Rijo Stephen Cletus: Want People to Remember What You Say? It All Comes Down to This Simple Rule

Want People to Remember What You Say? It All Comes Down to This Simple Rule

If you don't do this, nothing else matters, says screen star and communication expert Alan Alda.

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The Neurophysiology of Enchantment: How Music Casts Its Spell on Us

“Music,” the trailblazing composer Julia Perry wrote, “has a unifying effect on the peoples of the world, because they all understand and love it… And when they find themselves enjoying and loving the same music, they find themselves loving one another.” But there is something beyond humanistic ideology in this elemental truth — something woven into the very structure and sensorium of our bodies; as the great neurologist Oliver Sacks observed, “music can pierce the heart directly; it needs no mediation.”

Psychologist Dacher Keltner examines what that unmediated something is and how it pierces us in a portion of his altogether fascinating book Awe: The New Science of Everyday Wonder and How It Can Transform Your Life (public library) — a taxonomy of wonder derived from his study of twenty-six cultures around the world, across which music, above all other forms of beauty and spirituality, emerges as the most universal of our creaturely portals into transcendence.

After observing the virtuoso concert cellist Yumi Kendall respond bodily to the music she plays and cast an embodied enchantment upon those hearing it, Keltner writes:

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Maya Angelou on Writing and Our Responsibility to Our Creative Gifts

“Be a good steward of your gifts,” the poet Jane Kenyon urged in what remains some of the finest advice on writing and life ever committed to words. Our gifts come unbidden — that is what makes them gifts — but with them also comes a certain responsibility, a duty to live up to and live into our creative potential as human beings. “Talent is insignificant. I know a lot of talented ruins,” James Baldwin admonished in his advice on writing. “Beyond talent lie all the usual words: discipline, love, luck, but most of all, endurance.” That durational willingness to work at our gifts, to steward them with disciplined devotion, is our fundamental responsibility to them — our fundamental responsibility to ourselves.

Maya Angelou (April 4, 1928–May 28, 2014) considers what that means and what it takes in a wonderful 1983 interview, included in Black Women Writers at Work (public library).

I try to live what I consider a “poetic existence.” That means I take responsibility for the air I breathe and the space I take up. I try to be immediate, to be totally present for all my work.

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The Most Important Thing to Remember About Your Mother

One of the hardest realizations in life, and one of the most liberating, is that our mothers are neither saints nor saviors — they are just people who, however messy or painful our childhood may have been, and however complicated the adult relationship, have loved us the best way they knew how, with the cards they were dealt and the tools they had.

It is a whole life’s work to accept this elemental fact, and a life’s triumph to accept it not with bitterness but with love.

How to make that liberating shift of perspective is what the playwright, suffragist, and psychologist Florida Scott-Maxwell (September 14, 1883–March 6, 1979) considers in a passage from her 1968 autobiography The Measure of My Days (public library).

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Let This Darkness Be a Bell Tower: Rilke's Timeless Spell for Living Through Difficult Times

There are times in life when the firmament of our being seems to collapse, taking all the light with it, swallowing all color and sound into a silent scream of darkness. It rarely looks that way from the inside, but these are always times of profound transformation and recalibration — the darkness is not terminal but primordial; in it, a new self is being born, not with a Big Bang but with a whisper. Our task, then, is only to listen. What we hear becomes new light.

A century ago, Rainer Maria Rilke (December 4, 1875–December 29, 1926) extended a timeless invitation to listening for the light in his poem “Let This Darkness Be a Bell Tower,” translated by Joanna Macy and Anita Barrows in their altogether indispensable book In Praise of Mortality: Selections from Rainer Maria Rilke’s Duino Elegies and Sonnets to Orpheus (public library).

I read it here accompanied by another patron saint of turning darkness into light — Bach, and his Cello Suite No. 5 in C Minor, performed by Colin Carr:

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A Responsibility to Wonder: Pioneering Neuroscientist Charles Scott Sherrington on the Spirituality of Nature

To be fully awake to life is a matter of ceaselessly digging for that “submerged sunrise of wonder” — a matter of living, in the astronomer-poet Rebecca Elson’s immortal words, with “a responsibility to awe.” Out of that responsibility arises a kind of quietly rapturous spirituality — a way of moving through the world wonder-smitten by reality.

The great English neurophysiologist Charles Scott Sherrington (November 27, 1857–March 4, 1952), laureate of the 1932 Nobel Prize for his groundbreaking discoveries of the function of neurons, termed this orientation “Natural Religion” and explored its rewards in his 1937 Gifford Lectures, later published as Man on His Nature (public library | public domain) — a book composed in the epoch when every woman was a “man,” yet replete with dazzling universal wisdom on our human experience of being material creatures moving through a cold cosmos as living hearths of consciousness.

Sherrington’s Natural Religion is rooted in Natural Science — in the living reality of this world, governed by the fundamental laws of the universe. Tracing the astonishing process by which we came to be — primordial matter becoming atoms becoming living cells becoming bodies crowned with minds — he writes:

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How to Be Less Harsh with Yourself (and Others): Ram Dass on the Spiritual Lessons of Trees

Hermann Hesse believed that trees are our greatest spiritual teachers. Walt Whitman cherished them as paragons of authenticity amid a world of mere appearances. Remembering his most beloved friend, he wrote that she was “true, honest; beautiful as a tree is tall, leafy, rich, full, free — is a tree.” I too consider the people I most love my human trees — people firmly rooted in a foundation of moral beauty, relentlessly reaching for the light, bent into their particular beloved shape by the demands and traumas of their particular lives.

A century after Whitman, Ram Dass (April 6, 1931–December 22, 2019) drew on the human-tree analogy in a soulful invitation to treat ourselves — and each other — with the same nonjudgmental spaciousness with which we regard trees. Answering a question about how we can judge ourselves less harshly, he writes:

Part of it is observing oneself more impersonally… When you go out into the woods and you look at trees, you see all these different trees. And some of them are bent, and some of them are straight, and some of them are evergreens, and some of them are whatever. And you look at the tree and you allow it. You see why it is the way it is. You sort of understand that it didn’t get enough light, and so it turned that way. And you don’t get all emotional about it. You just allow it. You appreciate the tree.

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The Symphony of Belonging: Alfred Kazin on Music as Spiritual Homecoming

“A person’s identity,” Amin Maalouf wrote, “is like a pattern drawn on a tightly stretched parchment. Touch just one part of it, just one allegiance, and the whole person will react, the whole drum will sound.” It is a wonderful metaphor in part because it dances with the literal: So often, what strums the resonance of our identity most powerfully is music — that most expansive and embodied repository of memory, the memory that strings the narrative of selfhood we call identity.

Music as a fundament of identity and a portal to spiritual homecoming is what Alfred Kazin (June 5, 1915–June 5, 1998) explores in a passage from A Walker in the City (public library) — his absolutely wonderful inquiry into loneliness, otherness, and belonging.

Looking back on his childhood as the son of Russian Jewish refugees, in an era of routine discrimination and othering, he recounts how music filled his home with a sense of belonging, of homecoming, invoking the world his parents had left behind and rooting his own young self in a sense of communion with some greater whole:

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How to Be with Each Other's Suffering: Elie Wiesel on the Antidote to Our Paralysis in the Face of World-Overwhelm

There is a phenomenon in forests known as inosculation — the fusing together of separate trees into a single organism after their branches or roots have been entwined for a long time. Sometimes, one of the former individuals may be cut or broken at the base, but it remains fully alive through its sinewy fusion with the former other. This is no longer symbiosis between two distinct organisms but a hybrid new organism fully sharing in the resources of life.

Everything alive has the potential for inosculation in one form or another. That, perhaps, is what the great naturalist John Muir meant when he observed that when we try to pick out anything by itself, we find it hitched to everything else in the universe.” To be proper citizens of that universe is to recognize ourselves as particles of it, indelibly linked to every other particle — particles each minuscule but majestic with possibility; it is to recognize that, as Dr. King observed, “we are caught in an inescapable network of mutuality.”

Few have captured the responsibility and power of that mutuality more passionately, nor lived them more fully, than Holocaust survivor and Nobel Peace Prize laureate Elie Wiesel (September 30, 1928–July 2, 2016).

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One Day Someone Paid Just $120 for Two Banksy Stencils Worth $200,000, and Why That Matters to You