Frida did not live another thirty years. But this young love that had shaped her life, possibly saved it, pulsates beneath every painting she ever painted to tell the centuries what it is like to be alive, with all the pain and passion of it — an inextinguishable reminder that every love we have ever loved, every loss we have ever suffered, becomes part of us, part of what we have to give; for, in the end, how we love, how we give, and how we suffer is just about the sum of who we are.
“A life of patient suffering… is a better poem in itself than we can any of us write,” the young poet Anne Reeve Aldrich wrote to Emily Dickinson shortly before her untimely death. “It is only through the gates of suffering, either mental or physical, that we can pass into that tender sympathy with the griefs of all of mankind which it ought to be the ideal of every soul to attain.”
Suffering is the name we give to how we live with life’s imperfection, and with our own — which is so often the wellspring of our profoundest suffering. How we bear this imperfection, what we make of it, is our great living poem.
This awareness pulsates throughout the essay collection Serious Face (public library) by Jon Mooallem — one of the finest magazine journalists of our time, and one of the most original storytellers. He writes in the preface:
Twenty years years ago, I was working at a small literary magazine in New York City, screening the bulging slush pile of poetry submissions for anything that the editors might be interested in publishing. Please know that passing judgment on all these people’s poems made me queasy. I was twenty-two years old, not especially well-read, and my only previous full-time employment had been as a kosher butcher. I could only like what I liked. Also, I was extraordinarily sad. My father had died a year earlier, and the grief and bewilderment I’d kept tamped down were beginning to burble upward. I felt alone. I felt lost. And I was fixated on figuring out why everything was so hard, what I was doing wrong. Some evenings, I’d walk the fifty-eight blocks home from the office, excessively serious-faced, wrenching my mind around like a Rubik’s Cube, struggling to make it show a brighter color.
And then, from among the thousands of poems whose literary merit he was uncomfortably tasked with brokering, one stopped him up short: “Frost on the Fields” by Eric Trethewey, no longer alive; one particular line in it crowning the lyric of landscape:
Why are we not better than we are?
This would become the animating question of Jon’s life, as a writer and as a human being; a question that each of the essays whispers or bellows, none more poignantly than one titled by a kindred question: “Why These Instead of Others?” — his account, across the abyss of twenty years, of a trip to the remote reaches of Alaska he took with two of his college friends in the spring of life.
An epoch after Rockwell Kent voyaged there to find the crux of creativity, the three young men arrived into a realm of remoteness so discomposing to their city consciousnesses as to appear entirely alien:
As the boat that delivered us vanished, the drone of its engine dampening into a murmur and then finally trailing off, it became unthinkably quiet on the beach, and the largeness and strangeness of our surroundings were suddenly apparent… It felt like those scenes of astronauts who, having finally rattled free of the earth’s atmosphere, slip into the stillness of space. Except we weren’t in space. We were on earth — finally, really on earth.
But this transcendent idyll was soon interrupted by the brute impartiality of nature — a boom, then a crash, then faster than the speed of reason, a colossal tree atop one of the three friends. (Incidentally, also named Jon.)
They managed to radio for help. After firing a flaccid flare, they began fearing they were undiscoverable in the uncharted wilderness far inland from their camp. All they knew was that they had to keep him conscious until help arrived, pinned as he was by the tree in an icy creek, hypothermia on top of all the internal bleeding that was no doubt flooding his system.
By some animal instinct, kneeling over the other Jon, this one leaned on the semi-automation of his mind:
What can a person say? I had two literature professors in college who made us memorize poems. You never knew when some lines of verse would come in handy, they claimed. One liked to brag that, while traveling through Ireland, he found that if he spat out some Yeats at a pub, he could drink for free. This is how I wound up reciting a love poem to Jon.
That poem was “The Shampoo” by Elizabeth Bishop. He moved on to Auden’s “The More Loving One.” Then some Robert Frost, some Kay Ryan. He recounts:
Jon and I would spend about an hour and a half together alone on the forest floor. I ran through everything in my quiver—Kay Ryan, A. R. Ammons, Michael Donaghy—padding each poem with little prefatory remarks, while Jon said nothing, just signaled with his eyes or produced a sound whenever I checked in. I felt like a radio DJ playing records in the middle of the night, unsure if anyone was listening. And here’s one about owls by Richard Wilbur, I would tell Jon, and off we would go.
He was unsure — how can anyone be sure? — that he was doing the best thing, that he couldn’t do something better, be better. But it was the best he had.
The other Jon survived, and lived to remember the poetry on the forest floor as a serene moment amid the terrifying uncertainty and the adrenalized pain. Reflecting on the experience, now both of them twice the age they were then, this Jon writes:
Even my reciting those poems, which to me had always felt like a moment of utter helplessness, became, in Jon’s telling, a perfect emblem of that streak of serendipitous problem-solving. “You conveyed a calmness,” he told me recently.
This was poetry as time-dilation and poetry as prayer — a way to keep a drifting mind anchored in the questions that daily keep us from sleeping and quicken the creative restlessness we call art, we call meaning. One way to answer that long-ago question: with this tenderest testament to how, sometimes — and mostly when life boughs us to our knees on the forest floor of crisis — we are better, better than we ever thought we could be while coasting in the illusory safety of our daily lives.
Moved by the improbable way in which a stranger’s poem had helped Jon save his friend’s life and had shaped his own, I asked him to read it for us half a lifetime after his chance encounter with it in the submissions pile of his entry-level job, with a side of Bach:
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.
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.
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.
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.
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