2025-12-30 18:31:23
Bless hindsight for how it clarifies the confusions of time, for how precisely it plots the true highs and lows on the terrain map of life once the quakes of the moment have died down, for how dispassionately it reveals what was a fleeting enthusiasm and what a lifelong gift. It is good to have an annual hindsight ritual in one’s life and one’s work, the more so the more the two converge. Here are the twenty-five “best” Marginalian essays of 2025 — a composite measure of what you most loved reading and what I most loved writing, which never perfectly coincide. (Bless the otherness of minds.)
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For seventeen years, I have been spending hundreds of hours and thousands of dollars each month composing The Marginalian (which bore the outgrown name Brain Pickings for its first fifteen years). It has remained free and ad-free and alive thanks to patronage from readers. I have no staff, no interns, no assistant — a thoroughly one-woman labor of love that is also my life and my livelihood. If this labor makes your own life more livable in any way, please consider lending a helping hand with a donation. Your support makes all the difference.
The Marginalian has a free weekly newsletter. It comes out on Sundays and offers the week’s most inspiring reading. Here’s what to expect. Like? Sign up.
2025-12-30 01:50:46
A great paradox of being alive in this civilization is that we have come to dread and devalue the triumph of having lived, forgetting that to grow old is not a punishment but a privilege — that of having survived the loneliness of childhood, the brash insecurity of youth, the turmoil of middle age, in order to begin the continuous creative act of holding on while letting go.
This is not easy in a culture that fetishes youth, that clothes us in an invisibility cloak as life strips us of time. We could use all the help we can get — a psychological equivalent of what Eva Perón set out to do politically with her constitutional decalogue for the dignity of growing old. Here is the best help I have encountered over the years — a kind of decalogue for the constitution of the inner country.
The first thing one must do in this culture is refute the romanticizing of youth, recalibrate the value metrics of the self, and no one has done it more concisely and creatively than Jane Ellen Harrison (September 9, 1850–April 15, 1928) — one of the most daring and underappreciated intellects of the past century — in her altogether superb disquisition on youth and old age:
People ask: “Would you or would you not like to be young again?” Of course, it is really one of those foolish questions that never should be asked, because they are impossible. You cannot be — you that are — young again. You cannot unroll that snowball which is you: there is no “you” except your life — lived. But apart from that, when you rise from what somebody calls “the banquet of life,” flushed with the wine of life, can you want to sit down again? When you have climbed the hill, and the view is just breaking, do you want to reclimb it? A thousand times no! Anyone who honestly wants to be young again has never lived, only imagined, only masqueraded.
At the dawn of her sixties — that threshold moment when people, women especially, first begin to feel the cold shoulder of society, the small cruelties of daily dismissal, the subtle intimations of irrelevance — Ursula K. Le Guin (October 21, 1929–January 22, 2018) took up the question of what beauty really means as one grows older, cutting through the collagen of our cultural ideology to celebrate the most beautiful thing about growing older: how it anneals personhood, chiseling away the marble of personality to reveal the sculpture of the naked soul:
For old people, beauty doesn’t come free with the hormones, the way it does for the young. It has to do with bones. It has to do with who the person is. More and more clearly it has to do with what shines through those gnarly faces and bodies.
[…]
There’s something about me that doesn’t change, hasn’t changed, through all the remarkable, exciting, alarming, and disappointing transformations my body has gone through. There is a person there who isn’t only what she looks like, and to find her and know her I have to look through, look in, look deep. Not only in space, but in time.
Also well worth reading is Le Guin’s meditation on change, menopause as rebirth, and the civilizational value of elders
In the first year of his eighties, already a Nobel laureate who had lived through two world wars, the polymathic philosopher and mathematician Bertrand Russell (May 18, 1872–February 2, 1970) wrote a short essay about how to grow old, anchored in this life-magnifying advice:
Make your interests gradually wider and more impersonal, until bit by bit the walls of the ego recede, and your life becomes increasingly merged in the universal life. An individual human existence should be like a river — small at first, narrowly contained within its banks, and rushing passionately past rocks and over waterfalls. Gradually the river grows wider, the banks recede, the waters flow more quietly, and in the end, without any visible break, they become merged in the sea, and painlessly lose their individual being.
Upon turning eighty, Henry Miller (December 26, 1891–June 7, 1980) set down everything he knew about growing old and the secret to remaining young at heart, his long reflection best distilled in this one short passage:
If you have your health, if you still enjoy a good walk, a good meal (with all the trimmings), if you can sleep without first taking a pill, if birds and flowers, mountains and sea still inspire you, you are a most fortunate individual and you should get down on your knees morning and night and thank the good Lord for his savin’ and keepin’ power… If you can fall in love again and again, if you can forgive your parents for the crime of bringing you into the world, if you are content to get nowhere, just take each day as it comes, if you can forgive as well as forget, if you can keep from growing sour, surly, bitter and cynical, man you’ve got it half licked.
Wading into her sixties, Simone de Beauvoir (January 9, 1908–April 14, 1986) looked ahead to old age in a passage of her memoir and offered her characteristically passionate yet unsentimental advice, largely to herself, as the best advice to others tends to be:
There is only one solution if old age is not to be an absurd parody of our former life, and that is to go on pursuing ends that give our existence a meaning — devotion to individuals, to groups or to causes, social, political, intellectual or creative work… In old age we should wish still to have passions strong enough to prevent us turning in on ourselves. One’s life has value so long as one attributes value to the life of others, by means of love, friendship, indignation, compassion.
Joan Didion (December 5, 1934–December 23, 2021) was only thirty-four when, thinking about the value of keeping a notebook, she found herself shining a sidewise gleam on what may be the most important orientation we can have to ourselves as the years advance, the most important thing we can do to keep the arrow of time from becoming a deadly weapon of revisionism and regret:
I think we are well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind’s door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were.
[…]
It is a good idea, then, to keep in touch, and I suppose that keeping in touch… keeping those lines open to ourselves.
Not long after offering a thirteen-year-old some excellent advice on how to grow up, Nick Cave, midway through his sixties, considered the two qualities cultivating which ensures that growing older is a broadening rather than a narrowing of life, a way of seeing the world with more nuance and moving through it with more tenderness:
The first is humility. Humility amounts to an understanding that the world is not divided into good and bad people, but rather it is made up of all manner of individuals, each broken in their own way, each caught up in the common human struggle and each having the capacity to do both terrible and beautiful things. If we truly comprehend and acknowledge that we are all imperfect creatures, we find that we become more tolerant and accepting of others’ shortcomings and the world appears less dissonant, less isolating, less threatening.
The other quality is curiosity. If we look with curiosity at people who do not share our values, they become interesting rather than threatening. As I’ve grown older I’ve learnt that the world and the people in it are surprisingly interesting, and that the more you look and listen, the more interesting they become. Cultivating a questioning mind, of which conversation is the chief instrument, enriches our relationship with the world. Having a conversation with someone I may disagree with is, I have come to find, a great, life embracing pleasure.
Although Kahlil Gibran (January 6, 1883–April 10, 1931) never lived past middle age, he was born an old soul and saw clearly the rewards of life’s later years. His excellent lyric meditation on the art of becoming yourself across the arc of life is anchored in the hard-earned self-trust that steels you against the winds of circumstance:
In my youth I was but the slave of the high tide and the ebb tide of the sea, and the prisoner of half moons and full moons.
Today I stand at this shore and I rise not nor do I go down.
Shortly after his ninety-third birthday, the legendary cellist Pablo Casals (December 29, 1876–October 22, 1973) reflected on his life, locating the key to contentment in never ceasing to work with love, to live awake to wonder:
If you continue to work and to absorb the beauty in the world about you, you find that age does not necessarily mean getting old. At least, not in the ordinary sense. I feel many things more intensely than ever before, and for me life grows more fascinating.
Continuing to practice and perform, Casals approached his daily routine as a microcosm of that orientation:
I go to the piano, and I play two preludes and fugues of Bach. I cannot think of doing otherwise. It is a sort of benediction on the house. But that is not its only meaning for me. It is a rediscovery of the world of which I have the joy of being a part. It fills me with awareness of the wonder of life, with a feeling of the incredible marvel of being a human being. The music is never the same for me, never. Each day is something new, fantastic, unbelievable. That is Bach, like nature, a miracle!
At the sunset of her sixties, Grace Paley (December 11, 1922–August 22, 2007) took up the question of “upstaging time,” ending her magnificent meditation with the parting gift of life-changing advice she herself had received from her aging father:
My father had decided to teach me how to grow old. I said O.K. My children didn’t think it was such a great idea. If I knew how, they thought, I might do so too easily. No, no, I said, it’s for later, years from now. And besides, if I get it right it might be helpful to you kids in time to come.
They said, Really?
My father wanted to begin as soon as possible.
[…]
Please sit down, he said. Be patient. The main thing is this — when you get up in the morning you must take your heart in your two hands. You must do this every morning.
That’s a metaphor, right?
Metaphor? No, no, you can do this. In the morning, do a few little exercises for the joints, not too much. Then put your hands like a cup over and under the heart. Under the breast. He said tactfully. It’s probably easier for a man. Then talk softly, don’t yell. Under your ribs, push a little. When you wake up, you must do this massage. I mean pat, stroke a little, don’t be ashamed. Very likely no one will be watching. Then you must talk to your heart.
Talk? What?
Say anything, but be respectful. Say — maybe say, Heart, little heart, beat softly but never forget your job, the blood. You can whisper also, Remember, remember.
For seventeen years, I have been spending hundreds of hours and thousands of dollars each month composing The Marginalian (which bore the outgrown name Brain Pickings for its first fifteen years). It has remained free and ad-free and alive thanks to patronage from readers. I have no staff, no interns, no assistant — a thoroughly one-woman labor of love that is also my life and my livelihood. If this labor makes your own life more livable in any way, please consider lending a helping hand with a donation. Your support makes all the difference.
The Marginalian has a free weekly newsletter. It comes out on Sundays and offers the week’s most inspiring reading. Here’s what to expect. Like? Sign up.
2025-12-27 09:26:50
“Our origins are of the earth. And so there is in us a deeply seated response to the natural universe, which is part of our humanity,” wrote Rachel Carson. “Our world, and the worlds around and within it,” wrote Sy Montgomery a generation later, “is aflame with shades of brilliance we cannot fathom… far more vibrant, far more holy, than we could ever imagine.”
There are people whose eye is more sharply focused on those brilliances, whose ear is more finely tuned to the murmurations of the mountains and the oceans and the trees, whose orientation to the world is more tenderly in touch with our creaturely origins. Some of them become artists, some scientists, and some boundary-spanners who refuse the divide, who know that to partition our ways of seeing is to keep ourselves from apprehending the magnificent whole.
Growing up in the Blue Ridge Mountains, a child so shy as to dream of being able to communicate via bioluminescence, Ash Eliza Williams came to realize that, lacking the luciferin necessary for the language of light, the human animal has evolved its own alchemical means of silent communication: art.
Animated by “a fascination with alternative languages and methods of connection,” Williams draws on medieval bestiaries and geophysics, on 19th-century zoological illustrations and graphic novels, to conjure up the wonder Rachel Carson insisted is our inheritance and our best protection from ourselves. Emanating from the paintings and sculptures are the “endless forms most beautiful and most wonderful” that enchanted Darwin — from bioluminescent moths to the bat (that living triumph of the possible over the probable), from chlorophyl (that ongoing mystery of chemistry and chance) to clouds (those abiding spells against indifference) — arranged in series whose very titles are miniature poems, titles like Urgent Beings and The History of Weather.
One began as a book about Rachel Carson and instead became a series of durational paintings about the lives of different creatures — a starling, a violet-eared waxbill, an orange fruit-dove, a hickory tree — using the graphic novel format to explore their experience of time, “to think,” Williams writes, “about the expansiveness or endlessness of a creature’s Umwelt.”
Thoroughly enchanted as I am by all of this work, none thrills me more than Williams’s painted reveries of lichen, that uncommon teacher in how to be better humans.
Radiating from it all is what may be the most fruitful orientation a person can have to a world — an obsessive yet spacious curiosity that, through the pinhole of the minutest details, reveals the grandeur of the big picture. “The whole is simpler than its parts,” observed the visionary physicist Willard Gibbs in what remains the finest koan of science, but it is only by attending closely and with a great kindness to the parts, discrete yet intertwined by threads of ceaseless silent communication, that we can contact the majesty and mystery of the whole.
For seventeen years, I have been spending hundreds of hours and thousands of dollars each month composing The Marginalian (which bore the outgrown name Brain Pickings for its first fifteen years). It has remained free and ad-free and alive thanks to patronage from readers. I have no staff, no interns, no assistant — a thoroughly one-woman labor of love that is also my life and my livelihood. If this labor makes your own life more livable in any way, please consider lending a helping hand with a donation. Your support makes all the difference.
The Marginalian has a free weekly newsletter. It comes out on Sundays and offers the week’s most inspiring reading. Here’s what to expect. Like? Sign up.
2025-12-26 08:11:48
Relationships are the great creative work of our lives. They are, like every creative endeavor, a process demanding both systematic intentionality and surrender. If we show up for that process with courage and consistency, it will surprise us, shatter our complacency, take us places we never thought we could go if we followed the vector of our preconceived plans.
The most rewarding relationships come the way creative breakthroughs do — not as a reasoned conclusion but as a revelation, breaking the momentum of our assumptions about what is possible and what we deserve, rising like a mountain from the fault line of our expectations to change the landscape of our lives.
Just as the most compelling creative work tends to blur the boundaries between disciplines, between materials, between genres, the most revelatory relationships tend to blur the boundaries between the common categories of connection, with all the disorientation and overwhelm that entails — nowhere more disorienting than when a friend becomes a lover.
H.G. Wells (September 21, 1866–August 13, 1946) explores the price and the reward of this blessing discomposure in his 1911 novel The New Machiavelli (public domain) — a story largely autobiographical, for which Wells paid a high price, but which he must have felt would offer a compass through the confusions of a complex yet mutely common human experience. (All writers write about their own experience, however many degrees of abstraction it may be refracted through. The great writers make of the personal a handle for the door of the universal so that others may enter the secret rooms of their own experience, those regions of our lives we are too afraid or confused or alienated from ourselves to visit, those places where ultimately we discover who we are and what we want.)
Along the way of his well-planned life, the protagonist meets a young Oxford graduate named Isabel. The two are immediately magnetized into a rare intellectual connection. But as they magnify each other’s minds in sweeping, soaring conversations, beneath the surface of their conscious awareness the body is silently begging for participation:
At that time I think we neither of us suspected the possibility of passion that lay like a coiled snake in the path before us. It seemed to us that we had the quaintest, most delightful friendship in the world… Such friendships are not uncommon nowadays — among easy-going, liberal-minded people. For the most part, there’s no sort of harm, as people say, in them. The two persons concerned are never supposed to think of the passionate love that hovers so close to the friendship, or if they do, then they banish the thought. I think we kept the thought as permanently in exile as any one could do. If it did in odd moments come into our heads we pretended elaborately it wasn’t there.
One day, in one of those small, unpredictable moments that change everything, something shifts in the middle of one of their intoxicating conversations:
I turned to Isabel’s voice, and saw her face uplifted, and her dear cheeks and nose and forehead all splashed and barred with sunlight and the shadows of the twigs of the trees behind me. And something — an infinite tenderness, stabbed me. It was a keen physical feeling, like nothing I had ever felt before. It had a quality of tears in it. For the first time in my narrow and concentrated life another human being had really thrust into my being and gripped my very heart… Our eyes met perplexed for an extraordinary moment… From that time forth I knew I loved Isabel beyond measure. Yet it is curious that it never occurred to me for a year or so that this was likely to be a matter of passion between us.
Suddenly, the “long and frank an intimacy” between the two friends turns into “an extraordinary accession of friendship and tenderness” that comes to include passion as naturally as it had included poetry and philosophy:
The change came so entirely without warning or intention that I find it impossible now to tell the order of its phases. What disturbed pebble started the avalanche I cannot trace. Perhaps it was simply that the barriers between us and this masked aspect of life had been wearing down unperceived… It was as if we had taken off something that had hindered our view of each other, like people who unvizored to talk more easily at a masked ball.
This exquisite mutual recognition is why Tom Stoppard would come to define love as “the mask slipped from the face,” but there is a reason we move through the world masked — there is nothing more vulnerable than the naked face of the soul. Emerson knew this: “There is no terror like that of being known,” he wrote as he was falling in love with his friend Margaret Fuller and resisting it.
And so, as Wells’s characters both feel the energy between them, they resist it, wielding the combined power of their formidable minds at bridling it from involving the body:
The quick leap of her mind evoked a flash of joy in mine like the response of an induction wire; her way of thinking was like watching sunlight reflected from little waves upon the side of a boat, it was so bright, so mobile, so variously and easily true to its law. In the back of our minds we both had a very definite belief that making love is full of joyous, splendid, tender, and exciting possibilities, and we had to discuss why we shouldn’t be to the last degree lovers.
In that way we have of feeling safer in negative certainty than in uncertainty, forestalling the vulnerable possibility of losing what we desire by turning away from it by our own will or convincing ourselves we don’t desire it in the first place, they reason through their list of reservations:
There is a phase in every love affair, a sort of heroic hysteria, when death and ruin are agreeable additions to the prospect. It gives the business a gravity, a solemnity. Timid people may hesitate and draw back with a vague instinctive terror of the immensity of the oppositions they challenge, but neither Isabel nor I are timid people.
Jolted awake from their Cartesian stupor, they discover that what hadn’t seemed possible, that what neither their culture nor their past experience modeled, could actually exist: a love not subtractive of the rest of life but infinitely additive, one not predicated on a tradeoff of devotions between the relationship and their individual work, a fully integrated love in which the passions of the mind and the passions of the body are entwined, annealed, magnified:
It wasn’t as if we could throw everything aside for our love, and have that as we wanted it. Love such as we bore one another isn’t altogether, or even chiefly, a thing in itself — it is for the most part a value set upon things. Our love was interwoven with all our other interests; to go out of the world and live in isolation seemed to us like killing the best parts of each other; we loved the sight of each other engaged finely and characteristically, we knew each other best as activities.
As they become lovers, they enter the magical world all new lovers enter — an island all their own lightyears away from the mainland of their familiar lives:
For a brief time we had been like two people in a magic cell, magically cut off from the world and full of a light of its own, and then we began to realise that we were not in the least cut off, that the world was all about us and pressing in upon us, limiting us, threatening us, resuming possession of us.
Every uncommon love requires constant vigilance and protection from the pressures of the commonplace, a trust that its reality is deeper and larger and more powerful than the so-called real world. Eventually, the protagonist discovers that despite the profound reconfiguration of life his relationship with Isabel demands of both of them, it is worth the toil — because it is worth everything. Wells writes:
There is no describing the reality of love. The shapes of things are nothing, the actual happenings are nothing, except that somehow there falls a light upon them and a wonder… No one can tell love — we can only tell the gross facts of love and its consequences.
With every relationship that reorients life, that remaps the landscape of permission and possibility for both people, the question is always the same: Which is the higher price — the price of the consequences or the price of a life without such love? And the answer is always arrived at by the same path: the courage of living.
For seventeen years, I have been spending hundreds of hours and thousands of dollars each month composing The Marginalian (which bore the outgrown name Brain Pickings for its first fifteen years). It has remained free and ad-free and alive thanks to patronage from readers. I have no staff, no interns, no assistant — a thoroughly one-woman labor of love that is also my life and my livelihood. If this labor makes your own life more livable in any way, please consider lending a helping hand with a donation. Your support makes all the difference.
The Marginalian has a free weekly newsletter. It comes out on Sundays and offers the week’s most inspiring reading. Here’s what to expect. Like? Sign up.
2025-12-24 00:47:06
The most assuring thing about life is that we can change, that things can change, that they are always changing. The most maddening is that despite living in a universe that is one constant transmutation of energy and matter, despite living in bodies and minds whose cells and ideas are constantly being replaced, we so vehemently resist change, too afraid to unsettle the structure of our lives — even when it doesn’t serve us. “People wish to be settled,” Emerson wrote, “[but] only as far as they are unsettled is there any hope for them.” In another epoch, another prophet consecrated the elemental: “All that you touch you change,” wrote Octavia Butler. “All that you change changes you. The only lasting truth is change. God is change.”
If suffering is the magnitude of our resistance to reality, and if change is the fundamental constant of reality, then our resistance to change is our self-directed instrument of suffering.
Half a lifetime before her brilliant meditation on menopause as a microcosm of the human animal’s hostility to change, Ursula K. Le Guin (October 21, 1929–January 22, 2018) offered a perfect refutation of the central fallacy at the heart of our resistance to change — our tendency to mistake stasis for equilibrium and to mistake the complacency of equilibrium for contentment — in a passage from her 1971 novel The Lathe Of Heaven (public library).
Speaking to a part that lives in all of us — the “self-cancelling, centerpoised personality” that leads us “to look at things defensively” — one character urges another:
Why are you so afraid of yourself… of changing things? Try to detach yourself from yourself and try to see your own viewpoint from the outside, objectively. You are afraid of losing your balance. But change need not unbalance you; life’s not a static object, after all. It’s a process. There’s no holding still. Intellectually you know that, but emotionally you refuse it. Nothing remains the same from one moment to the next, you can’t step into the same river twice. Life — evolution — the whole universe of space/time, matter/energy — existence itself — is essentially change… When things don’t change any longer, that’s the end result of entropy, the heat-death of the universe. The more things go on moving, interrelating, conflicting, changing, the less balance there is — and the more life.
Observing that life itself, like love, is “a huge gamble against the odds,” he insists that, just as we must love anyway, we must live anyway:
You can’t try to live safely, there’s no such thing as safety. Stick your neck out of your shell, then, and live fully.
Complement with Henry James on how to stop waiting and start living, Terry Tempest Williams on the paradox of change, and Nathaniel Hawthorne on how not to waste your life, then revisit Le Guin on suffering and getting to the other side of pain.
For seventeen years, I have been spending hundreds of hours and thousands of dollars each month composing The Marginalian (which bore the outgrown name Brain Pickings for its first fifteen years). It has remained free and ad-free and alive thanks to patronage from readers. I have no staff, no interns, no assistant — a thoroughly one-woman labor of love that is also my life and my livelihood. If this labor makes your own life more livable in any way, please consider lending a helping hand with a donation. Your support makes all the difference.
The Marginalian has a free weekly newsletter. It comes out on Sundays and offers the week’s most inspiring reading. Here’s what to expect. Like? Sign up.
2025-12-21 03:02:11
Soaring hollow-boned and prehistoric over our infant species, birds live their lives indifferent to ours. They are not giving us signs, but we make of them omens and draw from them divinations. They furnish our best metaphors and the neural infrastructure of our dreams. They challenge our assumptions about the deepest measure of intelligence.
Because birds so beguile us, they magnetize our attention, and anything we polish with attention becomes a mirror. In every reflection, a reckoning; in every reckoning, a possibility — a glimpse of us better than ourselves.
That is what Nobel laureate Derek Walcott (January 23, 1930–March 17, 2017) conjures up in his shamanic poem “The Season of Phantasmal Peace” — an eternal vision for reprieve from the worst in us, written in the final years of the Cold War, the war that could have ended the world but was abated, not because we are perfect but because we are perfectible, because peace is possible, because, as Maya Angelou wrote in another eternal mirror of a poem, we are the possible.
THE SEASON OF PHANTASMAL PEACE
by Derek WalcottThen all the nations of birds lifted together
the huge net of the shadows of this earth
in multitudinous dialects, twittering tongues,
stitching and crossing it. They lifted up
the shadows of long pines down trackless slopes,
the shadows of glass-faced towers down evening streets,
the shadow of a frail plant on a city sill —
the net rising soundless as night, the birds’ cries soundless, until
there was no longer dusk, or season, decline, or weather,
only this passage of phantasmal light
that not the narrowest shadow dared to sever.And men could not see, looking up, what the wild geese drew,
what the ospreys trailed behind them in silvery ropes
that flashed in the icy sunlight; they could not hear
battalions of starlings waging peaceful cries,
bearing the net higher, covering this world
like the vines of an orchard, or a mother drawing
the trembling gauze over the trembling eyes
of a child fluttering to sleep;
it was the light
that you will see at evening on the side of a hill
in yellow October, and no one hearing knew
what change had brought into the raven’s cawing,
the killdeer’s screech, the ember-circling chough
such an immense, soundless, and high concern
for the fields and cities where the birds belong,
except it was their seasonal passing, Love,
made seasonless, or, from the high privilege of their birth,
something brighter than pity for the wingless ones
below them who shared dark holes in windows and in houses,
and higher they lifted the net with soundless voices
above all change, betrayals of falling suns,
and this season lasted one moment, like the pause
between dusk and darkness, between fury and peace,
but, for such as our earth is now, it lasted long.
“The Season of Phantasmal Peace” appears in Walcott’s indispensable Collected Poems: 1948–1984 (public library), which also gave us his “Love After Love” — one of the greatest poems ever written.
For a kindred vision of a more harmonious world, lensed through the possible in us, savor Marie Howe’s poem “Hymn.”
For seventeen years, I have been spending hundreds of hours and thousands of dollars each month composing The Marginalian (which bore the outgrown name Brain Pickings for its first fifteen years). It has remained free and ad-free and alive thanks to patronage from readers. I have no staff, no interns, no assistant — a thoroughly one-woman labor of love that is also my life and my livelihood. If this labor makes your own life more livable in any way, please consider lending a helping hand with a donation. Your support makes all the difference.
The Marginalian has a free weekly newsletter. It comes out on Sundays and offers the week’s most inspiring reading. Here’s what to expect. Like? Sign up.