Travel doesn’t relieve your problems, it throws them into relief.
Why I love my paper dictionary
Free tip for young writers: Go to Goodwill and buy a gigantic used paper dictionary for $5 and keep it on your desk. Here’s mine:
All sorts of interesting, serendipitous things happen when you use a paper dictionary, because when you look for a specific word, you have to brush past all sorts of other words before you find the one you’re looking for.
When you really take the time to explore a bit, you see words in context alongside words with similar roots and it can give you a bunch of different ideas. For example, did you know that “patina” comes after “patient”? One word about enduring time, the other describing its residue:
Google won’t help you discover that.
When you’re looking for a word to replace a word in your writing, John McPhee suggests skipping the thesaurus and going straight to the dictionary:
With dictionaries, I spend a great deal more time looking up words I know than words I have never heard of—at least ninety-nine to one. The dictionary definitions of words you are trying to replace are far more likely to help you out than a scattershot wad from a thesaurus.
The dictionary not only gives you a gives you a list synonyms for the word you’re looking up, it also gives you a deeper understanding of the meaning of the word, and sometimes the definition can lead you to a better way of phrasing altogether. (Stephen King: “Any word you have to hunt for in a thesaurus is the wrong word.”)
I love paper dictionaries so much I take pictures of them out in the wild. Above is a dictionary I saw in the hallway when I visited the offices of The New Yorker. Below is the little dictionary corner upstairs at City Lights in San Francisco:
The first paper dictionary I remember was this big red Webster’s that my dad kept in a kitchen drawer. When I posted about my love for dictionaries on Twitter, folks sent me their beloveds:
When Alan Moore was asked what was the best book he ever received as a gift, he replied:
That would be the second unabridged edition of the Random House Dictionary of the English Language, one of the first of many marvelous gifts from my wife, Melinda. Aleister Crowley once stated that the most important grimoire, or book of magical instruction, that anyone could ever conceivably own would be an etymological dictionary, and in my opinion he was exactly right. I keep it right here by my desk, and just 10 minutes ago it confirmed for me that I had the spelling of “proprioception” right all along, even though my spell-checker had raised a crinkly red eyebrow. Quite seriously, this is the one book in my collection that I’d save in the event of a fire.
Paper dictionaries are magic. Go get one and use it!
None of us know what will happen (weekly newsletter)
Hey y’all,
Here are 10 things I thought were worth sharing this week:
- A little pep talk from Laurie Anderson.
- I enjoyed Jan Swafford’s new introduction to classical music, Language of the Spirit.
- I revisited Jason Fried’s post, “Give it five minutes,” after being reminded of it in my advance copy of Alan Jacobs’ How To Think.
- The Atlantic reprinted Annie Dillard’s classic essay, “Total Eclipse,” also found in her recent collection, The Abundance. Reading it actually made me not want to experience a total eclipse at this particular point in my life. (I already feel darkness rushing towards me. See: Ross Andersen’s terrific piece, “The Eclipse as Dark Omen.”)
- Sarah Manguso, author of a recent favorite of mine, 300 Arguments, recommends singing in a choir, as does Brian Eno, who says it’s the key to a long life. Here’s Eno, Michael Stipe, and Stephen Colbert singing “Lean on Me.” (Bonus: Douglas Wolk on what makes Brian Eno’s early albums special.)
- Poem: “To ask the hard question is simple… / But the answer / Is hard and hard to remember.”
- Worth watching: I Called Him Morgan (streaming on Netflix), a documentary about jazz trumpeter Lee Morgan, his wife, and his untimely death. Here’s video of his trumpet solos and playing with Art Blakey.
- Ear candy: An online trove of 25,000 digitized 75RPM records.
- Austin’s new central library (photos here) is finally opening in October and I am pumped.
- How my son is helping me learn how to learn again.
Thanks for reading! If you like this newsletter, forward it to a friend, buy a book, or tweet me some love.
If you’re seeing this newsletter for the first time, you can subscribe here.
xoxo,
Austin
None of us know what will happen
The threat of nuclear war has been with us for over 70 years, and dreading the end of the world is an ancient human activity, but recent headlines have put it all all top-of-mind again, petrifying many of us. (The upcoming solar eclipse isn’t putting me at ease, either.)
We all deal in different ways. For me, it’s drawing comics full of skulls — little memento mori that keep bubbling up from some dark vat of goo in my brain. I’ll keep drawing them as long as they keep visiting me.
For this comic, I thought the skulls could illustrate a mini pep talk by Laurie Anderson I heard on the “Producers” episode of Meet The Composers:
The world may end. You’re right. But that’s not a reason to be scared. None of us know what will happen. Don’t spend time worrying about it. Make the most beautiful thing you can. Try to do that every day. That’s it. You know? What are you working for, posterity? We don’t know if there is any posterity.
Emphasis mine. More skulls on my Instagram.
Learning how to learn again
I continue to be fascinated by how slow, seemingly inefficient methods make my self-education more helpful and more meaningful.
Example: This week I was reading Jan Swafford’s introduction to classical music, Language of the Spirit, and I wanted to see the lives of all the composers on a timeline. Instead of googling for one, I decided to just make one for myself with a pencil in my notebook. It was kind of a pain, but I had a feeling I’d learn something. Pretty much immediately I was able to see connections that Swafford wrote about that just hadn’t sunken in yet, like how Haydn’s life overlapped both Bach’s and Beethoven’s while covering Mozart’s completely. Had I googled a pre-made timeline, I’m not completely sure I would’ve studied it closely enough to get as much out of it as the one I drew.
Another example: I copy passages of text that I like longhand in my notebook, and it not only helps me remember the texts, it makes me slow down enough so that I can actually read them and think about them, even internalize them. Something happens when I copy texts into my notebook that does not happen when I cut and paste them into Evernote or onto my blog.
A lot of this way of studying has been inspired by my son, Owen.
Even before I had kids, I wrote, “We learn by copying… Copying is about reverse-engineering. It’s like a mechanic taking apart a car to see how it works.” Funny now that I have a four-year-old budding mechanic, who actually spends a great deal of his time copying photos and drawings of cars, taking them apart in his mind and putting them back together on the page to figure out how they work.
What I love about my son’s drawings is that he does not really care about them once he’s finished them. To him, they are dead artifacts, a scrap of by-product from his learning process. (For me, they’re tiny masterpieces to hang on the fridge.) Milton Glaser says that “drawing is thinking.” I think that drawing is learning, too, and one thing Owen has taught me is that it is more valuable as a verb than it is as a noun.
I felt sure that my children would teach me more than I taught them. I was not anticipating that they would actually teach me how to learn again…
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