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Lorraine Hansberry on Depression and Its Most Reliable Antidote

“I am sitting here… feeling cold, useless, frustrated, helpless, disillusioned, angry and tired.”

Lorraine Hansberry on Depression and Its Most Reliable Antidote

While I stand with Elizabeth Barrett Browning in her exquisite admonition against the dangerous myth of the suffering artist, it has always seemed to me — both from a deep immersion in the personal histories of long-gone artists and from direct experience in contemporary creative communities — that artists are more porous to the world than other people and therefore more vulnerable to suffering. To be an artist is to be a human being who feels everything more deeply, the beautiful as well as the terrible, and builds of those feelings bowers where others can safely and sacredly process their own. Whitman intuited this when he observed that those capable of “sunny expanses and sky-reaching heights” are also apt “to dwell on the bare spots and darknesses.” Tchaikovsky articulated it in his touching resolve to find beauty amid the wreckage of the soul. Nietzsche knew it when he traced the wild oscillations of depression and hope.

Among the artists who plummeted to such depths of darkness while buoying the spirit of their times was Lorraine Hansberry (May 19, 1930–January 12, 1965) — the visionary playwright and civil rights activist, who revolutionized our cultural landscape of possibility and from whom generations of artists and ordinary people alike, including other visionaries like James Baldwin and Nina Simone, drew courage and inspiration.

Lorraine Hansberry, 1950s. Photographer unknown. (Schomburg Center for Research in Black Culture, Photographs and Prints Division, The New York Public Library.)

For all her soaring intellect and trailblazing genius, Hansberry’s heart sank low with alarming regularity. In a diary entry from 1955, penned just as her star was beginning to rise and included in Imani Perry’s excellent biography Looking for Lorraine: The Radiant and Radical Life of Lorraine Hansberry (public library), Hansberry observes her depression with that hollowing detachment so familiar to those who have been severed from themselves by this unforgiving malady:

It is curious how intellectual I have become about the whole thing… [about] what I apparently am. My unhappiness has become a steady, calm quiet sort of misery. It is always with me and when for a moment something or other stirs me from its immediate ravages (thank God that is still possible) — I wonder at its absence.

To be sure, much of Hansberry’s depression was rooted in the dissonance of her being a gay woman (“what I apparently am”) in a heterosexual marriage that was a great creative and intellectual partnership but not her great love. Even so, depression is an illness in which we can never speak of causality — only of contributing factors, of which there are always many, both psychological and physiological, present in varying degrees and intricately intertwined. But beneath the particulars of any life, there beats a common heart of experience, which Hansberry channels with devastating candor. From the pit of another depression, she writes to her husband:

I am sitting here in this miserable little bungalow, in this miserable camp that I once loved so much, feeling cold, useless, frustrated, helpless, disillusioned, angry and tired. The week past that I spoke to you about was the height of all those things to the point where I didn’t care too much a couple of times whether or not I woke mornings.

Art by Sir Quentin Blake from Michael Rosen’s Sad Book

In a redemptive passage, she turns to nature for the most reliable, perhaps the only, salve:

Hills, the trees, sunrise and sunset — the lake the moon and the stars / summer clouds — the poets have been right in these centuries darling, even in its astounding imperfection this earth of ours is magnificent.

Perhaps she was thinking of the poet Keats — another artist of towering genius, whose spirits often sank to unfathomable lows — who a century and a half earlier found kindred solace in his own experience of depression and the mightiest remedy for a heavy heart; or perhaps of Whitman, who pondered what remains when the world has lost its sheen and answered: “Nature remains; to bring out from their torpid recesses, the affinities of a man or woman with the open air, the trees, fields, the changes of seasons — the sun by day and the stars of heaven by night.”

Complement this fragment of the thoroughly inspiriting Looking for Lorraine with Jane Kenyon’s stunning poem about life with and after depression, then revisit poet May Sarton’s cure for despair.

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Kevin Kelly’s Letter to Children About the Glory of Books and the Superpower of Reading in an Image-Based Digital Culture

“More and more of our society is centered on pictures and images, which is a beautiful thing. But some of the most important parts of life are not visible in pictures.”

Kevin Kelly’s Letter to Children About the Glory of Books and the Superpower of Reading in an Image-Based Digital Culture

In his epoch-making 1632 book Dialogue Concerning the Two Chief World Systems: Ptolemaic and Copernican, Galileo made a subtle case for how reading gives us super-human powers. Printed books were a young medium then, still in many ways a luxury for the privileged. But as the cogs of culture continued to turn, revolutionizing ideologies and technologies, making books common as daylight, the written word never lost this power. 350 years later, Carl Sagan — another patron saint of cosmic truth — echoed Galileo in his insistence that “a book is proof that humans are capable of working magic.” Hermann Hesse, too, knew this when he considered why we read and always will, no matter how technology may change, in his prescient 1930 essay “The Magic of the Book.”

Generations after Hesse and epochs after Galileo, amid a new wilderness of communication technologies and visual media, futurist, digital optimist, and Wired magazine founder Kevin Kelly takes up the case in his contribution to A Velocity of Being: Letters to a Young Reader (public library) — my labor of love eight years in the making, collecting 121 original illustrated letters to children about why we read and how books transform us by some of the most inspiring humans in our world: entrepreneurs, poets, physicists, songwriters, artists, philosophers, deep-sea divers.

Art by Andrea Tsurumi for Kevin Kelly’s letter from A Velocity of Being: Letters to a Young Reader.

Dear Young Hero,

Imagine you can choose your own superpower from one of these three: flying, invisibility, or being able to read. You’d be the only person in the world with that superpower. Which one do you choose? Flying is not so useful without other superpowers. Invisibility is okay for being naughty or for a little fun but not good for much else. But if you were the only person who could read… you’d be the most powerful person on Earth. You would be able to tap into all the wisdom of the smartest people who ever lived. Their knowledge would go from their heads through squiggles on paper right into your head. You would learn things from them that no ordinary mortal would ever have enough time to learn. You would be as smart as everybody in total. Not that you have to remember it all. With reading you just look it up.

Reading is a superpower that also gives you a type of teleportation; it moves you a million miles instantly. That feeling of being immersed in a different place, or even a different time period, can be so strong you may not want to leave.

When you have this superpower you can see the world from the viewpoint of someone else. This helps protect you from the mistakes and untruths of others as well as your own ignorance.

More and more of our society is centered on pictures and images, which is a beautiful thing. But some of the most important parts of life are not visible in pictures: ideas, insights, logic, reason, mathematics, intelligence. These can’t be drawn, photographed, or pictured. They have to be conveyed in words, arranged in an orderly string, and can only be understood by those who have acquired the superpower of reading.

This superpower will always be with you; it will never leave you. But like all superpowers, it increases the more you use it. It works on paper and screens. As we invent new ways to read, its value and power will expand and deepen. At any time, reading beats any other superpower you can name.

Yours,
Kevin Kelly

For more letters from A Velocity of Being, all proceeds from which benefit the New York public library system, savor Jane Goodall on how reading shaped her life, Rebecca Solnit on how books solace, empower, and transform us, 100-year-old Holocaust survivor Helen Fagin on how one book saved actual lives, poet and farmer Laura Brown-Lavoie on the power of storytelling, and Alain de Botton on literature as a vehicle of understanding.

A selection of artwork from the book — a visual celebration of the written word — is available as prints, also benefiting the public library.

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What Miss Mitchell Saw: An Illustrated Celebration of How 19th-Century Astronomer Maria Mitchell Blazed the Way for Women in Science

An illustrated homage to a rare visionary who opened up portals of possibility for generations.

What Miss Mitchell Saw: An Illustrated Celebration of How 19th-Century Astronomer Maria Mitchell Blazed the Way for Women in Science

“Mingle the starlight with your lives and you won’t be fretted by trifles,” Maria Mitchell (August 1, 1818–June 28, 1889) often told her Vassar students — the world’s first university class of professionally trained women astronomers — having herself become America’s first professional woman astronomer, thanks to her historic discovery of a new telescopic comet on October 1, 1847, after sixteen tenacious years of sweeping the sky night after night.

Mitchell (whose extraordinary life was the seed for what became Figuring and to whom the inaugural Universe in Verse was dedicated) not only went on to blaze the way for women in STEM but used her prominence — she was arguably America’s first true scientific celebrity, welcomed in England, Italy, and Russia as a dignitary of the New World — to become one of the nineteenth century’s most ardent advocates for social reform, advancing women’s rights and abolition.

The epoch-making discovery that became the platform for Mitchell’s modeling of possibility and far-reaching influence is the kernel of the lovely picture-book What Miss Mitchell Saw (public library) by author Hayley Barrett and illustrator Diana Sudyka — a splendid addition to the most inspiring picture-book biographies of cultural heroes.

Barrett’s lyrical prose opens with a clever and tender solution to the common pronunciation confusion — Mitchell’s first name is spelled like my own but pronounced the presently atypical traditional Latin way:

On the first day of August, in a house tucked away on the fog-wrapped island of Nantucket, a baby girl was born.

Like all babies, this baby was given a name.
Her parents whispered it to her like a gentle breeze, ma…RYE…ah

Names become a central creative trope in the book — the dignifying, truth-affirming act of calling all realities by their true names. We see the young Maria learn to recognize the ships of this whaling community by name and come to know the local shopkeepers by name.

Finally, after her father apprentices her as his astronomical assistant, she learns the stars by name — a testament to bryologist Robin Wall Kimmerer’s astute observation that “finding the words is another step in learning to see.”

Sudyka’s beautiful gouache-and-watercolor illustrations weave together hand-lettered words from the story with the three great animating forces of Mitchell’s early life: the enchantment of the cosmos, the whaling culture of Nantucket, and her family’s Quaker values. (In Figuring, writing about the factors that fomented Mitchell’s unexampled ascent above the common plane of possibility for women in her era, I point to the original use of the word genius in the term genius loci — Latin for “the spirit of a place” — and wonder whether, despite her incontrovertible natural gift for mathematics, she would have so soared had she not grown up in a secluded whaling community, where matriarchs ruled while men spent months and years on whaling trips, where Quakers lived by the then-countercultural ethos of equal education for boys and girls, where a barren landscape and long winter nights turned astronomy into cherished popular entertainment.)

The book ends with the motto emblazoned on the gold medal Mitchell received from the King of Denmark for her landmark discovery — “Not in vain do we watch the setting and the rising of the stars” — a sentiment that echoes the dying words of the great astronomer Tycho Brahe, which Adrienne Rich incorporated into her exquisite tribute to Caroline Herschel, the world’s first professional woman astronomer: “Let me not seem to have lived in vain.”

Complement the wondrous What Miss Mitchell Saw with the picture-book biographies of other inspiring cultural figures — Ada Lovelace, Louise Bourgeois, Jane Goodall, Jane Jacobs, John Lewis, Frida Kahlo, E.E. Cummings, Louis Braille, Pablo Neruda, Albert Einstein, Muddy Waters, Nellie Bly, Wangari Maathai — then revisit Mitchell’s abiding wisdom on friendship, social change, science, spirituality, and our search for truth, and the art of knowing what to do with your life.

BP

Shelley on Poetry and the Art of Seeing

“Poetry… reproduces the common universe of which we are portions and percipients, and it purges from our inward sight the film of familiarity which obscures from us the wonder of our being.”

Shelley on Poetry and the Art of Seeing

“We hear and apprehend only what we already half know,” Thoreau wrote in contemplating the crucial difference between knowing and seeing. To apprehend reality unblinded by our preconceptions, to truly see rather than pre-know, takes a special receptivity, a special channel of perception that bypasses our ordinary, habit-blunted ways. Poetry provides one such opening, perhaps the supreme one — a subtle portal of receptivity that allows us to take in the universe anew. Poetry unlatches the backdoor of the psyche to rewire the optic nerve of our perception, giving us new eyes with which to regard the world, inner and outer, personal, political, and cosmic. Ursula K. Le Guin knew this when she observed that “science describes accurately from outside, poetry describes accurately from inside”; John F. Kennedy knew this when he proclaimed that “when power corrupt, poetry cleanses”; Adrienne Rich knew this when she wrote that “poetry can break open locked chambers of possibility, restore numbed zones to feeling, recharge desire”; I too intuited it in turning to poetry to celebrate the science and splendor of the natural world, and to protest their political assault, with The Universe in Verse.

But no one has articulated that singular power of poetry more beautifully than Percy Bysshe Shelley (August 4, 1792–July 8, 1822) in a piece titled A Defence of Poetry, originally composed just before his untimely death and later included in his Essays, Letters from Abroad, Translations and Fragments (public library | public domain) — the posthumous collection his equally visionary widow, Mary Shelley, edited and published in 1840.

Percy Bysshe Shelley by Alfred Clint

Shelley writes:

All things exist as they are perceived: at least in relation to the percipient. “The mind is its own place, and of itself can make a heaven of hell, a hell of heaven.” But poetry defeats the curse which binds us to be subjected to the accident of surrounding impressions. And whether it spreads its own figured curtain, or withdraws life’s dark veil from before the scene of things, it equally creates for us a being within our being. It makes us the inhabitants of a world to which the familiar world is a chaos. It reproduces the common universe of which we are portions and percipients, and it purges from our inward sight the film of familiarity which obscures from us the wonder of our being. It compels us to feel that which we perceive, and to imagine that which we know. It creates anew the universe, after it has been annihilated in our minds by the recurrence of impressions blunted by reiteration.

Complement with This Is a Poem That Heals Fish — a lovely French picture-book about how poetry works its magic — and Elizabeth Alexander, one of the great poets of our own time, on what poetry does for the human spirit, then revisit Shelley’s prescient case for animal rights and the spiritual value of vegetarianism and savor some highlights from The Universe in Verse.

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