The Marginalian
The Marginalian

C.S. Lewis on How to Structure the Days of a Creative Life and Train the Receptive Imagination

By Maria Popova

C.S. Lewis on How to Structure the Days of a Creative Life and Train the Receptive Imagination

There are, in my experience, two fundaments of the creative life: putting yourself regularly in the path of wonder and getting out of your own way in order to receive what you encounter there.

Wonder, like enchantment, is not something you can control or plan for or will — it is something that befalls you, overcomes you, pours upon you spontaneous and unbidden. Paradoxically, what makes such spontaneity possible is structure — an organizing principle for the hours of the day that makes room, and reserves it, for these moments of magic. This is not simple to configure and not easy to enact: How to spend our hours and shape our days may be the supreme problem of human life. There is no permanent, perfect, or universal solution, for the problem is laced with our particularity — but we can learn from each other, borrow bits and pieces from various approaches, constellate a singular organizing principle from different points of light.

Among the finest I have encountered, in being both pragmatic and profound, is the one C.S. Lewis (November 29, 1898–November 22, 1963) offers in his memoir Surprised by Joy (public library).

C.S. Lewis

Looking back on a period of especial creative fertility and focus — one in which The Chronicles of Narnia began germinating — he details the deliberate structure of his days:

I would choose always to breakfast at exactly eight and to be at my desk by nine, there to read or write till one. If a cup of good tea or coffee could be brought me about eleven, so much the better… At one precisely lunch should be on the table; and by two at the latest I would be on the road. Not, except at rare intervals, with a friend.

Echoing mountaineer and poet Nan Shepherd’s insight about what makes an ideal walking companion, he adds:

Walking and talking are two very great pleasures, but it is a mistake to combine them. Our own noise blots out the sounds and silences of the outdoor world… The only friend to walk with is one… who so exactly shares your taste for each mood of the countryside that a glance, a halt, or at most a nudge, is enough to assure us that the pleasure is shared.

Every visionary is equal parts proprietor of a way of seeing unlike any other in the entire history and future of the universe, and product of their time and place. For all his originality and daring, Lewis — born in the final years of the nineteenth century, forged in the crucible of proper Englishness — was still touchingly a product of his culture:

The return from the walk, and the arrival of tea, should be exactly coincident, and not later than a quarter past four. Tea should be taken in solitude.

Tea comes with a light meal. Observing that, unlike walking and talking, “eating and reading are two pleasures that combine admirably,” he recounts always dining with a book — though not all books would do. “It would be a kind of blasphemy to read poetry at table,” he admonishes. Read, instead, “a gossipy, formless book which can be opened anywhere.” To us, the whole of the Internet may be one such gossipy, formless scroll. To Lewis, it meant books like Tristram Shandy and Anatomy of Melancholy.

And then, at five, back to work until seven, concluding the day in a manner that would make Andrew Huberman proud:

Then, at the evening meal and after, comes the time for talk, or, failing that, for lighter reading; and unless you are making a night of it with your cronies… there is no reason why you should ever be in bed later than eleven.

Art by Lisk Feng from There Was a Shadow by Bruce Handy

In a passage of especial poignancy in our own time, when the modes and demands of correspondence have proliferated to a tyrannical degree, he adds a primary parameter that holds the entire structure together:

It is an essential of the happy life that a man would have almost no mail and never dread the postman’s knock. In those blessed days I received, and answered, only two letters a week; one from my father, which was a matter of duty, and one from [my best friend] Arthur, which was the high light of the week, for we poured out to each other on paper all the delight that was intoxicating us both.

All of this structure, all of this protection from intrusion, is in the service of one thing only — training the imagination to receive the signal of life, the signal of which all of our creative work is a translation. A century before science illuminated how the natural world fuels creativity, Lewis saw a parallel between our encounters with nature and with the muse. He offers a timeless instruction for how to face the forest or the blank page, the cosmos or the canvas:

Total surrender is the first step… Shut your mouth; open your eyes and ears. Take in what is there and give no thought to what might have been there or what is somewhere else.

Complement with George Kubler on how to hear the signal of your life and Hermann Hesse on wonder and the proper aim of education, then revisit C.S. Lewis on what we long for in our existential longing.

BP

Inner Space, Outer Space, and How to Be an Astronaut in the Cosmos of Connection: Eric Berne on the Key to True Intimacy

By Maria Popova

Inner Space, Outer Space, and How to Be an Astronaut in the Cosmos of Connection: Eric Berne on the Key to True Intimacy

We move among surfaces. If we are lucky enough, if we are courageous enough, every once in a while we dive into the depths with another. It is not easy, because even through our best self-awareness, we remain largely unfathomable to ourselves. To reach the nether fathoms with another is a transcendent terror — one we can only bear for a little while before some great gasp of panic beckons us back to the surface.

The willingness to stay is what we call intimacy, and it is the hardest-won, most precious mutual gift two people could exchange.

In the final year of his life, six years after he radicalized the psychology of relationships with his now-iconic book Games People Play, Eric Berne (May 10, 1910–July 15, 1970) took up the intricacies of intimacy by building on his central model of the three ego states that live in each of us: the Child (the most natural, vulnerable, and spontaneous part of our personality, keeper of our creative vitality and our most unalloyed capacity for pleasure); the Parent (the part of us that unconsciously mimics the psychological responses of our parents as we observed them in childhood); and the Adult (the competent and self-possessed part of us capable of making sound decisions in our best interest).

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

In Games People Play, Berne had codified the basis of all human miscommunication and mutual wounding in the crossed communication channels between these three different ego-states as they converse with one another within and between persons. In Sex in Human Loving (public library), he considers the particular interference that garbles the flow of intimacy and the particular solution to it. He writes:

The human race has had so much time on its hands, and is so afraid of open intimacy, that it has devised many ways of using its organs for hidden purposes and for frivolous or false relationships.

[…]

Intimacy is a candid Child-to-Child relationship with no games and no mutual exploitation. It is set up by the Adult ego states of the parties concerned, so that they understand very well their contracts and commitments with each other, sometimes without a word being spoken about such matters. As this understanding becomes clearer, the Adult gradually retires from the scene, and if the Parent does not interfere, the Child becomes more and more relaxed and freer and freer. The actual intimate transactions take place between the two Child ego states. The Adult, however, still remains in the background as an overseer to assure that the commitments and limitations are kept. The Adult also has the task of keeping the Parent from barging in and spoiling the situation. In fact the capacity for intimacy depends upon the ability of the Adult and the Child to keep the Parent at bay if necessary; but it is even better if the Parent benevolently gives permission or, best of all, encouragement, for the relationship to proceed. Parental encouragement helps the Child lose his fear of intimacy, and assures that he will not be restrained by a burden or threat of guilt.

Art by Shel Silverstein from his allegory of the secret to true intimacy, The Missing Piece Meets the Big O.

Berne notes that anyone who has embarked on an intimate relationship would recognize the mental voices of the three ego states — the exuberant Child, impatient to dive headfirst into the shimmering waters of the new relationship; the Parent wagging a finger at some supposed red flag or “making some approving comment… at which the Child nods eagerly,” and the Adult coolly evaluating the situation until a pronouncement can me made that this potential partner seems to be “the one.”

Real intimacy, Berne argues, requires that the Child be set free from both the inner Parent and the Adult, for they have corrupted true seeing with notions of knowing: naming things, classifying things, conceptualizing things — the interpretive filters we superimpose over raw experience as we grow up.

In Berne’s model — although he doesn’t use those terms, for ancient Eastern philosophy was yet to permeate mainstream Western culture — the Child is the most nondualistic part of us: the part that inhabits that primeval space before the world has been divided into subject and object, when all is unfiltered experience, spontaneous and pure.

Illustration by Maurice Sendak from Kenny’s Window — his little-known philosophical first children’s book.

In consonance with Wild Things creator Maurice Sendak’s insistence that a full life is a matter of “having your child self intact and alive and something to be proud of,” Berne writes:

Most human beings never really see another person after they are five years old. In an intimate relationship, each party returns to the original naïve Child ego state, where he is free of such Parental prohibitions and Adult requirements, and can see, hear, and taste in its purest form what the world has to offer. This freedom of the Child is the essential part of intimacy, and it turns the whole universe, including the sun, moon, and stars, into a golden apple for both parties to enjoy.

[…]

Once the Child is free of Adult caution and Parental criticism, he has a sense of elation and awareness. He begins to see and hear and feel the way he really wants to, the way he originally did before he was corrupted by his living parents. In this autonomous state, he no longer has to name things, as is usually required by his Adult, nor account for his behavior, as demanded by his Parent. He is free to respond directly and spontaneously to what he sees and hears and feels. Because the two parties trust one another, they freely open up their secret worlds of perception, experience, and behavior to each other, asking nothing in return except the delight of opening the gates without fear.

Art by Sophie Blackall from Things to Look Forward to

A childlike playfulness with language — that supreme castle of concepts — is one way Berne countered the Adult and the Parent. He enjoyed twisting common words deemed obscene, folding them unto themselves by spelling them backward and sideways. Cuff was his preferred phonetic origami of fuck — a superior form of the word, he thought, as a sensory emblem of both our somatic experience and our experiential ideologies:

A respect for the power of obscenity is not a quaint relic of an antique way of thinking. Rather it is one aspect of a way of life in which the most important quality is grace. Grace means graceful movements, and graceful moments of solitude or communion. This quality is well understood by dancers, rhetoricians, and students of Zen and other Oriental philosophies. It means speaking gracefully and making each hour a work of art.

[…]

Cuff is the only word in the English language that gives the full feeling, excitement, slipperiness, and aroma of the sexual act. Its lascivious “f” sound also helps to give it a realistic punch. [Other synonyms] carefully avoid the idea of excitement and lust, and even more carefully avoid one of the most primitive and powerful elements in sex, which is smell. Cuff takes in all of these, just as a child does, because it starts off as a child’s word.

Intimacy, Berne argues in the central premise of his model, can only be achieved by allowing untrammeled spontaneity — a function of the inner Child that must remain alive and beloved in each of us as we move through adulthood, if life is to have a fulness of being. In a lovely passage that reads like a poetic children’s book for grownups, he considers what real intimacy means:

A star is the glowing light inside the other person, distantly seen, brave soul’s tiny flame, too bright to approach without great courage and integrity. Each person lives alone in inner space, and intimacy is out there. Intimacy is outer space, and if that’s where you are, you don’t say “Cuff you!” to a star.

Art from Before I Grew Up

Complement with Shel Silverstein’s illustrated allegory of the key to true intimacy, then revisit Hannah Arendt on love and how to live with the fundamental fear of loss.

BP

Orcas and the Price of Consciousness: Lessons in Love and Loss from Earth’s Most Successful and Creative Predator

By Maria Popova

Marbling the waters of every ocean with their billows of black and white, orcas are Earth’s most creative and most successful apex predator. Although they are known as killer whales, they are the largest member of the dolphin family. Older than great white sharks, they hunt everything from seals a tenth their size to moose bathing in the shallows to Earth’s largest animal — the blue whale, whose tongue alone can weigh as much as a female orca.

The secret to these staggering feats is not brute force but strategy and synchrony.

Beneath the shimmering surface that divides us from what Rachel Carson called “those six incomprehensible miles into the recesses of the abyss,” through the growling din of the engines that conduct consumerism between continents, orcas are communicating in their sonic hieroglyphics, speaking to each other in haunting and melodious voices that summon the most coordinated hunting strategy known in the animal kingdom.

Traveling in matrilineal groups, they search for seals across the frozen expanse, moving effortlessly through pack ice that sinks immense ships. As soon as they identify the prey, they swim together under the ice to shatter it with a sub-surface shock wave, then begin blowing bubbles beneath to push the broken pieces apart. Once the cracks are wide enough, they turn on their sides to create a synchronized surface wave so large its crest crashes onto the ice, pushing seals into the water, where the pod divides the bounty according to a complex calculus of social bonds.

All the while, they are teaching their young how to perform this collaborative symphony of physics and predation — a further testament to social learning as a key substrate of intelligence — and it is the females, particularly post-menopausal matriarchs, who are doing the teaching. Orcas have such strong maternal bonds that sons stay with their mothers for life — a phenomenon so well documented that the researchers behind one longitudinal study dubbed male orcas “mamma’s boys.”

Orca pod hunting a great blue whale. St. Nicholas magazine, 1920.

But while these bonds are the orcas’ great strength, they are also their great vulnerability.

In 2018, while secluded on a small mossy island in Puget Sound to finish my first book, I watched the world turn with shattering tenderness toward an unfolding local event — for seventeen days, across a thousand miles of ocean, an orca mother carried her dead calf draped over her head, hardly eating, barely keeping up with her pod. NPR called it her “tour of grief.” When she lost another calf in early 2025 — two thirds of orca pregnancies result in either miscarriage or infant death — she did the same, this time seventeen days.

Such sights so chill us because they are emblems of the miracle and tragedy of consciousness. Orcas would not be capable of such staggering success as predators if they were not also capable of such shattering grief, both a function of their intricate bonds, their collaborative interdependence, their complex consciousness that differentiates and bridges the difference between self and other. In the human realm, we call this love — the aspect of consciousness subject to the cruelest evolutionary equation: As Hannah Arendt so poignantly articulated, loss is the price we pay for love. It seems almost unbearable as we watch the mother orca carry her dead calf, and yet we too must bear it, and do bear it, however long and however far we may have to carry the dead weight of our grief — because we must, if we are worthy of our own aliveness, love anyway. “Gamble everything for love, if you are a true human being,” wrote Rumi. Perhaps we are here to learn that love is worth any price, any price at all.

BP

Bertrand Russell on the Secret of Happiness

By Maria Popova

Bertrand Russell on the Secret of Happiness

In my darkest hours, what has saved me again and again is some action of unselfing — some instinctive wakefulness to an aspect of the world other than myself: a helping hand extended to someone else’s struggle, the dazzling galaxy just discovered millions of lightyears away, the cardinal trembling in the tree outside my window. We know this by its mirror-image — to contact happiness of any kind is “to be dissolved into something complete and great,” something beyond the bruising boundaries of the ego. The attainment of happiness is then less a matter of pursuit than of surrender — to the world’s wonder, ready as it comes.

That is what the Nobel-winning philosopher and mathematician Bertrand Russell (May 18, 1872–February 2, 1970) explores in The Conquest of Happiness (public library) — the 1930 classic that gave us his increasingly urgent wisdom on the vital role of boredom in flourishing.

bertrandrussell3
Bertrand Russell

Russell writes:

The world is vast and our own powers are limited. If all our happiness is bound up entirely in our personal circumstances it is difficult not to demand of life more than it has to give. And to demand too much is the surest way of getting even less than is possible. The man* who can forget his worries by means of a genuine interest in, say, the Council of Trent, or the life history of stars, will find that, when he returns from his excursion into the impersonal world, he has acquired a poise and calm which enable him to deal with his worries in the best way, and he will in the meantime have experienced a genuine even if temporary happiness.

In a sentiment he would expand in his final years as he contemplated what makes a fulfilling life, he adds:

The secret of happiness is this: let your interests be as wide as possible, and let your reactions to the things and persons that interest you be as far as possible friendly rather than hostile.

Couple this fragment of the wholly nourishing The Conquest of Happiness with Kurt Vonnegut on the secret of happiness, then revisit Russell on the key to the good life, how to heal a divided world, and his magnificent Nobel Prize acceptance speech about the four desires driving all human behavior.

BP

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