One of the many things I love about fall and winter is sunrise happens later in the morning, thus allowing me to go for a run in the darkness of the morning without having to get up at WHAT o’clock. On a recent run I broke my rule about not taking pictures of the sunrise or sunset. I was running to the lake as usual and saw this guy standing atop the large boulders buttressing the shore:
Several people along my route were gazing at and taking pictures of the sunrise. It occurred to me then that if there’s ever an apocalyptic event and I’m somehow stranded with strangers, I’d like to be stranded with the kind of people who wake up early to photograph the sunrise.
Here is the same sunrise one minute later, made more dramatic by my iPhone camera viewing it through a playground and trees:
Plus a bonus pic atop a viewing station at Blue Mounds State Park in Wisconsin:
Columbus, the first feature film of the talented film essayist Kogonada, calls enough attention to its subjects to captivate viewers but keeps enough distance to inspire pursuit, which is usually a formula for great cinema.
Haley Lu Richardson’s Casey, a recent high school graduate, works at the library in Columbus, a small Indiana town that’s a mecca for modernist architecture. She lives with and cares for her mom, a recovering addict now working in a factory. She says she loves Columbus, but you get the sense she’s also stuck in it.
Then there’s John Cho’s Jin, a literary translator who comes to town when his architecture professor father suddenly falls ill before a lecture. The two meet by chance as Jin holds a grudging vigil for his comatose father, whom he openly resents despite, or because of, his academic renown.
Sensing a spiritual match in the other, they wander Columbus looking at the modernist buildings, looking and wondering at each other, and looking inward, perhaps in search for what Jin’s father referred to as “modernism with a soul.” They struggle with their pasts and parents as they struggle toward a companionship that takes as many forms in their few days together as the buildings they gaze at.
They begin as strangers, become debate partners, and end up confidantes as they forge a temporary intimacy borne out of commonalities, though sometimes tensed by their differences.
The burdens they wrestle with—Jin with resentment toward his ailing father and Casey with her traumatic past—loom almost as large as the buildings, captured with determined stillness by Kogonada both as background scenery and as havens for Casey and Jin’s ambling.
The power Kogonada gives to moments of silent observation is the film’s strength (even if it made it seem a tad too long). In that way Columbus felt like a Midwestern version of This Is Martin Bonner, with characters yearning for connection while trying to soldier through minor existential crises in an alienating modern milieu.
I’d only seen Cho as Sulu in the new Star Trek franchise and Richardson as Hailee Steinfeld’s friend in The Edge of Seventeen, so they both kinda blew me away here. Bolstered by Parker Posey and Rory Culkin in supporting roles—Culkin’s conversations with Casey in the Columbus library about literature and librarianship made me smile—the two leads shoulder the film equally and prove as complex as their surroundings.
Grateful as always to Chicago’s Music Box Theatre for bringing in movies like this.
In the “Attack of the 50-Foot Eyesores” story from The Simpsons “Treehouse of Horror VI”, giant advertisement characters come to life and terrorize Springfield:
Lisa goes to the ad agency that created those advertising characters, and an executive suggests the citizens stop paying attention to the monsters as they are advertising gimmicks, and attention is what keeps them motivated. He suggests a jingle will help distract people from watching the monsters. Lisa and Paul Anka later perform a catchy song and the citizens of Springfield stop looking at the monsters, who lose their powers and become lifeless.
Their jingle? “Just don’t look”:
Some things can’t be defeated by looking away, but many things can.
You don’t have to look. You don’t have to click. You don’t have to pay your attention to things or organizations or public officials who don’t deserve it. Don’t pay the toll on a road you don’t want to go down.
Almost Famoustells us “the only true currency in this bankrupt world is what you share with someone else when you’re uncool.” True enough, but I think the only true currency in this bankrupt world is your attention.
How often do you listen to honest-to-goodness radio anymore? Usually I go to it only if I’m not in the mood for podcasts, audiobooks, or my own music collection. I’ll spin through my station presets to see if I get lucky, though most often I get bad songs and ads.
But not the other day. I was feeling especially jovial after work and wanted to stay in that high, and this lineup (between three different stations) was what started when I turned on the car and ended when I arrived at home:
“Jet Airliner” by Steve Miller Band
“Sweet Home Alabama” by Lynyrd Skynyrd
“Wake Me Up Before You Go-Go” by Wham!
“Always Something There To Remind Me” by Naked Eyes
“China Grove” by The Doobie Brothers
“Jessie’s Girl” by Rick Springfield
My speakers were cranked. I don’t think I’ve ever hit such a solid streak on the radio before. Not one of these songs are in my own collection, yet they perfectly matched the moment. I could generate a list of six completely different songs that would be just as great and fitting, but that’s the nice thing about radio: call in requests all you want, but you can’t engineer musical serendipity, especially across stations. You just have to get lucky.
Loved the first episode of “Raising Kings”, a three-part series from NPR’s Code Switch podcast on a new boys-only public school in Washington, D.C., filled only with freshmen students of color:
All are determined to change the narrative. In Washington, and the rest of the country, that narrative says too many young black men are below-average readers. They’re suspended from school at above-average rates and less likely to graduate than any other group. Ron Brown College Prep is a radical effort to change that.
NPR and Education Week have been reporting on this school for over a year. The first episode reminded me of This American Life’s Peabody-winning series on Harper High School. I’m rooting for the school and the boys to succeed, and am eager to see how this series turns out.
I was helping my parents clear out their bookshelves in advance of their living room being painted and in the process stumbled upon some interesting artifacts. Among the books, family photo albums, and LPs that had stuck around unplayed for decades, I spotted a small University of Wisconsin notebook. I opened it to find in my mom’s handwriting a list of interesting words and their definitions she started in college:
My mom’s late father also kept a list of new and interesting words he encountered in Time magazine and other reading. I couldn’t help but laugh because I do the same thing, only my list is digital. There are even several words in common between her list and mine. There’s clearly a juiced-up lexicographical chromosome in the gene pool.
I took the notebook home with me because I want to transcribe my word list into it and start adding new ones to keep the tradition alive. Now I wish I’d started my list of words on paper, because I think the order in which I discovered them would be more interesting than an alphabetical list.
I had the pleasure of seeing a photo of mine get the Ken Burns treatment on CBS Sunday Morning’s story this weekend about Tom Hanks, his new book, and his love of typewriters:
One of my colleagues got an advance copy of Hanks’ book at a library conference back in June specifically because she knew I’d love it—and I did, enough to write my first typecast review. For the accompanying image I thought pairing the book’s beautiful blue cover with my Olympia SM7 (acquired at the splendid Retro-Revolution in Madison, WI) of almost the same shade made sense and looked great:
Since I posted it far enough ahead of the book’s publication date, the photo (along with the images of my typewritten review) had time to climb up the ranks of Google Images under searches for “Uncommon Type”, which no doubt is how the CBS producer found it.
I knew Hanks’ book would give typewriters A Moment; I didn’t realize I’d be part of it! But I am happy to be. The book is out Tuesday: go get it and then get a typewriter of your own.
Though I’ve been anticipating the film for a while, I wasn’t sure what to expect. It turned out to be partially an adaptation of Richard Polt’s seminal The Typewriter Revolutionand partially a meditation by figures famous and otherwise on the machine’s enduring value in the midst of its obsolescence. All together a collection of vignettes revolving around their common theme, the film works as a primer for the uninitiated as well as an adoring homage for the converted.
There are three main stories weaving throughout the film: the collector Martin Howard on a pilgrimage to snag an original 19th-century Sholes and Glidden, the California Typewriter shop struggling to survive in a defunct industry, and the artist Jeremy Mayer reusing parts from decommissioned typers to create some pretty incredible sculptures:
Together they neatly represent the past, present, and future of typewriters, but the shop narrative is the lynchpin. Owned by an African-American family for over 35 years, it’s now the most prominent representative of a dying breed. Even with the recent resurgence of interest, the decades of experience repairman Ken Alexander and his cohort have is a finite supply. And without high-quality typewriters being manufactured, that supply will only dwindle from here.
Still, notable typists have their reasons for sticking with typewriters. Tom Hanks has over 200 of them, many of which he gives away. (He names his favorites, two of which I own and share his opinion on.) David McCullough has been using the same hulking Royal Standard for over 50 years now in his drool-worthy writing cabin. (Against the conventional wisdom of modern gadgets, he says, “I don’t want to faster. I want to go slower.”) John Mayer got one in a bid for more permanence with his work and started writing lyrics with it. The late great Sam Shepard waxes eloquent about his Hermes 3000 and speaks to the benefits of its rituals, like how rolling in a new page is akin to saddling a horse for a job or journey.
The film is beautifully shot and edited by Nichol, whose eye as a commercial and music video cinematographer finds lots of lovingly framed images and scenes. A junkyard pile of cars that mirror the piles of discarded typers in Mayer’s studio. A reading of the Typewriter Insurgency Manifesto contrasted with footage of Apple fanatics lining up for the latest iDevice. But Nichol’s best decision was picking a subject that is already damn photogenic.
One collector mentions the typewriter subculture is almost exclusively men. Though technically inaccurate (for starters, typewriter poet-for-hire Silvi Alcivar is featured in the film, and there are the good people of Poems While You Wait) the film does insinuate a majority male enterprise given the people represented. This is a shame because many women are involved in the online community and at type-ins; and more broadly, the beautiful thing about the Revolution is that it’s a fully inclusive movement.
Typewriters are for everyone. Anyone can take up typing and for so many purposes, free from abstruse Terms & Conditions and free from the surveillance and proprietary influence that are built into digital technology. It’s a machine that is subservient to human will and not the other way around, whose sole function is to imprint letters on paper at the creative direction of the user.
In that way the typewriter truly is the People’s Machine. It’s your birthright, and it’s waiting for you. All you need is paper and ink—both of which are cheap and abundant—and desire to get started.
As national anthems go, “The Star-Spangled Banner” is strange. It’s hard to sing, it uses antiquated language, and it doesn’t have its nation’s name in it. Though there are several good alternatives (my pick would be “America the Beautiful” sung by the Schuyler Sisters in perpetuity), the Banner is still here, so we must contend with it.
It’s worth reading the lyrics because when you sing a song over and over, the words lose meaning and the ritual becomes rote. Let’s look at the last four lines:
And the rockets’ red glare, the bombs bursting in air, Gave proof through the night that our flag was still there; O say does that star-spangled banner yet wave O’er the land of the free and the home of the brave?
Two points can be made out of this. The first is that not only did the flag survive the bombardment, but its survival was made evident by the bombardment itself. Such a metaphor is especially relevant in present times, and it gives me hope that our nation so conceived and so dedicated can endure its great testing. (And I’m not talkin’ about Colin Kaepernick.)
The second is that it ends with a question. In my one year of high school choir, the director pointed out before we began rehearsing the anthem for a performance that this feature is unique among national anthems, and that’s what makes it so important. That it ends with a question doesn’t come through in the musical rendition, which finishes on a triumphantly resolute note. That question symbolizes America: a nation as an unresolved ideal rather than a declarative statement. A nation with the gall to conclude its musical theme song on an ambivalent note.
Because of this, I fully support those who wish to kneel during the anthem. Kneeling is the perfect symbolic gesture given the intent of Kaepernick’s original protest, which was to draw attention to police brutality. It’s peaceful but effective, participatory but not derogatory. Being halfway down could symbolize the historic and ongoing subjugation of African Americans, whether through mass incarceration or disproportionate police brutality. Or, as Kaepernick’s fellow kneeler Eric Reid wrote, “like a flag flown at half-mast to mark a tragedy.”
Since NFL teams weren’t even on the field for the anthem until 2009, when the Department of Defense and National Guard began paying the NFL (with taxpayer money) to have ostentatious flag ceremonies before games (!!!), I’m not going to get worked up about coercing displays of patriotism at sporting events, and the traditional “Don’t Tread On Me” crowd should understand why.
Refer Madness spotlights strange, intriguing, or otherwise noteworthy questions I encounter at the library reference desk.
One of the best things about having a digital media lab in my library is introducing eager patrons to what it provides. Since ours opened two years ago, the most popular feature by far is the converting software that transfers analog media to digital, like cassette tapes, photo slides, LPs, and VHS tapes.
One couple came to the desk and said they’d heard we could digitize their VHS home videos. I brought them to the room, got them set up with the software, and popped in their tape to test it.
“Oh my God!” the mother said as the video played on screen. She explained it was footage of their son’s first birthday party from the late 1980s. “We haven’t seen this since that day! He is going to medical school now!” They didn’t know what was on the tapes, so the look of surprised delight on their faces was their genuine reaction to being suddenly sent back in time.
Much of the equipment library staff have to deal with every day lose their luster quickly. (Just ask a librarian about 3D printers.) But because, as Arthur C. Clarke said, “any sufficiently advanced technology is indistinguishable from magic,” it’s good to be reminded sometimes that technology can be damn near magical if we’re able to see it with fresh eyes.
Spotted this sign on a run through a lakeshore park. “Dogs” and “litter” came after, but feel free to fill in the blank with better words. Or just leave it as is and use it as a maxim for life.
It’s been almost 10 years since I last did a “music of the moment” post (then called “soundtrack of the moment”), so I figured it was time for another. There’s no use trying to summarize a whole decade of musical discoveries and interests, so I’ll just try for the last few weeks.
“Hole in Your Soul” by ABBA, ABBA: The Album Last weekend I was going through our LP collection initially just to clean the vinyls, but I realized there were several albums I hadn’t listened to in a while or at all. It’s so easy to jump to what I have on my phone when I want to hear something, but if I’m gonna have LPs around then I ought to use them, right? So I decided I’d listen to at least one a week, if only to weed out the ones that weren’t worth taking up our limited space. This mission paid off immediately when I pulled out ABBA’s self-titled album, which has some classics like “Take a Chance on Me” and “Thank You for the Music” but also this new-to-me gem:
What an electrifying mix of arena rock and typical ABBA-esque quirkiness. I’d love to play drums on that one. After hearing that I of course set off on an ABBA kick, which led me to “Bang-A-Boomerang”, off of ABBA. (Get more creative album titles, Swedes!) These tracks are why I try to seek out full studio albums, especially from artists I’m just getting into. I still end up with many Greatest Hits albums, but it’s easy to miss these great deep cuts when just sticking with compilations.
“Bye Bye Love” by Ray Charles, Modern Sounds in Country and Western Music A bookstore by my place was going out of business and everything was $1. I didn’t end up getting books but I did spot this album on vinyl in their small collection. I’d never heard of it, but its price, striking cover, and renowned reputation made it an easy buy. Just listen to the cover of the Everly Brothers’ “Bye Bye Love” that kicks off the album:
“You’re Gonna Live Forever In Me” by John Mayer, The Search for Everything Perhaps because I knew someone with a strong John Mayer aversion, I’ve always felt the need to apologize for liking him. No more: the dude’s been an incredible songwriter going all the way back to his debut album. I find I prefer when he leans toward melancholic pop or country rather than blues. His latest album isn’t my favorite of his, but its final track shows off Mayer’s talent for delicate melodies and apt arrangements:
“I Just Want to Celebrate” by Rare Earth, One World Once I found out Rare Earth was the first all-white Motown band, curiosity compelled me to check them out. It’s a scattershot discography, but I love this this groovy sunny-day song and its fist-pounding chorus hook. Sounds very 1971.
“You’re a Special Part of Me” by Diana Ross & Marvin Gaye, Diana & Marvin Speaking of Motown, this was one of a few discoveries from reading Adam White’s Motown: The Sound of Young America. Obviously I knew of Gaye and Ross, but not of their duet album recorded at the peak of their musical prowess:
“Sugar Dumpling” by Sam Cooke, Twistin’ the Night Away I had The Best of Sam Cooke for a little while before I realized, Oh right, Sam Cooke is incredible. Maybe I should get more of his music. Having done so, I’m thinking he might be the best singer ever?
“Honey and Smoke” by case/lang/veirs, case/lang/veirs One of the few modern albums I have on vinyl because of how much I love it. “Honey and Smoke” precisely describes the sound of this Neko Case, K.D. Lang, and Laura Veirs supergroup together trading tracks: a smooth, sexy, smoky blend of alt-rock and pop and lounge music. I don’t listen to any of them individually, but with their musical powers combined I am hooked:
“Big Iron” by Marty Robbins, Gunfighter Ballads and Trail Songs Though I’d heard Robbins before (most notably “El Paso” in the Breaking Bad series finale), it wasn’t until seeing this album on someone’s favorite music list a few years ago that I pursued his oeuvre. Perfect for road trips and daydreaming about the Wild West:
In my ongoing quest to catch up with the “high school reading list” books I missed the first time around, I listened to the audiobook of Anne Frank’s The Diary of A Young Girl and, holy crap, I guess I shouldn’t be surprised due to its reputation, but it’s kinda amazing. Not sure how much the translation from Dutch affected the language, but Anne comes across as incredibly intelligent, self-aware, funny, honest—oh is she honest—and even noble in her struggle to become a better person even in confinement.
Knowing the ending of the story while I read it, I felt an immense sadness as I neared the end. I seemed to go through all the stages of grief: I’m sure they’ll make it through the war, then Why do they have to be discovered? then Couldn’t they just make it a few more months? then Screw Hitler and the war. This whip-smart teen who wanted to be a journalist (she would have killed it on Twitter and as a blogger), who was a self-admitted chatterbox, who struggled through boy troubles, who resented her family but tried to love them… she didn’t get the chance to see the fruit of her laboring, and the world is worse for it.
Selma Blair reads the audiobook and perfectly captures the voice of a teen girl. It’s a classic mix of sarcasm, angst, gossip, philosophizing, high-minded ideals and aspirations, and *ahem* frank discussions of sexuality.
Another high school reading list classic I recently caught up with and loved was Narrative of the Life of Frederick Douglass. Like Diary, Douglass’s memoir is a hyper-articulate and honest account of oppression that writes beyond its setting and subject, much to the benefit of future readers. I highly recommend both.
So even though The Fault In Our Stars nearly ruined the Anne Frank museum for me, I’d love to visit it one day to pay my respects to an incredible young woman:
“We’re all alive, but we don’t know why or what for; we’re all searching for happiness; we’re all leading lives that are different and yet the same. We three have been raised in good families, we have the opportunity to get an education and make something of ourselves. We have many reasons to hope for great happiness, but… we have to earn it.”
There are physiological benefits, obviously: You use your lungs in a way that you probably don’t for the rest of your day, breathing deeply and openly. And there are psychological benefits, too: Singing aloud leaves you with a sense of levity and contentedness. And then there are what I would call “civilizational benefits.” When you sing with a group of people, you learn how to subsume yourself into a group consciousness because a capella singing is all about the immersion of the self into the community. That’s one of the great feelings — to stop being me for a little while and to become us. That way lies empathy, the great social virtue.
The next evening, as if to accidentally confirm this thesis, I went with my sister to see Billy Joel perform at Wrigley Field. And boy was there group singing, 40,000 strong. Not only that, but several times Billy gave the crowd a “fielder’s choice”: he’d name two of his songs and played whichever one got more cheers and applause.
One song he had no choice but to play was “Piano Man”. Because everyone knows it so well, he let the crowd take one chorus a cappella:
Sing us a song, you’re the piano man Sing us a song tonight Well, we’re all in the mood for a melody And you’ve got us feelin’ alright
Civilizational benefits indeed. That cliche about gathering around a fire to sing “Kumbaya” came from somewhere.
Just for fun I’ve started turning videos I take into GIFs using Giphy’s super easy GIF maker.
This one was on a flight descending into Raleigh, North Carolina. The rain was streaking on the window like that for only about 10 seconds, so I’m glad I had my phone ready:
The breeze and sunlight was dancing nicely with the makeshift curtain in our bedroom window:
On a recent morning run to the lakeshore the water was really choppy, more so than I think I’ve ever seen it. The waves were crashing against the boulders that buttress the shore and splashing onto the sidewalk. Since I couldn’t predict when and where and how high the waves would crash, I planted myself at a pleasingly symmetrical position and hit record. This is about 10 seconds out of a 40-second clip. As usual the camera fails to capture the stunning color and spectacle of what my eyes saw:
And one photo, from a family reunion/memorial in West Virginia:
In the summer of 2013 I interned at the Leo Burnett advertising agency’s corporate library and archives. In the course of my work I came upon boxes of original conceptual artwork and copy from the 1950s and ’60s of the famous brands Leo Burnett created: the Marlboro Man, the Jolly Green Giant, the Pillsbury Doughboy. They also created several of Kellogg’s famous clan of characters: Tony the Tiger, Snap Crackle and Pop, Toucan Sam.
At the time I marveled at these artifacts merely as a student of history and consumer familiar with these characters. But now, having read Howard Markel’s new book The Kelloggs: The Battling Brothers of Battle Creek, I see those characters not as the foundation of the Kellogg’s brand, but, since they were created after both Kelloggs died, as its unintentional consummation.
If you’re like me, you:
(a) didn’t know there was more than one Kellogg;
(b) didn’t know one of them was John—a renowned doctor in his time (1880s-1940s), founder of the Sanitarium in Michigan, and “better living” proponent who was way way ahead of his time on dangers of prolonged sitting, meat consumption, smoking, and the benefits of exercise—and the other was Will, John’s long-suffering younger brother, dour millionaire magnate of the Kellogg cereal line we all know (that’s his signature on the box); and
(c) didn’t know they hated each other’s guts.
Markel covers a lot of ground in this family biography. On one hand this provides readers with a backstory I suspect most haven’t heard before, like how the Kelloggs were reared in an apocalyptic Seventh-Day Adventist culture that valued health reform and that bankrolled the Sanitarium in Battle Creek that sprung John to global renown. John was the idea man, the charismatic physician into what would now be called alternative medicine, and (let’s be honest) overbearing asshole. Will, conversely, was the details man, adept business manager, and John’s put-upon lackey before he set off on his own to expand his cereal empire and his bitterness toward John. (He was also an overbearing asshole.) Because of long-held resentments and their similar products with the same last name, the brothers sued each other throughout the 1910s and never reconciled, even into old age.
On the other hand, Markel covers so much ground and in a sometimes scattershot way that it can be an exhausting read. As a physician and medical historian himself, Markel shines in the parts about John’s development as a doctor and how it influenced his products. He illustrates the cruel irony of brothers so focused on creating products and principles based on health and “better living” for others feeding a most unhealthy rancor towards each other. He also ably balances the brothers’ colorful back-and-forth over the years, thanks to an abundant written record at his disposal. But the parts about the inner workings of the businesses get repetitive and wearying, and the last few chapters—tackling the post-litigious years and John’s unfortunate promotion of eugenics—feel tacked on when they could and should have been better integrated into the narrative, which is as a whole chronologically discombobulating.
Nevertheless, this is an illuminating portrait of a foundational American family and their business empire. Though not quite a tragedy in the end, given the Kellogg Foundation’s continued charitable work (thanks to Will leaving his millions with them after alienating all his progeny), it is a grim reminder of the power we waste on hatred and how wealth can’t cure, in Markel’s words, a “damaged soul.”
I can’t tell you how much I was nodding along to David Brooks’ column “What Moderates Believe”. The whole thing is quote-worthy, but here are some highlights:
Politics is a limited activity. Zealots look to the political realm for salvation and self-fulfillment. They turn politics into a secular religion and ultimately an apocalyptic war of religion because they try to impose one correct answer on all of life. Moderates believe that, at most, government can create a platform upon which the beautiful things in life can flourish. But it cannot itself provide those beautiful things. Government can create economic and physical security and a just order, but meaning, joy and the good life flow from loving relationships, thick communities and wise friends. The moderate is prudent and temperate about political life because he is so passionate about emotional, spiritual and intellectual life.
And:
Truth before justice. All political movements must face inconvenient facts — thoughts and data that seem to aid their foes. If you try to suppress those facts, by banning a speaker or firing an employee, then you are putting the goals of your cause, no matter how noble, above the search for truth. This is the path to fanaticism, and it always backfires in the end.
And:
Partisanship is necessary but blinding. Partisan debate sharpens opinion, but partisans tend to justify their own sins by pointing to the other side’s sins. Moderates are problematic members of their party. They tend to be hard on their peers and sympathetic to their foes.
That last part is so true, much to the chagrin of some of my debate partners. Even if we partly or mostly agree on a certain topic, with the perspective of “the other side” rattling around in my head I’m liable to push back against whatever views we share on the topic. Though it sounds like devil’s-advocating, I don’t do it for the sake of being contrarian. It’s merely an acknowledgement of the part of me that compulsively empathizes with the viewpoint of my idealogical opposite.
I can’t decide if this is a gift or a disease. Part of me wishes I could dedicate myself to a particular cause and banish all doubt about it. Being in the messy middle is a frustrating and sometimes lonely experience, and the walls are always closing in. Turning beliefs into deeply held convictions and advocating for them would provide a reassuring clarity of mission and reduce or eliminate the need for constant vacillation.
But I have to be honest with myself and others about where I stand, even if that means not standing in one place. “Humility is the fundamental virtue,” writes Brooks. “Humility is a radical self-awareness from a position outside yourself — a form of radical honesty. The more the moderate grapples with reality the more she understands how much is beyond our understanding.”
Realizing how little I know, how wrong I probably am, is freedom. It’s freedom from the self-imprisonment we impose on our minds when we insist we know everything, and that everyone else must agree with us or else.
This phenomenon of dogmatic certainty is most evident these days in the ongoing battles between “I love punching Nazis” SJW types and the jack-booted white nationalists #MAGA crowd. These are two groups who are very sure of their beliefs and righteousness of their causes.
It’s not fun being a political orphan, or being constantly mired in a swamp of second-guessing. But I’m a moderate because I have to be, and I will not apologize for this. I am open to hearing your opinion, even if I don’t like it and tell you so. The times are too dark to not struggle for the light.
