Tag: mary oliver

Projections of Old Age

Jenny Joseph was only in her twenties when she wrote her ubiquitous poem “Warning” (“When I am an old woman, I shall wear purple”).  It projects a feisty version of old age; however, the poems she wrote in her own old age were much more credible.  This is from “A Patient Old Cripple” written when she was in her eighties:

I curse the world that blunders into me, and hurts

But know

Its bad fit is the best we can do.

When Jenny Joseph was very old, according to the BBC she found herself somewhat “annoyed” by the success of her early poem, which overshadowed her whole career.  So, the old ladies in purple dresses and red hats are really the projection of a young adult on how she would like her own old age to be.  What do we think about that?

This got me thinking about the difference between how we thought we would be in old age (or maybe how we hoped to be) and the actuality of our later years. Do our expectations of what it would be like to be old influence what kind of old person we become?  Old age was something I thought about even in middle age.  I was aware that I had been somewhat unconscious (sometimes downright comatose) during my earlier phases – youth, young adulthood, middle age – but I set out to craft a more conscious old age.  To help me think about that, I looked to literature.  And, representations of the old in literature include both those of the young imagining older characters, and old people writing about old characters like themselves.

When we are very lucky, we find authors and other artists who create over a full lifetime.  I find it particularly interesting to examine how their work has changed over the years and have written about that here and here.  Some writers have worked over the decades of a long life, consider the authors Wendell Berry or Marilynne Robinson, the poets Gary Snyder or Mary Oliver, and songwriters Bob Dylan or Leonard Cohen.

In cases like that of Jenny Joseph, we even have the youthful projections of a young writer as to what old age will be like.  For example, we have Jonathan Swift’s list of life rules, “When I Come to Be Old” (hence the title of this blog), which were written when he was 32 and working as secretary to a much older man.  This old man’s habits are presumably inscribed as “thou shalt nots” on the list, and the notable and scary thing is that contemporary descriptions of Swift’s old age match the negative qualities Swift swears to avoid.  Swift did, however, recognize the futility of such rules in the last rule: “Not to set up for observing all these rules, for fear I should observe none.”  And, of course, Swift was a notoriously difficult old man – how much of his character as an old man was the result of his expectations?  Or out of his control?

Lately we’ve been finally watching Monk, so I’ve had Randy Newman (who does the theme song “It’s a Jungle Out There”) on my mind.  Newman, age 82, is still alive and has had an even longer and diverse career than I was aware of, having written the scores for several of the Pixar movies (which I haven’t seen).  I remember him most fondly for songs like “I Think It’s Going to Rain Today” (1968), and “You’ve Got a Friend in Me.”  He wrote the wonderful “God’s Song” for the hilarious movie Cold Turkey in 1971.  And, of course, he spawned controversy.  Remember “Short People” or the mock xenophobic song “I’m Dreaming of a White President” that he wrote for Barak Obama?  It contains the prescient lyrics:

I’m dreaming of a white President
Just like the ones we’ve always had
A real live white man who knows the score
How to handle money
Or start a war
Wouldn’t even have to tell me
What we were fighting for
He’d be the right man…

Randy Newman wrote an early song (1972), when he was only 29, called “Old Man,” about a dying father – and then another in 2017, about an old man losing his wife: “Lost Without You.”  Newman’s lyrics are always worth paying attention to, and I will decline to post the full lyrics here.  (You can find them by clicking on the song titles above.)  The early song was the words of the young man trying to communicate with his dying old man.  “Can you hear me?” the younger singer repeats over and over again.  He is ruthless.  He assumes the old man does not want to die; he assumes that he could open his eyes if he wanted to.  He reminds the old man that there “Won’t be no God to comfort you / You taught me not to believe that lie” and that “You don’t need anybody, nobody needs you.”  Newman’s tongue might be in his cheek, as it often is, but it is a cruel song.  As an old person, I would have opened my eyes just to tell this impertinent young person to leave my side.  “Don’t cry, everybody dies.”  Yes, everybody dies but almost everyone also cries.

The second song (written when Newman was about 71) is narrated by an old man (perhaps the young man from the earlier song grown old?) who is sitting by his wife’s deathbed.  The children are apparently complaining about their father and the mother rebukes them:

“Make sure he sleeps in his bed at night
Don’t let him sleep in that chair
If he holds out his hand to you, hold it tight
If that makes you uncomfortable
Or if it embarrasses you
I don’t care.”

And the old man speaks of his fears:

Even if I knew which way the wind was blowing
Even if I knew this road would lead me home
Even if I knew for once where I was going
I’m lost out here
Baby, I’m lost out here
I’m lost out here without you…

The older Newman is definitely on the side of the old folks – the old dying woman who wants to make sure someone will take care of the love of her life and the old man who is “lost out here without you.”  Newman has come a long way from “You don’t need anybody.”  These are real people who are really dying, and they are not afraid of dying – they are just afraid they will not be able to take care of each other anymore.  And we feel that now he knows what it feels like to be the elder.

I encourage you to read the books of the old – not just about old people but written by the old themselves.  I will try to create a list of recommendations and post it.  I would also recommend an article that appeared in 2015 in the NYTimes, “What Old Age is Really Like,” written by a young author trying to write about old people, and to whom I owe the credit for steering me to the poetry of Jenny Joseph’s old age.  For a fairy tale of how we project and stereotype old age, try my story “Tale of Two Grannies.”

The Threat of Singularity and the Promise of Perennial Philosophy

As I have aged. the pace of technology has surely surpassed my interest in “keeping up.”  I have been intrigued, however, by the notion of the singularity, which is defined in many ways, but often as “a hypothetical point in time when technological growth becomes uncontrollable and irreversible.” Technology already feels “uncontrollable.”  It forces me to deal with chatbots and answer yes/no questions.  It fights to supplant me.   Even as I write this. Microsoft is pestering me to let its AI “Copilot” help me; it wants to co-opt my place at the keyboard, convinced (and trying to convince me) that it can do whatever it is better than I can.  What AI fails to recognize that it is the doing that matters, not a uniformly “perfect” product.

As I was thinking about this, I was strangely reminded of Aldous Huxley and his “perennial philosophy,” which represents a different kind of quest for doing things in the best way, for improving ourselves, or – more specifically – for living life well.  Seekers for the perennial philosophy pursued ageless universal truths, laws, dharmas, which might enable mankind, individually and communally, to reach their utmost potential.  There was no place in this philosophy for technology or even much science.  It had more to do with getting to know the nature of the kind of beasts we are, the kind of world we live in, and how the two interrelate.  “Know thyself,” said Socrates. 

Huxley’s book was a bestseller in 1945, as shocked and tired people were emerging from the nightmare of WWII.  Reviews were good, with the New York Times noting: “Perhaps Mr. Huxley, in The Perennial Philosophy has, at this time, written the most needed book in the world.”  Perhaps, after Hiroshima and the gas chambers, no one was looking to technology to solve our problems.  In the last 70 years things have changed; we have become beguiled by technology.  As Wordsworth predicted, “Getting and spending, we lay waste our powers, / Little we see in Nature that is ours; We have given our hearts away, a sordid boon!”  Indeed.  Our hearts, our minds, and maybe our souls.  We are apparently far more interested in knowing what machines can do for us than knowing ourselves.  Why? It’s easier.

The machines enticed us, seduced us, slowly. Old folks are very much aware of this. When I was a child, technology (in the guise of Western Auto) gave us a big TV with a tiny screen and one to three channels.  It stood in the heart of the house, and we watched it together.  Step by step, it led us to the internet and streaming, and now watching anything is seldom a communal experience.  In my youth, technology gave us one telephone in the center of the house, so that communications were communal (hard on teen-age girls). Now cell phones are stopping any sort of real face-to-face communication.  The internet has made information easier to find, but harder to verify; common wisdom is no longer looked for or found. No wonder they call it the singularity; in wisdom, as in most things these days, we are “bowling alone.”

I think that Huxley’s perennial philosophy is probably the opposite of singularity; it assumes that the answers lie in the truths of the past and not the unknowns of the future, that we can both formulate the questions and find the answers without mechanical help.  The singularity assumes that machines will find the answers, machines which will soon be smarter than us, and that is a scary thought – unless you think that we will always be in control.  Have we ever been in control?  Did we consciously end up with children in their bedrooms sending pictures to strangers and old folks entranced by online “friends” who are trying to scam them?

Literature has long worried over the ascendency of technology.  RUR (Rossum’s Universal Robots) was written by Karel Capek in 1920.  The play warned us not to turn our back on a robot.  Arthur Clark wrote the novel and screenplay for 2001 A Space Odyssey in 1968, based on stories he started in 1948.  HAL (Heuristically programmed ALgorithmic computer) was definitely the enemy by the end.  Technology was much cruder in those days, but people were already concerned. As creatures being slowly ingested by technology, we seem to be less worried now than we were then.  It would seem that HAL has made us fat and happy.  And what is the alternative?  A recent bill putting limits on AI development in California was vetoed by the governor after Silicon Valley got incensed.  There is no hope for such legislation on the federal level. 

The perennial philosophy was defined by Aldous Huxley and others as “a school of thought in philosophy and spirituality which posits that the recurrence of common themes across world religions illuminates universal truths about the nature of reality, humanity, ethics, and consciousness.”  In other words, a search for a commonality in proven human thought, faith, and ethics which could give us clues on the way to live better individually or communally.  But no one thought we could outsource that search, or google it, or that the answer would be a complex algorithm.

Computers are yes/no machines.  In the words of E. F. Schumacher, the real questions of life are divergent rather than convergent problems. Designing a diesel engine is a convergent problem; scientists can work on it and eventually arrive at an answer. AI could do this. How to use such an engine for the benefit of society (i.e., transportation of goods vs. preservation of the environment) is a divergent problem.  Adolescents often think all problems are convergent and often think they know the solutions.  Most old people know that the important questions are divergent and can (and should) be grappled with, but cannot be “solved.” Schumacher reminds us that, again, it is the doing that matters: “Divergent problems, as it were, force us to strain ourselves to a level above ourselves.” 

I appreciate the good that technology has done for us – many of us, including myself, would not still be here without advances in medicine, education, transportation.  But let’s not give away our hearts (“a sordid boon”) – or our lives.  Science may have given us increased longevity, but, as Mary Oliver asks, “What is it you plan to do / with your one wild and precious life?”  Show me the answer to that question in an algorithm.

Dayspring Mishandled – “Remember Not the Sins of My Youth”

“Dayspring Mishandled” is a short story by Rudyard Kipling, and is also a phrase in a pseudo-Chaucer poem (“Gertrude’s Prayer”) that Kipling wrote to go with that tale.  The first stanza of that poem is as follows:

That which is marred at birth Time shall not mend,
Nor water out of bitter well make clean;
All evil thing returneth at the end,
Or elseway walketh in our blood unseen.
Whereby the more is sorrow in certaine—
Dayspring mishandled cometh not agen.

Dayspring is an old word for dawn, for the early part of the day, and Kipling’s point is that things we did, mistakes we made, in our early life cannot be corrected and may have consequences for the rest of our life.  This is both a fairly negative attitude and perhaps also a fairly true one.  How unfair it seems that decisions that we made when we were nineteen about marriage or education or conduct should have repercussions for the rest of our lives!  “Remember not the sins of my youth,” cries the 25th Psalm.  The Psalmist is talking to God, but he might as well have been talking to himself.  Who wouldn’t want to forget the transgressions of their youth?  Who can?

There are two kinds of “dayspring mishandled” that bother us, I think, as we look back from our old age.  First, we acknowledge missed chances, like not taking full advantage of our educational opportunities.  Regrets like these are ours alone, and we can usually remediate, atone, or come to peace in some way within ourselves.  Second, there is the guilt of doing things (or not doing them) that affect other people as well as ourselves.  This is a harder kind of remorse – even if we felt that we had no choice (if we wanted to survive) when we did whatever caused the pain.  Nevertheless, parents, children, spouses, friends – suffered.  I have always taken some solace from the words of Mary Oliver:

But little by little,
as you left their voices behind,
the stars began to burn
through the sheets of clouds,
and there was a new voice
which you slowly
recognized as your own,
that kept you company
as you strode deeper and deeper
into the world,
determined to do
the only thing you could do—
determined to save
the only life you could save.

Of course, Mary Oliver had no children.  Your children live longer than you do, and they never forget.

Literature has often addressed this idea of coming to terms with “dayspring mishandled;” one thinks of Oedipus the King or Hardy’s Mayor of Casterbridge. Of special interest in this regard are works written by older authors, who are looking back at a long past. I recently reread T.S. Eliot’s play The Elder Statesman, his last major work, written when he was seventy and about six years before his death.  It is all about the mistakes of youth – and how they can destroy the rest of life if left to fester.  Lord Claverton (the elder statesman) laments:

Those who flee from their past will always lose the race,

I know this from experience.  When you reach your goal,

 Your imagined paradise of success and grandeur,

 You will find your past failure waiting there to greet you.

And yet, Eliot gives us a relatively happy ending.  Old Lord Calverton ends up in a rest home full of people who know the secrets he has tried to keep hidden for so many years.  The secrets come out, the children forgive, and the old man dies in peace: “I’ve been freed from the self that pretends to be someone;/In becoming no one, I begin to live. /It is worth dying, to find out what life is.”  I recommend The Elder Statesman; I think Eliot learned much between “The Love Song of J. Alfred Prufrock” and his last play.

We would like to forget our instances of dayspring mishandled, but we cannot.  Not only are the consequences very real, but as the wonderful Haruki Murakami says, “You can hide memories, but you can’t erase the history that produced them. If nothing else, you need to remember that. You can’t erase history, or change it. It would be like destroying yourself.” Ah, yes.  Not easy.  But is it at least worth hanging the dirty laundry on the line with the hope that, after all these years, sun and time will bleach out the stains?

Like all of us, I have my share of regrets, of daysprings mishandled.  Besides acceptance (easily said, nearly impossible to live), the thing that helps me is to remember that dayspring is something that happens every morning.  Each day we get a new chance and an older and wiser self with which to face the challenges and the gifts.

I am not going be specific about my regrets here. But I have often written fiction about people who are trying to realize the “ideal” of the poet James Fenton:

This is my past
Which I shall not discard.
This is the ideal.
This is hard.

Since it is Lent, you might look at my story, “Shrove Tuesday.”