From The Overstory, by Richard Powers, p. 257:

He’s admitted to the new social psychology graduate program down at Santa Cruz. The campus is an enchanted garden perched on a mountainside overlooking Monterey Bay. It’s the worst place he can imagine for finishing a doctorate—or doing any real work whatsoever. On the other hand, it’s perfect for making interspecies contact with sea lions down by the pier, climbing the Sunset Tree naked and stoned at night, and lying on his back in the Great Meadow, searching for a thesis topic in the mad cloud of stars.

This parody, like all parodies, is founded on truth, in part. In my day (1969-72) we called Santa Cruz (the town, not just the university) Hippie Heaven. Plenty of flakiness—so much that when I moved to Oregon a few years later I had an immediate aversion to that state’s Santa Cruz simulacrum, Eugene, and happily continued north to the state capital, Salem, which was as much like a boring midwestern town as anything west of the Rockies. What a relief! When I was at UCSC two highly-touted professors recruited to the school left after just one year for East Coast schools where students were serious about their studies. Plenty of UCSC students and teachers were serious about their studies—I was one of them—but the tone of the place was definitely set by the “middle-class white-boy”* faux hippies and their silliness. I had a few great teachers; I learned a lot; but I was happy to drop out in the middle of my third year when they demanded that I declare a major, and I have never had the least desire to go back.

*”Middle Class White Boy” is one of Mose Allison’s inimitable classics.

Phil Freshman, who I met in 1970, died yesterday.

There are so many good memories, and so many stories I could tell.

I first saw his name in a by-line on an article in the UC Santa Cruz student newspaper in the fall of 1969. The article was about freshman orientation; I thought the by-line was a pseudonym. A few months later this guy stuck his hand out and said, “I’m Phil Freshman.” I started laughing.

In 1981 I was living in Oregon when my little brother got married in our home town in San Diego. Wanting to surprise him, I told him I wouldn’t be able to make it, then got into my car and started driving south. In L.A. I stopped to pick up Phil, who was at home with his parents in Reseda. We arrived in time for the wedding, and Phil spent the entire afternoon talking with everyone at the reception. He had a way of meeting people I had known for years and finding out more about them in ten minutes than I ever knew. As the sun was setting and we started back north, I said, “So . . . what do you think?” There was a pause, then a sigh; then he shook his head. “I thought people in L.A. were superficial,” he said.

His original idea of a career in journalism turned instead into a career as a copy-editor who specialized in catalogues and other publications by art museums. Meticulous and stubborn (and almost always right), he was invariably embroiled in disagreements. In 1982, while working at the Los Angeles County Museum of Art (LACMA), two of his colleagues wanted to dispense with the hyphen in the name of their department. His memo to the boss on this topic is reproduced here for posterity. (“I was just trying to make people laugh, convince them via humor,” he said later. The hyphen in “Twentieth-Century Art” was retained, but no one seems to have laughed.)

To: Earl A. Powell III
From: Phil Freshman
Subject: Twentieth-Century Hyphens

As you know, a storm has lately been rattling teacups in the upstairs offices over what would seem to be an innocuous grammatical point. Maurice Tuchman and Stephanie Barron evidently abhor the presence of a hyphen when it is used to hook up the words Twentieth and Century when they appear adjectivally prior to the word Art. More specifically, the curators, formerly of the Department of Modern Art (formerly the Modern and Contemporary Art Department) are adamantly opposed to having their newly renamed department publicly known as the Department of Twentieth hyphen Century Art. I’m told they see the hyphen, in this location at least, as a blemish, an excrescence.

I confess that when I first heard of their assault on our language’s unsung little intelligibility-maker, my professional instinct was to rush unquestioningly to its defense. After all, wouldn’t our bearings be more difficult to find if we didn’t have the adjectivally employed hyphen to tell us we were about to see “sixty-odd works of art” rather than “sixty odd ones”? And how embarrassed we might feel if we were left, hyphenless, to divine the best way to approach an “ill favored woman”.

More angrily, and pointedly, I could have arisen, stuck an index finger down onto any properly punctuated book, newspaper, or magazine page where the subject of 15th-century poetry, 19th-century sculpture, or 20th-century anarchy was treated and then, folding my arms, let my case rest.

However, being a student who knows the language has a way of changing, sometimes radically, before our very eyes, and being an employee of an American museum in a time when more and more of those institutions’ modern art departments are adopting this century’s name for their very own, I decided to do a bit of digging. I called four major museums, each of which had, according to the 1981 Official Museum Directory, “20th Century Art” departments. Instead of phoning these museums’ editorial departments and collecting a pile of confirmations for my view, I spoke with members of the departments in question; if they felt as Maurice and Stephanie do, and had gotten their museums to condone the breaking of grammatical code, I wanted to hear from them how they had justified it.

The four museums I called were the Metropolitan in New York, the Museum of Fine Arts in Boston, the Philadelphia Art Museum, and the Art Institute of Chicago.

At the Metropolitan, a Mrs. Rubin, the assistant to one of the associate curators of Twentieth no hyphen Century Art, told me the department had had the name since the ’60s and that no one, certainly no editors, had to her knowledge ever questioned the usage. She said the department refers to itself in all public places hyphenlessly. “But now that you mention it,” she added, “yes, I guess you’re right. I wonder why no one has ever said anything?”

Next I called Boston. “Don’t mention that hyphen!” cried Debbie Emerson, the departmental secretary. “We all think it’s ugly, unsightly.” But does the Museum of Fine Arts use it? “Yes,” she admitted. “Our editors make us. On business cards, in the annual reports, everywhere. But around the office we avoid it like the plague.”

Then it was Philadelphia, where I talked with the curator herself, Ann d’Harnoncourt. “You tell Maurice and Stephanie I’m on their side,” she said. “I just can’t stand that hyphen, and I never use it in any of my letters.” But what about the museum’s official usage? “Well of course it’s correct and the museum includes it in the calendar of events, the annual report, you name it. But God, it’s so unaesthetic!”

Finally, Chicago. Susan Frio, the department’s secretary, was just as hot on the subject as her co-religionists in Boston and Philadelphia. “We despise that hyphen, but what are we going to do? We co-publish the University of Chicago Manual of Style [LACMA’s style bible], and so it would look pretty dumb if we deviated from that. So we make it Department of Twentieth hyphen Century Art consistently.”

What are we to conclude from all this? Seemingly, the law-abiding adjectival hyphen, just trying to do his job in the strife-torn world of modern language, is undergoing a death-dealing hail of abuse by other twentieth-century art departments than our own. However, he has, in most places, managed to survive. I want him to survive here. And so I recommend, consistent with both grammatical practice and the policies of reputable (though embattled) museums, that this museum recognize the legitimacy and necessity of linking Twentieth and Century with a hyphen whenever those two words publicly precede Art.

Naturally, I wouldn’t presume to suggest extending this rule to the private correspondence and paperwork of the Twentieth-Century Art curators, or anybody else. That would indeed be a less-than-reasonable, over-regimented, far-fetched, and even un-American policy.

In 2015 he came to visit me in Suzhou, China, where I had been living and working for a decade. Although we hadn’t seen each other for years, we picked up right where we left off, and Phil was the same curious, gregarious omnivore of new experiences that he had always been. I am so blessed to have known him, and I will miss him, as the saying goes, like salt.

At the beginning of The Republic, Socrates walks from Athens to the port city, Piraeus, to see an old man named Cephalus and ask him what it’s like to be old.

“There is nothing which for my part I like better, Cephalus, than conversing with aged men; for I regard them as travellers who have gone a journey which I too may have to go, and of whom I ought to enquire, whether the way is smooth and easy, or rugged and difficult. And this is a question which I should like to ask of you who have arrived at that time which the poets call the ‘threshold of old age’–Is life harder towards the end, or what report do you give of it?”

“I will tell you, Socrates,” he said, “what my own feeling is. Men of my age flock together; we are birds of a feather, as the old proverb says; and at our meetings the tale of my acquaintance commonly is—I cannot eat, I cannot drink; the pleasures of youth and love are fled away: there was a good time once, but now that is gone, and life is no longer life. Some complain of the slights which are put upon them by relations, and they will tell you sadly of how many evils their old age is the cause. But to me, Socrates, these complainers seem to blame that which is not really in fault. For if old age were the cause, I too being old, and every other old man, would have felt as they do. But this is not my own experience, nor that of others whom I have known. How well I remember the aged poet Sophocles, when in answer to the question, ‘How does love suit with age, Sophocles,–are you still the man you were?’ ‘Peace,’ he replied; ‘most gladly have I escaped the thing of which you speak; I feel as if I had escaped from a mad and furious master.’ His words have often occurred to my mind since, and they seem as good to me now as at the time when he uttered them. For certainly old age has a great sense of calm and freedom; when the passions relax their hold, then, as Sophocles says, we are freed from the grasp not of one mad master only, but of many. The truth is, Socrates, that these regrets, and also the complaints about relations, are to be attributed to the same cause, which is not old age, but men’s characters and tempers; for he who is of a calm and happy nature will hardly feel the pressure of age, but to him who is of an opposite disposition, youth and age are equally a burden.”

—Plato’s Republic, B. Jowett (Translator). Book I.

The world of mathematics . . . is really a beautiful world; it has nothing to do with life and death and human sordidness, but is eternal, cold, and passionless.

—Bertrand Russell

August 26, 1910 – July 9, 1978

Why do old people so often lament the state of the world today and speak nostalgically of the world as it used to be? Is the world really so different today than it was in the historical nano-second-ago that was our childhood and youth?

I think not.

We idealize the past and demonize the present, first, because we know how the past turned out, and we survived—an outcome we struggle to believe in with regards to the future. Second, we know so much more than we did. Had I known, growing up in the 1950s and early 1960s, of all the atrocities and crimes and injustice that had preceded my birth and were continuing through my early years, my optimism would have suffered. Third, we live today in a media environment that depends, economically, on a constant stirring of the pot. Chicken Little provokes clicks, views, ratings, and success. To the extent that we construct our view of the world through the media, we almost never hear good news.

In the essays attached to Christa Wolf’s remarkable 1983 novel, Cassandra, she includes diary entries from 1981 in which she and her friends debate how to live in a world that they expect to self-destruct in a nuclear war within three or four years. What’s the point, under such circumstances, of doing anything? Why go to work? Why read a book, or write one? Their discussions remind me of similar discussions in those years. I was bemused by the panicked excavation of backyard bomb shelters, fully equipped with bottled water and canned food. What folly! If there were a nuclear holocaust, the last outcome one could possibly wish for would be to survive the initial blast and have to live in the irradiated hell-scape that would result. Others around me were terrified at the mere thought of nuclear extinction. To me, there seemed little difference: whether one dies in his twenties, or in his eighties, one dies. The cause of death is incidental. As for the destruction of humanity as a whole, there would be much to lament in our extinction; but there would be much, too, of which one could only say, “Good riddance!” However we will die, the important question remains: How shall we live, in the meantime?

All such youthful ponderings of death, individual or collective, cease to be speculative in old age. “If it be now,” says Hamlet,

’tis not to come;
if it be not to come, it will be now;
if it be not now, yet it will come:
the readiness is all.

In old age we know that, whenever it comes, it won’t be long. It could be any moment, or it could be thirty years from now. The old question in the face of destruction—”Why do anything? What’s the point?”—seems now almost quaint. Why not?? What else should one do with life but to live it? In old age I see more clearly than ever before that life itself is the point. The morning cup of coffee, with its delicious odour and comforting warmth, is the point. It doesn’t need to mean anything; it simply is. And so am I. As long as I am here, I intend to savour every sip. And that’s not consolation—it’s pretty damn good!

On the coming of evening, I return to my house and enter my study; and at the door I take off the day’s clothing, covered with mud and dust, and put on garments regal and courtly; and re-clothed appropriately, I enter the ancient courts of ancient men, where, received by them with affection, I feed on that food which only is mine and which I was born for, where I am not ashamed to speak with them and to ask them the reason for their actions; and they in their kindness answer me; and for four hours of time I do not feel boredom, I forget every trouble, I do not dread poverty, I am not frightened by death; entirely I give myself over to them.

And because Dante says it does not produce knowledge when we hear but do not remember, I have noted everything in their conversation which has profited me . . . .

Of my honesty there should be no doubt, because having always preserved my honesty, I shall hardly now learn to break it; he who has been honest and good for forty-three years, as I have, cannot change his nature; as a witness to my honesty and goodness I have my poverty.

—From Niccolò Machiavelli (1469-1527), “Letter to Francesco Vettori.” Tr. Allan Gilbert

The world is too much with us; late and soon,
Getting and spending, we lay waste our powers:
Little we see in Nature that is ours;
We have given our hearts away, a sordid boon! . . .

—William Wordsworth

It was the dream itself enchanted me: . . .
Players and painted stage took all my love
And not those things that they were emblems of.

—W. B. Yeats, “The Circus Animals’ Desertion”

The government—federal, state, provincial, local, whatever—is concerned with three things when it comes to public health:

1. The economy: if businesses are losing money and shutting down, if people are losing their jobs, that’s a problem for the government.
2. Hospitals and the health care system: if hospitals are overwhelmed with patients, if there are shortages of doctors, nurses, or beds, that’s a problem for the government.
3. Public sentiment: if government policies are highly unpopular, that’s a problem for the government.

My health, and yours, are not on that list. If my diet is not the best, if I don’t exercise enough, if I get sick, even if I am hospitalized, these are not problems for the government. They are only problems for me, my family, my friends, and my colleagues.

A lot of people seem not to understand this. As governments in many places remove mask requirements, people think, “Ah, the government says it’s safe now for me to stop wearing a mask indoors!”

Wrong.

It’s not safe. You can still get COVID, and even a mild case of COVID can lead to long-term health problems. Or you can pass it from person to person until it reaches a senior citizen or a cancer patient who then ends up in the hospital, and possibly the morgue. And yes, you can get COVID more than once. None of that is a problem for the government: but it’s a serious concern for you, and me.

Wear a good N95 mask when you are indoors.

First, the physician at Harvard, lecturing on Hippocrates:

The widest of all generalizations in the work of Hippocrates is this: as a rule, sick people recover without treatment.

—Lawrence J. Henderson (1878-1942), Harvard lectures, quoted in The Practical Cogitator, Charles P. Curtis, Jr. and Ferris Greenslet, editors (p. 287).

Second, Montaigne in his tower:

Let things take their course. Nature’s scheme, that takes care of fleas and moles, also takes care of men—if they will have the same patience to let themselves be governed that fleas and moles have. There is no use in our shouting “Giddap”; that will indeed make us hoarse, but not get us ahead. Nature’s scheme is proud and pitiless. Our fear and despair disgust it and stop it from helping us, instead of inviting it to come to our aid. Nature is obliged to let both disease and health run their course. As for letting itself be corrupted in favour of the one to the prejudice of the other’s right, it will not do so, for it would then fall into disorder. Follow Nature, in God’s name, follow it! It leads those who follow. Those who will not follow, it drags along, with their rage and their medicine too. Order a purge for your brain; it will be better employed there than on your stomach.

—Michel de Montaigne (1533-1592), Essays, Book II, Ch. 37, “Of the Resemblance of Children to Fathers.” Adapted from the translation by Donald Frame.

The recent upsurge of anti-vaccination hysteria, often abetted by the “wellness” movement—for whom conventional medical practice is anathema—has reminded me of Hippocrates’ conclusion that the best treatment, most often, is no treatment at all. This conclusion must have been doubly true in the early days of modern medicine.

What remedies, after all, were on offer in the 18th and 19th centuries in Europe and America? Bloodletting appears to have been the preferred treatment for almost any condition, followed closely by laxatives, emetics, and diuretics aimed at inducing the patient to defecate, vomit, or urinate his way to health. These treatments were based on the dominant medieval theory of medicine, which held that disease resulted from an imbalance of the four “humours” or essential bodily fluids: blood, phlegm, yellow bile, and black bile. Restore the balance, so the theory went, and the patient would recover. It is not difficult to see that this was medical theatre more than medical practice. When patients recovered, the doctor could take credit. When they perished, either from the disease or the treatment, or both, the doctor could sigh and say, “Alas, we did the best we could.”

More serious problems were addressed by an even more dreadful response: surgery. Surgery in the 18th and 19th centuries resembled butchery more than medical treatment. No anaesthesia. No sanitation. Doctors with bloody hands going from one patient to the next, spreading bacteria from patient to patient. This was truly barbaric and horrific.

We cannot be surprised that alternatives to such brutality arose. Samuel Hahnemann, a German physician, gave up his practice after concluding that conventional treatments like bloodletting did more harm than good. In 1796 he conceived an alternative approach that he called “homeopathy.” Its fundamental principle was that “like cures like.” Hahnemann took substances that were known to cause disease and diluted them repeatedly until the resulting solution was no different, chemically, from the inert ingredients that formed most of it—flavoured water, essentially. In the 19th century homeopathy became enormously popular, and one can see why: instead of being bled or purged, the patient need only drink these harmless potions, and—remember Hippocrates—most of them recovered their health!

Other pseudoscientific and supernatural alternatives to conventional medicine flourished in the 19th century: spiritualists, mesmerists, magnetizers, vitalists, phrenologists, iridologists, theosophists, etc., attracted large followings of people disillusioned not only with conventional medicine but with conventional religions. In 1875 Mary Baker Eddy, after a few years spent studying mesmerism with Joseph Quimby, published Science and Health and, in 1892, founded the Church of Christ, Scientist. “It is plain that God does not employ drugs or hygiene, nor provide them for human use; else Jesus would have recommended and employed them in his healing,” she wrote. Christian Science, as it came to be called, was an improvement even on homeopathy: no potions were required, only prayer. As always, successes could be credited to the theory, and failures explained away. Again, Hippocrates’ conclusion resonates: “as a rule, sick people recover without treatment.”

In the 20th century, while conventional medicine continued to make progress, such alternative treatments persisted. I was raised as a Christian Scientist. Unvaccinated, I suffered the most serious illness of my life in my late 30s when I contracted measles. (I escaped polio, smallpox, etc., only because almost everyone around me was vaccinated against them.) While living and working in Europe in the 1990s I saw, in Austria and Germany, pharmacy shelves filled with homeopathic remedies for every imaginable disorder. And in the 1960s, of course, as part of the anti-war, anti-establishment counterculture, Eastern religions, meditation, yoga, etc., were joined by a flood of alternative medicine and spiritual practices. Distrust of government and corporations reinforced distrust of the doctors and hospitals associated with them. The rise of cancers as populations began to live longer and as environmental pollution with various toxic chemicals had its inevitable consequences led to early forms of cancer treatment like chemotherapy that were dreadful for patients and often unsuccessful. Naturally, alternatives promising better results and less suffering were enticing.

This brief account should make the historical context of today’s upsurge of anti-vaccination sentiment during the COVID-19 pandemic crystal clear. Anti-establishment distrust of institutions, fed today by the warp-speed propaganda machine of social media, joins with binary thinking in which things and people must be either good or bad. Big Pharma, we know, is a corporate rip-off racket that overcharges for their products and turns entire populations into opioid addicts. Big Pharma’s COVID-19 vaccines, therefore, are not to be trusted. Binary thinking denies the possibility that Big Pharma might lie to us in one case and tell the truth in another. Choosing simplicity over complexity, as humans so often do, many people fall into the trap of throwing out the baby, as the saying goes, with the bath water.

Modern medicine, though much improved, remains imperfect. Doctors and hospitals and insurance companies in the United States, the epicentre of the anti-vax upsurge, are profit-seekers in a capitalist healthcare system. Institutions of all sorts deserve skeptical scrutiny of their activities.

All of that is true.

It is also true that non-treatment of many illnesses, combined with whatever spiritualist naturopathic dietary hocus-pocus you wish, will probably lead to recovery as well as most over-the-counter potions that simply suppress symptoms.

It is also true, however, that mRNA vaccines are highly effective in preventing COVID infections and mitigating their severity, while crystals, yoga, “natural immunity,” and anti-oxidants are not.

The common cold is not COVID-19. Recognizing the difference between them may make the difference in saving your life and the lives of those around you. If you have not done so already, get vaccinated!

La plus expresse marque de la sagesse, c’est vne esiouissance constante: son estat est comme des choses au dessus de la lune, tousiours serein.

—Michel de Montaigne, Essais, Volume One, Chapter 25

Wikiquote.org offers this English translation: “The most manifest sign of wisdom is a continual cheerfulness; her state is like that in the regions above the moon, always clear and serene.”

If Montaigne were writing English today, however, he would not produce such a sentence. I prefer to think he would write something like this:

A cheerful calm, constant as stars in the darkness, is the surest sign of wisdom.

This revolutionary approach to diet and fitness will transform your body, and your life.

We begin with the vertigo attack—or rather, attacks. This involves at least a week of absolute misery: dizziness, followed by nausea, sweats, and violent vomiting. One’s desire to eat disappears entirely, and thus the path to a healthier diet begins. Being completely dysfunctional, you arrive one way or another in the local hospital’s emergency room. Once they have taken blood and given you an EKG to be sure that you are not in immediate danger of death (although death, at this point, begins to look mighty attractive indeed), you sit—and sit—and sit, waiting to see the doctor. During this time, you continue to have intermittent attacks, groaning piteously and finally dry-heaving (your stomach has been empty for hours now) into whatever receptacle they provide for you.

At last you see the doctor, who tells you that you probably have ordinary vertigo so it’s nothing to worry about too much, and then sends you back to the waiting room with an IV drip of saline solution (to treat your dehydration) and then dramamine (to treat your nausea). During these hours in the ER waiting room you eventually realize, through hard experience, that trying to take your mind off your misery by consulting your smartphone or reading the book that you cleverly brought with you is a grave, grave error. Why? Because every such attempt at diversion simply triggers another body-wrenching attack. Before you figure this out, however, you have more attacks, they give you more dramamine which has no effect whatsoever, and then they tell you that they want to find you a bed and keep you overnight and give you a CT scan, just in case. Sending the patient home only to have him drop dead of a stroke seems to be bad form in the hospital biz.

Depending on what time of day you arrive in the cardiac ward, you may wait several more hours (or overnight) for your first meal since . . . well, you can’t remember since when. With that meal, when it finally arrives, comes another revelation: the portion sizes are Lilliputian. Imagine eating with a child’s plastic tea set for dishes, and you will have the right idea. Miraculously, this modest, thimble-sized repast leaves you . . . quite satisfied. Then it dawns on you: however sane, natural, organic, or vegetarian your diet may have been until now, you have been eating way too much!

Assuming that your CT scan is satisfactory (“Your CT scan is beautiful!” said the nurse. “You are very kind,” I replied, “but I still feel terrible.”) you will receive another visit from a different doctor who will explain all about vertigo and what you need to do going forward, and will give you a prescription that might help you. Vertigo is a wonder of 21st century medicine in that no one seems to know what causes it, the treatment works only variably, no one knows how to prevent it, and it may recur at any moment. 

Once you arrive home, a word of advice: do not, I say, do not under any circumstances take your rest on a soft, bouncy bed. If you are like me, the jiggling produced merely by shifting your weight or turning from one side to the other will bring on another round of spinning, nausea, and sweats, and soon you will find yourself on hands and knees, crawling toward the bathroom in the dark. Take my advice and sleep on the floor. I mean it.

We are nearing, now, the fitness component of this revolutionary plan for rejuvenation. Take note of all the things you cannot do. You cannot read, or use the computer, or look at your smartphone. You cannot walk about. You cannot do dishes, or put a load of laundry in the washing machine, or clean the bathroom (though it likely needs it). It is easier to say what you can do. You can sit, with eyes closed, or lie down (on the floor!) with eyes closed. You can listen to music, or to the radio, or to an audiobook. You can nap. You can sleep. Just barely, you can eat a Lilliputian portion of food three or four times a day, to take with your pill. And . . . you can exercise! 

Yes! Lying on the floor, as you listen to whatever you are listening to, you can do leg lifts, first from your right side, then your left, then from your back. You can stretch your hamstrings, your quads, and whatever else you wish. You can lie on your back, bring your knees up, and then push your pelvis up into the air, holding it there as long as you like. You can do isometric exercises of your biceps and triceps, and of other things as well, no doubt.

When you book an appointment with the physiotherapist, you will be shown another series of exercises designed to rehabilitate your vestibular system (notice, too, the good effect of this dreadful ordeal on your vocabulary!) which you can add to your home exercise regime. 

By the time your vertigo recedes, God willing, you will have transformed your life, and your body. You will be slimmer. You will be spending one-half or one-third of what you previously spent on food. You will be strong, and supple. You will have utterly broken whatever social media addictions you may have suffered under previously, and the thought of spending any more time than absolutely necessary on a computer or a smartphone will be abhorrent. You will want, instead, to take walks, during which you marvel at the mundane miracle of being able to walk without falling down. Filled with soul-cleansing gratitude, you will marvel, too, at similar mundane miracles: flowers, trees, clouds, children, dogs, and people in all their mundane variety.

And you will owe all these blessings to the Vertigo Plan.

I do not know what truth is, what beauty is, what love is, what hope is. I do not believe anyone absolutely and I do not doubt anyone absolutely. I think people are both evil and well-intentioned.

—Theodore Dreiser, letter to H. L. Mencken,

quoted in The Novel: A Biography, by Michael Schmidt

The Reverend Stephen Kumalo, Zulu pastor of a country church in pre-apartheid South Africa, goes to Johannesburg in search of his sister and his son:

But there were times, some in the very midst of satisfaction, when the thought of his son would come to him. And then in one fraction of time the hills with the deep melodious names stood out waste and desolate beneath the pitiless sun, the streams ceased to run, the cattle moved thin and listless over the red and rootless earth. It was a place of old women and mothers and children, from each house something was gone. His voice would falter and die away, and he would fall silent and muse. Perhaps it was that, or perhaps he clutched suddenly at the small listening boy, for the little one would break from the spell, and wriggle in his arms to be put down, to play again with his blocks on the floor. As though he was searching for something that would put an end to this sudden unasked-for pain, the thought of his wife would come to him, and of many a friend that he had, and the small children coming down from the hills, dropping sometimes out of the very mist, on their way to the school. These things were so dear to him that the pain passed, and he contemplated them in quiet, and some measure of peace.

 

Who indeed knows the secret of the earthly pilgrimage? Who indeed knows why there can be comfort in a world of desolation? Now God be thanked that there is a beloved one who can lift up the heart in suffering, that one can play with a child in the face of such misery. Now God be thanked that the name of a hill is such music, that the name of a river can heal. Aye, even the name of a river that runs no more.

 

Who indeed knows the secret of the earthly pilgrimage? Who knows for what we live, and struggle, and die? Who knows what keeps us living and struggling, while all things break about us? Who knows why the warm flesh of a child is such comfort, when one’s own child is lost and cannot be recovered? Wise men write many books, in words too hard to understand. But this, the purpose of our lives, the end of all our struggle, is beyond all human wisdom. Oh God, my God, do not Thou forsake me. Yea, though I walk through the valley of the shadow of death, I shall fear no evil, if Thou art with me. . . .

—Alan Paton, Cry, the Beloved Country, Chapter 10

And now the whole family, namely, Mr Blifil, Mr Jones, Mr Thwackum, Mr Square, and some of the servants (for such were Mr Allworthy’s orders) being all assembled round his bed, the good man sat up in it, and was beginning to speak, when Blifil fell to blubbering, and began to express very loud and bitter lamentations. Upon this Mr Allworthy shook him by the hand, and said, “Do not sorrow thus, my dear nephew, at the most ordinary of all human occurrences. When misfortunes befal our friends we are justly grieved; for those are accidents which might often have been avoided, and which may seem to render the lot of one man more peculiarly unhappy than that of others; but death is certainly unavoidable, and is that common lot in which alone the fortunes of all men agree: nor is the time when this happens to us very material. If the wisest of men hath compared life to a span, surely we may be allowed to consider it as a day. It is my fate to leave it in the evening; but those who are taken away earlier have only lost a few hours, at the best little worth lamenting, and much oftener hours of labour and fatigue, of pain and sorrow. One of the Roman poets, I remember, likens our leaving life to our departure from a feast;—a thought which hath often occurred to me when I have seen men struggling to protract an entertainment, and to enjoy the company of their friends a few moments longer. Alas! how short is the most protracted of such enjoyments! how immaterial the difference between him who retires the soonest, and him who stays the latest! This is seeing life in the best view, and this unwillingness to quit our friends is the most amiable motive from which we can derive the fear of death; and yet the longest enjoyment which we can hope for of this kind is of so trivial a duration, that it is to a wise man truly contemptible. Few men, I own, think in this manner; for, indeed, few men think of death till they are in its jaws. However gigantic and terrible an object this may appear when it approaches them, they are nevertheless incapable of seeing it at any distance; nay, though they have been ever so much alarmed and frightened when they have apprehended themselves in danger of dying, they are no sooner cleared from this apprehension than even the fears of it are erased from their minds. But, alas! he who escapes from death is not pardoned; he is only reprieved, and reprieved to a short day.

“Grieve, therefore, no more, my dear child, on this occasion: an event which may happen every hour; which every element, nay, almost every particle of matter that surrounds us is capable of producing, and which must and will most unavoidably reach us all at last, ought neither to occasion our surprize nor our lamentation. . . .”

—Henry Fielding

The History of Tom Jones, a Foundling. Book V, Chapter vii.

The real things haven’t changed; they can never change. It is still best to be honest and truthful; to make the most of what we have; to be happy with simple pleasures; and to be cheerful and have courage when things go wrong.

—Laura Ingalls Wilder