A quarantine zine made from a single piece of paper and some old sheet music.
A quarantine zine made from a single piece of paper and some old sheet music.
I drove out to Bastrop a few weeks ago to record an interview for Daily Stoic with my friend Ryan Holiday. We talked about Stoicism, art, parenting, and more.
Personally, I’m more inspired by Zen Buddhism than Stoicism, which is why I was happy Ryan looked a little more to the East for Stillness is the Key. (Shunryu Suzuki’s Zen Mind, Beginner’s Mind speaks more to my artistic practice than any Stoic text, but I’ve read Marcus Aurelius’s Meditations several times and I really dig Seneca’s On the Shortness of Life.)
You can watch the interview here, or, if you’re more of a podcast person, you can hear Ryan tell the story about the first afternoon we met and how a man full of road rage threw a Big Gulp at my car!
After doing a lot of blind contour drawings I’ve started noticing when I make false lines — lines that seem like they should be there, but aren’t based on actual looking.
This happened last night when I was watching a William Kentridge documentary and found myself filling in features on his face after the screen switched from a shot of him talking.
It’s not about a line not looking right, exactly, a false line does not feel right when you make it.
Once you train yourself to notice false lines and that icky feeling you get from making them, you push yourself to go back to looking harder.
There must be a correlation here with writing. We use the same term — “lines” — to describe units of words across the page.
How do we know when we’ve written a false line?
Because I use the same brand of notebook for my diary, I thought it’d be funny to have a weigh-in. This diary, from December 25, 2019 through March 1st, 2020, gained 103 grams, or approximately 5 human souls. (Kidding.)
This, by the way, is the only kind of weighing in I want to do these days. It’s getting heavy enough out there. I’m carrying my own load and don’t want to add to anybody else’s. No time for despair.
I’m reminded of what Italo Calvino wrote in the “Lightness” chapter of Six Memos for the Next Millennium:
[M]y working method has more often than not involved the subtraction of weight. I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structures of stories and from language.
For the rest of the lecture, he attempted to explain why he considered “lightness a value rather than a defect” in art. At some point he became aware of “the weight, the inertia, the opacity of the world… At certain moments I felt that the entire world was turning to stone: a slow petrification, more or less…”
He said if he were to choose “an auspicious image for the new millennium” he would choose:
[T]he sudden agile leap of the poet-philosopher who raises himself above the weight of the world, showing that with all his gravity he has the secret of lightness, and that what many consider to be the vitality of the times—noisy, aggressive, revving and roaring—belongs to the realm of death, like a cemetery for rusty cars.
I don’t pretend to understand everything that Calvino was talking about, but I’ve always loved this idea of lightness. (Bill Murray: “If you can stay light…”)
I take the fact that I have a readership very seriously. If I need to get heavy, I take it to the diary. (And even there, I attempt cheerful retrospection.) That’s where I put the weight.
(I should probably read up on physics before I mix metaphors — does light not have weight? — but I feel that my other job is to be the light or reflect it.)
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