Category: Writing

  • Thoreau’s Bicycle

    Fall falls. Footfalls squish and squash through redorangeyellow leaves, their green energy sucked back into roots, an understandable hoarding for the winter.

    The casual bicyclist dismounts for the season, buries the bike in the basement, perhaps intending to walk through the winter.

    We have come to rely on the automobile to our detriment: for cars require a massive infrastructure, costly to build and maintain, that blights the landscape and harms the environment; cars are fuel-hogging inefficient, noisy and polluting, difficult to recycle; car use subtracts from walking opportunities. Even in parking lots we search for the space nearest the entrance, though that distance might be our only walk of the day.

    While Thoreau probably knew of the bicycle, he didn’t ride one. If Thoreau wanted or needed to get somewhere, he walked.

    In his essay simply titled “Walking,” Thoreau says he wants “to make an extreme statement.” What does an “extreme statement” sound like? “If you are ready to leave father and mother, and brother and sister, and wife and child and friends,” Thoreau says, “and never see them again; if you have paid your debts, and made your will, and settled all your affairs, and are a free man; then you are ready for a walk.” At that pace, few of us would ever be ready or able to go for a walk.

    Maybe it’s an argument of definition: what’s a walk? “But the walking of which I speak has nothing in it akin to taking exercise, as it is called…but is itself the enterprise and adventure of the day,” Thoreau says. He tells us, in Walden, he often walked four miles a day, and would walk eight miles to say hello to a tree (“Former Inhabitants” chapter, para. 17).

    “I am a good horse to travel but not from choice a roadster,” Thoreau says in “Walking.” I stopped walking when I got my first roadster, a 1956 Chevy. Cars are cool. Who isn’t intoxicated by the odor of a new car’s interior? Today’s cars, souped up with on-board, high-tech falderal, make my old ’56 Chevy seem a bicycle by comparison. To answer Thoreau’s extreme statement about going for a walk, to walk with Thoreau, we would add our cars to his list of things we must be ready to leave and never see again. It’s an argument of revolution.

    Related: Thoreau Posts

  • The Toads Transfigured at berfrois!

    The Toads post on the latest Rolling Stone Dylan interview, in which we blended Dylan’s discussion of transfiguration with Clarice Lispector’s in Aqua Viva, has been picked up and reposted at berfroisCheck it out!

  • Binders Full of Women and a Pocketful of Moloch

    “The mass of men lead lives of quiet desperation,” Thoreau said, which is to say, most guys – their binders are empty. Bukowski explains, over at Letters of Note: the drone ant has sacrificed his life for a 401Kafkaesque letter from his Man-auger: “Sorry mate, we’ve a cutback comin’ down the line.” Bukowski lights out for the territory, not ahead of all the rest, like Huck did, but behind, yet still grateful for the chance, as Thoreau put it, “…to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.”

    But to live deliberately, or deliberately meanly, as Bukowski did, requires at least some dough, as Bukowski acknowledges in his letter of thanks to John Martin, his publisher and patron. How much dough? $100 a month, for life, as long as he kept writing, according to the documentary Born Into This (brief review here; not recommended for the squeamish). How much did Buk need to sustain his values? What would he have done differently with $1,000 per month, or $10,000? More dough, more beer? Thoreau also found no sense in saving for a doubtful future.

    “The man who goes alone can start today,” said Thoreau. In any amount, against this going alone, we find E. O. Wilson continuing to surprise us: “‘Individual selection is responsible for much of what we call sin, while group selection is responsible for the greater part of virtue,’ he writes in one of the book’s bluntest passages. ‘Together they have created the conflict between the poorer and better angels of our nature’” (Susanna Rustin, Guardian interview, 17 Aug 2012). Which angel carries cash? Thoreau thought he “was rich, if not in money, in sunny hours and summer days, and spent them lavishly.”

    Meanwhile, over at The Dish, Andrew Sullivan, who’d be the world’s richest blogger if posts were dollars, points us, in a post titled “What’s the Matter with Money?,” to an argument proposing to assuage any Thoreau induced guilt we might be feeling over our purchased stuff. “Buyology,” by Jerry DeNuccio, suggests money is good because when we buy stuff we sustain the consumer colony. The consumer is thus one of the “better angels of our nature.” But do we really want to be ants? And isn’t most of our money spent on things we don’t really want? I’m not sure what audience needs an argument in favor of money. It can’t be the poor, who know only too well the value of money and what it might buy (food and good teeth to eat it, clean clothing and a private place to dress, health care not to be confused with drugs, not to mention Ishmael’s bed and table), but Thoreau is clear about his audience: “Perhaps these pages are more particularly addressed to poor students,” whose meagre earnings don’t necessarily go for cool stuff: “Those things for which the most money is demanded are never the things which the student most wants.” Cynics are fond of finding Thoreau contradicting himself, and he’s often laureled a hero of hypocrisy. It’s become a sixth way added to Walter Harding’s “Five Ways of Looking at Walden.” But in no place do we find Thoreau at odds with the value of furniture, a hearth, or companionship. He even kept three chairs for society. But Thoreau did not consider himself poor, as his conversation with John Field, who “was discontented and wasted his life into the bargain,” in the “Baker Farm” chapter of Walden, makes clear. Thoreau simply wanted to live on less stuff. For Thoreau, less is more to the max.

    In any case, Thoreau did not ignore economy, his own or his society’s. The first chapter of Walden, “Economy,” is roughly a quarter of the book, and readers often find tedious pages in Thoreau’s accounting. This is part of our economy, too, according to Thoreau, ants building a railroad: “This spending of the best part of one’s life earning money in order to enjoy a questionable liberty during the least valuable part of it…He should have gone up garret at once. ‘What!’ exclaim a million Irishmen starting up from all the shanties in the land, ‘is not this railroad which we have built a good thing?’ Yes, I answer, comparatively good, that is, you might have done worse; but I wish, as you are brothers of mine, that you could have spent your time better than digging in this dirt.’”

    No one doubts the importance of money and stuff, but money is a fifth column to Thoreau’s four necessaries of life (“Food, Shelter, Clothing, and Fuel”). The question is, “How much is enough? and How do I know what I want?” as Bill McKibben puts it in his introduction to the Beacon Press Walden (1997). For Thoreau, “Superfluous wealth can buy superfluities only. Money is not required to buy one necessary of the soul.” More, the problem with money isn’t that it buys stuff; the problem with money is that its superfluity leads to a superfutility, as its surplus grows into a power that dictates what others should do with their money, or what they should do for their money, or what should become of them for a lack of money. And nowhere is this more evident than in the status of women, all around the world, and if “the mass of men lead lives of quiet desperation,” what’s a woman to do who must learn to live with one of these desperadoes?

    “Rather than love, than money, than fame, give me truth,” Thoreau concluded.

    “Men say they know many things;
    But lo! they have taken wings, –
    The arts and sciences,
    And a thousand appliances;
    The wind that blows
    Is all that any body knows” (Thoreau’s poem in the “Economy” chapter of Walden).

    How many appliances do we need? “…the answer is blowin’ in the wind.”

    Related Posts:
    The Way We Don’t Age Now: Unhappiness and Hunger in the Land of Plenty
    Women Under the Glass Ceiling: Parity and Power in the Pipeline
    The Glass Guitar Ceiling
    Stuffed Post
    Thoreau Posts

  • Say what you see (look-and-say) sequences

    1
    
    1 1
    
    2 1
    
    1 2 1 1
    
    1 1 1 2 2 1
    
    Solve for row 6__________
    a
    
    1 a
    
    1 1 1 a
    
    3 1 1 a
    
    1 3 2 1 1 a
    
    Solve for row 6__________
    a n t
    
    1 a 1 n 1 t
    
    1 1 1 a 1 1 1 n 1 1 1 t
    
    3 1 1 a 3 1 1 n 3 1 1 t
    
    1 3 2 1 1 a 1 3 2 1 1 n 1 3 2 1 1 t
    
    Solve for row 6__________
    ant
    
    ant ant
    
    ant ant ant
    
    ant ant ant ant
    
    ant ant ant ant ant
    
    ant ant ant ant
    
    Solve for row 7__________
    c a t
    
    c a t ' s  u p
    
    w h a t ' s  u p ?
    
    catch up
    
    Solve for row 5__________

    Look-and-say sequence.

  • Thoreau’s Meanly Men and Manly Ants

    “We live meanly, like ants,” Thoreau tells us in the “Where I Lived, and What I Lived For” chapter of Walden, just after he’s divulged his reason for being in the woods: to distill life, then distill it some more, until he has more than 100 proof. And if life prove mean, then he will “publish its meanness to the world.” What does he mean by meanness? The opposite of simplicity, for one thing, letting the railroad ride over us, for getting off track is devalued; today Thoreau would use the automobile as the vehicle and mean man the asphalt. His discussion of living meanly anticipates the later episode of the war of the ants in the “Brute Neighbors” chapter. But there, the ants are anthropomorphized as warriors from antiquity. In the ants he sees meanness because in the ants he sees men. But what could be meaner than the mother who “had charged him to return with his shield or upon it”? Thoreau even imagines the ant armies with military bands blowing on the sidelines just as fiercely as the combatants. Yet Thoreau anticipates E. O. Wilson, whose newest work explains altruism, communication, and cooperation as fundamental to advanced social behavior successes, both in ants and men, as opposed to competition and meanness. The fittest may turn out to be the one who can best cooperate, sacrifice, and share. Wilson considers self-understanding as vital to survival of the species. Thoreau agreed. Thoreau leaves the pond when he does because he’s called by Mrs. Emerson to come care for her family while her husband will be away on a lecture tour. Thoreau leaves Walden quickly, with an attenuated conclusion.

    The E. O. Wilson reference is to a Smithsonian.com interview with Wilson, “What Does E.O. Wilson Mean By a ‘Social Conquest of the Earth’,” by Carl Zimmer, March 22, 2012.

    Related Posts:

    Mapping a Reading of Thoreau’s Walden

    Now is the Science of our Discontent

    …ant, ant, ant, ant, and ant

  • 81 Snazzy Ants

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  • 45 Embedded Ants

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    slanted ranting banter gauntlet infantry
    
    pantsuit gigantic Atlantis cilantro plantation
    
    shanty brigantine semantic dismantling gallivanting
    
    gallantry wanton canteen quarantine guarantee
    
    romantic chrysanthemum fantasy haunted dilettante
    
    pedantic consubstantiation incantation misanthropically quantified
    
    truantry meantime cantus cantilevering bacchante
    
    aspirants applicants aberrantly yantrill vibrantly
  • 153 ants

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  • Clarice Lispector’s “Agua Viva”: Oyster, Rose, and Time

    In the center of “Agua Viva” a round curving flower unfolds, falling outward, foreshadowed by the oyster and turtle, by animals and insects. But “not having been born an animal,” Clarice is free to experiment, for “the animal never substitutes one thing for another,” never, in other words, uses metaphor, and so animals are better able to capture the “it” of time, and we want to watch them, but we must be careful not to “humanize animals because it’s an offense – you must respect their nature – I am the one who animalizes myself” (42-45).

    There are 376 paragraphs in 88 pages of text (the writing begins on page 3). Each paragraph is a petal curling away from the center of the text.

    Animals with paragraphs: oyster, owl, horse, wolves, turtles, tiger.

    Flowers with paragraphs: rose (“The way she opens herself into a woman is so beautiful.”); carnation (“The white ones recall the little coffin of a dead child…and we turn our heads away in horror.”); sunflower; violet; daisy; orchid (“…exquise and unpleasant.”); tulip; cornflower (“biblical”); angelica (“dangerous”); jasmine; bird-of-paradise; night jessamine; edelweiss; geranium; water lilies; chrysanthemum (“deep happiness”) (49-53).

    As with James Joyce, more dangerous writing: “Yes, what I’m writing you is nobody’s. And this nobody’s freedom is very dangerous. It is like the infinite that has the color of air” (76).

    A maid and a cook appear momentarily, cursorily; what for? (75, 78). They witness the writing. Clarice has a job, “to look after the world” (54).

    Ants appear, and bees. The voice treads water “beyond thought” (35, 41, 59, 61, 64, 73, 79).

    How can we ask a text that occurs only in the moment to have a plot? Aphorism, definition, examples and illustration, clear and concise description. Insects, bugs. Without plot comes freedom: “Whoever isn’t lost doesn’t know freedom and love it” (65).

    The end is a mirror (70) and a beatitude of nothing (82), sleep and waves, sadness. But begin being again, “with such profound happiness. Such a hallelujah” (3, 29), a jazz.

    The narrator, a voice without narration, talks of writing and reading, first and second person. Time stops with the writing, close in, close up: “Insects, frogs, lice, flies, fleas and bedbugs” (35).

    The narrator is a painter who writes. The writer’s doubt (34, 38, 48) is the reader’s joy: “The ‘freedom’ frees itself from the slavery of the word” (84). Yes, contradictions and connections, threads of paragraphs.

    “Agua Viva,” by Clarice Lispector. Translated from the Portuguese by Stefan Tobler. Introduction by Benjamin Moser. Written in 1973. First published by New Directions as NDP1223 in 2012.

    Related posts: Bob Dylan and Clarice Lispector: Bewildering, Transfigured, & RedeemedJames Joyce on Writing: “write dangerously”

    This Toads post picked up and reposted at berfrois on 25 Oct 2012: Check it out!

  • New Repost at Berfrois!

    “James Joyce on Writing: ‘write dangerously,’” posted here at the Toads back on August 20th, has been reposted at Berfrois.