Posts Tagged ‘happiness’
April 4, 2016 | by Sadie Stein
The other day, our Southern editor, John Jeremiah Sullivan, drew our attention to a really interesting recent episode of the BBC’s History Hour. It was a program dedicated in part to the death of Virginia Woolf, who took her own life on March 28, 1941.
Now, here in the northeast, it’s a particularly dreary day: damp and drizzly, and—after a brief tease of spring—cold. It’s also a Monday. And perhaps, you’re thinking, listening to a discussion of someone drowning herself is not precisely what you need. Read More »
March 24, 2016 | by Sadie Stein
In his Meditations, Marcus Aurelius wrote,
At dawn, when you have trouble getting out of bed, tell yourself: “I have to go to work—as a human being. What do I have to complain of, If I’m going to do what I was born for—the things I was brought into the world to do? Or is this what I was created for? To huddle under the blankets and stay warm?”
—But it’s nicer here …
So you were born to feel “nice”? Instead of doing things and experiencing them? Don’t you see the plants, the birds, the ants and spiders and bees going about their individual tasks, putting the world in order, as best they can? And you’re not willing to do your job as a human being? Why aren’t you running to do what your nature demands?
—But we have to sleep sometime…
Agreed. But nature set a limit on that—as it did on eating and drinking. And you’re over the limit. You’ve had more than enough of that. But not of working. There you’re still below your quota.
You don’t love yourself enough. Or you’d love your nature too, and what it demands of you. People who love what they do wear themselves down doing it, they even forget to wash or eat. Do you have less respect for your own nature than the engraver does for engraving, the dancer for the dance, the miser for money or the social climber for status? When they’re really possessed by what they do, they’d rather stop eating and sleeping than give up practicing their arts. Is helping others less valuable to you? Not worth your effort?
February 9, 2016 | by Idra Novey
Finding a letter in a burrito.
I was somewhat delirious when I found the letter H in my burrito. I had two weeks to finish translating a difficult novel, and I was teaching at two different universities, one so far away it took three trains and two hours to get there. I was also writing a novel at night instead of sleeping.
And now, here, in the burrito I’d bought for lunch, there appeared to be an uppercase H in nine-point font stuck to a piece of tomato. I brought the burrito closer to make sure I wasn’t simply reading too much into a pepper flake. But no, this was definitely a piece of paper with a tiny letter on it, part of a typewritten word. I unrolled the tortilla to see if there were more letters inside; maybe a piece of newspaper had gotten sautéed with the onions. But I found only salsa, beans, tomatoes, and that solitary H. Read More »
July 21, 2015 | by Sadie Stein
They lived at opposite ends of a large apartment building near the harbor, and between their studios lay the attic, an impersonal no-man’s land of tall corridors with locked plank doors on either side. Mari liked wandering across the attic; it drew a necessary, neutral interval between their domains. She could pause on the way to listen to the rain on the metal roof, look out across the city as it lit its lights, or just linger for the pleasure of it.
They never asked, “Were you able to work today?” Maybe they had, twenty or thirty years earlier, but they’d gradually learned not to. There are empty spaces that must be respected—those often long periods when a person can’t see the pictures or find the words and needs to be left alone.
—Tove Jansson, “Videomania,” Fair Play
There are not many really good books that portray functional relationships. Certainly not the relationships of artists. Well, that’s not a shocker—happy families, as we are told, are all alike. Fair Play, Tove Jansson’s 1982 portrait of a partnership, is an exception.
Fair Play is based on Jansson’s relationship with the artist Tuulikki Pietilä, with whom she shared a life, and a home, for some forty years. If you have read Jansson’s classic Summer Book, certain things about Fair Play will be familiar: the island setting, the spareness, the less-is-more portrait of human connection. These things will be familiar even to those who only know Jansson from her most famous works, like Finn Family Moomintroll. (Indeed, Pietilä was the inspiration for the competent Moomin character Too-Ticky.) Read More »
June 26, 2014 | by Rowan Ricardo Phillips
My friend Jacob tends to be right about things. He has great taste in music; I find myself nodding my head at him whenever politics comes up; and when he laid out, like tarot cards, his hopes for this World Cup—as nearly all of my friends did before the start of the tournament—I couldn’t help but think that his predictions would work for me, too. We’ll have our parting of the ways soon enough: the Netherlands plays Mexico in a few days. The truth is, if Mexico wins, I’ll be happy for him. And I like to think that if the Netherlands wins, he’ll be happy for me, too.
Empathy like that provides balance in the world of blinding madness that sports can be. It’s a particular type of immigrant upbringing, perhaps, that gives you an agnostic indifference to overdetermined allegiances—a hope that, regardless of what happens, there’s beauty that comes from it, and an instructive joy to share and pass on.
So: I watch Bosnia for my friends Sasa and Veba, because Bosnia reminded me so much of them—committed, creative, pensive, puckish. Colombia for my aunt Claudia and her mother, Nelly. For Alejandra, and Beti and Marlon, Japan, because they always, and almost always impractically, propose to play beautifully, thinking this time they’ll get it right. Algeria for Camus’s ghost and for their players born in France, who heard the call to come back. Nigeria because Rashidi Yekini’s goal at USA ’94, Nigeria’s first ever in a World Cup, touched me in some still inchoate way—and because few things in the world are better than a happy Teju Cole. Italy—despite the neutral hardwired animosity—for how Andrea Pirlo ambles on the field, far off from everyone’s pace, seemingly alone, surrounded not by defenders but rather by his own genius. Costa Rica for sixty-five and a half years with no armed forces. Argentina for Messi—if only for Messi. Read More »
May 30, 2014 | by Kate Brittain
But it’s not this random
life only, throwing its sensual
astonishments upside down on
the bloody membranes behind my eyeballs,
not just me being here again, old
needer, looking for someone to need,
but you, up from the clay yourself,
as luck would have it, and inching
over the same little segment of earth-
ball, in the same little eon, to
meet in a room, alive in our skins,
and the whole galaxy gaping there
and the centuries whining like gnats—
you, to teach me to see it, to see
it with you, and to offer somebody
uncomprehending, impudent thanks.
It was a beautiful move on the magazine’s part, taking Meredith’s wonder and gratitude for his beloved and letting those words refer to the poet himself. When the verse is turned to epitaph, it becomes Meredith who teaches us to see; his lucky appearance in the room of our lives demands that we bow our heads, or else lift up our eyes, and stammer what thanks we are able to articulate.
I met Meredith nine months before he passed away, at Bread Loaf’s annual writers’ conference, to which he’d been invited as a special guest and at which I was a student. He’d taught on the mountainside campus in the late fifties and sixties, first in the English program and then at the conference, and now he’d returned to read for us in their Little Theater, a long, skinny rectangle of a room, the walls white, the chairs wooden, the light—admitted through banks of mullioned glass doors to either side of the audience—everywhere. It was more like a chapel than a theater.
Meredith read only a few poems, supported at the podium by his partner, Richard Harteis. For the remainder of the event, he sat in the front row, audience to a tribute whose meaning no one could have missed, while Harteis, Michael Collier, and Thomas Sayers Ellis offered up anecdotes and praise and read their own selections of Meredith’s work. Here was a dying man, a man who was loved. Read More »