Goal or no goal

Recently in one of the reading-related Facebook groups I’m in, a debate arose between readers who set goals and those who don’t. Some of the goal-setters had linked to their Goodreads “Year in Books” lists, and some of the goal-avoiders complained, arguing that reading is a pleasurable activity that is ruined and made too stressful if you set numeric goals.

This is a debate that repeatedly arises in this and other groups I’m in, and as a goal-setter, I’m perpetually mystified by it. Yes, I set reading goals for myself, but just because I set a goal doesn’t mean you should, too. For me, setting and then tracking a goal makes it more likely that I will actually do the thing I’m tracking. I an ideal world, I’d have plenty of free time, and during that abundance of time, I’d simply fall into a comfortable chair and begin reading spontaneously, without the nudge of a goal.

My life, unfortunately, doesn’t work this way. I keep daily to-do lists because I am apt to forget and thus neglect any task not on my list, and it gives me an obscene sense of accomplishment to cross something off said list. But if listing doesn’t work for you, don’t do it. I’m not going to tell non-listers how they should organize their lives, and I’d love to receive the same consideration in return.

What perplexes me about the goal-or-no-goal debate is the assumption that counting an end-result automatically robs that process of its pleasure. Do golfers, basketball players, or video gamers enjoy golfing, basketball, or video games less if they keep score?

There are plenty of fun activities that people track and monitor. I know marathon runners, for instance, who religiously record their times against their own personal best, and they don’t seem to enjoy running any less because of this habit of keeping-track. To the contrary, I’d argue that runners who keep a log of their times have an extra incentive to train and improve. The process of keeping score, in other words, turns training into a kind of game, and it makes running even more pleasurable by adding a sense of accomplishment to the activity.

The non-goal-setters in this particular Facebook group would probably be horrified at the sheer number of things I log and track on a given day. I habitually count both my steps and calories, though a quick check of my waistline would reveal I’m not slavishly attached to either number. I keep track of the number of times I meditate, write in my journal, and blog each week, and I have goals for both postcard- and letter-writing, museum and Zen Center visits, and the doing of some sort of Fun Activity each week.

Again, in an ideal world, these things would happen naturally and spontaneously…but I don’t live in an ideal world. Instead, I live in a world where things that aren’t on my schedule get bumped to tomorrow and the next day and the next, and I’ve learned that tomorrow and the next day and the next quickly becomes Never. Yes, Spontaneous Sex is the most exciting sex, but even Scheduled-On-Date-Night Sex is better than No Sex At All.

So every year since 2014, I’ve set myself a goal of reading 50 books a year, and every year I’ve met that goal without feeling unduly pressured or stressed, my love of reading surviving unscathed. On any given day, I try to read 50 pages, usually at night after my evening chores are done; I even go so far as to list on paper how many days it will take to read any given book at that rate. This not only gives me a daily reading goal to cross off the list, it helps me manage my library loans: when multiple holds arrive at once, I can roughly estimate how many books I can realistically finish and which ones I’d be better off returning and checking out later.

To me, tracking the books I read is almost as fun as reading itself. In a life where too many days feel Too Busy and Too Hectic, it’s reassuring to know I’m not neglecting the things I want to do in favor of the things I have to.

 

Sustenance from the same soil

I recently started reading Jeffrey Cramer’s Solid Seasons: The Friendship of Henry David Thoreau and Ralph Waldo Emerson. One benefit of 19th century literary friendships is the wealth of written evidence they leave behind. Future biographers researching friendships between modern-day writers will have to pore over emails, texts, and tweets rather than the letters and journal entries Cramer read in writing his book.

Both Thoreau and Emerson kept journals and maintained voluminous correspondence, albeit not always with one another. In the portion of Cramer’s book I’ve read so far, Thoreau is more emotionally intimate with Emerson’s wife, Lidian, than with Emerson himself, sending her letters that could pass as journal entries, so intricately do they chronicle his thoughts.

The problem with writerly friendships–especially friendships between two journal-keepers–is that writers are very good at talking to themselves. Isn’t a journal entry nothing more than a letter to an anonymous audience that is never sent? When you are accustomed to pouring your heart on paper for an audience of none, it’s easy to think–erroneously and egotistically–that anyone willing to receive and read such correspondence actually understands and empathizes with you.

But while the blank page has no desires or concerns of its own, friends are not blank pages. There is a very real way that two friends who are also writers can correspond at cross-purposes, even when communicating face-to-face. Each person wants their own needs met–each speaker longs to be listened to–and these desires can clash rather than finding a complement.

In a radio interview about his book, Cramer said Emerson and Thoreau had contrasting views of friendship. Emerson had many friends and drew different things from each, but Thoreau had few friends and strove (unsuccessfully) to have all his social and emotional needs met by one. This difference is a recipe for relational disaster, perhaps, and it helps explain the tense complications of Emerson’s and Thoreau’s friendship. What started as a conventional mentorship between an established writer and an idealistic protege deteriorated as it became clear that Thoreau would always be his own man, a nonconformist who marched to a different drum.

But longevity is not the only (or best) way to judge a friendship. Although their relationship would ultimately grow strained, both Emerson and Thoreau were forever influenced by the insights of the other. In a passage Cramer quotes near the beginning of his book, Thoreau compares long-time friends to two trees who stand apart but whose roots intermingle. Above ground, two venerable trunks might seem distant and disconnected, but beneath the surface, they take sustenance from the same soil.

 

The weight of snow

We got a few dense inches of snow overnight, topped by intermittent freezing rain throughout the day. Weather forecasters measure snow by depth, but that is misleading: deep snow is typically light and fluffy, and even a few inches of wet snow is much more bothersome.

Weight would be the most helpful measure of any given snowfall: how much does a bucket left out overnight weight by morning’s light? Over time, heavy snow settles into a shallow sludge that is difficult to shovel. Throughout the day today, I could hear snowblowers in all directions as J and various neighbors worked to clear as much as they could before tonight’s plunging temperatures. Any of today’s slop not cleared away will freeze brick-hard overnight.

This morning after walking Toivo, I finished Rachel Kadish’s The Weight of Ink, a thick brick of a novel. After initially enjoying the book, I faltered in the middle, getting bogged down in the history of Sephardic Jews in seventeenth century London, and at times I lost patience with the two modern scholars–one at career’s end, the other in graduate school–who gradually piece together the story of Ester Velasquez, a Jewish scribe whose story is hidden in a trove of old manuscripts found in a mansion.

Scholarship can be a tedious slog, like walking in ankle-deep snow, and the academy is an often-toxic place, full of backstabbing and politicking. The Weight of Ink captures all of that, but ultimately it was Ester’s story–her curious mind and her rebellious spirit, both dangerous in an era when women weren’t encouraged to be scholars and free-thinking was denounced as heresy–that pulled me through the book to its moving conclusion, where life and the desire for continuance prove stronger than the presumed virtues of martyrdom.

Nowadays, women like me are free to write and study as much as we’d like–no societal scorn or hidden inquisitions can silence us–and there is nothing weightier on my mind today than the sizzle of sleet falling on winter window panes.

 

The grief of trees

Over the waning days of summer, I read Richard Powers’ The Overstory, a novel about trees and interconnection. It’s a big, fat book, and I read it slowly, at a tree’s pace: page by page and leaf by leaf. Trees outlive us–at least the largest, long-lived species do–and thus they have much to teach us about time, patience, and the virtues of rootedness.

This past March, one of the tall pine trees that fringe our backyard fell directly onto our neighbors’ house after a heavier-than-usual snowfall. Last month, we had an arborist come to look at our remaining trees: not just the tall pines out back, but also a slowly-dying ash near our back door. This particular arborist had never seen the pine that fell, but he examined the slivers of stump that remain. Could we have predicted, we asked, whether this tree would fall, or in which direction? The arborist suggested the tree’s trunk was sound, but its root system had been compromised by some nearby driveway work. But could construction work done nearly two decades ago have an impact on a tree today, J asked, incredulous, and the arborist said yes, of course. Trees live according to a different timeline than we do, our hurried scurrying looking like a blur when viewed from their ponderous perspective.

Trees can teach us much about steadfastness and resilience, but we need to slow ourselves down to hear them. The most resilient trees tap their roots deep, while the wide-spreaders hug shallow soil and are easily uprooted. My mind branches widely and wildly with distraction, and I quickly grow discouraged by superficial trifles: I’d do better with a deeper taproot. Trees and the people who understand them best know a decade is the mere wink of an arboreal eye, and for a tree centuries pass like days. Marriage is easy, my grandfather used to say; only the first fifty years are hard. This is a statement to make a tree chuckle.

The arborist we hired will cut down the dying ash in our backyard, as it is growing too close to both our house and our neighbors’ garage, and he will grind the stump to sawdust, as its roots are far from any nearby trees. But the arborist suggested we cut but not grind the stump of the fallen pine, as its roots are tangled up with its neighbors’. I close my eyes and imagine the grief of trees: when one falls, his fellow forest-friends tremble down to their subterranean toes.

The Overstory is a fat book because it tells a complex web of a tale. The stories in the initial section are branched like roots, and later, they connect together in subtle and surprising ways: an ecosystem of individuals whose roots touch and tangle. The whole time I was reading the book, I found myself looking up on my daily dog-walks: who, exactly, are these quiet creatures who live their woody lives in our midst, silent and swaying, overhead and too often ignored?

 

An otherwise sunny sky

I recently finished David Sedaris’s new book, Calypso, a collection of essays that was a perfect follow-up to Theft By Finding, which I’d read last year. Theft By Finding was a collection of journal entries, and the essays in Calypso make perfect sense when you remember that Sedaris isn’t just a comedic writer; he’s a long-time diarist.

Reviews of Calypso invariably point out that the book is darker than Sedaris’s previous books. Many of the essays feature the beach house that Sedaris and his partner, Hugh, buy in North Carolina and the vacations they spend there with Sedaris’s father and siblings. Essays set at the house Sedaris names the “Sea Section” often mention the death of his alcoholic mother decades before, the suicide of his sister Tiffany in 2013, and the inevitable embarrassments of aging.

This isn’t to say, however, that Calypso isn’t wickedly funny. What makes the book striking, in fact, is the manner in which Sedaris writes essays that are simultaneously funny, poignant, and honest without a hint of pity. This emotional fluidity makes perfect sense when I remember Sedaris’s journals. As a diarist, Sedaris has trained himself in the nonjudgmental art of keeping an account of all the intellectual and emotional detritus of his life.

When you keep a journal, you keep track of whatever is on your mind: the profound stuff, the silly stuff, and everything in between. Keeping a journal is very much akin to the litter-picking Sedaris does while he walks the roadways around his home in Sussex: you notice and pick up everything. If you’re not used to walking for miles and picking up trash, it will leave you sore, but it’s just another day’s work if that’s what you’re in the habit of doing.

One of the things that makes David Sedaris funny is the way he doesn’t censor himself: whether he is saying something tender, rude, or self-deprecating, he makes a statement then moves on without justification or apology. This is, I’m convinced, a skill honed through long and regular journal-keeping. The mind is like a child’s corn popper toy, where colored balls pop and tumble inside a clear plastic dome. Pop, pop, pop come your thoughts, which are disparate and nonsensical, and the diarist’s hand simply records them, one by one, without stopping to explain or make sense of them.

When you’ve trained yourself to sit with your corn-popper mind, you learn not to judge or reject: you simply record without shame or blame. You also learn to appreciate the beauty and even wisdom of randomness. Things don’t have to fit to get along, and disparate things can happily coexist. It is this tolerance for randomness–an absolute fearlessness about saying anything that comes to mind, even if it doesn’t fit or flow with whatever preceded it–that is the main genius of Sedaris’s work.

I’m not suggesting, to be clear, that Sedaris’ essays aren’t consciously constructed and revised: it takes a good deal of craft to assemble and arrange just the right assortment of anecdotes, and this means knowing what to leave out as much as what to include and accentuate. But if you’ve never arranged a bouquet, you might think the flowers all need to match, whereas an experienced florist knows the value of complementary colors or an occasional splash of the unexpected.

If you’ve never sat down and watched your corn-popper mind tumble thoughts, you might not realize how humor complements pain and how a seemingly irreverent story can be particularly poignant if includes just a dash of sadness. Readers who aren’t writers might think that sad stories, funny stories, silly stories, and serious stories can’t and shouldn’t mix, but journal-keepers are long accustomed to the way the colors of the mind blur and swirl.

The most tragic stories aren’t necessarily the ones that are solely and unremittingly sad. One of the most poignant moments in Calypso, for instance, is a brief, passing mention Sedaris makes to the last time he saw his sister Tiffany before her suicide, when he directed a security guard to close the door in her face after she’d shown up unannounced at one of his readings.

Many writers would have been tempted to linger on this story, voicing regret or offering some sort of explanation. Sedaris, however, mentions the memory in passing and lets his readers decide what to do with it, the details of his life slipped like a live grenade into his reader’s pocket. Sometimes a serious topic is best approached slantwise, like a wisp of cloud troubling an otherwise sunny sky.

 

Haunted by history

Last night I finished reading Jesmyn Ward’s Sing, Unburied, Sing, which I’d mentioned earlier this week. Many reviewers have compared Ward with both William Faulkner and Toni Morrison, and I agree that the novel is reminiscent of Faulkner’s As I Lay Dying and Morrison’s Beloved.

The other novel I kept thinking about as I read Sing, Unburied, Sing is George Saunder’s Lincoln in the Bardo, which was also published in 2017. Saunder’s novel is told through a series of historical and ghostly fragments as Willie Lincoln, the President’s newly deceased son, finds himself in the transitional place between the Here and the Hereafter. The narrative format of Ward’s novel is far less experimental, but both Sing, Unburied, Sing and Lincoln in the Bardo are ghost stories that speak movingly about loss, grief, family, and compassion.

As I read Sing, Unbured, Sing, I found myself wondering why stories about race in America so often feature ghosts. Is it because our history is particularly haunted, or because we so often fail to believe and heed the truth tellers from our past? Perhaps the perspective of magic realism is the only lens that can accurately portray the true nature of time, death, and eternity.

Both Sing, Unburied, Sing and Lincoln in the Bardo call into question our conventional view of time. Since we typically view time as linear–moving, that is, from past to present and then to future–we fall for the illusion of progress. How many times (for example) do people respond to current events by exclaiming “But this is 2018” as if the ghosts of the past aren’t still alive and active?

If we take a circular view of time, all eras are now, and with them, all errors. We don’t outgrow or move beyond the mistakes of previous generations: instead, we are tempted time and again to repeat and relive them unless we make a conscious effort to revise and reject. If we take a circular view of time, both individuals and societies carry not only the promise of who they will become but the burden of everything they have ever been.

We want to believe history is a line because we want to believe that Back Then was radically and intrinsically different from Nowadays. But human nature hasn’t changed; we’ve just grown tired of fighting it. Humans were bigoted and cruel during the days of slavery and Jim Crow and the Civil Rights movement, and humans are still as bigoted and cruel as they allow themselves to be.

So, what should we do with the seeds of hatred and cruelty that lie buried in the soil of our psyche, either dormant or fully sprouted? Earlier today I heard an NPR story on Fred Rogers that featured a vintage audio clip of him explaining to parents how to talk with their children about the political anger leading to the 1979 Iran hostage crisis. Rogers didn’t suggest denying or eradicating anger; instead, he helped children (and their parents) interpret anger by acknowledging the various ways different families, countries, and cultures might express it.

Have we come to a place in history where we need a dearly departed children’s television host to help us make sense of our feelings and where we need novels about ghosts to teach us the true nature of history? Perhaps. It was, after all, Faulkner himself who famously said “The past is never dead. It’s not even past.”

We want to leave the past behind, and in fleeing from it, we tempt it to chase us. What novels teach us, however, is that the spirits of the past are always with us. As the character of Mam in Sing, Unburied, Sing explains as she lay dying, “We don’t walk no straight lines. It’s all happening at once. All of it. We all here at once.” When we realize the past has never left us, we can sit face-to-face with our ghosts and learn every song they have to sing.

 

An incremental heartbreak

I recently started reading Jesmyn Ward’s Sing, Unburied, Sing, a novel that several of my online friends have raved about. I saw Ward read from the book at Harvard’s Memorial Church in early May, and I’ve been waiting for the leisurely days of summer to start reading the signed paperback copy I got at that event.

Because I’m currently reading several books, I’m reading Sing, Unburied, Sing slowly, which means the story is working its power incrementally. The novel starts simply. Initially, it is a story told by JoJo, a thirteen-year-old boy in rural Mississippi who is helping his grandfather slaughter a goat. Later the narrative shifts to JoJo’s mother, Leonie, who is addicted to drugs and intent on traveling to the state penitentiary at Parchman Farm where her boyfriend–JoJo’s father–is set to be released. For the first half of the book, the narrative alternates between JoJo’s and Leonie’s perspectives, but when the family arrives at Parchman, the “unburied” of the novel’s title start to sing.

By any metric, Sing, Unburied, Sing is a heartbreaking story. Leonie is haunted by the ghost of her brother, who was killed by her boyfriend’s cousin in a racially-motivated murder, and JoJo is wise beyond his years, helping to raise his younger sister and becoming unusually close to his grandparents, who are his de facto parents in the face of Leonie’s neglect. Because of JoJo’s relationship with his grandparents, the boy is haunted by stories he’s heard about his grandfather’s own days at Parchman. Tragedy, Ward suggests, is hard to bury; instead, it arises again and again, passed from one generation to the next as a family’s most lasting legacy.

Ward’s narrative is like a warm bath: you sink into it slowly, and it seeps into your bones, loosening and opening them. Or, to put it another way, Sing, Unburied, Sing breaks your heart incrementally, each hairline crack seeming small and insignificant until the entire thing eventually shatters.