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 Hello Blog! This is the weekly email digest of The Marginalian by Maria Popova. If you missed last week's edition — swimming and the meaning of life, Zadie Smith on the courage to be more than yourself, Virginia Woolf on truth, fact, and how we come to know reality — you can catch up right here. And if my labor of love touches your life in a meaningful way, please consider supporting its ongoingness with a donation — for twenty years, it has remained free, ad-free, AI-free, fully human and alive thanks to reader patronage. If you already donate: I appreciate you more than you know.
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It may be that consciousness evolved to sieve the relevant from the incomprehensible allness of all there is, to parse the world into concepts and find an organizing principle for the chaos of them. Our cognitive inheritance is a restless yearning to fathom how things cohere and where they belong, a yearning we have given shape to in laws and labels, weights and balances, hierarchies and categories. It has served us well, this instinct to categorize in order to contain, giving us music, the laws of planetary motion, and democracy. But it also pulsates beneath every ism we have ever invented, beneath every stereotype and every genocide, beneath every algorithm that reduces us to variables then adds them up to sell the sum of who we are, beneath all the parcels of preconception we trade daily and mistake the barter a for a genuine encounter with one another.
Two centuries ago, Nathaniel Hawthorne (July 4, 1804–May 19, 1864) offered a pithy, powerful antidote to this double-edged instinct. 
Nathaniel Hawthorne
In a notebook entry from the autumn of 1836, penned shortly after his moving meditation on how not to waste your life, Hawthorne proposes a revision of our standard classification system for humanity — one that would rehumanize us with the simple awareness that what binds us is infinitely stronger than what divides us or by what affiliations we divide ourselves. He writes:
 A new classification of society is to be instituted. Instead of rich and poor, high and low, they are to be classed, — First, by their sorrows: for instance, whenever there are any, whether in fair mansion or hovel, who are mourning the loss of relations and friends, and who wear black, whether the cloth be coarse or superfine, they are to make one class. Secondly, all who have the same maladies, whether they lie under damask canopies or on straw pallets or in the wards of hospitals, they are to form one class. Thirdly, all who are guilty of the same sins, whether the world knows them or not; whether they languish in prison, looking forward to the gallows, or walk honored among men, they also form a class. Then proceed to generalize and classify the whole world together, as none can claim utter exemption from either sorrow, sin, or disease; and if they could, yet Death, like a great parent, comes and sweeps all through one darksome portal, — all his children.
What a magnificent way to remember that down where the spirit meets the bone, we are all facing the same struggle: to feel safe, to feel seen, to wrest some meaning and some marvel from the ephemeral bewilderment of being alive.
donating=lovingEvery month, I spend hundreds of hours and thousands of dollars keeping The Marginalian going. For twenty years, it has remained free, ad-free, AI-free, fully human and alive thanks to patronage from readers. I have no staff, no interns, not even an assistant — a thoroughly one-woman labor of love that is also my life and my livelihood. If it makes your own life more livable in any way, please consider aiding its sustenance with a one-time or loyal donation. Your support makes all the difference.
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The summer I turned forty, my maternal grandmother, then ninety, gave me an astonishing embroidery she had completed it when she was my age after, having worked on it for years. The cascading geometries of blue, black, and white, interlocking extraordinary precision and extraordinary passion, may have taken less time had she not needed to supplement her paltry elementary schoolteacher income by tilling potato fields and pruning plum trees in rural Bulgaria. Born in the final years of the sovereign monarchy Bulgaria briefly enjoyed after five centuries of Ottoman occupation, she had worked on her embroidery in the middle of the Communist dictatorship that had begun when she was five and would last until I was five. Denied university admission on account of her family’s opposition to the regime, my grandmother never strained a single synapse on higher mathematics, yet her embroidery exudes the elegant simplicity of a great theorem — a living affirmation of trailblazing astronomer Maria Mitchell’s insistence on the needle as an instrument of the mind.
She had learned the technique from her own grandmother, who had in turn learned it from her grandmother before that — generations of women using thread and needle to pattern a world of chaos and peril into something sensical, something resinous with feeling and time, defying the banality of mere survival with a quiet, methodical insistence of beauty.
The year the Communist dictatorship curled its fist around Bulgaria, the English writer Rebecca West (December 21, 1892–March 15, 1983) — one of the finest, subtlest, most passionate and precise minds I have ever read — traveled to the Balkans and recounted her encounter with those ancient cultures in Black Lamb and Grey Falcon (public library), at the heart of which is a reckoning with the relationship between art and aliveness, between storytelling and resilience, between the things we make and the world we make. 
Dame Rebecca West
In village after village, West saw elderly women bent over their embroideries, saw in what they did a way of “examining life as they lived it and inquiring into their destiny as it overtook them” — a philosophy for living in the shape of a craft, passed down the generations to make life more livable. She writes:
The old women [are] not fully conscious of the part their embroideries play in the preservation of their ancient culture: when an Englishwoman plays a sonata by Purcell she is not likely to feel that she is maintaining English musical tradition. Yet these women are certainly aware that they are about some special business when they sew. I am told by an Englishwoman who has collected such embroideries for twenty years and knows their makers well that it is an esoteric craft, those who are expert in it do not give away their mystery. Many of the themes which often reappear in the designs have names and symbolic meanings which are not confided to strangers, and a woman will sometimes refuse to discuss the embroidery she has worked on a garment made for her own use. When they marry they make caps for their bridegrooms and about these they are always resolutely reserved. Here is, indeed, another proof of the impossibility of history. There cannot be taken an inventory of time’s contents when some among the most precious are locked away in inaccessible parts and lose their essence when they are moved to any place where they are likely to be examined carefully, when their owners are ignorant of parts of their nature and keep secret such knowledge of them as they have.
In this West sees a scale model of all we call tradition:
A tradition is not a material entity that can survive apart from any human agency. It can live only by a people’s power to grasp its structure, and to answer to the warmth of its fires.
I look at my grandmother’s embroidery, aflame with her life, prayerful as an Islamic mosaic, perfect as a Euclidean proof, and West’s closing words resound like a bell in the cathedral of time:
If during the next million generations there is but one human being born in every generation who will not cease to inquire into the nature of his fate, even while it strips and bludgeons him, some day we shall read the riddle of our universe. We shall discover what work we have been called to do.
In my early forties, living through a rupture of overwhelming complexity and no small measure of heartache, I took up embroidery — untrained, unpatterned, not following any tradition, more like jazz improvisation to my grandmother’s Bach cantatas. I did it daily, obsessively, not understanding what it was doing for me but trusting that it was doing something, shifting something. It did. It was a way of learning, not with the mind but with the hands, that you have to make a hole to make a stitch.
donating=lovingEvery month, I spend hundreds of hours and thousands of dollars keeping The Marginalian going. For twenty years, it has remained free, ad-free, AI-free, fully human and alive thanks to patronage from readers. I have no staff, no interns, not even an assistant — a thoroughly one-woman labor of love that is also my life and my livelihood. If it makes your own life more livable in any way, please consider aiding its sustenance with a one-time or loyal donation. Your support makes all the difference.
monthly donationYou can become a Sustaining Patron with a recurring monthly donation of your choosing, between a cup of tea and a Brooklyn lunch. |
|
one-time donationOr you can become a Spontaneous Supporter with a one-time donation in any amount. |
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| Partial to Bitcoin? You can beam some bit-love my way: 197usDS6AsL9wDKxtGM6xaWjmR5ejgqem7 Need to cancel an existing donation? (It's okay — life changes course. I treasure your kindness and appreciate your support for as long as it lasted.) You can do so on this page. |
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Toni Morrison once lamented that people have been taught to think of a book as a mirror, when it ought to be a door. All great storytelling — be it a novel or a poem, a film or a song — enchants us precisely because it swings open the door to a world distinctly other than our own, whose very otherness clarifies ours, returns us to it magnified and annealed. To be able to build such a world, to make it believable and beguiling, to leap across the abyss that gapes between any one consciousness and any other, the storyteller must draw on an immense library of experiences and impressions across the infinite spectrum of life’s possibilities — those building blocks of which we make the combinatorial work we call creativity. 
Art by Carson Ellis from What Is Love? by Mac Barnett
Long before the poetic neurologist Oliver Sacks delineated the three essential elements of creativity, Nobel laureate Elias Canetti captured this beautifully in a passage from his extraordinary meditation on mortality, copying out the “very necessary qualifications” of a great Persian storyteller from an unnamed book he was reading:
In addition to having read all the known books on love and heroism, the teller of stories must have suffered greatly for love, have lost his beloved, drunk much good wine, wept with many in their sorrow, have looked often upon death and have learned much about birds and beasts. He must also be able to change himself into a beggar or a caliph in the twinkling of an eye.
A generation before him, Rainer Maria Rilke offered a similar prescription for creativity to the young man asking his advice on how to be a poet:
For the sake of a few lines one must see many cities, men and things. One must know the animals, one must feel how the birds fly and know the gesture with which the small flowers open in the morning. One must be able to think back to roads in unknown regions, to unexpected meetings and to partings which one has long seen coming; to days of childhood that are still unexplained, to parents that one had to hurt when they brought one some joy and one did not grasp it (it was a joy for someone else); to childhood illness that so strangely began with a number of profound and grave transformations, to days in rooms withdrawn and quiet and to mornings by the sea, to the sea itself, to seas, to nights of travel that rushed along on high and flew with all the stars — and it is not yet enough if one may think of all of this. One must have memories of many nights of love, none of which was like the others, of the screams of women in labor, and of light, white, sleeping women in childbed, closing again. But one must also have been beside the dying, one must have sat beside the dead in the room with the open window and the fitful noises.
Art by Rockwell Kent for a rare 1937 edition of Leaves of Grass. (Available as a print and more.)
Another epoch earlier, Walt Whitman distilled these eternal truths even further. Under the heading “Laws of Creation,” addressed to “strong artists and leaders… fresh broods of teachers… and coming musicians,” he considers the elemental material of creative work:
All must have reference to the ensemble of the world, and the compact truth of the world.
Whether the words be few or many, practical or poetic, emanating from them all is the same fundamental truth about the nature of creativity, demanding the same basic qualifications: nonjudgmental curiosity, an empathic imagination, and a willingness to live not flawlessly but fully.
donating=lovingEvery month, I spend hundreds of hours and thousands of dollars keeping The Marginalian going. For twenty years, it has remained free, ad-free, AI-free, fully human and alive thanks to patronage from readers. I have no staff, no interns, not even an assistant — a thoroughly one-woman labor of love that is also my life and my livelihood. If it makes your own life more livable in any way, please consider aiding its sustenance with a one-time or loyal donation. Your support makes all the difference.
monthly donationYou can become a Sustaining Patron with a recurring monthly donation of your choosing, between a cup of tea and a Brooklyn lunch. |
|
one-time donationOr you can become a Spontaneous Supporter with a one-time donation in any amount. |
|
|
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|
| Partial to Bitcoin? You can beam some bit-love my way: 197usDS6AsL9wDKxtGM6xaWjmR5ejgqem7 Need to cancel an existing donation? (It's okay — life changes course. I treasure your kindness and appreciate your support for as long as it lasted.) You can do so on this page. |
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MY NEW BOOK
BIRD DIVINATION OF THE WEEK
Available as a stand-alone print. Find the original deck of 100 bird divinations, along with my process and the story behind them, here.
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