Brain Pickings

Posts Tagged ‘SoundCloud’

21 APRIL, 2015

Love After Love: Derek Walcott’s Poetic Ode to Being at Home in Ourselves

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“Sit. Feast on your life.”

The great Zen teacher Thich Nhat Hanh has written beautifully about why learning to love others begins with learning to love ourselves — a sentiment that the reactive modern cynic might dismiss as the vacant fodder of self-help books, but one which more considered reflection reveals to be deeply truthful and deeply uncomfortable. What, after all, does loving oneself even mean — particularly if we’re aspiring to be unselfish and generous, and to outgrow the illusory ego-shell we call a self?

That’s what Caribbean poet and playwright Derek Walcott (b. January 23, 1930) — a writer of such extraordinary poetic prowess that his 1992 Nobel Prize in Literature appears a wholly inadequate measure of his mastery and mesmerism — addresses with a luminous sidewise gleam in a poem titled “Love After Love,” found in his Collected Poems: 1948–1984 (public library).

On an archival On Being episode titled “Opening to Our Lives,” mindfulness pioneer Jon Kabat-Zinn reads Walcott’s masterpiece — undoubtedly one of the greatest, most soul-stretching poems ever written. Please enjoy:

LOVE AFTER LOVE

The time will come
when, with elation,
you will greet yourself arriving
at your own door, in your own mirror,
and each will smile at the other’s welcome,
and say, sit here. Eat.
You will love again the stranger who was your self.
Give wine. Give bread. Give back your heart
to itself, to the stranger who has loved you

all your life, whom you ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,

the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life.

This reading is part of On Being’s altogether wonderful Poetry Radio Project. Complement it with other poetry-lovers’ readings of favorite poems: Amanda Palmer reads Wislawa Szymborska, David Whyte reads Mary Oliver, Joanna Macy reads Rainer Maria Rilke, and my reading of Mark Strand.

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14 APRIL, 2015

Chinua Achebe Reads His Little-Known Poems

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“We called him visionary missionary revolutionary and, you know, all the other naries that plague the peace…”

Although Nigerian novelist Chinua Achebe (November 16, 1930–March 21, 2013) is one of the greatest writers of the past century and his 1958 debut novel Things Fall Apart is still the single most widely read book in African literature, few people are familiar with his lesser-known yet no less powerful poetry — so much so, that Achebe himself joked in a 1998 lecture at Portland’s Literary Arts that there is a conspiracy theory against his poetry. (Achebe’s ardent love of poetry dates back to the dawn of his career as a writer — the title of his magnum opus is borrowed from a line in Yeats’s poem “The Second Coming.”)

In this edited excerpt from his nearly two-hour Literary Arts lecture, Achebe reads three of his poems, later published in the 2004 anthology Collected Poems (public library).

Complement with Achebe on the meaning of life and the writer’s responsibility to society, then treat yourself to other beautiful recordings of authors readings their own work: Mary Oliver, Sylvia Plath, Denise Levertov, Frank O’Hara, Susan Sontag, T.S. Eliot, Dorianne Laux, Maya Angelou, Seamus Heaney, and Dorothy Parker.

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08 APRIL, 2015

The Power of Aesthetic Force: Anna Deavere Smith and Sarah Lewis on Beauty as a Tool of Justice and a Catalyst for “Nonselfing”

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“The law represents a part of the people’s will but … the people’s will is moved by beauty.”

“Beauty, as a conscious element of experience, as a thing to be valued and explored, has gone into abeyance among us,” Marilynne Robinson wrote in her exquisite reflection on beauty. In our visually voracious culture of accelerating “aesthetic consumerism,” is there still room for beauty not as a trifled commodity but as both an elevating force of transcendence and a grounding force of moral solidity?

That’s what Harvard art historian Sarah Lewis, author of the excellent The Rise: Creativity, the Gift of Failure, and the Search for Mastery (public library) — one of the best psychology books of 2014 — explores in the final segment of her altogether fantastic New York Public Library conversation with artist, playwright, actor, and MacArthur genius Anna Deavere Smith.

Oe of the most piercing parts of the conversation calls to mind Susan Sontag — “The subtraction of beauty as a standard for art hardly signals a decline of the authority of beauty,” Sontag wrote in her characteristically elegant argument against the argument against beauty. “Rather, it testifies to a decline in the belief that there is something called art.” Smith reads from her 2009 interview with Harvard’s famed English and aesthetics professor Elaine Scarry, contemplating the role of beauty as a moral agent and a tool of justice:

We also know the limits of the law… That in the end the law represents a part of the people’s will but that the people’s will is moved by beauty.

[..]

[Scarry] is talking about beauty and she says, “Beauty was for a long time [was] not only eliminated from universities, but even from museums… Lots of different museum directors have told me that for a while it was as if you weren’t supposed to be talking about beauty, which is hard to imagine if you’re teaching literature or if you’re a museum curator, but I mean one thing is just the way in which beauty … does lead people I think to be concerned with justice. Beauty brings about what Iris Murdoch called “a nonselfing.” She said that when you suddenly see something beautiful — her example was suddenly seeing a bird lift off — it brings about a nonselfing. You can see beauty pressing us towards justice. There are certain attributes that beautiful things have. Some people would say symmetry. Any definition of justice always involves at its heart some idea of balance or symmetry. Even if you look back over lots of philosophers who are talking about forms of justice, they always have this idea, say, equal pay for equal work, that’s a symmetry.”

Okay, that’s my favorite part. But this is an important part. “But sometimes people will say to me, well, first of all that they believe that it’s right, that the whole unselfing part is right, but they don’t believe in symmetry, and I really do believe in it because — and I think part of the reason why in this country we don’t like to talk anymore about symmetry in art or in justice is because we’re so asymmetrical, with so much money and so many weapons and, you know … if we had to start saying the heart of beauty is symmetry everybody would have to say, ‘gee, you know, we’ve got a big problem.’”

And she calls beauty a life pact. But that whole idea of the nonselfing — you see, when you talk about that you’re there but you’re not quite there, I think that’s a really creative moment because it is that moment when you, like a bird, take that lift-off. You’re not here and you’re not there. You’re in the rise… It seems to me a kind of a lift.

Lewis, who notes that beauty “slips in the back door of our rational thought and gets us to see the world differently,” examines the subject in greater depth in one particularly fascinating chapter of her book — a penetrating look at the legacy of Frederick Douglass, who paved the way for contemporary visual culture and pioneered the power of “aesthetic force.” Lewis writes:

The words to describe aesthetic force suggest that it leaves us changed — stunned, dazzled, knocked out. It can quicken the pulse, make us gape, even gasp with astonishment. Its importance is its animating trait — not what it is, but what it does to those who behold it in all its forms. Its seeming lightness can make us forget that it has weight, force enough to bring about a self-correction, the acknowledgment of failure at the heart of justice — the moment when we reconcile our past with our intended future selves. Few experiences get us to this place more powerfully, with a tender push past the praetorian-guarded doors of reason and logic, than the emotive power of aesthetic force.

The Rise, which I’ve previously admired in greater detail, is a superb read in its entirety. Treat yourself to Lewis and Smith’s full conversation below — a wide-ranging and enormously stimulating dialogue exploring the role of failure in the conquest of greatness, the crucial difference between success and mastery, and what it takes to stay encouraged through rejection and roadblock in creative work — then please consider supporting The New York Public Library in making such ennobling cultural discourse possible and freely available to the public.

Instinct is your highest form of intelligence.” ~ Sarah Lewis

Find more of Smith’s galvanizing genius in her enduring wisdom on how to listen between the lines in a culture of speaking, what self-esteem really means, how to stop letting others define us.

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25 MARCH, 2015

Sense of Nonsense: Alan Watts on How We Find Meaning by Surrendering to Meaninglessness

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“It is in this kind of meaninglessness that we come to the profoundest meaning.”

In his early thirties, Alan Watts (January 6, 1915–November 16, 1973) walked away from a career as an Episcopal priest and set out to popularize Zen teachings in the West. His singular fusion of secular philosophy and Eastern spirituality guided, and continues to guide, the openhearted and openminded toward figuring out how to live with presence, make sense of reality, master the art of timing, and become who we really are.

Between 1965 and 1972, Watts delivered a series of talks exploring various facets of Zen. The transcripts of eight of them were posthumously published as The Tao of Philosophy (public library). In the sixth lecture, titled “Sense of Nonsense,” Watts explores how we arrive at meaning by surrendering to meaninglessness — an inquiry that has rattled some of humanity’s greatest minds, from Leo Tolstoy in his existential search for meaning to Margaret Mead in her dream about the essence of life to Chinua Achebe in his creative struggle against meaninglessness.

Here is the original recording of Watts’s talk, found in the comprehensive compilation Out of Your Mind: Essential Listening from the Alan Watts Audio Archives — please enjoy:

Why do we love nonsense? Why do we love Lewis Carroll with his “‘Twas brillig, and the slithy toves did gyre and gimble in the wabe, all mimsy were the borogoves, and the mome raths outgrabe…”? Why is it that all those old English songs are full of “Fal-de-riddle-eye-do” and “Hey-nonny-nonny” and all those babbling choruses? Why is it that when we get “hep” with jazz we just go “Boody-boody-boop-de-boo” and so on, and enjoy ourselves swinging with it? It is this participation in the essential glorious nonsense that is at the heart of the world, not necessarily going anywhere. It seems that only in moments of unusual insight and illumination that we get the point of this, and find that the true meaning of life is no meaning, that its purpose is no purpose, and that its sense is non-sense. Still, we want to use the word “significant.” Is this significant nonsense? Is this a kind of nonsense that is not just chaos, that is not just blathering balderdash, but rather has in it rhythm, fascinating complexity, and a kind of artistry? It is in this kind of meaninglessness that we come to the profoundest meaning.

Complement The Tao of Philosophy, which is mind-bending and soul-stretching in its totality, with Watts on true happiness, the ego and the universe, and the vital difference between money and wealth, then revisit D.T. Suzuki — who was a major influence for Watts — on how Zen can help us cultivate our character.

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