The year is 1937. Elias Canetti (July 25, 1905–August 14, 1994) — Bulgarian, Jewish, living in Austria as the Nazis are rising to power — has just lost his mother; his mother, whose bottomless love had nurtured the talent that would win him the Nobel Prize in his seventies; his mother, who had raised him alone after his father's death when Elias was seven (the kind of "wound that turns into a lung through which you breathe," he would later reflect).
Having left chemistry to study philosophy, trading the science of life for the art of learning to die, Canetti, aged thirty-two, decides to write a book "against" death, defying it without denying it, this shadow of life that is also its spark, the very thing that makes it shimmer with aliveness. He would work on it for the next half century until his own death, filling two thousand pages with reflections and aphorisms posthumously distilled into The Book Against Death (public library).
Art by Salvador Dalí for a rare 1946 edition of the essays of Montaigne
Perhaps Canetti's reckoning with death is so virtuosic in articulating the potency and poignancy of life because it keeps inverting the lens from the microscopic to the telescopic and back again as he mourns his mother and mourns the world. Everything is suddenly personal, his suffering a fractal of the suffering and everyone else's suffering a mirror image of his own.
Coming to feel that "with every destroyed city a piece of his own life falls away," he searches for the borders of compassion and finds none:
Am I Nuremberg? Am I Munich? I am every building in which children sleep. I am every open square across which feet scurry.
And yet alongside this overwhelming brokenness, so universal and therefore so intimate, is also a greater wholeness that he is, as all visionaries are, able to glimpse through the ruins:
Above the shattered world there stretches a pure blue heaven, which continues to hold it together.
It is this blue, this color of longing for life, that saturates the meaning of life amid the darkness of death. Three years into the war, he vows:
Today I decided that I will record thoughts against death as they occur to me, without any kind of structure and without submitting them to any tyrannical plan. I cannot let this war pass without hammering out a weapon within my heart that will conquer death.
Available as a print.
Not everyone, not even the great minds, had Canetti's defiance. "We must love one another or die," W.H. Auden had entreated humanity in one of the greatest poems ever written as the war was breaking out, and then, in what may be the most poignant one-word revision in the history of literature and one of the saddest in the history of the human spirit, he had rewritten that epitaphic last line in the wake of the war: "We must love one another and die." While Auden was ceding his optimism, Muriel Rukeyser — as great a poet and a greater spirit — was celebrating a different vision of life beyond notions of triumph and defeat in one of the greatest books ever written: "All the effort, all the loneliness and death, the thin and blazing threads of reason, the spill of blessing, the passion behind these silences — all the invention turns to one end: the fertilizing of the moment, so that there may be more life."
Canetti shares her lens on the political, but for him it is polished with the most deeply personal. In an entry from June 1942, he writes:
Five years ago today my mother died. Since then my world has turned inside out. To me it is as if it happened just yesterday. Have I really lived five years, and she knows nothing of it? I want to undo each screw of her coffin's lid with my lips and haul her out. I know that she is dead. I know that she has rotted away. But I can never accept it as true.
[…]
Where is her shadow? Where is her fury? I will loan her my breath. She should walk on my own two legs.
Echoing Ernest Hemingway ("No one you love is ever dead," he had written in a stirring letter of consolation to a bereaved friend) and echoing Emily Dickinson ("Each that we lose takes part of us / A crescent still abides / Which like the moon, some turbid night, / Is summoned by the tides," she had written in her reckoning with love and loss upon her own mother's death), Canetti contemplates the immortality of love in the living:
The souls of the dead are in others, namely those left behind… Only the dead have lost one another completely.
The final card from An Almanac of Birds: 100 Divinations for Uncertain Days, available as stand-alone print benefitting the Audubon Society.
In the prime of his life, he is already facing the losses that loom over anyone who loves:
I want anything to do with fewer and fewer people, mainly so that I can never get over the pain of losing them.
Not knowing that in the decades ahead he would lose the love of his life, marry again and lose her too, lose his younger brother, lose a retinue of friends — some to mass murder, some to suicide, some to the entropy that will take us all if we are lucky enough to grow old — he writes from the fortunate platform of his healthy thirties:
We carry the most important thing around inside ourselves for forty or fifty years before we risk articulating it. Therefore there is no way to measure all that is lost with those who die too early. Everyone dies early.
Art by Charlotte Pardi from Cry, Heart, But Never Break by Glenn Ringtved — a soulful Danish illustrated meditation on love and loss
And yet his mother's death is precisely what awakened Canetti to life — his own life and the life of the world. ("Death is our friend," Rilke had written when Canetti was a teenager, "precisely because it brings us into absolute and passionate presence with all that is here, that is natural, that is love.") Beneath it all pulsates his unflinching intimacy with the elemental reality of living:
We do not die of sadness — out of sadness we live on.
At the crux of Canetti's disquisition on the menace and meaning of death is a passionate inquiry into what it means to be alive. A decade before Edward Abbey contemplated how to live and how (not) to die and a decade after Simone de Beauvoir composed her resolutions for a life worth living, Canetti itemizes the priorities of a good life:
To live at least long enough to know all human customs and events; to retrieve all of life that has passed, since we are denied that which will come; to pull yourself together before you disappear; to be worthy of your own birth; to think of the sacrifices made at the expense of others' every breath; to not glorify suffering, even though you are alive because of it; to only keep for yourself that which cannot be given away until it is ripe for others and hands itself on; to hate every person's death as if it were your own, and to at last be at peace with everything, but never with death.
Complement these passages from The Book Against Death with a heron's antidote to death, then revisit Mary Oliver on how to live with maximum aliveness, Henry Miller on the measure of a life well lived, and Alan Lightman on what happens when we die.
Perhaps the most perilous consequence of uncertain times, times that hurl us into helplessness and disorientation, is that they turn human beings into opinion machines. We dope our pain and confusion with false certainties that stifle the willingness to understand (the nuances of the situation, the complexity of the wider context, what it's like to be the other person) with the will to be right. Our duels of self-righteousness can be fought over whose turn it is to take out the trash or who should govern the country, they can take place on the scale of the planet in the language of nuclear weapons or on the scale of the kitchen table in the code language of lovers, but they are always a betrayal of our deepest humanity — the capacity to understand, the longing to be understood, the knowledge that everyone is doing the best they can with the tools they've got and the cards they've been dealt.
Corinna Luyken, maker of tender and thoughtful illustrated aids for living, animates the absurdity of these duels with playfulness and charm in The Arguers (public library).
The story begins as a bickering over whether a brush or a comb would better detangle the king's beard and ends up, in the wildfire way of righteousness, as an argument about everything and a national sport.
Soon they argued all the time,
until no one could remember
when the arguing had started
or over what,
or by whom.
They argue with each other and with the flowers and the stones.
They grow so skilled at it — "they could argue forward and backward, right side up and upside down… in fog and sun and sleet and snow" — that the king and queen decide to hold a contest for their nation or arguers.
On the day of the contest, things take an unintended turn.
The story ends with a wink, but is at heart a warning: arguing is counterfeit problem-solving, an argument is a barricade against understanding, and self-righteousness is a fist you open to find your kindness crushed.
Couple The Arguers with philosopher Daniel Dennett on how to criticize with kindness, then revisit Joan Didion on learning not to mistake self-righteousness for morality.
Because we are creatures made of time, what we call suffering is at bottom a warping of time, a form of living against it and not with it — the pain of loss, aching for what has been and no longer is; the pain of longing, aching for what could be but is not yet and may never be; the pain of loneliness, an endless now hollowed of meaning. There can be consolation in looking backward to fathom the staggering odds of never having been born, and in looking forward toward the immortal generosity of our atoms. But nothing calibrates our losses of perspective, nothing consecrates these transient lives bookended by not yet and never again, more than broadening our time horizon until the vista of our own lives becomes not a discrete point but part of a great continuity — one that comes alive in this splendid poem by Hannah Fries:
THE WHOLE OF IT
by Hannah Fries
If you step back, you can see it all
on the horizon: your mother's death, the children
grown, their smooth eyelids crossed with veins
like saffron filaments. Further still, and see
your smiling grandmother treading the cold ocean,
tiny lakes in her collarbones, your great-
great grandchildren drawing their names
in the sand with sticks. The seas
rising and falling, ice scraping the earth,
and pockets of life surviving — lee sides, hot springs,
protected places. First light on the first day
of your life, and first light of first stars.
And in this way, every death, each apparent ending,
might, in the mind of spacetime, be woven
into one memory, so that always is
this tree, and the long days of falling in love
over the intricate pattern of bark and leaf,
and the first green cell learning to swallow sun.
Couple with Hannah's magnificent poem "Let the Last Thing Be Song," then revisit Kahlil Gibran on befriending time.
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