She might be the world’s most famous romance writer, nay the highest selling living author bar none, but there’s little room for flowers and chocolates in Danielle Steel’s writing regime. In a recent interview she laughed at the idea of young people insisting on a work-life balance, and has claimed she regularly writes for 20 to 22 hours a day, and sometimes 24. The result: 179 books in under 50 years, selling about 800m copies.
Some aspiring novelists might just have cancelled their entire lives to get on the Steel plan, but many more are probably wondering if it’s time to try something less demanding. We asked four creative writing teachers for their perspective:
Liam Murray Bell, University of Stirling
Steel’s claim reminds me of the thriller writer Edgar Wallace, who was known to write a novel over the course of a long weekend. He’d retire to his study on a Friday evening and not emerge until the Monday morning, dictating his words to a secretary and stopping only for half-hourly cups of tea. Poor secretary.
The only thing I recognise from that brutal regime is the need for copious amounts of tea. For me, a productive day is four hours of writing. Four hours of focused, uninterrupted time at the keyboard. This morning, I wrote for two hours and managed just shy of 1,000 words. Even that is a decent day; a steady day. To wrestle those hours of writing time free, I’m postponing teaching preparation, leaving my marking until the evening, relying on childcare. Most of all, I’m doing my damnedest to ignore emails. When does Steel answer her emails, is what I want to know.
There have been times, on writing retreats or under threat of impending deadline, when I’ve been known to stretch to six or seven hours. No more, though, because then the words stop making sense and the delete key takes a hammering. I start explaining my plot to the mantelpiece and rehearsing lines of dialogue with the cat. Instead, I go and do something else. It’s amazing how often clarity about your writing comes while washing the dishes, trimming the hedge, taking the dog for a walk. The writers I know are full of anecdotes of story ideas scribbled on bus tickets, or pulling over the car to jot down a poem opening by the side of the road.
It’s often when I’m out for a lunchtime run that I find myself reflecting on what I wrote that morning or find the thread for a scene to write the next day. Haruki Murakami talks about the similar feats of concentration and endurance required for long-distance running and for writing a novel; each endeavour requiring the person to turn up day after day for months or even years. At the University of Stirling, we’ve actually formed a research group to look at the links between creative writing and physical activity because so many writers are also keen runners or cyclists or swimmers.
The appeal of Steel’s process, then, seems to be that every day is race day. But you can’t sustain that. Little and often is my mantra, with every day building momentum. If you manage 200 words today then those are 200 words you didn’t have yesterday. That might take you 15 minutes or it might take six hours; either way, it’s progress. The aim isn’t to get as many words on the page as quickly as possible; the aim is to get the right words on the page, however long it takes.
Sarah Corbett, University of Lancaster
I’m sorry to say there isn’t a formula for how to write a novel (so don’t buy those “how to” books) – only hard graft, staying power, blinding self belief (rescued every morning from the teeth of doubt), and the willingness to meet the devil at the crossroads and outwit him. And to write, rewrite, write, rewrite, write, rewrite …
Perhaps this isn’t very helpful to the beginner; and I have to admit that I’m just finishing my own first novel – after five years. But having taught creative writing for almost 20 years across all genres, here are some things I can say from experience:
1) Read other novels. There’s no getting round this: you have to do a lot of reading – passionate, engaged and risky – but also the kind where you start to notice, and then investigate how the writer does things. Read lots of different types of books too: be curious, endlessly;
2) Practice, practice, practice. Write regularly even if you can only spare an hour in the evening or an afternoon at the weekend. Most writers have other jobs, families, pets, households, and you’d be surprised how much writing gets done in the gaps between other things;
3) Work at your technique at every level of detail from sentencing and phrasing to word choice, creating believable characters, immersive settings, dynamic scenes and authentic dialogue;
4) Write what saddens/moves/frightens/turns you on; write with the whole of your self and the whole of your senses;
5) Join a course, start a group;
6) Write because you enjoy it, and you enjoy a challenge;
7) Be prepared to tear it up and start again;
8) Remember that writing is work, the best kind, that transports and enchants you;
9) Keep going…;
10) Write your own rules.
So how did I write my novel? Slowly – I published two poetry collections in the same period, did a lot of teaching and saw my son through his GCSEs and A-levels – and with a lot of gutting and rewriting; begging more experienced friends to read it and give me their toughest, most honest advice, and then acting on it, even when it meant radical cuts and changes.
Mine is a literary novel – about family, home and shame – but with a psychological twist. The character and her story came to me all in one go on the train home from Manchester after an unsettling encounter in Waterstones, and since then it’s been a process of excavation, as if the novel already existed somewhere in the world, and I just had to keep uncovering it, slowly, layer by layer. I’m still adding scenes, taking others away, fine tuning every line. I’m still working out the best way to tell the story, but I know I’m nearly ready to let it go because the next one has already arrived.
Edward Hogan, Open University
For his 2016 book Rest, the writer and Silicon Valley consultant Alex Soojung-Kim Pang collected the routines of creative people throughout history. From the habits of writers such as Charles Dickens, Anthony Trollope, and Alice Munro, he concluded that four hours a day is optimum, and you need to wake up early. Trollope rose at 5am each morning (a servant brought him coffee at half past), and wrote until 8.30am, before going to his job at the post office. On that schedule, he published over 40 novels.
As a writer with a family and a full-time job, I currently follow the 5am method, though I make my own coffee. In theory, this “little and often” approach seems straightforward: if you write 500 words a day, you’ll have a first draft in months. But it isn’t that simple. My first novel took eight years, but my third was pretty much done in 40 days. Writing requires two states of mind: you need the researcher’s brain, the clear-thinking editor’s, but you must be open to the dark mess of creation, too. My routine changes, because I haven’t figured out how to do it yet. When I do, I’ll probably quit.
I’m interested in Steel’s way of working. That sort of immersion, favoured by Kasuo Ishiguro, and Jesse Ball – who claims to write his novels in as little as six days – allows them to retain the vitality of the initial idea.
Paul Sheldon, the author and narrator of Stephen King’s Misery, describes “falling through a hole in the page” when writing. Maybe that’s the sort of compulsion that Steel experiences, and it’s refreshing to hear her address the physicality of the process. Writers are reluctant to talk about the (rare) sensation of extreme focus that results when they become possessed by their work. Rambling about raised heart-rates, losing track of time, and being “in the zone”, can make writing sound like a cross between yoga and golf.
The writer’s routine is where practical concerns meet the more ephemeral subject of inspiration. You have to decide what kind of writer you want to be. Jenny Colgan produces two books a year, and this involves hitting deadlines so that her novels appear around Mother’s Day and the Christmas season. Writing is work, the daily pursuit of a word count. For Hilary Mantel, that sort of regularity is alien. She talks about“flow days” when she has no idea what she’s written until she reads it back. But both writers are at their desks, daily.
The act of writing can be exhilarating, but it’s mostly quite difficult. Then again, it’s not like going down the pit. So if you want to write a novel, and find Steel’s method unappealing, let me refer you to the celebrated and prolific children’s author Jacqueline Wilson, who writes for about half-an-hour a day. In bed.
David Bishop, Edinburgh Napier University
Steel’s regime sounds extreme, but if that works for her – so be it. Every writer has their own unique sweet spot, a time and place where they can produce words that will be ready for reading one day. The trick is finding your personal approach, and also recognising it might not suit every project.
Some people say you must write every day to be a writer. Perhaps, but writing is not simply the act of typing words on paper or screen. There is so much more that goes into creating narratives from your imagination. Reading widely is often the sign of a voracious writer, though there is always the danger of a project being infected by the style or substance of whatever you happen to be reading at the time.
It’s also a myth that you need to write a certain number of words in a session. Some writers do benefit from a daily or weekly target, but others prefer to devote a fixed amount of time to writing, and trust that the words will come. Feeling guilty for not matching another writer’s productivity is certainly not good for your mental health. Besides, quantity is no measure of quality. I once had 600,000 words published in one calendar year, but they certainly weren’t my best work.
The act of not writing is just as important as writing. Never underestimate the importance of staring out of a window or going for a walk. All too often the knottiest story problems can only be untangled by getting away from the desk. If all else fails, try going to sleep and letting your subconscious do the heavy lifting. It’s amazing how often the resting mind can resolve a problem your active thoughts couldn’t fix.
For most writers, finding the best way to write a novel is trial and error: experimenting with different systems until they discover one that chimes. Some writers craft detailed plot outlines as a narrative safety net; others prefer a journey of discovery that could mean wholesale rewrites later. Some work in total silence; others needs background sounds such as music. An idea to spark your imagination is necessary, along with a trajectory to follow – but what happens next is up to you.
Steel has a sign in her office that reads: “There are no miracles. There is only discipline.” To be a writer does not require 22 hours at a desk each day, but Steel is right that there are no miracles, either. If you want to be a writer, you have to write – however you do it. That much is inescapable.
Hermann Hesse’s timeless book, Siddhartha, should be required reading for any spiritual seeker.
Source: 10 Quotes from Hermann Hesse’s Siddhartha That Will Truly Inspire You
Hermann Hesse’s timeless book, Siddhartha, should be required reading for any spiritual seeker. The book is about Siddhartha’s journey as a respected son of a Brahmin. Everyone expects that he will follow in his father’s footsteps. He enjoys an idyllic life and follows the tenets of his religion expecting that they will bring him peace and happiness. He feels the pangs of discontent though, and observes that his father and elders have not yet reached enlightenment, even though they too have followed the instructions of their religion. When starving and naked ascetics cross Siddhartha’s path one day, his journey truly begins. On this endeavor, he comes to a river that teaches him many life lessons.
If you haven’t had a chance to be profoundly awakened by this book yet, here are ten quotes from it that will move you to question your own environment, religion, culture, and relationships, to possibly find something more.
“Wisdom cannot be imparted. Wisdom that a wise man attempts to impart always sounds like foolishness to someone else … Knowledge can be communicated, but not wisdom. One can find it, live it, do wonders through it, but one cannot communicate and teach it.”
We so often misunderstand the difference between wisdom and knowledge in this world. Wisdom is timeless. It can only be arrived at with discernment and the development of our consciousness to a level that understands paradox and true freedom.
Knowledge simply binds us to erroneous, concrete beliefs, making it nearly impossible to understand the truth of the Universe. Wisdom, however, discloses Truth in ways that cannot even be explained with a thousand books, a million teachings from religious figures, or a hundred million facts memorized and assimilated. Wisdom is so pure, that even language corrupts it.
“When someone seeks, then it easily happens that his eyes see only the thing that he seeks, and he is able to find nothing, to take in nothing because he always thinks only about the thing he is seeking, because he has one goal, because he is obsessed with his goal. Seeking means: having a goal. But finding means: being free, being open, having no goal.”
There are numerous literary and mythical examples of the seeker. Joseph Campbell describes the seeker in the quintessential quest for the Holy Grail – a representation of some outer prize that can be obtained with enough valor or sacrifice, but what we truly seek can be found only within our own hearts. When we seek an outside goal, this is an indication that our own hearts long to be understood. Striving for something outside ourselves causes us to forever remain a seeker.
“I have always believed, and I still believe, that whatever good or bad fortune may come our way we can always give it meaning and transform it into something of value.”
All people, places and circumstances in life are fodder for spiritual advancement. Tears are a spiritual release. Hearing a song on the radio that reminds us of someone is a clue from the Universe to send that person love and compassion. Seeing someone else go through something horrible and thinking, “that could have been me,” is a reminder to be thankful.
Getting stuck at a red light is a reminder to breathe deeper. An argument is a gentle tug from the Universe to look inside yourself. Everything that we experience can help us grow. It isn’t just the positive, airy fairy things that help us grow.
When we do a life review, the times we acted with courage and faced our pain, fear, and sadness will be the moments when we smile the biggest.
“We are not going in circles, we are going upwards. The path is a spiral; we have already climbed many steps.”
This point is described in great detail by Don Beck and Christopher Cowan in their discussion of spiral dynamics. The way they visualize change is in a spiral. Though we may circle around to the same challenges, each time we do, we are higher up on the spiral, hopefully with a higher level of consciousness with which to approach the problem.
Beck explained that if we try to impose our ‘solutions’ too far ahead of the curve the result can be rebellion rather than transformation. Because of this, the authors use the term “more complex” instead of “better” or “higher” to describe humanity’s stages of evolutionary development. Even if we haven’t quit reached the apex of what we can visualize, we have already taken many steps to make a better world a reality.
“So she thoroughly taught him that one cannot take pleasure without giving pleasure, and that every gesture, every caress, every touch, every glance, every last bit of the body has its secret, which brings happiness to the person who knows how to wake it. She taught him that after a celebration of love the lovers should not part without admiring each other, without being conquered or having conquered, so that neither is bleak or glutted or has the bad feeling of being used or misused.”
Sex is so often a mindless exchange between people these days. It is not an act to be engaged in so recklessly, though. When we share each other’s bodies, subtle energies are exchanged between us. The cultivation of these energies can even be used to achieve higher states of consciousness. When we act as though our bodies are just sacks of flesh, instead of the physical manifestation of energy, then we are missing the point of sensuality.
“It may be important to great thinkers to examine the world, to explain and despise it. But I think it is only important to love the world, not to despise it, not for us to hate each other, but to be able to regard the world and ourselves and all beings with love, admiration and respect.”
One of my own spiritual teachers once said to me, you only have to learn to love. That is your only lesson while you are here. Even when we think we are loving, there are usually ways that we are not acting, thinking, and feeling from a loving place. This includes how we think and treat ourselves, not just other people.
“My real self wanders elsewhere, far away, wanders on and on invisibly and has nothing to do with my life.”
Whatever you define yourself as in this life – a father, a mother, a daughter, a son, a husband, a friend, a lover, a worker, etc. – these are only labels. They don’t not encase your infinite soul. You have been all these things and more in many lifetimes, and in many more places than where you are now.
“Opinions mean nothing; they may be beautiful or ugly, clever or foolish, anyone can embrace or reject them.”
You know that other saying about opinions and asses. Enough said.
“One can beg, buy, be presented with and find love in the streets, but it can never be stolen.”
With everything that has been taken from us by an evil, destructive, psychotic, corrupt cabal, isn’t wonderful to know that love cannot be traded like a stock or destroyed like gold, faked like paper money, or made to be more, or less valuable at the whims of a few elite. Love is eternal, indestructible, and pure. It is our greatest treasure.
“I shall no longer be instructed by the Yoga Veda or the Aharva Veda, or the ascetics, or any other doctrine whatsoever. I shall learn from myself, be a pupil of myself; I shall get to know myself, the mystery of Siddhartha.” He looked around as if he were seeing the world for the first time.”
Every single major religion on this planet has been corrupted. This doesn’t mean that religion has nothing left to teach us. It also doesn’t mean you need to believe in God or be an atheist to arrive at true wisdom, but as long as you are looking to an institution or a person to bring you enlightenment, you’ll miss it.
Source: Is Pink’s “What About Us” An Anthem For Our Awakening Times? – Collective Evolution
[Essay] On the long drive home from a neighboring city’s international airport, the contemplative and melancholy muddied notes of Pink’s What About Us from her new album Beautiful Trauma began to play on the radio.
I turned it up full volume because I was in a brooding mood.
Back from a restful stay with European ex-pat friends in Tucson, Arizona, I couldn’t get Michael’s sarcastic words out of my head on the plane or now, “Yes, we’re the richest third-world country in the world. We have no universal healthcare, the only civilized country not to; no gun regulation to speak of, and this country feeds off its own.”
I sighed, weary again. Nothing I didn’t already know—I’ve been screaming ‘Rome is burning’ for several years now.
But to hear it out of a European’s mouth (using my words now) that our nation is bleeding profusely from its gaping, unhealed wounds—bringing about our demise if we keep this up. It hurt.
It has been a long road. Maybe you feel the same way. You may be beyond tired of living in a world that spews out one injustice after another. You may even feel numb.
Navigating this life, trying to do the right thing— It was supposed to get better, right? Easier.
Doesn’t technology and access to more information than ever before thanks to the Internet bring about a wiser population that no longer tolerates the abuse and exploitation of one another and the planet?
Yet, the mistreatment continues, even sometimes, at the hands of our own disillusioned brothers and sisters making a statement about the society we’ve built.
Wait for it . . . Please enjoy the song.
I knew I wouldn’t have to wait long. Quickly electrified by Pink—the voice of reason exploding out of the darkness—maybe I’d be made to see something new.
Alecia Beth Moore (Pink’s real name) didn’t disappoint. Immediately a clear, resonant voice bounced off the heavy clouds suspended low in the dusky sky like the searchlight mentioned in her opening lyrics.
Where is our happily ever after? What about our plans, trust, answers, love—
What about us?
What is she talking about and who is she talking to? Congress? The global elite? God?
Although the video makes its case, Billboard Magazine’s, Colin Stutz wrote in his article: “That unclear question in the song is essential to its brilliance, says Johnny McDaid, who co-wrote the song with Pink and his frequent collaborator producer Steve Mac.”
McDaid, went on to say, “…these ideas come out and what the ideas are for Alecia are probably different to even the person hearing it.”
The song is really moving now and getting my blood pumping.
Pink is asking questions and demanding answers. Enough is enough, before the chorus repeats.
Asking questions is the beginning of change—the beginning of expanding your mind and opening to a higher consciousness.
Are you asking questions? Is what we are doing sustainable? Are we going to continue to support limited, self-serving ideals?
But then the song’s bridge, and a rush of anticipated relief . . .
No matter what, you can’t break me! The awakening begins.
It’s not about control; it’s about letting go. Opening your heart as wide as possible to create a world that is inclusive rather than the pain-filled world of exclusivity.
A world filled with unconditional love. Yes!
A collaborative world—no more self-created suffering and abuse through competing for what we were given as a gift.
It’s time to ask ourselves if it’s better to fight to preserve a world that’s no longer working or if we are ready to travel down a new road to a better way.
The song’s driving beat has me singing along, my own lyrics forming in my mind. No more blood (war), sweat (servitude), and tears (sacrifice). We just didn’t know any better. Those who did exploited the hell out of it for profit.
“Confucius, Buddha, Jesus and Gandhi have done more for humanity than science has done.”
“Religion and science go together. As I’ve said before, science without religion is lame and religion without science is blind. They are interdependent and have a common goal—the search for truth.
Hence it is absurd for religion to proscribe Galileo or Darwin or other scientists. And it is equally absurd when scientists say that there is no God. The real scientist has faith, which does not mean that he must subscribe to a creed.
Without religion there is no charity. The soul given to each of us is moved by the same living spirit that moves the universe.
The genuine scientist is not moved by praise or blame, nor does he preach. He unveils the universe and people come eagerly, without being pushed, to behold a new revelation: the order, the harmony, the magnificence of creation!
And as man becomes conscious of the stupendous laws that govern the universe in perfect harmony, he begins to realize how small he is. He sees the pettiness of human existence, with its ambitions and intrigues, its ‘I am better than thou’ creed.
This is the beginning of cosmic religion within him; fellowship and human service become his moral code. Without such moral foundations, we are hopelessly doomed.
If we want to improve the world we cannot do it with scientific knowledge but with ideals. Confucius, Buddha, Jesus and Gandhi have done more for humanity than science has done.
We must begin with the heart of man—with his conscience—and the values of conscience can only be manifested by selfless service to mankind.
I believe that we don’t need to worry about what happens after this life, as long as we do our duty here—to love and to serve.
I have faith in the universe, for it is rational. Law underlies each happening. And I have faith in my purpose here on earth. I have faith in my intuition, the language of my conscience, but I have no faith in speculation about Heaven and Hell. I’m concerned with this time—here and now.
Many people think that the progress of the human race is based on experiences of an empirical, critical nature, but I say that true knowledge is to be had only through a philosophy of deduction. For it is intuition that improves the world, not just following a trodden path of thought.
Intuition makes us look at unrelated facts and then think about them until they can all be brought under one law. To look for related facts means holding onto what one has instead of searching for new facts.
Intuition is the father of new knowledge, while empiricism is nothing but an accumulation of old knowledge. Intuition, not intellect, is the ‘open sesame’ of yourself.
Indeed, it is not intellect, but intuition which advances humanity. Intuition tells man his purpose in this life..”
How Einstein Saw the World
If you not familiar with this film, do yourself a favor by listening to it. It might blow you away! It comes with an awesome soundtrack. Elevate yourselves!
BTW: YouTube keeps taking it out under copyright rules. Watch it here for free, for now.
After the heavenly vision Miller claims, “there is an afterlife and people need to believe in it, big time.”
Only to be listened to on Saturdays.
Since the 1970’s Majuli islander Jadav Payeng has been planting trees in order to save his island. To date he has single handedly planted a forest larger than Central Park NYC. His forest has transformed what was once a barren wasteland, into a lush oasis.
“Whatever inspiration is, it’s born from a continuous ‘I don’t know.’”
Source: Polish Poet and Nobel Laureate Wisława Szymborska on How Our Certitudes Keep Us Small and the Generative Power of Not-Knowing – Brain Pickings
April 2, 2017
“Attempt what is not certain. Certainty may or may not come later. It may then be a valuable delusion,” the great painter Richard Diebenkorn counseled in his ten rules for beginning creative projects. “One doesn’t arrive — in words or in art — by necessarily knowing where one is going,” the artist Ann Hamilton wrote a generation later in her magnificent meditation on the generative power of not-knowing. “In every work of art something appears that does not previously exist, and so, by default, you work from what you know to what you don’t know.”
What is true of art is even truer of life, for a human life is the greatest work of art there is. (In my own life, looking back on my ten most important learnings from the first ten years of Brain Pickings, I placed the practice of the small, mighty phrase “I don’t know” at the very top.) But to live with the untrammeled openendedness of such fertile not-knowing is no easy task in a world where certitudes are hoarded as the bargaining chips for status and achievement — a world bedeviled, as Rebecca Solnit memorably put it, by “a desire to make certain what is uncertain, to know what is unknowable, to turn the flight across the sky into the roast upon the plate.”
That difficult feat of insurgency is what the great Polish poet Wisława Szymborska (July 2, 1923–February 1, 2012) explored in 1996 when she was awarded the Nobel Prize in Literature for capturing the transcendent fragility of the human experience in masterpieces like “Life-While-You-Wait” and “Possibilities.”
In her acceptance speech, later included in Nobel Lectures: From the Literature Laureates, 1986 to 2006 (public library) — which also gave us the spectacular speech on the power of language Toni Morrison delivered after becoming the first African American woman to win the Nobel Prize — Szymborska considers why artists are so reluctant to answer questions about what inspiration is and where it comes from:
It’s not that they’ve never known the blessing of this inner impulse. It’s just not easy to explain something to someone else that you don’t understand yourself.
Noting that she, too, tends to be rattled by the question, she offers her wieldiest answer:
Inspiration is not the exclusive privilege of poets or artists generally. There is, has been, and will always be a certain group of people whom inspiration visits. It’s made up of all those who’ve consciously chosen their calling and do their job with love and imagination. It may include doctors, teachers, gardeners — and I could list a hundred more professions. Their work becomes one continuous adventure as long as they manage to keep discovering new challenges in it. Difficulties and setbacks never quell their curiosity. A swarm of new questions emerges from every problem they solve. Whatever inspiration is, it’s born from a continuous “I don’t know.”
In a sentiment of chilling prescience today, as we witness tyrants drunk on certainty drain the world of its essential inspiration, Szymborska considers the destructive counterpoint to this generative not-knowing:
All sorts of torturers, dictators, fanatics, and demagogues struggling for power by way of a few loudly shouted slogans also enjoy their jobs, and they too perform their duties with inventive fervor. Well, yes, but they “know.” They know, and whatever they know is enough for them once and for all. They don’t want to find out about anything else, since that might diminish their arguments’ force. And any knowledge that doesn’t lead to new questions quickly dies out: it fails to maintain the temperature required for sustaining life. In the most extreme cases, cases well known from ancient and modern history, it even poses a lethal threat to society.
This is why I value that little phrase “I don’t know” so highly. It’s small, but it flies on mighty wings. It expands our lives to include the spaces within us as well as those outer expanses in which our tiny Earth hangs suspended. If Isaac Newton had never said to himself “I don’t know,” the apples in his little orchard might have dropped to the ground like hailstones and at best he would have stooped to pick them up and gobble them with gusto. Had my compatriot Marie Sklodowska-Curie never said to herself “I don’t know”, she probably would have wound up teaching chemistry at some private high school for young ladies from good families, and would have ended her days performing this otherwise perfectly respectable job. But she kept on saying “I don’t know,” and these words led her, not just once but twice, to Stockholm, where restless, questing spirits are occasionally rewarded with the Nobel Prize.
Such surrender to not-knowing, Szymborska argues as she steps out into the cosmic perspective, is the seedbed of our capacity for astonishment, which in turn gives meaning to our existence:
The world — whatever we might think when terrified by its vastness and our own impotence, or embittered by its indifference to individual suffering, of people, animals, and perhaps even plants, for why are we so sure that plants feel no pain; whatever we might think of its expanses pierced by the rays of stars surrounded by planets we’ve just begun to discover, planets already dead? still dead? we just don’t know; whatever we might think of this measureless theater to which we’ve got reserved tickets, but tickets whose lifespan is laughably short, bounded as it is by two arbitrary dates; whatever else we might think of this world — it is astonishing.
But “astonishing” is an epithet concealing a logical trap. We’re astonished, after all, by things that deviate from some well-known and universally acknowledged norm, from an obviousness we’ve grown accustomed to. Now the point is, there is no such obvious world. Our astonishment exists per se and isn’t based on comparison with something else.
Granted, in daily speech, where we don’t stop to consider every word, we all use phrases like “the ordinary world,” “ordinary life,” “the ordinary course of events” … But in the language of poetry, where every word is weighed, nothing is usual or normal. Not a single stone and not a single cloud above it. Not a single day and not a single night after it. And above all, not a single existence, not anyone’s existence in this world.
Twenty years before she received the Nobel Prize, Szymborska explored how our contracting compulsion for knowing can lead us astray in her sublime 1976 poem “Utopia,” found in her Map: Collected and Last Poems (public library):
Island where all becomes clear.
Solid ground beneath your feet.
The only roads are those that offer access.
Bushes bend beneath the weight of proofs.
The Tree of Valid Supposition grows here
with branches disentangled since time immemorial.
The Tree of Understanding, dazzlingly straight and simple,
sprouts by the spring called Now I Get It.
The thicker the woods, the vaster the vista:
the Valley of Obviously.
If any doubts arise, the wind dispels them instantly.
Echoes stir unsummoned
and eagerly explain all the secrets of the worlds.
On the right a cave where Meaning lies.
On the left the Lake of Deep Conviction.
Truth breaks from the bottom and bobs to the surface.
Unshakable Confidence towers over the valley.
Its peak offers an excellent view of the Essence of Things.
For all its charms, the island is uninhabited,
and the faint footprints scattered on its beaches
turn without exception to the sea.
As if all you can do here is leave
and plunge, never to return, into the depths.
Into unfathomable life.
Purely for the fun of it, I found myself drawing Szymborska’s poetic island in a map inspired by Thomas More’s Utopia:
Complement with astrophysicist Marcelo Gleiser on how to live with mystery in the age of knowledge, then revisit Szymborska on why we read, our cosmic solitude, how artists humanize our history, and the importance of being scared.
Source: The Highest Gratitude Comes From Buying Experiences Rather Than Things
Nov 16, 2016
Feeling gratitude leads to important health benefits and it is both a state of mind and perspective. It leads toincreased happiness and social cohesion, better health outcomes, and even improved sleep quality. However, one person’s idea of expressing gratitude may completely contradict another, and while some people perceive they will be more grateful from the purchase of an antique sofa rather than a vacation, new research shows one truly outweighs the other on the gratitude scale.
There is growing support that money spent on experiential items increases an individual’s happiness. However, there has been minimal research on the causes and long-term consequences of the tendency to make experiential purchases.
New research shows that we feel more gratitude for what we’ve done than for what we have — and more importantly, that kind of gratitude results in more generous behavior toward others.“Think about how you feel when you come home from buying something new,” explains Thomas Gilovich, professor of psychology at Cornell Universty and co-author the new study published online in a recent issue of the journal Emotion.
Gratitude is a state of mind that arises when you affirm a good thing in your life that comes from outside yourself, or when you notice and relish little pleasures. Though some people and things are clear blessings, this state of mind doesn’t actually depend on your life circumstances. Whether it’s the sight of a lovely face or a tasty bite of food or good health, there is always something to be grateful for. Even bad experiences at least teach us something. And gratitude is not just a feeling outside your control that arrives willy-nilly. It’s more like a radio channel: you can choose at any time to tune in.
Gratitude is stronger when it is shared. To sustain your gratitude mindset, find a way to express it and it will show its benefits.
“You might say, ‘this new couch is cool,’ but you’re less likely to say ‘I’m so grateful for that set of shelves.’ But when you come home from a vacation, you are likely to say, ‘I feel so blessed I got to go.’ People say positive things about the stuff they bought, but they don’t usually express gratitude for it-or they don’t express it as often as they do for their experiences.”
In addition to experiments they conducted, the researchers found real-world evidence for this by looking at 1,200 online customer reviews, half for experiential purchases like restaurant meals and hotel stays and half for material purchases like furniture and clothing. Reviewers were more likely to spontaneously mention feeling grateful for experiential purchases than material ones.
Jesse Walker, a graduate student in the field of psychology and first author of the study says one other reason for this increased gratitude may be because experiences trigger fewer social comparisons than material possessions. Consequently, experiences are more likely to foster a greater appreciation of one’s own circumstances.
The researchers also looked at how gratitude for experiences versus material purchases affected pro-social behavior. In a study involving an economic game, they found that thinking about a meaningful experiential purchase caused participants to behave more generously toward others than when they thought about a material purchase.
More than any other personality trait, gratitude is strongly linked to mental health and life satisfaction. Grateful people experience more joy, love, and enthusiasm, and they enjoy protection from destructive emotions like envy, greed, and bitterness. Gratitude also reduces lifetime risk for depression, anxiety, and substance abuse disorders, and it helps people entangled with those and other problems to heal and find closure. It can give you a deep and steadfast trust that goodness exists, even in the face of uncertainty or suffering.
Amit Kumar, a postdoctoral researcher at the University of Chicago and co-author of the paper, says this link between gratitude and altruistic behavior is intriguing, “because it suggests that the benefits of experiential consumption apply not only to the consumers of those purchases themselves, but to others in their orbit as well.”
Gilovich, who is particularly interested in applying insights from modern social psychology to improving peoples’ lives, says that this new research shows an approach that governments can take to both increase the well-being of their citizens and advance societal good. “If public policy encouraged people to consume experiences rather than spending money on things, it would increase their gratitude and happiness and make them more generous as well,” he says. Such policies might include funding for public parks, museums and performance spaces.