“Participation requires a total surrender, a concentration so intense as to seem a kind of narcosis, a rapture-of-the-freeway.”
Many years ago, an imaginative campaign for Mini Cooper reframed driving, something drudgerous, as motoring, something joyful. It became an instant success and received every major industry award, including a Cannes Lion. The young creative director who dreamed it up — Steve O’Connell, an old friend with whose encouragement Brain Pickings was born back in the day, and a brilliant creative mind always looking for the deeper longings beneath human behavior — was hailed as a rising star and went on to start a new kind of creative agency. The genius of his idea was that it tapped into a fundamental yearning to bring more mindfulness and presence to the ordinary activities of our daily lives — the same impulse that Thoreau tickled when he reframed the ordinary activity of walking as the art of sauntering.
But the original champion of driving as more-than-driving, as an experience more transcendent than simply propelling a vehicle over pavement and more present than mindlessly getting from point A to point B, is none other than Joan Didion — she of world-reorienting wisdom on self-respect, grief, and the value of keeping a notebook.
The freeway system … is the only secular communion Los Angeles has. Mere driving on the freeway is in no way the same as participating in it. Anyone can “drive” on the freeway, and many people with no vocation for it do, hesitating here and resisting there, losing the rhythm of the lane change, thinking about where they came from and where they are going. Actual participants think only about where they are. Actual participation requires a total surrender, a concentration so intense as to seem a kind of narcosis, a rapture-of-the-freeway. The mind goes clean. The rhythm takes over. A distortion of time occurs, the same distortion that characterizes the instant before an accident.
Illustrating the idea that kindred minds often arrive at the same conclusions about certain aspects of the human experience, Didion quotes from the 1971 book Los Angeles: The Architecture of Four Ecologies by Reyner Banham, a work of enduring genius:
The freeways become a special way of being alive … the extreme concentration required in Los Angeles seems to bring on a state of heightened awareness that some locals find mystical.
The White Album remains one of the best essay collections ever published. Complement it with Didion’s all-time favorite books, then revisit Vanessa Redgrave’s beautiful reading from Didion’s memoir of mourning.