Journal Entry   (2016Apr12)

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Saturday, April 09, 2016                                          10:27 PM

In high school I wrote a term paper comparing T. S.Eliot’s “The Waste Land” with Lewis Carroll’s “Alice In Wonderland”—a spurious pairing based on both titles inferring the existence of a ‘land’ of some sort. On first reading I found T. S. Eliot rather opaque—so I was able to make a case that both works involved a lot of nonsense. My teacher was probably so glad that someone bothered to read Eliot that she forbore from destroying my facile interpretation of his poem—I think I got a high grade based solely on the ambition of my reading.

But having been introduced to Mr. Eliot, I was off and running. I read all his poems and most of his plays—then I read most of his essays—then I read critical analysis of Eliot’s life and works, seeking some explication of this rather difficult poet. In the process, I was led to read parts of the Bible, some Shakespeare plays, some poetry by Marvell and Donne, Jessie Weston’s “From Ritual To Romance”, and a good chunk of Fraser’s “The Golden Bough”. At one time I could recite “Burnt Norton” from memory—though at sixty now, and having read all the Four Quartets many times over, I think I understand the poem better now than I did when I could recite it.

Eliot is a strange influence on a young man—he was both after and before his time. He was after his time in the sense that Old World propriety meant more to this native of St. Louis than to the inhabitants of the modern-day London where he spent his adult life. He was before his time in many ways—not least of which being his rejection of religion in his youth and his return to it later in life—not unlike the born-again backlash against secularism that would sweep America a decade after his death.

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Eliot being as much a philosopher as a poet, studying his work as an adolescent may have made me old before my time, at least mentally. Looking back on it, I feel that studying Eliot made me old before my time in much the same way that being ill for so long, and even dying momentarily on the table during my eleventh-hour liver transplant, made me dead before my time. In my mind the two are similar in having made me an outsider among my contemporaries and robbing me, in a sense, of the innocence enjoyed by most people—both the carefree-ness of youth and the ignorance of death most adults maintain right up to the end. But there is room for doubt as to whether those things affected me or if I just have that sort of personality.

Because of this feeling I have a tendency to feel irritable whenever my thoughts turn to social ills, politics, or man’s inhumanity to man—I know that most people give these things only cursory attention now and then, rather than becoming obsessed with our immature behavior as a race. Most people cling to the assumption that humans shouldn’t be any better than they ought to be—but my ‘old geezer’ perspective rants and raves at our insistence on such ingenuousness. I look ahead so persistently that I never enjoy the present—it is a maturity shared by few. And that’s the way it should be—it is foolish to take the world’s troubles on one’s shoulders, when there is little to be done about it other than fret.

‘One day at a time’ is considered great wisdom by many—to me, it smacks of the grasshopper—wasting away the present, without a thought for tomorrow’s troubles. But then, I’m no big fan of ‘surrendering to a higher power’ either. So no twelve steps for me—I get along without them, but I’m glad they work for other people.

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Monday, April 11, 2016                                          11:53 AM

Yes, I know that Monday has a bad rep amongst the working—but for those of us who are unable to work, Monday has a sweetness to it that workers could never imagine. After being disabled it took me years to get over the vestigial thrill of the weekend. Every Friday night I would get that conditioned response—relief that the weekend was finally upon us—but what followed were two more days just like all the rest, if not less enjoyable.

Stores close early on the weekends—those that open on Sunday at all—and you can’t call any place of business to work out a billing or customer service problem. The weekend roadways, should I venture out, are crowded and slow. House-bound people tend to watch a lot of TV—and weekend TV sucks. (Okay, I’ll give you “Madame Secretary” and John Oliver on Sunday night, but that’s it.)

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All weekend long it’s mostly sports on TV—I could never acquire a taste for televised sporting events—believe me, I’ve tried. Even Turner Classic Movies (TCM) deserts me—Slip Mahoney and the Gang in the morning and silent films at night. The news channels (which I dislike enough on weekdays) run ‘caught on tape’ prison documentaries instead of live reporting—which is very apropos—weekends on TV are a lot like prison. All of this makes perfect sense—the vast majority of people have lives—and those lives are busiest on the weekend—why run top programming for an empty room?

I’ve learned to love Mondays. On Monday the New York Times crossword is as easy as it’s going to get—and Jeopardy is once again on at seven—those may seem like little things, but they loom large when one’s life has few other high-points. Weekend food is usually leftovers and take-out, so the food is better on Monday, too. Everyone else is starting their week and that excitement comes through a little, even if there’s a lot of tail-dragging that goes with it. When weekends involved a lot of partying, I used to have a terrible time on Monday morning—now that I can’t have that sort of fun, enjoying Mondays is my booby-prize, I guess.

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Tuesday, April 12, 2016                                          9:50 AM

There is so much music. I own so many CDs that a strong man couldn’t carry them all in one trip—stacks and stacks of them pile up as I continue re-ripping my collection to my new external hard drive—and all I can think about as I go through them is how much music is missing. My old LP collection was more complete, and I never lose that urge to buy enough CDs to equal that former glory—but that old collection was largely built up during my dad’s tenure as VP of Direct Mail at BBDO, back in the sixties. It included the Deutsche Gramophone recordings of the complete works of Beethoven (about twelve volumes of six records each) and the entire Time-Life classical music series (another pallet-full of records)—an avalanche of recordings he was given as free samples in the course of determining their mail-order ad campaigns. (We used to joke that he should talk Mercedes Benz into doing a Direct Mail campaign.)

I am one of five siblings, but neither my parents nor my siblings showed any interest in classical music back then—all the free records went to me and no one was jealous about it—in fact, I often fought over the living room hi-fi with my siblings—they much preferred Rock and R&B. I liked that music also—but I preferred variety—I wanted to listen to all music. The whole world was mesmerized by rock’n’roll back then—when I actually bought classical records  at Fox & Sutherland’s, they were going cheap—sometimes only a dollar or two, where Beatles albums were closer to ten bucks. The whole classical catalog was referred to as ‘loss-leaders’—records that were produced to enhance the reputation of the label, rather than to make a profit.

Having that in my early days, I would get huffy, later on, when some piece of classical music became popular—“Thus Spake Zarathustra” used in the soundtrack to “2001: A Space Odyssey” or “Bolero” used in the movie “10”—people would say, “You’ve got to hear this!” and in my mind I was always thinking, “Yeah, right—like I’ve never heard that before, you philistine.”

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When you listen to classical music and read classic literature at thirteen, you get used to being an outsider. But there is a way in which everyone will suddenly become an expert on something that found its way out of obscurity and into the spotlight for a time—and I find myself caught between my delight that others are finally sharing in the joy I get from these obscure sources—and resentment of my private preserve being trampled by the unwashed. But it’s not all my fault—I spent most of my time feeling outside of society and to do that day after day required that I build up some pride in being different—and there’s some unavoidable bitterness when that difference gets erased in a surge of popularity.

To make matters worse, there is so much music that even my obsession has gaps in knowledge. When ‘Classical Music’ appears as a Jeopardy category, I always assume I’ll know all the answers—but oftentimes I don’t—there’s just too much to know. Plus, ‘opera’ is the most popular form of classical music—and I’ve never much cared for opera—I don’t know much about it. Well, that’s not true—but I know less about opera than an opera buff.

It makes me laugh when Music Choice’s ‘Classical Masterpieces’ channel gives out with three factoids about the composer, that cycle on the screen while the piece is played on the audio. It’s ludicrous—they could be scrolling the composer’s complete entry from Grove’s Music Dictionary—or at the very least, the Wiki entry—in the time it takes some symphonies to play. Do they suppose that would make people less likely to watch? How information-phobic are people, anyway? They’d probably tell you that the factoids are meant to pique your interest so you’ll go google the composer yourself—but that’s just lazy.

Then again, I only turn to that channel when I’m reading—still, they could actually build up a viewership of music-geeks, if they put a little effort into it—maybe not—I don’t know. They make me irritable anyway, mis-titling and mis-crediting a surprising number of audio-tracks—so I know there’s nobody home at that company that gives a damn about classical music. I guess it’s still a loss-leader.

 

Here’s a song cover and an improv from yesterday:

 

 

 

Too New For T. S. Eliot   (2016Feb17)

(Originally posted on Medium.com)

Wednesday, February 17, 2016                                       11:03 AM

The new millennium is here—everything is online! Or maybe not. We expect Wikipedia to have every single factoid in it—and due to its popularity and it frequency of use, it seems to have almost everything. But the rest of the interweb can be surprisingly new and lacking in context. Take Medium, for instance—just this morning I thought to myself, “Let’s see what Medium has about T. S. Eliot…” and I searched for that hash-tag. I expected a few ‘stories’ because I’ve done a few myself, on my WordPress blog—and I know I’m not alone on WordPress when it comes to blogging with T. S. Eliot hash-tagged content.

But zip was all I got—nada on the Eliot-man. So, here we go, Medium readers—this is what I know about the guy: T. S. Eliot was born in St. Louis Missouri around the turn of the last century to a family whose patriarch was a founder of the Unitarian Church in early America. He spent his summers on the Atlantic coast—so he was an Easterner to those in St. Louis, and a hick to those in New England—the typical isolated youth of a creative genius. He studied philosophy at Harvard but then went to England, from which he never returned—preventing him from ever receiving his doctoral degree, in spite of completing all the work except for the in-person presentation.

He fell in love with England once he got there—the English often joked that he was more English than the English, wearing a bowler hat and carrying an umbrella. He married Vivienne Haigh-Wood, but theirs was a troubled marriage, partly due to her mental instability—there’s an excellent bio-pic about the marriage, “Tom and Viv” (1994), which is enjoyable both as cinema and as educational material.

Eliot’s early successes in poetry included “The Love Song of J. Alfred Prufock”, which created a small stir, but it was his “The Waste Land” that exploded onto the literary scene in 1922, making him a household word. This was followed by “Ash Wednesday” and “The Hollow Men”—and eventually my favorites, the “Four Quartets”. But in his later life he turned to playwriting in verse, creating “Murder in the Cathedral”, “The Cocktail Party”, and “The Confidential Clerk”, among others. In 1948, Eliot was awarded the Nobel Prize for Literature. A reporter asked him what poem he was being given the prize for and Eliot responded, “I believe it’s for the entire opus.” And the reporter asked, “When did you write that?”

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As the greatest poet of the last century, Eliot’s output is surprisingly small—his poems can all fit into a small volume. It is the quality of each poem that makes him so great. Another surprising fact is that his most renowned work is a book of children’s rhymes entitled “Old Possum’s Book of Practical Cats”, which provided the lyrics for Andrew Lloyd Webber’s Broadway musical, “Cats”.

I studied poetry in my youth. In the end, I grew tired of the lyrical stiltedness of poetic expression—at its worst, poetry can be quite similar to talking with a fake accent—nothing new is being said, it’s just being said in an unusual way. T. S. Eliot remains favored reading material for me, however, because while all other poets were creating artistic expressions, he created philosophical expressions—poems that were more about thinking than feeling. That appeals to me.

As with many artists, there are troubling aspects to T. S. Eliot—some claim he may have been a closet homosexual, some claim he was a staunch anti-Semite, some feel he did badly by his first wife when he had her committed for life. This happens—many of my favorite artists turn out to be, upon reading their biographies, mere humans with feet of clay. All I can say is: read the poetry.

Here’s the first bit of his Burnt Norton (from “Four Quartets”):

 

“Time present and time past

Are both perhaps present in time future,

And time future contained in time past.

If all time is eternally present

All time is unredeemable.

What might have been is an abstraction

Remaining a perpetual possibility

Only in a world of speculation.

What might have been and what has been

Point to one end, which is always present.

Footfalls echo in the memory

Down the passage which we did not take

Towards the door we never opened

Into the rose-garden. My words echo

Thus, in your mind.

                              But to what purpose

Disturbing the dust on a bowl of rose-leaves

I do not know.”

 

[NOTE: It has come to my attention that Medium.com doesn’t allow special characters in their hash-tags, so when I searched on the Tag ‘T. S. Eliot’ and got nothing, it may have only been because I should’ve searched on ‘TS Eliot’ instead.]

 

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Nothing To Be Afraid Of (2016Jan06)

Wednesday, January 06, 2016                                          12:41 PM

Suicides are up; random violence is rising; Europe is turning away from its march towards unity—back towards nationalism; borders are being walled off; and worst of all, stupidity is on the ascendant. I don’t think even Hillary can handle all of America’s problems—and I don’t think even America can handle all the world’s problems. Yet population continues to grow—meaning there’s less of everything for everyone. And our planet is hurting, which means we can’t use as much of it as we used to.

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We’ve been told that racism is over—but it isn’t. We’ve been told that population growth is no longer a problem—but it is. We’ve been told that capitalism is good for us—but it isn’t good for all of us. People will be what people have always been—talking a good game, but walking the walk of self-centered-ness. Problems that can be solved are not—and problems that make money for somebody are lied about—their existence denied outright.

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It looks pretty hopeless, doesn’t it? How do we solve one problem when that one problem is enmeshed with a hundred others? How do we discuss our problems when the kibitzers get all the air-time—and the words of wise men and wise women get bumped for Bieber updates? As I look over this post I see nothing but bummed-out despair in my words—but am I lying? No. Am I focusing on the bad and ignoring the good? No—the good’s ‘all good’ but it doesn’t solve the problems of the bad. Sunshine and laughter would make far better material for a post—I know that. But our problems abide.

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What do we do? I don’t know. All I know is what we shouldn’t do—we shouldn’t turn to demagogues like Trump—he’s just a 21st century Hitler waiting to happen. And we shouldn’t throw up our hands, just because there are too many problems. We should care about each other—that’s the only answer. Pass all the laws you like—if we don’t care about each other, it’s all just wasted paper.

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Trump’s recent call to register Muslims reminds me of a story I heard—about Sweden during the Nazis—when they were told to have all their Jews wear Stars of David on their clothes, the entire population put stars of David on their clothes. They found an answer to Hitler—through the simple expedient of caring about each other. And they did something else—they put their fear aside. Americans used to think of themselves as that kind of people—people that put their fear aside.

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Today America is the world’s largest producer of fear—we have become a nation of cowards. We cower before black teens, we cower before people who wear headdresses, we run to the gun store to stock up on firearms, as if our neighborhoods are different than they were last year, or the year before—fear is in fashion.

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We have to stop being afraid of our neighbors and start caring about them. And we have to act on that caring—and stop acting on our fears. People will never be sensible—it’s not in our nature. We cannot ‘formulate solutions’ to all the threats our imaginations can conjure—we have to care about each other and embrace the courage that made this country great.

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Personally, I’d prefer to take all the super-wealthy out back and shoot’em—but Iraq taught us that evil is a snake without a head—destruction without caring about what comes after just makes things worse. We are quick to listen to the shouters, the bullies, the hecklers—as if there was no wisdom in silence, no good in quiet reason, and no point in patience. We can’t help it—people are like that. But if we care about each other—and if we act on that care—we might start voting for people who care about people, too. We might start voting for people who aren’t rich or pretty—like Berny. But he’s just one guy—electing him wouldn’t do nearly as much good as emulating him. Better we should all become him than expect him to change the world all by himself.

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A phrase from T. S. Eliot’s “Ash Wednesday” has always stuck in my head:

“Teach us to care and not to care

Teach us to sit still.”

I think it means that we need to learn what to care about—and we have to have the courage to sit still—to not flinch at every worry that flies past our heads—and to have the patience to work things out the hard way—instead of going with ‘Hulk smash!’

So, anyway, my two improvs for today are titled “Teach Us To Care” and “To Sit Still”.

 

The camera didn’t work today, so I’ve substituted video of photos randomly selected from my hard drive–if you are a relative or friend of mine, you’re probably in the video–then I ran out of material and used illustrations from my book of Bear Poems to fill up the rest of the video. For the classical recital’s video, I used some of the great art from my library of images.

I also played from my “Classics To Moderns” piano book today—the stuff towards the end of the book. Run down to Stanton’s Sheet Music to get your own copy—there’s a whole series of easy-to-middling piano works for the amateur (like me) that are nonetheless very beautiful and satisfying to play—I’m sure with a little practice, you could play them much better yourselves in a surprisingly short time.

 

Xper Dunn plays Piano, January 6th, 2016

12 Works from ‘Classics To Moderns’ :

Romance –Reinhold Gliere (1876-1958)

Brisk Game, Novelette, & The Horseman –Dmitri Kabalevsky (1904-1987)

Chanson Sans Paroles (Op. 40, No. 2) –Jan Sibelius (1865-1957)

Prelude No. 4 (Op. 11) –Alexander Scriabine (1872-1915)

Sea Piece & To A Wild Rose –Edward MacDowell (1861-1908)

Valses Poeticos –Enrique Granados (1867-1916)

Elfin Dance, Song of the North, (‘Saebygga’) & The Cowherd’s Song (Op.17) –Edvard Grieg (1843-1907)

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The Culture Novels of Iain M. Banks   (2015Dec12)

Saturday, December 12, 2015                                           5:57 PM

Technically (at least with regard to Amazon.com) there are only ten ‘Culture Novels’ listed in their website’s ‘Kindle department’—but there are, to my knowledge, twelve Culture Books to date. Amazon’s Kindle-publishing didn’t offer “Against A Dark Background” [1993] on Kindle until just recently—and it still doesn’t offer “Transition” [2009] (or “Inversions” [1996], though they list it as one of the ten—go figure). There are debates about whether something is distinctly a Culture novel or not—but as far as I’m concerned, they’re all written from a Culture frame of mind and are set in the same ‘universe’ (though vastly extended over both time and space) and are thus all Culture novels—but that’s just me.

In the course of my choice to re-read all the Culture Novels in chronological order, this and other details led me to create a table—and for anyone with a yen to do the same, I hereby save you the trouble:

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I’m presently on ‘book 6’—which means that I’m reading “Against A Dark Background” on my Kindle—with plans to read “Inversions”, which I luckily have a printed copy of, the next time Kindle interrupts my reading for a charging of its battery—take that, Kindle! Truth is, I have them all in print somewhere—but there’s a lot of rooting-around implied in that phrase ‘somewhere’, so I’m just biting the bullet and paying for the Kindle versions (where available). I’ve become spoiled by reading a lit screen—and I really can’t read print by lamplight for very long nowadays, anyhow.

“Fans of the Culture novels by Iain M Banks” is a Public Group on Facebook that I just joined. Iain M. Banks is the ‘science-fiction-name-version’ of Iain Banks, a Scottish author whose initial renown springs from his gruesomely violent “The Wasp Factory” published in 1984. “The Quarry” and “The Bridge” are subsequent non-sci-fi novels—and the Iain Banks without the middle initial is thus a bestselling novelist. Still, ‘Wiki sez’ that he began as a sci-fi writer and couldn’t get published—and further, that there are aspects of “The Wasp Factory” that are sci-fi in disguise, so to speak.

I find this odd, but not that odd—science fiction should have its own publishers and editors—how can we expect a ‘regular person’ with no interest in science fiction to recognize what makes great sci-fi reading? Iain Banks, by manipulating his own talents in a more commercially-acceptable genre, gained acceptance as a writer first. Then he was able to slingshot around the imagination-opaque editors and get his sci-fi published. Being a logical kinda guy, he used his middle ‘M.’ to keep up the Chinese Wall between his two audiences.

I first read “Consider Phlebas” in the 1980s—I was its dead-center demographic—a sci-fi reader with a hard-on for anything T.S. Eliot—my favorite poet. Banks uses Eliot quotes for book-titles, sometimes—my kind of guy. I was pleasantly surprised by ‘Phlebas’—many writers throw in some T.S. Eliot for legitimacy—and who doesn’t want to quote the greatest poet of the last century—especially back in the last century? Most do it out of a well-founded sense of inadequacy—but Banks’ writing makes it clear that his affinity for Eliot comes from an affinity for the same kind of ‘big picture’ concepts dealt with in the great man’s poetry—and no small amount of literary talent. Banks’ fiction is exceptionally good reading—an even rarer prize in the sci-fi genre than in fiction generally.

Banks is also amongst those writers whose envelope-pushing in their own medium make them difficult fodder for the cinematic-conversion that so many writers envision as the end-game to success—he succeeds in his writing perhaps too well to succeed as the germinator of movie adaptations. His writings’ best features are also almost a list of things that are hard to adapt from the literary—though great screenwriters have adapted some wild stuff from past writers, so I wouldn’t go so far as to say the Culture novels will never be adapted for mass media in some way. Still, I can almost guarantee they will lose something in the process.

When I was ill for many years, I read very little—I had such poor memory that I could only read a Banks novel by keeping a few index cards between its pages—on which I would write the names of the many humanoids and ship-minds that filled the story. Ship-mind names proliferate—and any reader with a poor memory will have difficulty keeping them all straight—I noticed this particularly last week, while re-reading “Excession” [1996]. I do enjoy the serendipity of the naming of the mind-ships, though—and I enjoy the concept of super-AI minds being housed in starships whose size and power match their imagined mental capacity.

Fiction takes us to another world, another time or place, and allows the vicarious experience of other characters—when it’s done well, it’s transportive. In the case of science fiction, that escape is heightened by the absence of any boundaries of place or time—it can let us be not just different people in different places, but things that don’t exist in worlds that are different from Earth—even with physics that differ from our observed reality. What a trip. Iain M. Banks is one of those rare sci-fi writers that can comfortably, confidently take us on such limitless journeys and I recommend his books to anyone who has hitherto been missing out.

[Blogger’s Postscript: I wrote this post yesterday under the assumption that Iain Banks was still living and that he would bring us more books in future. I’m saddened to learn that Mr. Banks passed away in 2013 of cancer–and I hope no one feels I have disrespected him by writing about him as if he was still with us.]

From Ritual to Romance   (2015Nov08)

Sunday, November 08, 2015                                            6:21 PM

“From Ritual to Romance” was written by Jessie L. Weston in 1920. It is mentioned by T. S. Eliot in the notes to his poem, ‘The Waste Land’: “Not only the title, but the plan and a good deal of the incidental symbolism of the poem were suggested by Miss Jessie L. Weston’s book.”  Weston’s book, along with Sir James George Frazer ‘s “The Golden Bough: A Study in Magic and Religion”, first published in 1890, were hot topics in Eliot’s day. Frazer’s ‘Golden Bough’ did for anthropology what Darwin’s “On The Origin Of Species” did for biology in 1869—it presented academic research indicating that the Christianity of the day was evolved, in many ways, from more-ancient rituals and earlier gods. Further, it showed that religion changes with the times, while it re-tasks older beliefs and traditions. Simple examples include the importance of mistletoe in Christmas tradition—a holdover from Druidic beliefs and rituals—and Christmas itself, a pre-Christian mid-winter festival re-assigned as the day of Christ’s birth, whereas the historical Jesus was most likely born in the spring.

Just as Darwin’s work slowly percolated for decades after its initial publication (the Scopes trial wasn’t until 1925) so too Frazer’s research would not bear the fruit of Weston’s and other writers’ works until well into the beginning of the twentieth century—and this affected T. S. Eliot, scion of a famous Unitarian family and a student of Ancient Greek, Latin, and even Sanskrit (he familiarized himself somewhat with Eastern philosophy—the final ‘shanti’ in The Waste Land is Sanskrit for ‘peace’)—but an intellectual who considered himself an atheist early in his writing career. That he would join the Church of England in his later years, he admitted, was in large part due to his desire for ritual and the focused meditation of prayer.

In his essays on Christianity, culture, and society, Eliot worried that the ending of borders in Europe would lead to an overly homogenous culture, losing the variety of differences between the many nations. His concerns were misplaced, as the United States would handily blanket the globe with Pepsi and Quarter-Pounders soon after the next World War. But the foundation of his concern for cultural diversity, as well as his eventual decision to rejoin a religious community—was at heart a concern for meaning in one’s life and indeed in the lives of everyone.

His masterpiece, “The Waste Land”, was to some extent a gigantic howl at a universe that was losing its old meanings—and having trouble replacing them with modern equivalents. Industrialization, science, and technology were erasing many of the givens—people of different countries were no longer separated by mere physical distance—the secrets of life, of matter, of the universe—all of which had been the province of faith—were now being revealed by scientific inquiry—‘God’ himself had been dethroned.

And Eliot raises a valid point—I spent many years being agnostic, being unsure if my rejection of all religion was based on valid reasoning—but once I decided absolutely on atheism, I’ve spent every moment since in trying to find a way to give life meaning without reverting to any magical improvisations that would simply be religion in another guise. And it’s not easy.

As I watched a PBS documentary on Johnny Carson today, this issue of rituals again raised itself in my mind. In my youth, TVs were made from tubes. This required a TV to be big and boxy—the bigger the screen, the bigger the whole box had to be. So—a very substantial piece of furniture sat in the center of virtually every home—and, at dinner-time, virtually every American turned it on, like a national campfire, and watched either Walter Cronkite or Chet Huntley and David Brinkley tell them the news of the day. Later, at bed-time, Johnny Carson would come on and clue us all in on what was going on, what to care about, what was ‘cool’, and what to laugh off.

The real importance of this was in the following day—our conversations with each other would always have a common context—we all referenced the same ‘source material’. Equally important was our unanimous acceptance of whatever information was received—we talked about how we felt about current events—we never discussed whether we believed what Cronkite or Carson had told us. That’s where the cliché of ‘water-cooler conversation’ comes from—although presently even water-coolers are a thing of the past—now most office workers show up to work with their own individual caffeine drinks from Starbucks or Dunkin Donuts.

Older times saw technology enabling us to be tribal on a larger scale—first radio, then television, gave us a sense that the entire nation, from coast to coast, was all ‘on the same page’. Automobiles allowed us to congregate in public places in larger numbers—and from a larger overall area. The limitations of corded, rotary landlines—mostly always just one to a household—retained the sense that real communication could only be accomplished face-to-face.

And while we are tempted to blame laptops and i-phones for the insularity of modern communication, we should remember that earlier electronics began the change—the advent of touch-tone dialing, call-waiting, multi-party calls, caller-ID, etc.—all made telephony simpler and more akin to an actual conversation. It was around this time that phone cords of exaggerated length became popular—phoning had become easier, and we began to feel a restlessness from still being pinned to one spot in the home.

The differences today are many: we all have our own phones now; we can take them wherever we go now; we don’t have to worry about missing a call—not only do we know who tried to call us, but they can leave a recorded message for us to hear later. Point-of-contact used to be the family kitchen—now each wandering individual is a point-of-contact. Telephone contact is so universal today that we are confronted by situations, as when driving a car, where talking on the phone can actually kill us.

Similar conveniences have stripped away the trials of scholarship—fifty years ago one would inevitably find oneself in need of a public library—specifically the reference section. ‘Mini-reference-sections’, called encyclopedias, were sold door-to-door—mostly to minimize the number of trips to the library. We got to know our librarians; we got to know each other—if we were the kind of people who spent a lot of time reading or studying or researching. Today, I have no need for the reference section of my local library—I don’t even have to cross the room to use my own encyclopedia (yes, I still have a set)—I can just do a Google-search, or check Wikipedia, or find the e-text of a classic tome on the Gutenberg Project website.

Don’t get me wrong—there’s tremendous power there. Not only do I have access to the equivalent of a library reference section—I have access, from right here where I’m sitting, to every university, laboratory, professional association, research society—hell, with the right access codes, I could rifle through the files of DARPA, NASA, or CERN. But my point today is not concerned with the wonders of the Internet—I’m focusing on the fact that I don’t need to break my solitude—I don’t need to open my front door—and I still have access to virtually every bit of information known to mankind.

Convenience in communication, and in scholarship, was welcome progress—but we still needed to get together to have ‘something to do’. Increasing the number of TV channels from three to 300 made it possible to watch a lot more TV—and cable TV made it possible to watch movies without attending a movie theater—but still, there is a limit to how much TV a person can watch. Likewise, there is only so much time that can be spent talking on the phone or studying. In my day, a person always reached a point where he or she simply had to go outside, to mingle with the throng—or simply hang with one’s friends.

Eventually, one way of ‘hanging with friends’ became playing video games—a group of kids would congregate around a TV hooked up to a video game system and take turns using the controllers. And this is where everything came off the rails, in a sense. The advent of multiplayer online gaming, combined with the use of laptops and cellphones, made it possible to both play with friends and socialize with friends—all without leaving the privacy of one’s room. Additionally, one could leave one’s room—could in fact go anywhere—and still remain essentially within that gaming social gathering. This leads, of course, to the phenomenon whereby your kids could be in the room with you, but not really ‘be’ there at all—they’re texting, or IM-ing, or gaming with unseen other kids while their bodies, devoid of conscious awareness, sit in the same room you’re in.

We call this new generation ‘digital natives’—people who grow up with digital, online technology as a given. To digital natives, being physically present is of less importance than online connection—they pay attention to their screens, not to the people in their environment—hence all the car-crashes caused by cellphones. There was once a time when a rainy day was bad news for kids—it meant we couldn’t go outside to play—and that was a major tragedy in our young lives. Nowadays, when parents force their kids to go outside, it is more likely to cut them off from their friends and their playtime.

In a culture that shops online, plays online, watches online entertainment, communicates online, and learns online, we find that something is lost. In Eliot’s time, they felt the loss of religion as an absolute—but they also lost the comfortable patterns of a life where God was central to everyday activities. In our time, we are experiencing the loss an even more elemental aspect of our daily lives—shared physical presence. And the list of rituals being lost in this new ‘normal’ is even greater.

Consider laundry—there are still parts of the world where we could witness the weekly washing of clothes by a riverbank—those people gather and mingle and chat as they do their laundry ‘community-style’—and for centuries, all mankind did their laundry in this way. When washing machines came along, people hung up their wash on clotheslines—often socializing with their neighbors over the back fence—a smaller social group, but still partially a community activity. Then came electric dryers—and homemakers found themselves, at least as far as laundry was concerned, acting in solitude, shut up each in their own homes.

Why are rituals important? Look at it this way—we can strive for success, for achievement, for goals of many types—we can chase after lovers, mates, and romance—we can eat, sleep, and work—but all of it is empty without a context, a continuum, that is the cycle of our daily lives. Humans are a social species—we need the comforting presence of others, we need interaction with our peers. But we are raising children in an environment of solitude—where are they supposed to find meaning and fulfillment in their lives? How can they build a comforting pattern of social rhythms to give their lives continuity?

And make no mistake—we have need of these things. Take the Sabbath day as an example—with the decline of religion, one might ask why bother with a day of interruption? But we need rest as much as we need sleep—however we came up with the idea of a ‘day of rest and prayer’, it fits our biological rhythms—even without feeling obligated to pray to God once a week, we still benefit from the rhythm of taking every seventh day off. Or take another example—the taboos on certain foods, like pork or shellfish, were once considered religious observances—but they were useful in that such foods are health risks if not carefully cooked. Further, in modern America, where a person can eat anything—and as much of it as they please—we find that eating without limits presents greater health risks than any one type of food could ever pose.

Boundaries, rituals, democracy, all the inconveniences of being part of a group, rather than a free, solitary agent—these things have a value to our mental and physical health, to our sense of having a rich, fulfilling life. We may be able to get along without our imaginary friend, God, but we are finding out that life can be even more empty and angst-ridden if we try to live without each other, without community and society. There may come a day when we no longer have prisons—we may come to recognize that everyone is already in a prison, that criminals can be punished and isolated from society by the simple expedient of taking away their online connection.

This may seem rambling and generalizing, but I’m trying to make the point that the rhythms and patterns of community provide a substrate for the discrete pursuits of life—earning a living, raising a family, the arts, the sciences, politics, etc. We focus on these ‘goals’ of life and overlook the fact that life has a context within which all this goal-seeking behavior occurs—that there are moments between these activities—that our consciousness goes in and out of these discrete pursuits, but our awareness is confronted by an unbroken continuum of existence—and that overall ‘existence’, without substance, becomes a void that we fall into whenever we are not consciously busy with a particular aspect of our interest. No matter what our individual interests may be, we still need our overall lives to have texture and substance. Without experience outside of our online connections, life becomes disjointed, disconnected, and begins to lose value or meaning.

The human animal can adapt to many changes—but not to emptiness. It has been noted that a person left in a sensory-deprivation chamber will quickly be driven mad by a nervous system bereft of input. We are in danger of finding our global village trapped in an electronic isolation that will drive the whole world mad—we may find that civilization will ultimately be destroyed, not by fire or ice, but by our lust for convenience.