Of lunatics and vocabulary

I recently finished reading Rebecca West’s classic 1940 tome Black Lamb and Grey Falcon, chronicling her travels through what was then Yugoslavia along with pretty much everything she learned about the history of that region. There are many, many things I could comment on in that book, and maybe I will in the coming days, but one thing I find sticking with me is her distinction between “idiots” and “lunatics.” When West learns that the King of Yugoslavia has been assassinated and reacts with horror, her nurse assumes she must have known the man personally. West comments:

Her question made me remember that the word “idiot” comes from a Greek root meaning private person. Idiocy is the female defect: intent on their private lives, women follow their fate through a darkness deep as that cast by malformed cells in the brain. It is no worse than the male defect, which is lunacy: they are so obsessed by public affairs that they see the world as by moonlight, which shows the outlines of every object but not the details indicative of their nature.

I could observe that the last eighty years have brought us to the point where women are as apt to be lunatics as men, and where the prevalence and penetration of public media into daily life makes it difficult for anyone to be an idiot, however hard they may try: think of the elderly shut-in who does little all day but watch television and thus has an opinion on every damned thing that happens in the world. A hundred years ago she would have been an idiot; now she is, at best, a kind of lunato-idiot hybrid, kept from full lunacy by her incapacity for action. But set that aside.

What’s really interesting to me about this distinction is simply that West makes it. Here are two words apt to be used almost interchangeably by way of dismissing their object, which become, thanks to this combination of etymology and poetry, useful tools for distinguishing among similar concepts, yet endowed with the power of metaphor to prevent those distinctions from growing too narrow. What words ought to be, I think. Much later in Black Lamb and Grey Falcon West observes that women’s idiocy has often been the only thing to save civilization from men’s lunacy, and the words are both shorthand and illustration, at once zipping up an argument and unpacking it. Beautiful.

This reminds me of one of my pet peeves, which is the interchangeability of all the various words we have to praise a thing, the words we trot out when “good” isn’t enough. All come from different roots, and considered etymologically ought surely to mean different things, or at least to shade meaning differently. Excellent is fairly clinical: to excel, to exceed, to stand outside the usual and the expected. Wonderful ought to mean full of wonders, a thing to be wondered at, a mystery. Fantastic suggests fantasy, a thing that surely cannot be real. Fabulous also suggests untruth, but more pointedly: a fabulist is a liar. A thing truly awesome ought to bring us to our knees in an attitude almost of worship. And so on.

Homeschooling: A valediction

(Valediction: “a farewell, a bidding farewell,” 1610s, from past participle stem of Latin valedicere “bid farewell, take leave,” from vale “farewell!,” second person singular imperative of valere “be well, be strong” (from PIE root *wal- “to be strong”) + dicere “to say” (from PIE root *deik- “to show,” also “pronounce solemnly”).

My daughter graduated from homeschool high school at the end of May and is headed to college in the fall. For seven years, through middle and high school, I taught her math, science, and arts every week, plus a bonus-senior-year literature class. As this means that I am also graduating, in a sense, or at least retiring, I thought I should be allowed to make a speech. And since there’s no one around to stop me, here it is. I’ll keep it short.

Biodiesel people vs. electric car people

The subject of biodiesel came up last week, and in explaining the concept to my daughter I remembered how much I’m drawn to it—as opposed to electric cars, which I instinctively distrust. That statement says as much about me as it does about the two technologies, so let me unpack it a little.

Here’s why I’m drawn to biodiesel:

1. Biodiesel piggybacks on existing technology. We already know how to build and maintain diesel engines.
2. At its best, biodiesel turns waste material—used vegetable oils—into fuel rather than requiring new production.
3. You can literally make biodiesel in your back yard. More practically, it can be made on a community scale.

Will biodiesel solve all the world’s problems? No. It is a small and partial solution to an enormous global problem, which though it cannot solve the whole, nevertheless—by virtue of being small!—empowers people to roll up their sleeves and get to work. Moreover, in principle, it creates no new problems that others will have to solve later, e.g. waste that will have to be cleaned up.

The electric car, by contrast, promises a total solution to that enormous global problem—but one that, by its very totality, disempowers people. The electric car…

Cheap Sonnet No. eiπ+1. In Which the Poet Fails to Grasp His Meaning

The dry leaf crumbling in the toddler’s fist,
The cloud-form wind-rent at the careless naming,
The fluttering dream that flees the day’s periphery,
The memory-scent long rotted from its root:
The lover hard pursued will not be kissed
Nor love be raveled out from life’s polyphony;
The truth, that beaten dog, is loath to trust us
’Til it lay its head unbidden at our foot.
And still with art the cunning mind constructs
Its algorithms and its aqueducts
To calculate the right, to channel justice,
Enumerate the light and catch the raining…
Once holding, we behold what’s left us then:
Water wisps that cling to porcelain.

On “good work” and the Tao

I have been (slowly, irregularly) making my way through Jonathan Star’s translation of, and commentary on, the Tao Te Ching. I read another translation of the Tao some years ago and remember little enough of it. I like this edition because Star offers not only a literary translation by line and verse but a verbatim translation: an analysis of the various possible meanings of each character in the original, thus giving the Westerner a better idea of just how difficult and dangerous a literary translation may be. As he explains in his introduction:

Ancient Chinese is a conceptual language; it is unlike English and other Western languages, which are perceptual. Western languages are rooted in grammar that frames events in real time, identifies subject and object, clarifies relationships, and establishes temporal sequences. Ancient Chinese is based on pictorial representations, without grammar. Characters symbolize concepts that can be interpreted as singular or plural; as a noun, a verb, or an adjective; as happening in the past, present, or future. (p. 3)

Any specific literary translation into English should therefore be held lightly—if not taken lightly; the concept is dear, but any specific perception of it is necessarily partial. I offer this as preface to everything I may say about the Tao: I know about enough to be dangerous, and anything I say should also be held lightly (if not, again, taken lightly).

I ought also to admit that I am approaching the Tao with a particular guiding question, which has to do with what I will loosely call good work. This is not the proper way to introduce that concept, but I’ll try to get around to an introduction later. What I mean right now by good work has to do particularly with technological making, and I’m guided to the Tao for insight into questions about work and technology by Alan Jacobs’ essay in the New Atlantis last year, “From Tech Critique to Ways of Living,” which I strongly recommend.

So. This morning I was poring over verse 3, in which the Sage “shows people how to be simple and live without desires,” which is boilerplate religious wisdom, but also “to be content and not look for other ways,” which could be taken as a repetition of the prior line but struck me as subtly and significantly different.

using a spokeshave at the shaving horse

What we talk about when we talk about hand tools

using a spokeshave at the shaving horse

In the spring of 2021 I started writing, elsewhere, a series of think-pieces about technology in the woodshop, beginning with the question What is a hand tool, anyway?, continuing through the effects of tools and tool use on the worker and the world, and working towards, as I found, a sort of rubric for evaluating tools for wise and responsible use. As I mean to pick up this thread, I have moved the pieces here and am linking to them below, in the order written, and will link new pieces here as I write them. I am also tagging them with work and the worker, which opens a few more doors and will likely range a little further.

A couple of things to note. First, I mean this to be a practical discussion, not a purely philosophical one. Second, although my particular interest is woodworking, I believe the discussion and tentative conclusions are applicable far more widely. In fact, I think there’s real value, at this point in time, to come at the problem of technology use from a perspective other than that of the digital — i.e., other than that unique to this point in time. We’ll see if it bears fruit.

  1. What is a “hand tool,” anyway?
  2. Hand tools and “traditional woodworking”
  3. Tools and externalities

Cheap Sonnet No. (√5±1)/2. In Which the Poet Bemoans, Again, the Failure of His Tomato Plants

These are the seeds that Christ forgot to mention,
Guaranteed by faith and factory rearing,
Sown not on rock nor thorn nor bitten path
But in good scientific soil, and bathed
With electrically timed warmth and light.
They thrust themselves awake like Christmas morn,
Unfurled leaves like mouths of baby birds
Mother-fed, quiescent while the year matured,
Stunted, never feathered out for flight.
Beware, my brothers, engineered intention!
Every life must suffer nature’s wrath.
Plant by singing and by signs. Mourn
The lost. Save what will be saved.
Listen though you are not granted hearing.

Cheap Sonnet No. 1843½. In Which the Poet Espies a Yellow House

Sing what no neighbor dares confess
Amid the squalid safety of the new
(Constructed character of mismatched cubes,
Rectilinear gardens, monochrome)—
This cottage clothed in cheerful dereliction,
The color of a child’s shining sun,
With window-box and dooryard in a mania
Of zinnia, petunia, gazania—
Accidentally annexed, arrises askew,
Gilded, bowered, vine-rife, breeze-cleaned, bird-rung.
Why scorn what abundant life includes,
Careless or a contrary ambition?
Whatever saints and sinners call this home,
God bless and keep them in their foolishness.

Interior of the Baptistry at St. Marks

The Sexton

Interior of the Baptistry at St. Marks

After William Merritt Chase, In the Baptistry of St. Mark’s, Venice (1878)

On Saturdays, at terce
I polish the brass. One by one
the candles from their unlit altar
in my calloused hands I carry
to a bench of pine my ancestors made.

Outside the sun bakes pilgrims in the square.
I sit in shadows, back against cool marble.

The candlesticks rest in my lap.
The polish stains my apron.
I peel away the hardened
husks of thrice-said prayers,
and with a cloth gentled by laundering
caress their graceful necks, their
swollen bellies, archéd feet.

I have no hurry. I have
polished this candlestick a thousand
years. I shall polish the next
a thousand more

until the light from high
windows the dark stones swallow
finds each arc, each surface,
makes it gleam.

I need no candle here.
I make the unseen visible.
My eyes will find
my work when it is finished.

February: A Cautionary Tale, and Desultory Philippic

‘Twas a grey day in February,
and evening fell like a dead canary…

Thus begins this year’s winning entry in the annual Upper Dongle Creek Literary Society Bad Poetry Contest. Penned by Mr. E. P. Merdle of Fickle Fork, Iowa, “February” evinces a deft hand at poetic form animated by vivid imagination and the worst possible taste. When asked for comment on his victory, Mr. Merdle replied only that “the main ain’t got no culture.”

First prize for 2022 is a box of five hundred pink erasers, a certificate suitable for framing, and a cease and desist order signed by six former U.S. Poets Laureate.