The art of self-revision and the courage to change your mind, what it's like to be a falcon, flowers for things you don't know how to say

NOTE: This newsletter might be cut short by your email program. [View it in full](.  If a friend forwarded it to you and you'd like your very own newsletter, [subscribe here]( — it's free.  Need to modify your subscription? You can [change your email address]( or [unsubscribe](. [The Marginalian]( [Welcome] Hello {NAME}! This is the weekly email digest of [The Marginalian]( by Maria Popova. If you missed last week's edition — the door at the end of your suffering, the most important thing to remember about your mother, the poetic science of how cicadas sing — you can catch up [right here](. And if my labor of love enriches your life in any way, please consider supporting it with a [donation]( — for seventeen years, it has remained free and ad-free and alive thanks to reader patronage. If you already donate: I appreciate you more than you know. [On Giving Up: Adam Phillips on Knowing What You Want, the Art of Self-Revision, and the Courage to Change Your Mind]( “A self that goes on changing is a self that goes on living,” Virginia Woolf [wrote](. Nothing is more vital to the capacity for change than [the uncomfortable luxury of changing your mind]( — that stubborn refusal to ossify, the courageous willingness to outgrow your views, anneal your values, and keep clarifying your priorities. It is incredibly difficult to achieve because the very notion of the self hinges on our sense psychological continuity and internal consistency; because we live in a culture whose myths of heroism and martyrdom valorize completion at any cost, a culture that contractually binds the present self to the future self in mortgages and marital vows, presuming unchanging desires, forgetting that who we are is shaped by what we want and what we want goes on changing as we go on growing. Changing — your mind, your life — is also painfully difficult because it is a form of renunciation, a special case of [those necessary losses that sculpt our lives]( it requires giving something up — a way of seeing, a way of being — in order for something new to come abloom along the vector of the [“endless unfolding”]( that is a life fully lived, something that leaves your new emerging self more fully met. One of English artist Margaret C. Cook’s illustrations for [a rare 1913 edition of Leaves of Grass](. (Available [as a print]( The psychoanalyst [Adam Phillips]( offers a salve for that perennial difficulty in [On Giving Up]( ([public library]( — an exploration and celebration of giving up as “a prelude, a precondition for something else to happen, a form of anticipation, a kind of courage,” “an attempt to make a different future” that “get us the life we want, or don’t know that we want.” He considers how countercultural such reframing is: We tend to value, and even idealize, the idea of seeing things through, of finishing things rather than abandoning them. Giving up has to be justified in a way that completion does not; giving up doesn’t usually make us proud of ourselves; it is a falling short of our preferred selves… Giving up, in other words, is usually thought of as a failure rather than a way of succeeding at something else. It is worth wondering to whom we believe we have to justify ourselves when we are giving up, or when we are determinedly not giving up. At the heart of the book is the recognition that renunciation is the fulcrum of change. We give things up, Phillips observes, “when we believe we can no longer go on as we are.” (For many, this is [the central crisis of midlife]( It is a kind of sacrifice in the service of a larger, better life — but this presumes knowledge of the life we want, and it is often experiences we didn’t know we wanted that end up magnifying our lives in the profoundest ways. (Nothing illustrates this better than [The Vampire Problem]( Phillips considers the paradox: The whole notion of sacrifice depends upon our knowing what we want… Giving up, or giving up on, anything or anyone always exposes what it is we take it we want… To give something up is to seek one’s own assumed advantage, one’s apparently preferred pleasure, but in an economy that we mostly can’t comprehend, or, like all economies, predict… We calculate, in so far as we can, the effect of our sacrifice, the future we want from it… to get through to ourselves: to get through to the life we want. Falling Star by Witold Pruszkowski, 1884. (Available as [a print]( “I did not know that I could only get the most out of life by giving myself up to it,” the psychiatrist and artist Marion Milner wrote a century ago in her [clarifying field guide to knowing what you really want]( — which is, in the end, the hardest thing in life, for our self-knowledge is cratered with blind spots, clouded by conditioning, and perennially incomplete. Phillips — who draws on Milner’s magnificent book, as well as on Kafka and Judith Butler, Henry and William James, Hamlet and Paradise Lost — observes that, in this regard, giving up is a kind of “gift-giving.” He writes: Not being able to give up is not to be able to allow for loss, for vulnerability; not to be able to allow for the passing of time, and the revisions it brings. And what would life be without continual acts of self-revision? It is our ego-ideals — the stories we tell ourselves and the world about who we are and who we ought to be, fantasies of coherence and continuity mooring us to a static idealized self — that feed what Phillips calls the “tyranny of completion.” But human beings are rough drafts that continually mistake themselves for the final story, then gasp as the plot changes on the page of living. We do this largely because we are captives of comfort in our habits of thought and feeling, victims of certainty — that supreme narrowing of the mind — when it comes to our own desires. That we don’t fully know what we want because we are half-opaque to ourselves, that something we didn’t think we wanted may end up enlarging our lives in unimaginable ways, is a kind of uncertainty that unravels us. But if we can bear the frustration of the figuring, we may live into a larger and more authentic life. Art by [Francisco de Holanda]( 1550s. (Available as [a print]( and as [stationery cards]( Building upon his excellent earlier writing on [why frustration is necessary for satisfaction in love]( Phillips writes: Our frustration is the key to our desire; to want something or someone is to feel their absence; so to register or recognize a lack would seem to be the precondition for any kind of pleasure or satisfaction. Indeed, in this account, frustration, a sense of lack, is the necessary precondition for any kind of satisfaction. […] The traditional story about lack and desire describes a closed system; in this story I can never be surprised by what I want, because somewhere in myself I already know what is missing; my frustration is the form my recognition takes, it is a form of remembering. Wanting is recovery, not discovery… There is a part of oneself that needs to know what it is doing, and a part of oneself that needs not to… a part of oneself that needs to know what one wants and a part of oneself that needs not to. It is in the continual investigation of our desires, with all the frustration of our polyphonous parts, that we find the recovery and gift-giving which giving up can bring — a way of giving our lives back to ourselves and giving ourselves forward to our lives. Phillips distills the central predicament: The question is always: what are we going to have to sacrifice in order to develop, in order to get to the next stage of our lives? Couple [On Giving Up]( with John O’Donohue [on beginnings]( Allen Wheelis on [how people change]( and Judith Viorst on [the life-shaping art of letting go]( then revisit Phillips on [why we fall in love]( [breaking free from the tyranny of self-criticism]( and [the relationship between “fertile solitude” and self-esteem](. [Forward to a friend]( Online]( on Facebook]( donating=loving Each month, I spend hundreds of hours and tens of thousands of dollars keeping The Marginalian going. For seventeen years, it has remained free and ad-free 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 this labor 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 donation You can become a Sustaining Patron with a recurring monthly donation of your choosing, between a cup of tea and a Brooklyn lunch.  one-time donation Or you can become a Spontaneous Supporter with a one-time donation in any amount. [Start Now]( [Give Now]( 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](. [What It’s Like to Be a Falcon: The Peregrine as a Portal to a Way of Seeing and a State of Being]( We shall never know the sky, you and I — never know how to pierce a mountain with a pupil or sweep a meadow with a wing — and so we shall never know this world in its totality. It is our creaturely destiny to remain earthbound, trapped in frames of reference shaped by our senses, but it is our biological benediction to have a consciousness crowned with an imagination — that periscope of wonder capable of reaching beyond our sensorium, beyond the self, projecting us into other realities and other ways of being. In the mid-1950s, a near-sighted English office worker set out to do for the sky what Rachel Carson [had done for the sea]( thirty years earlier — invite our human imagination, grounded yet boundless, into the world of another creature dwelling in another sphere. J.A. Baker (August 6, 1926–December 26, 1987) spent a decade following earth’s fastest flying bird on bicycle and on foot, possessed by its “restless brilliance.” When he unloosed [The Peregrine]( ([public library]( into the atmosphere of culture in 1967 — an atmosphere shaped by the new ecological conscience awakened by Carson’s [Silent Spring]( five years earlier — it was a clarion call and a consecration, entirely original, yet emanating Thoreau’s meticulous observation, Whitman’s ecstatic language, and Carson’s soulful reverence for the realities of nature in all their brutal beauty. An epoch later, it remains an ode to wonder, a field guide to observation as devotional practice, a passionate and poetic reminder that by attending closely and tenderly to any one thing, we recover our natural reverence for everything, our love of the world in all its strangeness and splendor. Baker writes: You cannot know what freedom means till you have seen a peregrine loosed into the warm spring sky to roam at will through all the far provinces of light. Peregrine at Auchencairn by Archibald Thorburn, 1923. (Available as [a print]( and as [stationery cards]( benefitting The Nature Conservancy.) On [the hierarchy of explanation, elucidation, and enchantment]( to which all writing about the natural world and the science of reality belongs, Baker is a virtuosic enchanter. The writing is at times almost unbearably beautiful — about the bird (“He was a small speck now, like the pupil of a distant eye. Serenely he floated. Then, like music breaking, he began to descend.”), and about the world lensed through the bird (“The day hardened in the easterly gale, like a flawless crystal. Columns of sunlight floated on the land. The unrelenting clarity of the air was solid, resonant, cold and pure and remote as the face of the dead.”) Echoing Carson’s insistence that [“it is not half so important to know as to feel”]( — the ethos that made her own writing so enchanting and unexampled — Baker captures the key to writing at the level of enchantment: I do not believe that honest observation is enough. The emotions and behaviour of the watcher are also facts, and they must be truthfully recorded. Like me, Baker was a latecomer to the love of birds, having long seen them “only as a tremor at the edge of vision.” And then something broke open, broke free. For ten years, he spent his winters “looking upward for that cloud-biting anchor shape, that crossbow flinging through the air,” learning along the way a new way of seeing — the peregrine’s way. (“To see takes time,” Georgia O’Keeffe [wrote]( “like to have a friend takes time.”) In consonance with the most eternal line from The Little Prince — “What is essential is invisible to the eye.” — Baker observes: The hardest thing of all to see is what is really there. Peregrines from Coloured Illustrations of British Birds and Their Eggs by Henry Leonard Meyer, 1864. (Available as [a print]( and as [stationery cards]( benefitting The Nature Conservancy.) There is, of course, first the biological marvel of the peregrine’s sight, which renders visible not just to the soul but the eye itself layers of reality invisible to us: The eyes of a falcon peregrine weigh approximately one ounce each; they are larger and heavier than human eyes. If our eyes were in the same proportion to our bodies as the peregrine’s are to his, a twelve-stone man would have eyes three inches across, weighing four pounds. The whole retina of a hawk’s eye records a resolution of distant objects that is twice as acute as that of the human retina. Where the lateral and binocular visions focus, there are deep-pitted foveal areas; their numerous cells record a resolution eight times as great as ours. This means that a hawk, endlessly scanning the landscape with small abrupt turns of his head, will pick up any point of movement; by focusing upon it he can immediately make it flare up into larger, clearer view. The peregrine’s view of the land is like the yachtsman’s view of the shore as he sails into the long estuaries. A wake of water recedes behind him, the wake of the pierced horizon glides back on either side. Like the seafarer, the peregrine lives in a pouring-away world of no attachment, a world of wakes and tilting, of sinking planes of land and water. We who are anchored and earthbound cannot envisage this freedom of the eye. The peregrine sees and remembers patterns we do not know exist: the neat squares of orchard and woodland, the endlessly varying quadrilateral shapes of fields. He finds his way across the land by a succession of remembered symmetries. Gyr-falcon and peregrine falcon by Archibald Thorburn, 1915. (Available as [a print]( and as [stationery cards]( benefitting The Nature Conservancy.) From this astonishing physiology of seeing arises an astonishing way of being, alien to ours — a vivid reminder that this one planet, this common home to every creature that ever was and ever will be, is composed of billions upon billions of different worlds, each particular to the consciousness that inhabits it. In one of the book’s most exquisite passages, Baker slips into the consciousness of the peregrine, body and soul: Slowly he drifted above the orchard skyline and circled down wind, curving upward and round in long steep glides. He passed from the cold white sky of the south, up to the warm blue zenith, ascending the wind-bent thermal with wonderful ease and skill. His long-winged, blunt-headed shape contracted, dwindled, and darkened to the flinty point of a diamond as he circled high and far over; hanging and drifting above; indolent, watchful, supreme. Looking down, the hawk saw the big orchard beneath him shrink into dark twiggy lines and green strips; saw the dark woods closing together and reaching out across the hills; saw the green and white fields turning to brown; saw the silver line of the brook, and the coiled river slowly uncoiling; saw the whole valley flattening and widening; saw the horizon staining with distant towns; saw the estuary lifting up its blue and silver mouth, tongued with green islands. And beyond, beyond all, he saw the straight-ruled shine of the sea floating like a rim of mercury on the surface of the brown and white land. The sea, rising as he rose, lifted its blazing storm of light, and thundered to freedom to the land-locked hawk… I watched him with longing, as though he were reflecting down to me his brilliant unregarded vision of the land beyond the hill… He sank forward into the wind, and passed slowly down across the sun. I had to let him go. When I looked back, through green and violet nebulae of whirling light, I could just see a tiny speck of dusk falling to earth from the sun, flashing and turning and falling through an immense silence that crashed open in a tumult of shrilling, wing-beating birds. […] Standing in the fields near the north orchard, I shut my eyes and tried to crystallise my will into the light-drenched prism of the hawk’s mind. Warm and firm-footed in long grass smelling of the sun, I sank into the skin and blood and bones of the hawk. The ground became a branch to my feet, the sun on my eyelids was heavy and warm. Like the hawk, I heard and hated the sound of man, that faceless horror of the stony places. I stifled in the same filthy sack of fear. I shared the same hunter’s longing for the wild home none can know, alone with the sight and smell of the quarry, under the indifferent sky. I felt the pull of the north, the mystery and fascination of the migrating gulls. I shared the same strange yearning to be gone. I sank down and slept into the feather-light sleep of the hawk. Couple [The Peregrine]( — one of Werner Herzog’s [five requisite books for any filmmaker]( — with the fascinating science of [what it’s like to be an owl]( [what it’s like to be a whale]( and [what it’s like to be a dog]( then revisit Helen Macdonald’s exquisite recollection of [what a hawk taught her about love and loss](. [Forward to a friend]( Online]( on Facebook]( donating=loving Each month, I spend hundreds of hours and tens of thousands of dollars keeping The Marginalian going. For seventeen years, it has remained free and ad-free 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 this labor 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 donation You can become a Sustaining Patron with a recurring monthly donation of your choosing, between a cup of tea and a Brooklyn lunch.  one-time donation Or you can become a Spontaneous Supporter with a one-time donation in any amount. [Start Now]( [Give Now]( 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](. [Flowers for Things I Don’t Know How to Say: A Tender Painted Lexicon of Consolation and Connection]( “To be a Flower is profound Responsibility,” Emily Dickinson [wrote](. From the moment she pressed the first wildflower into [her astonishing teenage herbarium]( until the moment [Susan]( pinned a violet to her alabaster chest in the casket, she filled her poems with flowers and made of them a lexicon of feeling, part code language and part blueprint to the secret chambers of the heart. The symbolic language of flowers peaked in Dickinson’s time, seeded by Erasmus Darwin’s [radical romantic botany]( a century earlier and popularized by books like [The Moral of Flowers]( but humans have long heavied flowers with the responsibility of holding what we cannot hold, saying what we cannot say — the funeral wreath, the bridal bouquet, Georgia O’Keefe’s calla lilies channeling the divine feminine, the white hyacinth Rachel Carson and Dorothy Freeman made the emblem of [their uncommon love](. We need flowers for the same reason we need poems, or paintings, or songs — because what we can feel will always be infinitely vaster and more complex than what we can name, because words will always break under the weight of the immensities we task them with carrying, will never fully answer the soul’s cry for connection, for consolation, for mercy. Flowers for the loneliest person you know Artist [Tucker Nichols]( was in his late twenties when he found himself in a strange hospital room in a strange city with a strange diagnosis that confounded even his doctors. Nobody knew what to say. Nobody knew how to make it okay. As he fumbled his way to remission, he was saved again and again by the power of human connection, by the many languages of solidarity and sympathy when words fall short. Half a lifetime later, as the pandemic swept the globe with its tidal force of terror and uncertainty, Nichols drew on that experience in a tender gesture of sympathy: He began sending small flower paintings to sick people on behalf of their loved ones. (I am thinking of Walt Whitman and his [Civil War hospital visits]( writing letters and poems on behalf of wounded and dying soldiers.) He painted for friends, for friends of friends, for strangers. His wife and daughter helped mail the paintings. Flowers for the nurses who tell you what’s actually happening Flowers for the neighbor who goes on the same early morning walks even though her dog is gone As word spread of his project, these intimate and specific consolations began to feel unequal to the scale of suffering — we so easily forget that everyone is suffering in one way or another, often invisibly, always ultimately alone — and so he began painting flowers for entire categories of human experience ranging from the depths of despair to those quiet joys that make life livable. The result is [Flowers for Things I Don’t Know How to Say]( ([public library]( — a floral counterpart to [The Dictionary of Obscure Sorrows]( radiating the recognition that no matter how singular what we feel may seem, and how lonely in its singularity, it is just a garden variety feeling, felt by innumerable others since the dawn of feeling, being felt by someone somewhere right now. Out of that recognition unspool the golden threads of connection that bind us to each other and hammock the free-fall of our fear, our uncertainty, our loneliness. Flowers for the kind of crying where tears stream straight down without a sound Flowers for anyone sleeping in a tent on the sidewalk again tonight Flowers for anyone who can see how good they have it and still find it nearly unbearable Flowers for the sound of my beloved chewing in the other room Flowers for anyone in despair His paintings, loose and bright, become analogues of how abstract yet vivid the most interior experiences are — amorphous shapes saturated with feeling, blurry arrangements of contrasting parts of the self. Flowers for spectacular failures Flowers for your terrible predicament Flowers for the man in the back of the bus listening to music as the city rolls by Flowers for the inconsolable Flowers for old people falling in love Complement [Flowers for Things I Don’t Know How to Say]( with the story of [how the evolution of flowers gave Earth its language of love]( then revisit [The Dictionary of Obscure Sorrows](. Art © Tucker Nichols courtesy of Chronicle Books [Forward to a friend]( Online]( on Facebook]( donating=loving Every month, I spend hundreds of hours and thousands of dollars keeping The Marginalian going. For seventeen years, it has remained free and ad-free 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 this labor 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 donation You can become a Sustaining Patron with a recurring monthly donation of your choosing, between a cup of tea and a Brooklyn lunch.  one-time donation Or you can become a Spontaneous Supporter with a one-time donation in any amount. [Start Now]( [Give Now]( 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](. ALSO [THE UNIVERSE IN VERSE BOOK]( [---]( You're receiving this email because you subscribed on TheMarginalian.org (formerly BrainPickings.org). This weekly newsletter comes out on Sunday mornings and synthesizes what I publish on the site throughout the week. 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