The Marginalian
The Marginalian

How to Feel Whole in a Broken World: An Astronaut’s Antidote to Despair

Once our basic physical needs for sustenance and shelter are met, most of our psychological suffering is a problem of selfing — contracting the scope of reality to the pinhole of the self and using that to explain, always painfully, the actions and motives of others, the course and causality of events. As this cognitive corkscrew of rumination burrows deeper and deeper into the inner world, the outer — the world of clouds and crocuses and flickering spring light — recedes further and further past the horizon of our awareness, isolating us from all that is beautiful and true and full of wonder. Despair is nothing more than the pinch of the pinhole, reducing the immense vista of reality to a particular interpretation of a particular moment.

The more we unself by widening the aperture to let the world in, the less we suffer. This is why seeing with an astronaut’s eyes may be the most powerful, most salutary lens-clearing, for astronauts alone can widen the aperture enough to see the whole world, rising and setting against the black austerity of spacetime as a single blue marble, all of our sorrows and worries swirling there remote as the Cambrian.

View from inside the ISS. (Image: NASA)

While orbiting a war-torn world aboard the International Space Station, astronaut Chris Hadfield took questions from earthlings in a Reddit AMA. Asked for his advice to anyone on the brink of giving up and his own approach to those moments of darkest despair, he offers:

I remind myself that each sunrise is a harbinger of another chance, and to take quiet, unrecognised pride in the accomplishments I get done each day. Each evening my intended list is unfinished, but I celebrate what I’ve done, and resolve to do better tomorrow. Also, nothing is ever as good or as bad as it first seems. Keep at it with optimism — it is your life to tinker with, learn from, live and love.

This ongoingness of creation — the fact that this world is unfinished and our story unwritten — is nowhere more visible, life’s ceaseless insistence on itself nowhere more palpable, than when seen on the scale of the entire planet. Hadfield captures this elemental calibration of perspective:

It’s endlessly surprising how continually beautiful our changing, ancient, gorgeous Earth is. Every one of my 1,650 orbits, I saw something new. And I was up long enough to watch the seasons swap ends on the planet, like Mother Earth taking one breath out of 4.5 billion breaths.

A single gasp of elemental beauty is enough to reanimate the deflated lung of life, to undermine the narratives of despair. “They should have sent a poet,” gasps Jodie Foster’s astronaut character in the film based on Carl Sagan’s novel Contact, and it is with a poet’s sensibility that Hadfield describes one such living antidote to despair — the Bahamas, seen from space in all their “huge visual onslaught of coral reefs and shallows, pierced by the deep tongue of the ocean that gives it a butterfly-like iridescence of every blue that exists.”

The Bahamas seen from the ISS. (Image: NASA)

Before we lifted off from Earth toward the farthest reachable reaches of the cosmic unknown, those last unexplored frontiers of the unknown were the extremes of Earth itself — the poles. Polar explorers were the astronauts of the nineteenth century.

Many died to know the unknown.

Many sank into “soul-despairing depression” during the six-month polar nights, black and edgeless as spacetime.

Over and over, they were saved by wonder.

Northern Lights by Harald Moltke, 1900.

In the first year of the twentieth century — that liminal epoch between the age of polar exploration and the age of space exploration — the twenty-nine-year-old Danish artist Harald Moltke was invited to join two young physicists on a polar expedition to study the aurora borealis — that elemental conversation between our planet and its star as fluctuations of the Sun’s corona send gusts of solar wind across the cosmos to ripple our Earth’s magnetosphere, exciting its electrons into magic.

Northern Lights by Harald Moltke, 1900.
Harald Moltke (left) with his companions.

Setting out to capture the ineffable majesty and mystery of Earth’s most otherworldly phenomenon, Moltke made a mobile studio of his reindeer sledge and loaded it with his elaborate painting equipment. (“I realized that it had to be oil paint,” he wrote, “that could most closely reproduce these fantastic phenomena.”) He had read about the northern lights, but nothing had prepared him for the embodied encounter.

Not a religious man, he found himself having a profoundly spiritual experience when faced with these “huge, luminous beams with folds… now shining brightly, now fading away to arise elsewhere… like keys on which invisible hands begin to play, back and forth, back and forth.” He writes in his memoir:

The northern lights are like nothing else on our planet. They are breathtaking! They surpass all human imagination to such an extent that one cannot help but reach for notions like “supernatural,” “divine,” “miraculous.” I, who had been so bold as to dare to portray these seemingly unreal visions, sank to my knees spiritually the first time I saw them. I need not be ashamed of that… I had imagined the northern lights as clearings in the sky, luminous domes and twilights. And then they were independent phenomena with their own light, their own movement, their own emergence, development and movement, its own resurrection, development and ending and resurrection again, its own mysterious unfolding.

Northern Lights by Harald Moltke, 1901.

It is not unimportant that the word “holy” shares its Latin root with “whole” and has its Indo-European origins in the notion of the interleaving of all things — the only perspective, available in every act of unselfing with wonder right here on Earth, that hallows a broken world whole.

BP

May Sarton on the Art of Living Alone

May Sarton on the Art of Living Alone

“There is no place more intimate than the spirit alone,” the young May Sarton (May 3, 1912–July 16, 1995) wrote in her stunning ode to solitude — the solitude she came to know, over the course of her long and prolific life, as the seedbed of creativity.

Living alone can be deeply rewarding and deeply challenging. It is not for everyone. It is not for those who romanticize its offerings of freedom and focus, but excise its menacing visitations of loneliness and alienation. It is not for those who find silence shattering. It is especially not for those who hunger for another consciousness to validate their experience and redeem their reality. It is only for the whole.

In her elder years, living alone on the coast of Maine and savoring a renaissance of creative energy after a long depression, Sarton returns to the subject of what solitude is and is not on the pages of her boundlessly rewarding journal The House by the Sea (public library).

May Sarton

Looking back on her life, she writes:

Solitude, like a long love, deepens with time.

But what solitude brings to a person is shaped by what the person brings to solitude. One August day, life brings Sarton a prompt to consider the art of living alone and the necessary preconditions for making of solitude not a resignation but a rapture:

Yesterday I had a letter from a young woman who is living alone, a film maker of some reputation. She wants to do a film on people who live alone, and will come next week to talk about her plans. I gather she has some doubts about the solitary life. I told her that I feel it is not for the young (she is only thirty-three). I did not begin to live alone till I was forty-five, and had “lived” in the sense of passionate friendships and love affairs very richly for twenty-five years. I had a huge amount of life to think about and to digest, and, above all, I was a person by then and knew what I wanted of my life. The people we love are built into us. Every day I am suddenly aware of something someone taught me long ago — or just yesterday — of some certainty and self-awareness that grew out of conflict with someone I loved enough to try to encompass, however painful that effort may have been.

Complement with the Buddhist scholar and teacher Stephen Batchelor on the art of solitude, Emerson on what solitude really means, and a contemporary field guide to how to be alone, then revisit Sarton on gardening and creativity, how to cultivate your talent, how to live openheartedly in a harsh world, and her stunning poem about the relationship between presence, solitude, and love.

BP

User-Friendly Self-Deception: Philosopher Amélie Rorty on the Value of Our Delusions and the Antidote to the Self-Defeating Ones

“Life is a dream. ‘Tis waking that kills us. He who robs us of our dreams robs us of our life,” Virginia Woolf wrote as she considered how our illusions keep us alive, shining a sidewise gleam on an elemental fact of human nature: We are touchingly prone to mistaking our models of reality for reality itself, mistaking the strength of our certainty for the strength of the evidence, thus moving through a dream of our own making that we call life. It can only be so — given how many parallel truths comprise any given situation, given how multifarious the data points packed into any single experience, given that this very moment “you are missing the vast majority of what is happening around you,” we are simply not capable of processing the full scope of reality. Our minds cope by choosing fragments of it to the exclusion, and often to the erasure, of the rest.

Art by Dorothy Lathrop, 1922. (Available as a print and as stationery cards.)

But what we choose and how we choose it defines the measure of our sanity, and how we go about choosing our adaptive delusions over the maladaptive ones defines our fitness for life. That is what philosopher Amélie Rorty (May 20, 1932–September 18, 2020) explores in a marvelous 1994 paper in the Journal of the Royal Institute of Philosophy, marvelously titled User-Friendly Self-Deception.

Recognizing that “many varieties of self-deception are ineradicable and useful,” Rorty writes:

We should not wish to do without the active, self-induced illusions that sustain us. Nor can we do without second order denials that they are illusions, the second order and regressive strategies that we self-deceptively believe rationalize our various self-deceptive activities. The question is: how can we sustain the illusions essential to ordinary life, without becoming self-damaging idiots? Are there forms of user-friendly self-deception that do not run the dangers that falsity, irrationality and manipulation are usually presumed to bring?

Self-deception, she notes, has various “cousins and clones” — among them “compartmentalization, adaptive denials, repressed conflicts and submerged aggressions, false consciousness, sublimation, wishful thinking, suspiciously systematic errors in self-reflection” — some of which are socially rewarded for their adaptive value in helping us attain our goals:

When we admire persistent and dedicated single-minded attention that systematically resists the distraction of fringe phenomena, we call it courage or purposeful resolution.

But as much as self-deception might animate our own inner lives, with our reflexive tendency to mistake self-righteousness for morality, we too readily indict with self-delusion anyone whose model of reality differs from ours:

The person who does not have our favoured reactions is open game for the charge of self-deception, if not of a more serious form of psychological abnormality.

One necessity of self-deception is the paradox of the self in time: We must each answer the question of what makes us and our childhood selves the “same” person despite a lifetime physical and psychological change, and we can only do so with a certain measure of self-deception, because, of course, in some essential sense we are not the same person — our personhood is pocked by inconstancy and inner contradiction, unstable across time. As Iris Murdoch reminds us, “the self, the place where we live, is a place of illusion” — the fundamental illusion upon which the structure of human life is built.

One of teenage artist Virginia Frances Sterrett’s 1920 illustrations for old French fairy tales. (Available as a print.)

Rorty considers the psychological roots and mechanisms of self-deception:

Like deception, self-deception is a species of rhetorical persuasion; and like all forms of persuasion, it involves a complex, dynamic and co-operative process. Successful deceivers are acute rhetoricians, astute seducers who know how to co-opt the psychology of their subjects. They begin with minute and subtle interactions designed to establish trust, with a manner of approach, certain gestures and intonation patterns, intimations of directed and redirected attention.

With an eye to the social dimension of all deception, she adds:

Deception and self-deception are not merely detached conclusions of invalid arguments: they are interactive processes with a complex cognitive and affective aetiology.

[…]

The canny self-deceiver puts herself in situations where her deflected attention will be strongly supported by her fellows.

[…]

It is extremely difficult to sustain self-deception without a little help from our friends, often rendered by observant but tactful silence.

Art by Kay Nielsen from East of the Sun and West of the Moon, 1914. (Available as a print and as stationery cards.)

This very fact points at the best antidote to harmful self-deception:

Since we are highly susceptible to socially induced self-deception, the wisest practical course is to be very careful about the company we keep… Unfortunately self- deception is just the thing that prevents us from seeking its best therapy: it does not know when to expand, and when to limit its epistemological company. Fortunately, we have many other kinds of reasons for being astute about the company we keep. With luck, a canny self-deceiver’s other psychological and intellectual habits — a taste for astringency and a distrust of hypocrisy, for instance — can prevent the wild imperialistic tendencies of self-deception from becoming entrenched and ramified.

Much self-deception, Rorty observes, is not a matter of outright lying to oneself, but of selective attention and fragmentation of truth:

Self-deception need not involve false belief: just as the deceiver can attempt to produce a belief which is — as it happens — true, so too a self-deceiver can set herself to believe what is in fact true. A canny self-deceiver can focus on accurate but irrelevant observations as a way of denying a truth that is importantly relevant to her immediate projects.

This is something that stems from the psychological machinery of all deception, possible because “any experience is open to an indefinite number of true and even relatively salient descriptions”:

Clever deceivers rarely tell outright falsehoods. It’s too risky. The art of deception is closely related to the magician’s craft: it involves knowing how to draw attention to a harmless place, to deflect it away from the action. Deeply entrenched patterns of perceptual, emotional and cognitive dispositions serve as instruments of deception. A skilled deceiver is an illusionist who knows how to manipulate the normal patterns of what is salient to their audience. He places salient markers — something red, something anomalous, something desirable — in the visual field, to draw attention just where he wants it. The strategy of perceptual self-deception is identical: the trick is to place oneself where patterns of salience are likely to deflect attention away from what we do not wish to see.

But for all of its pitfalls, and for all the urgency of continually questioning when it becomes self-defeating, self-deception can be greatly beneficent in our endeavors of self-transformation and growth, offering assurance that bolsters our will and an antidote to the “generalized uncertainty about the worth of our projects.” Rorty writes:

By convincing themselves that a desired self-transformation is within relatively easy reach, canny self-improvers can use self-deception as an energizing instrument.

Art by Dorothy Lathrop, 1922. (Available as a print and as stationery cards.)

Self-deception is also necessary in propping up the precarious pillar of modern life in this century of selfing — identity:

We invent something we call our identity, resting our self-respect on our engaging in its projects, independently of any other measure of their merits.

But perhaps the most essential function of healthy self-deception is in allaying our ambivalence about projects and life-choices that bring us tremendous rewards, but also have tremendous personal costs, an accurate assessment of which might undermine our willingness to undertake them:

Without some species of self-deception, our dedications, our friendships, our work, our causes would collapse. In deciding to have children, we ignore the travails of parents, obliterating our otherwise keen awareness of the typical relations among parents and children; in devoting ourselves to writing philosophy, we conveniently forget how little philosophy we are willing to read; in the interest of sanity and joy, we sidestep our deep ambivalences about our kith and kin.

[…]

Disguising and submerging the ambivalence that is natural to most of our enterprises not only brings us the energy, verve, style and ease that successful action requires; it also helps to assure the social co-operation that is equally essential to our individual and collective projects. A good deal of the polite conversation of social life, — the public description of the joys of our social roles and functions (friend, mother, teacher, scholar) — channels and streams us to play our parts without the mess, confusion and upheaval that would occur if we openly expressed our natural and sensible ambivalence about these roles. It is virtually impossible to imagine any society that does not systematically and actively promote the self-deception of its members, particularly when the requirements of social continuity and cohesion are subtly at odds with one another and with the standard issue psychology of their members. Socially induced self-deception is an instrument in the preservation of social co-operation and cohesion.

Complement with Walter Lippmann’s superb century-old anatomy of deception and self-delusion, then revisit Rorty on what makes a person: the seven layers of identity, in literature and life.

BP

Barry Lopez on the Cure for Our Existential Loneliness and the Three Tenets of a Full Life

Barry Lopez on the Cure for Our Existential Loneliness and the Three Tenets of a Full Life

“Place and a mind may interpenetrate till the nature of both is altered,” the great Scottish mountaineer and poet Nan Shepherd wrote as she reflected on the relationship between nature and human nature. But what we call place — that unalloyed presence with a here and now, with the unfolding of time in a locus of space — penetrates more than the mind: it permeates body and spirit and the entire constellation of being. There is a reason why the original Latin use of the word genius was in the phrase genius loci — the spirit of a place. We become who we are in the crucible of where we are.

Our minds, however, are born wanderers — perpetual refugees from presence, perpetually paying for their flight with loneliness. We go on forgetting that we are not only embodied creatures, but embodied in the body of the world; we go on forgetting that the here and now — that locus of intimacy with everything and everyone else inhabiting this island of spacetime, intimacy with the pulsating totality of our own being — is our only refuge from the existential loneliness that is the price of being alive.

“Planetary System, Eclipse of the Sun, the Moon, the Zodiacal Light, Meteoric Shower” by Levi Walter Yaggy from Geographical Portfolio — Comprising Physical, Political, Geological, and Astronomical Geography, 1887. (Available as a print and as stationery cards.)

That is what Barry Lopez (January 6, 1945–December 25, 2020) explores in “Invitation” — one of the twenty-six exquisite essays in his posthumous collection Embrace Fearlessly the Burning World (public library).

Drawing on his longtime immersion in indigenous cultures and his lifelong travel with native companions, Lopez counters the hollow stereotype that indigenous people’s connection to place is a sort of “primitive” sensitivity to be contrasted with “advanced” civilization:

Such a dismissive view, as I have come to understand it, ignores the great intangible value that achieving physical intimacy with a place might provide. I’m inclined to point out to someone who condescends to such a desire for intimacy, although it might seem rude, that it is not possible for human beings to outgrow loneliness. Nor can someone from a culture that condescends to nature easily escape the haunting thought that one’s life is meaningless.

Existential loneliness and a sense that one’s life is inconsequential, both of which are hallmarks of modern civilizations, seem to me to derive in part from our abandoning a belief in the therapeutic dimensions of a relationship with place. A continually refreshed sense of the unplumbable complexity of patterns in the natural world, patterns that are ever present and discernible, and which incorporate the observer, undermine the feeling that one is alone in the world, or meaningless in it. The effort to know a place deeply is, ultimately, an expression of the human desire to belong, to fit somewhere.

“View of Nature in Ascending Regions” from Yaggi’s Geographical Portfolio, 1893. (Available as a print and as stationery cards.)

This longing to belong with the world is the fulcrum of our yearning for meaning. Whitman knew it when, after his paralytic stroke, he arrived at what makes life worth living; Mary Shelley knew it when, in the wake of her staggering bereavement, she reckoned with what gives meaning to a broken life; Lopez knows it, locating the cure for our existential loneliness in our intimate relationship to place:

The determination to know a particular place, in my experience, is consistently rewarded. And every natural place, to my mind, is open to being known. And somewhere in this process a person begins to sense that they themselves are becoming known, so that when they are absent from that place they know that place misses them. And this reciprocity, to know and be known, reinforces a sense that one is necessary in the world.

This question of how our relationship to place deepens our relationship to life permeates the entire book. In another essay from it, titled “An Intimate Geography,” he writes:

Intimacy with the physical Earth apparently awakens in us, at some wordless level, a primal knowledge of the nature of our emotional as well as our biological attachments to physical landscapes. Based on my own inquiries, my impression is that we experience this primal connection regularly as a diffuse, ineffable pleasure, experience it as the easing of a particular kind of longing.

Art by Giuliano Cucco from Before I Grew Up by John Miller

Lopez is the ultimate modern anti-Cartesian, reminding us again and again of our creaturely nature, interconnected and indivisible — the life of the mind indivisible from the life of the body, our portable totalities interleaved with the whole of the world. He offers a succinct prescription for remedying the elemental longing pulsating beneath our restlessness and our loneliness:

Perhaps the first rule of everything we endeavor to do is to pay attention. Perhaps the second is to be patient. And perhaps a third is to be attentive to what the body knows.

Complement these fragments from the wholly magnificent Embrace Fearlessly the Burning World with C.S. Lewis on what we long for in our existential longing and this lovely illustrated antidote to our elemental loneliness, then revisit Lopez on the key to great storytelling and the three steps to becoming a writer.

BP

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