Write to Life blog

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

Here’s the link to this article.

“The question is: how can we sustain the illusions essential to ordinary life, without becoming self-damaging idiots?”

BY MARIA POPOVA

“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.

Drafting–Colton and Sandy inspect Mildred’s van inside the detached garage

Colton and Sandy waited until 9:00 PM to walk to the detached garage and inspect Mildred’s van. Sandy new from his younger days that she was an early-to-bed, early-to rise woman. Pop had always said Mildred was like a chicken at night, taking to her roost fifteen to thirty minutes before sunset. But, in the mornings, she was up by 4:00 AM, a good two to three hours before sunrise, the normal chicken-rising time. Mildred no longer had chickens but Sandy and Colton doubted she’d changed her habits.

The dark gray, almost black, van was a 2017 Mercedes-Benz Sprinter 2500 4×4. According to paperwork in the console, Mildred had purchased the like-new RV for $79,000 from a man named Angelo Danesi out of Marietta, Georgia. He had bought the Sanctuary model from Thor Motor Coach in Elkhart, Indiana.

To say the van was luxurious was a gross understatement. It had everything two people would need to comfortably travel year round, even off-road. Up front were two ergonomic captain chairs facing a high-tech dashboard. Behind them was the well-designed living quarters, accessible directly from the captain chairs or via the exterior sliding door located behind the passenger seat.

As Sandy walked around the van marveling the sleek design, Colton inspected the well-equipped rolling apartment. At dinner, while considering whether the van might provide a better option than Pop’s house, he’d inventoried what a mobile set-up should include. The van more than met his expectations: inside the living quarters was a two-burner stove and sink (outside, he’d noticed an attached grill toward the right rear side), a refrigerator, a microwave oven, a surprisingly large shower/commode bathroom combination, two couches that made into beds, and plenty of storage.

Sandy joined Colton in the other captain’s chair. “Sorry, but I’m still confused. Won’t getting rid of Mildred and stealing her van just put us more in the cross-hairs than getting rid of her and using Pop’s as our command center?”

It wasn’t a bad way to frame the central issue but Colton had a twist. “Here’s a third option. Before we get rid of Mildred we use her to eliminate us from the cross-hairs you mention, the one you think is based on her missing van.”

Sandy reached to the steering column and turned the key but stopped short of starting the engine. He then fiddled with the large computerized touch screen in the center of the dash. “Explain. What do you mean, ‘use her’?”

“We make her do the normal things she would otherwise do if she were about to take a trip. Things like withdraw money, pack her bags, maybe call a neighbor to collect her mail and watch the house.” Colton lowered his left hand and felt the seat controls. He activated each one, sequentially. “Unbelievable. My seat will do everything but make coffee.”

“That’s like a horse and wagon compared to this thing.” Sandy said, scrolling through FaceBook. “Mildred must have a data-plan.”

“Maybe it’s connected to WiFi.” Colton added. “Question. Does Mildred have children?” It was something he hadn’t considered until now.

“One, a son, Mason, but they’ve been estranged since I was a kid.”

“Why? What happened?” Colton knew that if the two reconciled, a problem for him and Sandy was certain to arise.

“Not sure. I’d guess it had to do with Mason’s father. I only met him a time or two but Pop said the man was crazy. Anyway, the son left after high school and probably never returned.”

Colton used his fingers to calculate Mason’s age. “Mildred is eighty-five. Son would be sixty-five. Seventy?”

“Sounds about right. I’d say he could care less what’s going on with his mother, but Alice is another matter.” Whether he knew it or not, Sandy was offering valuable assistance.

“Who’s Alice?” Colton hoped Mildred didn’t have a close friend.

“Best friend and neighbor. Lives right over there.” Sandy pointed diagonally to his left into the dark, and looked at Colton. “Don’t you dare say, she has to go.”
“No stupid, but Mildred will have to call her. And, convince her she’s taking a trip.”

“I can’t wait to see that. Plus watch her withdraw money from her bank.” Sandy turned up the volume on a YouTube he’d found tauting the benefits of an air-fryer.

Colton looked at the computer screen, saw it was 9:45, and wondered where Millie was and what her and Molly were doing. Damn, why hadn’t he installed the new GPS car tracker Thursday night. “Let’s get some rest. Tomorrow we need to nail down all the details to enable us to pull this off Monday morning.”

Sandy could be hopeless in his predictions. “So, we’re going to kidnap Mildred and take her along to God know’s where?”

Colton pushed a button on the dash to his left marked, ‘Reset seat.’ “You’re right about the kidnapping part, but her ride will only be as long as needed to find a secluded spot to dump her body.” He turned off the key and exited the van fully aware Sandy wasn’t convinced what they were about to do would help keep them out of prison.

“Shit, shit, shit.” Is all Sandy could say as they closed the garage door and trod back to Pop’s house.

Writing Journal—Sunday writing prompt

After a big argument with his spouse, your character goes for a walk and witnesses a crime. Describe your character’s dilemma choosing between doing something to stop what’s happening or remaining hidden to stay safe.

One Stop for Writers

Guidance & Tips

Write the scene of discovery (i.e., tell a story), or brainstorm and create a list of related ideas.

Here’s five story elements to consider:

  • Character
  • Setting
  • Plot
  • Conflict
  • Resolution

Never forget, writing is a process. The first draft is always a mess.

The first draft of anything is shit.

Ernest Hemingway

Dinosaurs of the Sky: Consummate 19th-Century Scottish Natural History Illustrations of Birds

Here’s the link to this article.

From pigeons to parakeets, an uncommonly beautiful celebration of biodiversity.

BY MARIA POPOVA

Birds populate our metaphors, our poems, and our children’s books, entrance our imagination with their song and their chromatically ecstatic plumage, transport us on their tender wings back to the time of the dinosaurs they evolved from. But birds are a time machine in another way, too — not only evolutionarily but culturally: While the birth of photography revolutionized many sciences, birds remained as elusive as ever, difficult to capture with lens and shutter, so that natural history illustration has remained the most expressive medium for their study and celebration.

To my eye, the most consummate drawings of birds in the history of natural history date back to the 1830s, but they are not Audubon’s Birds of America — rather, they appeared on the other side of the Atlantic, in the first volume of The Edinburgh Journal of Natural History and of the Physical Sciences, with the Animal Kingdom of the Baron Cuvier, published in the wake of the pioneering paleontologist Georges Cuvier’s death.

Hundreds of different species of birds — some of them now endangered, some on the brink of extinction — populate the lavishly illustrated pages, clustered in kinship groups as living visual lists of dazzling biodiversity.

Titmice. (Available as a print and stationery cards.)
Sugarbirds. (Available as a print and stationery cards.)
Shrikes. (Available as a print and stationery cards.)
Shrikes. (Available as a print and stationery cards.)
Thrush-shrikes. (Available as a print and stationery cards.)
Tangers. (Available as a print and stationery cards.)
Gnat-catchers. (Available as a print and stationery cards.)
Chats. (Available as a print and stationery cards.)
Pittas. (Available as a print and stationery cards.)
Orioles. (Available as a print and stationery cards.)
Warblers. (Available as a print and stationery cards.)
Kinglets. (Available as a print and stationery cards.)
Owls. (Available as a print and stationery cards.)

Owls. (Available as a print and stationery cards.)

Wrens. (Available as a print and stationery cards.)
Eurylaimidae. (Available as a print and stationery cards.)
Bunting. (Available as a print and stationery cards.)
Finches. (Available as a print and stationery cards.)
Crossbills. (Available as a print and stationery cards.)
Jays. (Available as a print and stationery cards.)
Sunbirds. (Available as a print and stationery cards.)
Hoopoes. (Available as a print and stationery cards.)
Bee-eaters. (Available as a print and stationery cards.)
Hornbills. (Available as a print and stationery cards.)
Woodpeckers. (Available as a print and stationery cards.)
Trogon. (Available as a print and stationery cards.)
Cockatoos. (Available as a print and stationery cards.)
Lories and parakeets. (Available as a print and stationery cards.)
Quails. (Available as a print and stationery cards.)
Harrier hawks. (Available as a print and stationery cards.)
Pigeons. (Available as a print and stationery cards.)
Pigeons. (Available as a print and stationery cards.)
Pigeons. (Available as a print and stationery cards.)

Among the cornucopia of species depicted — pigeons and parakeets, warblers and jays, woodpeckers and owls, sunbirds and sugarbirds — none occupy more space than hummingbirds, perhaps due to their enduring enchantment partway between science and magic.

Hummingbirds. (Available as a print and stationery cards.)
Hummingbirds. (Available as a print and stationery cards.)
Hummingbirds. (Available as a print and stationery cards.)
Hummingbirds. (Available as a print and stationery cards.)
Hummingbirds. (Available as a print and stationery cards.)

Couple with some stunning 19th-century ink illustrations of owls, dial back a century with the trailblazing 18th-century artist Sarah Stone’s paintings of exotic, endangered, and extinct species, and dive into the fascinating science of feathers.

02/18/23 Biking & Listening

Biking is something else I both love and hate. It takes a lot of effort but does provide good exercise and most days over an hour to listen to a good book or podcast. I especially like having ridden.

Here’s my bike, a Rockhopper by Specialized. I purchased it November 2021 from Venture Out in Guntersville; Mike is top notch! So is the bike, and the ‘old’ man seat I salvaged from an old Walmart bike.

Here’s a link to today’s bike ride. This is my pistol ride.

Here’s a few photos taken along my route:

Here’s what I’m currently listening to: The Third Deadly Sin, by Lawrence Sanders

Sanders was a tremendously talented writer.

Amazon abstract:

New York Times Bestseller: A retired cop hunts for a female serial killer no one would suspect in this “first-rate thriller . . . as good as you can get” (The New York Times).

By day, she’s a middle-aged secretary no one would look at twice. But by night, dressed in a midnight-black wig, a skin-tight dress, and spike heels, she’s hard to miss. Inside her leather shoulder bag are keys, cash, mace, and a Swiss Army knife. She prowls smoky hotel bars for prey. The first victim—a convention guest at an upscale Manhattan hotel—is found with multiple stab wounds to the neck and genitals. By the time retired police detective chief Edward Delaney hears about the case from an old colleague, the Hotel Ripper has already struck twice. Unable to resist the puzzle, Delaney follows the clues and soon realizes he’s looking for a woman. As the grisly slayings continue, seizing the city in a chokehold of panic, Delaney must stop the madwoman before she kills again.

A Sample Five Star Review

M. G Watson

VINE VOICE

5.0 out of 5 stars Third Time’s the Charm

Reviewed in the United States on May 15, 2015

Verified Purchase

It is arguable that Lawrence Sanders never rose to greater heights as a prose stylist, suspense-writer or storyteller than he did with THE THIRD DEADLY SIN, the penultimate novel in his “deadly sin” series of books and the fourth of five to feature crusty, sandwich-obsessed Edward X. Delaney as a protagonist. Though once referred to as “Mr. Bestseller” and nearly as prolific in his day as Stephen King, Sanders seems to be forgotten now, except for his “McNally” series which was hardly representative of his best work; but at his best he was both compulsively readable and immensely satisfying, and this novel is both.

Zoe Kohler is the world’s most boring woman. Hailing from a small town somewhere in the Midwest, divorced from a husband who treated her like she was invisible, virtually friendless, and stuck in a mindless, dead-end job in the security office of an old hotel in Manhattan, she worries incessantly about her health and indulges in only one hobby: murder. Sexing herself up every Friday night, Zoe picks up unsuspecting businessmen attending conventions in different hotels around town, and delivers to each the same grisly fate: a Swiss Army knife, first to the throat and then to the jewels. But because nobody ever notices the world’s most boring woman, nobody suspects her, leaving Zoe free to indulge her hobby — over and over and over again.

Edward X. Delaney used to be a cop — and not just any cop, but the NYPD’s Chief of Detectives. Now, of course, he’s just a bored retiree, living in a Manhattan brownstone with this second wife. So when his former “rabbi” in the Department, Deputy Commissioner Ivar Thorsen, asks him to help investigate a series of baffling murders being committed in hotels around the city, Delaney agrees, but has little idea what he’s getting into: a search for a faceless, motiveless “repeater” (1970s slang for serial killer) whose vicious talents with a short-bladed knife are wreaking havoc with New York’s once-thriving convention trade. Acting as an unofficial adviser to the “Hotel Ripper” task force, Delaney begins to suspect that male prejudices, including his own, may be blinding his fellow detectives to the possibility of that the Ripper may not be a man. But he has no suspects, no witnesses, no fingerprints, and no hard evidence. Only instincts. And a growing pile of victims.

THE THIRD DEADLY SIN is a very attractive suspense novel for many reasons. Aside from Sanders prose style, which is beautiful, memorable and incredibly evocative, it works on multiple levels. Firstly, the character of Zoe Kohler. She is at once both a pitiable loser, struggling with health problems and sexist attitudes at work a burgeoning relationship with a sweet and unsuspecting man…and a remorseless, relentless killer, who hunts men for the sheer thrill of it. Second, Edward X. Delaney. This crusty, hard-nosed, sandwich-obsessed detective is neither sexy, flashy, nor gifted with any great deductive genius: he’s simply like a boulder that, starting slowly, gathers investigative momentum until he crushes just about everyone in his path, yet at the same time possesses a sensitivity — largely through his wife’s softening influence — that allows him more nuances than a typical, cigar-chewing, old school detective. And this leads me to the books third major strength, which is its examination of sexual attitudes, gender roles and (unintentionally) police procedure during the period it was written — about 35 years ago. At that time the pathology of serial killers was scarcely understood, forensic science still in its infancy, and the idea of gender equality more of a punchline than a serious idea. Delaney, an aging Irish cop with flat feet, is both brimming with cheauvanistic, patronizing, old-school attitudes and open to the possibility that those attitudes may be wrong.

No novel is perfect, of course, and this one is no exception. Sanders sometimes makes small but basic errors in matters of police procedure, slang and etiquette; the sort of mistakes which are the result of never having been a cop himself. Occasionally he tries too hard to make characters colorful, giving them a contrived rather than a naturalistic feel; and sometimes his dialogue and description betray his overwhelming love of the English language and end up sounding pretentious or, coming out of the mouths of certain characters, simply unrealistic. (This also leads him to over-write scenes with minor characters, such as Zoe’s doctor.) Most of the criticisms I can mount a this book, however, fall in the “nitpicking” category, and even when taken in the aggregate fail to outweigh all of its many pleasures.

THE THIRD DEADLY SIN may or may not have been Sanders’ best book (you could make a case for THE SIXTH COMMANDMENT or THE SECOND DEADLY SIN or THE ANDERSON TAPES or various others). It may not even be his best suspense novel. But for my money it is not merely a good read but equally satisfying upon each subsequent reading, which is about the highest praise I can give to an author’s work. So: buy it, make yourself a sandwich, and sit down to this half-forgotten but deservedly remembered author. Murder and mayhem have never been so fun.

Writing Journal—Saturday writing prompt

While taking a young nephew to the park, your character notices something half-covered in the sand box. What it is, and what the character does next, is up to you. 

One Stop for Writers

Guidance & Tips

Write the scene of discovery (i.e., tell a story), or brainstorm and create a list of related ideas.

Here’s five story elements to consider:

  • Character
  • Setting
  • Plot
  • Conflict
  • Resolution

Never forget, writing is a process. The first draft is always a mess.

The first draft of anything is shit.

Ernest Hemingway

Nick Cave on the Art of Growing Older

Here’s the link to this article.

“We’re often led to believe that getting older is in itself somehow a betrayal of our idealistic younger self, but sometimes I think it might be the other way around.”

BY MARIA POPOVA

Nick Cave on the Art of Growing Older

“The perilous time for the most highly gifted is not youth,” the visionary Elizabeth Peabody, who coined the term transcendentalism, wrote in her timeless admonition against the trap of complacency. “The perilous season is middle age, when a false wisdom tempts them to doubt the divine origin of the dreams of their youth.”

A century and a half after her, contemplating how to keep life from becoming a parody of itself, Simone de Beauvoir observed: “In old age we should wish still to have passions strong enough to prevent us turning in on ourselves.”

Moving through the stages of life and meeting each on its own terms is the supreme art of living — the ultimate test of self-respect and self-love. Often, what most blunts our vitality is the tendency for the momentum of a past stage to steer the present one, even though our priorities and passions have changed beyond recognition.

How to honor the unfolding of life without a punitive clinging to past selves is what Nick Cave explores in a passage from Faith, Hope and Carnage — one of my favorite books of 2022.

Nick Cave in Newcastle, 2022.

At sixty-five, he reflects:

We’re often led to believe that getting older is in itself somehow a betrayal of our idealistic younger self, but sometimes I think it might be the other way around. Maybe the younger self finds it difficult to inhabit its true potential because it has no idea what that potential is. It is a kind of unformed thing running scared most of the time, frantically trying to build its sense of self — This is me! Here I am! — in any way that it can. But then time and life come along, and smash that sense of self into a million pieces.

In consonance with the great Buddhist teacher Pema Chödrön’s insight that “only to the extent that we expose ourselves over and over to annihilation can that which is indestructible be found in us,” he considers what is found on the other side of that self-shattering:

Then comes the reassembled self, the self you have to put back together. You no longer have to devote time to finding out what you are, you are just free to be whatever you want to be, unimpeded by the incessant needs of others. You somehow grow into the fullness of your humanity, form your own character, become a proper person — I don’t know, someone who has become a part of things, not someone separated from or at odds with the world.

A generation earlier, Bertrand Russell touched on this in his astute observation that growing older contentedly is matter of being able to “make your interests gradually wider and more impersonal, until bit by bit the walls of the ego recede, and your life becomes increasingly merged in the universal life.”

Complement with Grace Paley on the art of growing older, then revisit Nick Cave on self-forgivenessthe relationship between vulnerability and freedom, and the antidote to our existential helplessness.

Writing Journal—Friday writing prompt

Your character is on a dive trip while on vacation. When he surfaces, he discovers that the boat is gone. He’s alone. Describe what happens next.

One Stop for Writers

Guidance & Tips

Write the scene of discovery (i.e., tell a story), or brainstorm and create a list of related ideas.

Here’s five story elements to consider:

  • Character
  • Setting
  • Plot
  • Conflict
  • Resolution

Never forget, writing is a process. The first draft is always a mess.

The first draft of anything is shit.

Ernest Hemingway