Tag Archives: Ambition

New Haiku

pigeonsCetologists identify whales by the scars and general wear of their flukes, their idiosyncratic calling cards slipping into the deep again, marking years by disappearance and reappearance. When we moved in May, I thought I’d do the same with pigeons.

They must be as distinctive, I figured, and I meant to know my new neighborhood by its non-human citizens. For a time, on every walk exploring the new streets around us, I scrutinized each bird that lingered on the sidewalk. I meant to memorize a few, sure I’d meet some familiarity eventually.

Of course, I failed. The proliferation of pigeon colors and patterns can’t be captured by one mind, at least not one as small as mine. Even if I thought I remembered their odd, mixed variations of gray and white and brown, who could be sure? Was this pigeon a friend?

Over the last eight months, since abandoning my blog, I’ve written little, only haiku, and part of me discounts those seventeen (or so) syllables as frivolity, too easy to matter for much. They’re pigeons, perhaps beautiful if you’re prone to scrutinize but likely just another square of a sea’s surface or a patch of sky… more of the same.

Ezra Pound, a great lover of haiku, said, “The image itself is speech. The image is the word beyond formulated language.” If so, I wonder what those images add up to and how a person might turn so many disparate moments into anything comprehensive or consoling.

In May of 2015, I wrote a haiku,

eventually

enough raindrops will

wet this field

Maybe. If nothing else, belief intends sense. Each haiku promises content, however fleeting. My pigeon friends gather en masse in a parking lot near where I live. A step in their direction sends them wheeling into the air, and every distinction between them vanishes in shuddering wings and new perspectives of their flight. They’re no longer verifiably separate.

If haiku accomplish so much, perhaps that’s enough. When I was four, I remember scooting along the curb after a storm, my feet driving a wave of rainwater ahead of me. That instant persists because I seldom feel such power now. I’d like to write something substantial—a novel, a poem worthy of public attention, a collection of essays or short stories—and instead settle for the fitful awareness in haiku—they might add up, or, at the other extreme, one will be the apparition of faces in a crowd, petals plastered against a background making them visible at last.

One of Basho’s loveliest haiku reads,

winter solitude—

in a world of one color

the sound of the wind

Aren’t we always hoping for that, connectedness and singularity, belonging and the strange joy of feeling so?

I saw a pigeon recently I was sure I’d recall. It was ginger rather than gray, and one wing feather was a white vee, the other not. Turning to me as if it knew me, its strut faced my direction. I thought it spoke, issuing a challenge to be known and understood.

No haiku occurred to me, but I knew then what haiku is.

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And?

ambition__media_cycleAnyone who has run competitively knows what it means to press. Exertion edges past comfort, and you pray for some pleasure in punishment, or at least you hope for an outcome erasing the torture whispering in your brain. When the voice grows loud and insistent, you tell yourself you’re a better person for enduring it, embracing it.

But you don’t need to run to know what pressing is. Some of the things you’re sure you want, you don’t want… and vice versa. You know—because you’ve been told—choosing to travel downstream means never seeing the mountains. If you do more than you think possible, you’ll redefine what possible is.

What does not destroy you… oh, you know the rest.

Yet my most rare pleasure is doing what occurs to me. I’m surprised when I find myself enjoying, without guilt or self-recrimination, some activity I wandered into. I’m happy for each break from thought and action. As a child I occupied time, and not in the way I use that expression now—as expending or wasting time before important events—but in the gentler sense of dwelling in and on the present’s comforts.

The line between relentless determination and masochism grows fuzzy. In the marshmallow test, the contest goes to the child who leaves the first sweet alone in anticipation of two later. The children who only want one, we’re told, go on to lives of mediocrity. Yet, the test seems biased. What if there truly is no time like the present? By what measure of success are the satisfied unsuccessful? What if contentedness is the ultimate success?

Today, like every day, I’ve jotted a list of what must be done. The day’s value comes from the number of check marks added to that list. Anything else distracts. Three phone calls, emails to answer, and every variety of follow-ups await me. Even this post makes the list—creativity becomes production. Because moving is crucial, every minute demands gripping the road, making progress on projects… whatever “progress” and “project” mean.

Though I recognize forces of instant gratification working in the world too, I’m of the bigger-better-faster generation. We’ve been conditioned to distrust comfort and complacency. We’ve been led to believe we’re useful only when we expend breakneck effort. Anything easy, my parents taught me, is not worth having, and, hence, I’ve come to believe less (and less) in accomplishments. Once attained, they tell me I’ve aimed too low.

Having makes me wonder about something more, harder, more worthy.

I’m not alone. We’ve forgotten how to rest. We want to devise, institute, adjust, amend, alter, generate, or overturn. Our phones are out and we’re doing and doing. We nurture hope the next moment will be better (or at least different). The present is perpetually incomplete. No subject or object can be left alone. Because we’re a half-turn from bringing everything into a more fulfilling alignment, we spin and spin.

I worry our addictions to novelty and progress will disqualify the value of the past. We seldom, if ever, consider what we give up. We miss the repeated lesson that heedless innovation produces unanticipated, often complicated and ambiguous, results. Despite our technology and sophistication, we remain animals who so fear being prey they don’t dare pause. We exhaust ourselves to attain some safe state of relaxation that never arrives.

Herds of lemmings, I understand, don’t really rush off cliffs… but we may if we whip ourselves into a dead run where we’re frantic, exhausted, and addled. Satisfaction and consummation obsesses us, but when do we have enough?

Some ambition is necessary—we have problems to solve, and that takes dedication. And I’m not against a runner’s type of pressing if your motive is to test your capacities, exercise your talents, generally revel in the blessings of being alive and strong. I’m all for the glory of that sort of effort. Yet, past a point I wish I could better define, ambition begins to look like compulsion, the twitching of a rabid mammal.

Can’t resting be glorious too?

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What—Me Worry?

CL50915When the person likely to be the next U.S. Senate Environmental Committee chair wrote a book called The Great Hoax denying global climate change, maybe it’s time to address a new strain of anti-intellectualism… delusion.

American ambivalence about intellect isn’t new. From the beginning Americans have favored plain-speech and uncomplicated thinking. They’ve always believed in simple answers to every complex problem. Trusting in fresh perspectives, putting aside received truths to encounter issues anew, that produces answers. The utopian “City on the Hill” faith in the possibility of starting over created the constitution.

However, the founding fathers, for all their flaws, were no dummies. They were subtle men whose elegant (and inelegant) solutions arose from rumination, deliberation, persuasion, and resourcefulness. They embraced complexity and kept up with the political science and regular science of their day.

They did not, as some do now, solve problems by denying they exist and vilifying any “overthinker” or “alarmist” who looks too closely.

Social scientists can offer decades of research on interdependent causes of poverty, and still some Americans cut through “all the crap” with the real truth—that some people don’t take advantage of opportunity. Graphs depicting the imbalanced distribution of wealth inspire yet another rags-to-riches tale, and, if social scientists unfavorably compare economic mobility in America to almost everywhere else, someone will assert the possibility, no matter how remote, is all that’s important. And, because if you work hard you should get ahead, those left behind must not have worked hard enough. They ought to blame themselves, the thinking goes, so helping them, giving them “handouts,” only saps their will to try harder. Cite economists who explain the mechanisms of inherited wealth and the game of musical chairs everyone else plays, and you’ll be accused of fomenting class warfare, plotting to rob the deserving, being a socialist. The deserving believe in “the market,” as a counterbalance to (and not a manifestation of) human greed—no regulation or redress is necessary.

Americans untroubled by economic inequality are equally prepared to discount social inequality as a vestige of bad old days now gone. The mountain of statistical and anecdotal evidence demonstrating white privilege, they judge, only rationalizes indolence. Some go as far as to say the problem of race in America is solved, and any talk about persistent intolerance—surrounding class, creed, and sexual orientation—only reignites dead flames. It seems as long as you believe you are not personally (or at least not obviously) racist, sexist, and bigoted, these issues don’t exist. And expressing desire for equity elicits petulance. Pundits cry they’re not only blameless but also oppressed.

Though in scientific circles, human causes for climate change are rarely debated, some Americans choose to believe we know nothing and can know nothing about greenhouse gasses and the melting ice caps. They treat scientists with disdain, either correcting them (very slowly, as they would a child) with fundamentally flawed conceptions of the physical world or, alternately, declare, “I’m not a scientist” to turn ignorance to their advantage. Both responses share a view of science as evil and/or unintelligible—sorcery, not one of humanity’s best methods of seeking truth.

The catalog could go on: Gun control, environmental regulations, banking abuses, corporate tax loopholes, and healthcare divide along similar lines with some seeking to study problems and devise solutions and others carping there IS no problem. If anything needs to be done, the carpers say, it’s rolling back the meager amelioration managed so far.

To be fair, sanctimony exists on both ends of the political spectrum. The left dismisses opposition as much as the right. Neither listens to the other. Most Americans, left or right, read and watch only what echoes their viewpoint, facts be damned. Worse, Americans’ healthy appetite for drama has inspired the creation of loud and insistent megaphones to shout half-truths and whole lies. Subtlety and intellectual rigor aren’t, everyone knows, very sexy.

The conservatives’ position seems more dangerous, however. It’s much too easy for them to get away without persuasion or policy. In making ignorance and denial viable political stances, they’ve institutionalized distrust of scientists, economists, environmental experts, social scientists, and intellectuals devoted to study, discovery, and—let’s be direct—reality.

And, in the process, their delusion has infected the general electorate with a nearly nihilist sense of hopelessness. How do you argue with someone who believes there’s nothing to argue, who vows nothing is known conclusively, who says nothing can be done, and, moreover, should be done?

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Your Familiar

blog_spring_shadowsAnother pseudo-story, based on a common literary motif. I’d call it a 20-minute story, but it took a little (read: a lot) longer to sort out. I’m beginning to wonder how people can be so good at writing those things… because I have longer sneezing fits.

Only in a dream could such a strange meeting take place, and that’s where this encounter between you and future-you occurred.

The sun sat at an odd angle that grazed the tabletop, its thick light hard to distinguish as morning or evening when you didn’t know where the window was. Somehow future-you seemed similar to the table’s shadows, pulled like taffy and attenuated but full and dark too. Naturally you expected future-you to be wise. You had so many questions.

Instead, for some time you and future-you communed, listlessly shifting and turning glasses, plates, and bowls as if they were pieces in a board game of subtle spaces and moves. The sun dimmed appreciably. Your eyes and future-you’s eyes marked its shrinking influence.

Future-you cleared his throat and you nearly jumped, but he had nothing to say and may have been prompting you. You locked stares, and you guessed his meaning—he envied you and wondered when this wisdom you expected left him or whether he left it on the lips of the last woman he kissed or in the swoop of letters never finished, or in everything granted, sold, given away, and lost. His doleful expression said so. He expected comforting. You didn’t anticipate that.

So you advanced your hand toward future-you’s. He drew back, then nodded.

You spoke first. Nothing you might say could be new, you figured, and so your speech rolled out in bursts like beach breakers. You can’t remember any of what you said, just that you recalled you were dreaming. Mostly you paused for interruption and hoped future-you might answer your noise with a greater and graver future voice. That would be enough.

Instead he appeared tickled, pleased to hear you fumble so. You would have mistaken his response for condescension except—of course!—future-you would react so, charmed by everything still fresh in you and spoiling in him. You matched his laughter with your own before catching a whiff of his breath and the unwelcome hints in its smell. You knew and didn’t know future-you, and he, you believed, knew you entirely.

His tears welled slowly at first and just glimmered in failing light. When you recognized his weeping, part of you wanted to console him. The other part desired more—how could you become so leaky, so riddled with age-spots, water stains, and patches of rust? How could all you wanted come to no more?

Perhaps future-you sensed confusion. He scooted his chair back and stood. You couldn’t miss his struggle. He hadn’t seemed old before, and his stoop loomed like death in the room’s near-darkness. He wasn’t angry. He held his dignity up as all he could say about you and him. And he meant to tell you he loved you. Whatever disappointment dwelt in him didn’t reach you.

Seeing that, he left and you woke.

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And by “You” I mean “I” (or “Me”)

round1To believe your own thought, to believe that what is true for you in your private heart is true for all men—that is genius.

Ralph Waldo Emerson

Personal essays require believing you’re a valuable subject. The principle justification for writing about yourself comes from the granddaddy of personal essayists, Michel de Montaigne, who said individual experience is never purely individual. He believed, “Every man bears the whole stamp of the human condition.” And—if you accept his premise—the particular, paradoxically, illuminates the universal.

Philip Lopate goes further in his introduction to The Art of the Personal Essay by urging confession. Confession garners trust because, “The spectacle of baring the naked soul,” he says, “is meant to awaken the sympathy of the reader, who is apt to forgive the essayist’s self-absorption in return for the warmth of his or her candor.” In indicting yourself, the thinking goes, you must be honest.

If you’re sincere, your “indictment” might include confusion and the hopelessness of ever deciding anything definitively. Admitting you don’t (and maybe can’t) understand could be part of every essay, especially if you undertake issues or questions hoping to resolve them. Montaigne said, “Anyone who studies himself attentively finds in himself and in his very judgment this whirring about and this discordancy.” He also says, “There is nothing I can say about myself as a whole simply and completely, without intermingling and admixture.” Yet confusion will likely frustrate your reader as much as you. Sympathy has limits. You’re supposed to say something worthy or why write? Expressing your finite intelligence isn’t helpful or winning or impressive.

What is? You can’t be sure. Personal essays involve inventing a tolerant audience willing to sympathize with tortuous, circular, and equivocal ruminations, fellow feeling that maybe might occur if your thoughts are new, relevant, incisive, clever, amusing. You could be the worst judge though, and not know it. Just as the tone deaf are least qualified to assess the quality of their own voices, you may sing on, missing cues signaling how discordant or flat you are. And any response, even the most muted and mixed, could produce disproportionate effects. Someone smiles or smirks, and you think, “Ah. I’ve said something. I’m communicating. An ear is listening at the other end of this line, after all.”

The high-wire risk of personal essays is faith. You pray you’re perching on insight. Keep going, write enough, and you’re sure to… you think. Life is finite, you think. One life may be different, you think, but, if you try hard enough or long enough, you’ll reach some truth, minor and irrelevant as it might be. Sure, quantity can be the enemy of impact, yet—you think—you’re an exception.

So you tread on. You reach your foot forward praying for something like solid ground or a great uplift of wind to keep you from falling.

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A Dozen Paths To the End of the World

The-End-of-the-world-as-we-know-itThe number of apocalyptic movies, books, and news items out there led me to consider possibilities not yet fully explored. Too lazy to actually write them, however, I made it only as far as these twelve stand-alone sentences.

1. One of the more comfortable citizens first made an object stone by claiming it, but, by noon the next day, the entire town was solid.

2. Naturally, the last duel had no spectators.

3. Everyone started piling bicycles at the city limits and soon they’d walled themselves in with their only remaining means of escape.

4. For the longest time, the kind-hearted lived in enclaves, but jealousy outside assured they wouldn’t be left alone.

5. Someone else might have known the footprints he followed were his own, yet he noticed only when, too tired to continue, he sat down and examined them closely.

6. Their hairstyles grew so elaborate their necks lacked the strength to lift them.

7. Each bridge began on one shore and ended at its apex, just when building further threatened falling in the river.

8. They could have company, the letter said, if they learned to bake bread that filled the air with enticing smells, but their sort of baking was a gift they wouldn’t give up.

9. No one considered you could do nothing so long that nothing could be done.

10. In the courtyard’s strange echoes, birds seemed to speak in human voices, and soon neighbors, then strangers, stopped working to gather and listen.

11. Had not everyone been whimpering, someone would have quipped the world ended with a bang after all.

12. He sat south of the jetty near shops long looted and empty to watch the sun rise, expecting, any day now, it wouldn’t.

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A Journey of a Thousand Sentences

3D team standing togetherIn my first decade of teaching I created thousands of sentences. English—it was “Language Arts” then—required a mechanical mind. To stay ahead of students, I needed to deconstruct rules of usage I’d previously only sensed, and each quiz called for advanced mimicry of the battery of sentences in the grammar text.

“Clam digging is a blast,” Don said to Larry, “if you’re an amateur.”

Making sentences was fun, and not just because of the new vocabulary to describe parts of speech, agreement, punctuation, conjugation, and phrases and clauses (relative, subordinate, and independent). Students expected so little of my sentences—the content was so clearly secondary as to be invisible—I devoted myself to writing little stories, evocative, ironic, whimsical, mysterious.

In a moment of particular exhilaration, Veronica threw her hands in the air and cried, “Who would have thought fish sticks had so many other uses?”

Sentence-making still haunts me, but, as an English teacher, I’ve moved on. The hothouse approach to writing instruction is passé. We no longer believe you write well by putting your commas in the right place, and, rather than invent imaginary problems and drill, drill, drill, we teach usage by exploiting students’ own sentences. Meta-language has all but disappeared. The word “appositive” means nothing to most seniors, and if I say, “You need ‘which’ here because the subsequent phrase is nonrestrictive,” their faces sag. Discussing edits requires more resourcefulness. We employ plain speech and organic responses suited to the real world, not dusty Latinate taxonomy.

He began to believe the general outlook—that so many suffered for so few—and decided not to contribute to cruelties designed to appease the elite.

Most of my students haven’t been trained to think about writing as I do. Some recognize the shape and feel of a well-constructed sentence, but most form big pictures and regard smaller components like sentences as necessary… and incidental. Though they seem pleased when I note a deft and elegant expression of an idea, they also seem surprised. Later they may manipulate language more, but, right now, success arises from serendipity more than polish.

At first I overachieved even at overachieving, but then I learned: the more open-ended my expectations, the more liberated I felt.

I’m not judging. Quite the contrary. My devotion to parts isn’t better. Once the lessons of diagramming sentences became muscle memory to me, clarity and impact seemed to spring entirely from syntax. Writing well only required varying structure and rhythm. I began to swing between sentences like Tarzan choosing vines—the next told me where next to go. While my students think of the whole, my habit is to unroll the whole, sentence by sentence.

She took her parents, teachers, and bosses seriously when they said she just had to do her best. Turns out, she had to do what others considered her best.

Knowing where you are now doesn’t always get you somewhere. A new active verb, a turn toward quirky diction, ringing parallelism, surprising inversion, and exhaustive items in a series won’t rescue banality. They may relieve the tedium of reading but rely on accretion adding up. Sometimes, that hope fails. At each gap after a period—one space or two doesn’t matter—you start again. Composition morphs into a one step process, over and over.

You hope abstraction distills truth but may extract poison instead.

A friend who frequently reads my work commented that my sentences take me to the brink of trouble—they reach impossible places—and then find another step. He’s too kind, but he describes perfectly what my writing feels like, which is paving a road one stone at a time. When it doesn’t work, I have no aim besides labor. When it does, I travel by imagining another footfall.

Beneath an open window, computer keys sound like the empty vocalizations of a chattering monkey.

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