multijimbo

So, let’s get this out of the way here at the beginning: King Arthur does indeed die at the end. But I’m not sure that actually counts as a potential spoiler.

What I hadn’t expected, though, is that Sir Gawaine would be the bad guy, the unforgiving wedge between Arthur and Lancelot, the final nail in the coffin for the whole saga.

Another thing I hadn’t expected was how relatively small a part the quest for the Sangreal, the Holy Grail, plays. It happens in volume 2, but it is an inconclusive quest, though it does contain the end of Galahad. And though I didn’t take notes, I seem to remember it was Galahad who pulled the sword from the stone, but this wasn’t the act that created the King.

There are small things that happen in passing, that saddened me with their lack of future appearance. Glatisant, the questing beast tracked by Sir Palomides, and we never get to know Glatisant. Perhaps this is just the version of Le Mort that I chose.

But one of the deepest lasting impressions that this left on me, weirdly, is the economics of knighthood. Being a knight is expensive: there is the retinue, the weaponry (and all of the very many jousting lances), the armour, the horse, the castle back home.

We come across battles involving thousands, tens of thousands of knights, and one hundred thousand die in the climactic battle between Arthur and Mordred that ends the saga. The sheer cost of knights and knighthood (and yes, I am taking into account the possibility of hyperbolic inflation on the part of the author) must have seemed a doomsday device of sorts, this giant machine that consumes everything it encounters so that it can perpetuate itself.

It’s tempting to speculate on the current incarnations of this doomsday device of knighthood, but that’s something perhaps for another time. I’m beginning to wonder, though, whether part of the reason we, the collective we, sometimes find ourselves caught in these cycles of consumption for no clear purpose, is that the collective we has no clear purpose. But that’s not a rabbit hole for today.

But I will need to speed up my reading; I did make my through the Tales of 1001 Arabian nights a couple of years ago, and it’s now taken me half a year for Malory. And this is only the first 2 on this list of 100. To work!

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For reasons I’ll admit I can’t completely track, I have a soft spot in my heart for gladiatorial cooking shows. Hell’s Kitchen, in all its subtle polite glory. Top Chef, with the spectacular weird extravagance of some of its competitions. Cutthroat Kitchen and Iron Chef Gauntlet and the sometime surreal febrile imagination of Alton Brown. And there are many others. I have never had the desire to be a chef, and each of these shows reinforces that non-desire.

I have enormous respect for chefs, in the same way that I have enormous respect for all people who dedicate themselves entirely to their craft. And I also have respect for the chefs who put themselves forward to participate in such shows, particularly when the shows get into their latter series and none of the participants can claim to be unaware of the gauntlets that each of the shows offers.

Food is a necessity and so it’s a bit strange that food has become such a big part of our entertainment landscape. Alton Brown, during his Hot Ones interview, made the point that food is comfort. When times are complicated and difficult, as they have been for some time, people turn to food.

Interestingly, I can see that the applicability of this argument to the calmer, gentler cooking shows, with their recipes and conversation. But these more gladiatorial shows, they are more entertainment than comfort. And entertaining they are.

But they also offer their lessons. For instance, the structure of Hell’s Kitchen is such that it prioritises communication within a team, and it is only towards the end of each season that the participants engage in properly individual challenges. Far beyond the horizons of the kitchen, communication is clearly critical, and my mind turns in strange directions. How possible might it be to take some of the Hell’s Kitchen challenges and adapt them as training exercises in academia.

Top Chef on the other hand, with its quick fire challenges, encourages creativity in pressured situations. One way of viewing this is that we need to be comfortable in understanding what we know, so that we can take that understanding and adapt it in somewhat unusual situations.

Cutthroat Kitchen for me is the most difficult to adapt to a collegial working environment.

Looking back, one of the themes that runs through a lot of these blogs is a continual investigation of the ways in which we can take lessons from one part of our lives and apply it to others. And even the gladiatorial cooking shows offer us something, if we approach them with a beginner’s mind and an open heart.

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Here on a Saturday evening in May, when the weather in southern England is more reminiscent of winter than late spring, I’m watching the finals of the 2021 Eurovision song contest. And as often happens, my thoughts get lost in the labyrinth of my imagination.

How long have we been singing? Not tonight, because that an easy question to answer, but overall, how long have we and our hominid cousins been singing? It may well be an impossible question to answer, since singing is ephemeral. A note, a song is sung; it goes out into the world and fades into the distance. Unless we have an artefact of the song, we don’t know the song has been sung.

I suspect that sheet music with lyrics would have to be considered evidence of singing – otherwise, why write it all down – but writing is a very recent invention. We have musical notation going back a few thousand years, but from the (admittedly limited) reading I’ve done, the few thousand years of musical notation is roughly the same as the few thousand years of writing.

Musical instruments, so perhaps bone flutes, indicate music but I’m not sure that the existence of musical instruments is sufficient to conclude the existence of singing.

Graham Norton is good, but I miss Terry Wogan. And Wilma the cat isn’t particularly interested.

Singing is clearly embedded deep as part of being human. Music permeates our lives and singing permeates our lives. And for me, there is a stark difference between a song and a spoken poem. Both are powerful, but for me, there is something about a song that can catch me in a way that a spoken poem doesn’t, though this might be that I’ve just heard more songs than poems over time.

I think I read something, not too long ago though I don’t remember the specifics, that work has been done that demonstrates that our Neanderthal cousins were capable of speech and perhaps also capable of song, though we will almost certainly never know if they did sing around their fires.

This touches on one of those points that periodically recurs, namely that for most of our history, we haven’t been able to capture stories or songs. We could tell them and sing them, remember them, pass them to the next generation, but there was always the possibility of their loss, in a way that I think we have difficult comprehending.

And if we were able to travel back in the past, this might be the question I would want to answer. I wouldn’t want to see dinosaurs. I would want to hear the first stories and songs being shared around fires.

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Procrastination is a topic I’ve written about before and think about a fair bit, though often when I should perhaps be doing something else. I think the title is an oxymoron, but I hope by the end of the next few hundred words, I’ll have persuaded you that it’s not as much of an oxymoron as it might seem now. And if you’re interested, some earlier reflections on aspects of procrastination can be found here and here, and here and here, and here and here.

I am a list maker. I make lists of the things that need to be done, and rarely a list of lists, and from time to time I review and refine my lists, and then have a clean new list containing the contents of previous lists. But I’ve come to realize that while having lists is fine, lists are a remarkably fertile environment in which procrastination can grow. A long list, with many things to do, allows for the possibility of necessary reprioritizing.

But reprioritizing allows for the possibility that some things will keep slipping down the list. I’ve recently gone through one of those exercises of reviewing and refining my lists, and I was struck by how many things are still on my list. They have, in a strange sense, become familiar friends. Part of the issue, entertainingly explored in a TED talk by Tim Urban, is that some of these tasks don’t have explicit deadlines. To paraphrase Mr Urban, the Panic Monster never has its excuse to get out of bed.

In the spirit of perspicacity, I have to admit that I am inconsistent in how rigorously I’m able to apply internal deadlines. And the more times I push something into the welcoming arms of tomorrow, the more ethereal weight that task acquires. Push forward enough times, and the weight of the task can start to become problematic; the task becomes harder to pick up, because of the weight and also sometimes perhaps because the task is itself unwieldy.

What’s interesting is that these ideas all have a familiar feel to them. Many are old friends, but this realization of grappling with this issue of prioritization is the newly made friend at the table. In retrospect, this is an obvious realization, perhaps one that I should have had some long time ago, but I cannot change my past. I can acknowledge it, I can learn from it, and that learning will now be at the top of the list.

But where does productive come from. Part of this issue of reprioritizing is that I can move things to the top of the list, and get them done, with the concomitant feeling of accomplishment, even with the heavy and awkward tasks remaining on the list, wanting attention. The challenge is to keep in mind the medium to long term, and to complete those tasks without explicit deadlines in good time, and not allowing the shiny of the easily doable tasks to overly distract.

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We are getting rather deep into 2021 and I am still working through the first book of the 2021 reading project. I’ll admit that Malory is (a bit) longer than I’d thought, but it’s an interesting journey so far (and there is still volume 2 ahead of me).

We have encountered some of the main characters of the Arthurian mythos. This includes the many knights of the Round Table, though I’ll admit that I hadn’t realized (or remembered) that Sir Tristram was such a major character; but then, one of the reasons for this reading is to back, read and fill in those gaps in my knowledge. We have encountered, though only very briefly, the Questing Beast, and Merlin has been imprisoned in his cave.

There is a lot of jousting. Every time two knights meet, it seems that there is an obligatory joust, followed by a sword fight on foot, since of course the knight who remains on their horse after the joust must then meet his dehorsed opponent on foot, in the spirit of knightly fairness.

There is so far remarkably little magic. Arthur has Excalibur, but another aspect of Excalibur that I think is less known, is that whoever holds the scabbard of Excalibur does not bleed. Given the jousting and sword fighting, this is a remarkably handy property for a scabbard to have.

One of the things that struck me early, and continued to strike me (like a jousting spear into my carried shield) throughout volume 1 is the economic madness of a society which seems to exist only to support knight who seem only to wish to joust and fight, fight and joust, and occasionally rescue the fair damsel imprisoned by the evil knight.

I know that this isn’t the point of Le Mort. We see here the exploration of knights and perhaps the creation of the culture of chivalry. But for me, this reflects a sensibility that is so embedded in modern fiction, including much science fiction, that has become part of what I enjoy in my reading.

I like the worlds of stories to make sense in themselves, and I like the stories to make sense in their worlds. With Le Mort, it makes sense in its world, but its world doesn’t make sense, however much we might like a joust.

So I’ll keep reading. I’m curious to see whether this relatively early (I haven’t done the research to know if this for instance is whether the Arthurian mythos begins) telling of Arthur contains in volume 2 the quest for the Holy Grail, which has become the canonical Arthurian story.

And in the back of my mind, I’m wondering; am I misremembering or did Monty Python neglect poor Sir Tristram?

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We each have the things from which we take comfort, and for each of us, they are different. Some may be structural – how we structure our days, the things we wish to have done, or expect ourselves to have done, between waking and going to sleeping. Some may be specific things to which we turn.

I like gladiatorial cooking shows. Hell’s Kitchen is a favourite, as is Top Chef. There are many others, all of the different variants of Masterchef for instance. I don’t know why these particular shows have such a hold on me, and alas, neither do those who are close to me.

There are other food shows as well. Hot Ones on YouTube, the show with hot questions and even hotter wings, is a neighbourhood whose streets through which I like to perambulate. I have to admit that I have some favourite episodes of Hot Ones – Gordon Ramsey (playing even as I type these words) is one that I like revisiting from time to time.

Most of us I suspect have movies or TV or books that we have to come back to. The Adventures of the Stainless Steel Rat by Harry Harrison, the Usual Suspects, and Airplane and its siblings are amongst mine, though there are others. (I’m about to embark on rereading both Dune and Moby Dick, as it’s been too long.)

My structural pieces include the daily journal, where I dust the cobwebs from the darker corners of my imagination some days and just babble other days, and the daily haiku, which I’ve written about before but which I’ll also admit that I didn’t expect to keep going for as long as it has, though I will admit to enjoying my exploration of the form.

So why this. We are living in extraordinary times, bizarre times, times that none of us expected to live through. And these extraordinary times, I suspect, are causing each of us to consider the things that we support us. The things that we turn to to support us. There may be the people in our lives, and for me this is critical. But we each also need our private space, the things we do just for us, and I also thing this is critical.

And in these times, we need to take care of each other and we need to take care of ourselves, and so I think we each need to embrace, and embrace unapologetically, those things that we each have as part of our personal care package. Because, after all, why not. So I’ll rewatch Police Squad soon, and I’ll reread Dune, yet again, amidst the new things. As should we all.

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Perhaps because of the circumstances and difficulties of the past year, I find myself from time to time thinking about the younger me. There are some very immediate reasons. Working with students, I can’t help but be reminded of my own student days, and in particular working through for the first time bits of math then encountered for the first time. There are other reasons as well; as part of the poetic science project, we’ve been asked to explore our own professional foundation myth, and create a poem from it.

I don’t remember starting aikido. Or rather, I remember that I started aikido (more than twenty years) and I have memories, flashes from those early days like snapshots, but I don’t remember the struggle of learning the mechanics of ikkyo for the first time, or kote gaeshi. My struggles these days are very different, working on refinements rather than basic mechanics.

It’s interesting trying to put myself, albeit figuratively, back into the skin of the younger me. Part of this I think is the old phenomenon is distance, the distance between teacher and student that I’ve written about elsewhere in these pages. The teacher continues to develop and deepen their understanding, whereas the new student always arrives fresh, ignorant for lack of a better term, perhaps knowing only the basics, if that. Thus, distance.

Here, though, that distance is between the current me and the younger me. The current me has continued to develop, to deepen my understanding, and this clouds the memory of the younger me. There are some things I’ve just been thinking about for a long time now. One thing that requires work is to find and appreciate the joy we feel at the new, at encountering for the first time. But it’s work that I’m willing to put in, that I like to put in.

The world has also changed. My much younger self didn’t have the Internet, for instance, and the Internet has wreaked some fundamental changes on how we live, how we communicate, how we access the information and knowledge gathered over the centuries by humanity. Different skills are required to navigate this current world.

And so, the old question. There is a trope in science fiction, going back in time and inhabiting our younger skin, reliving our lives, correcting our mistakes and taking different paths. This comes I suppose from our belief, our fear, that our younger selves would be somehow disappointed in our current self. Disappointed perhaps that we haven’t achieved all that we dreamed. Disappointed perhaps that we haven’t lived all of the adventures we planned. And as tempted as I am to hope that my younger self would look at me and be content, I’m also struck by how there’s no way of knowing. The distance is too great, the river of time too fast and too deep, And all we can do is to move forward from where we stand at the moment.

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For the past few years, I have set myself a reading project. The first was The Book of a Thousand Nights and a Night, translated by Sir Richard Burton, largely, solely perhaps for the reason that it had been sitting on my shelf for years, asking me to spend some time with it. The second was the complete works, novels and short stories, of Kurt Vonnegut. Both of these I completed, though Vonnegut took a bit longer than a year.

The third, a project that in retrospect was far too vast in its scope, was to read humanity from the beginning. I have spent the past couple of years wandering through ancient Sumer, and I will spend more years there still. Sumer is a fascinating place, and one that’s captured me.

But I will never read all of Sumer, and so the project of reading humanity from the beginning is a project that made sense only because I didn’t understand how many of our early stories have been travelled through time to us, even knowing that the recorded stories are but a small part of the stories that were told, in front of hearths and in public fora.

And so I need a new reading project, one that I can actually complete, if not in one year then in two.

The (moderately) recent Time Magazine list of the best 100 Fantasy Novels recently came to my attention. Two things struck me. One was how few of its books I’d read. The other is how many of its authors I recognized. And so this becomes the project. A century of novels in a single year is a lot, two a week, and that might well be beyond what I can do, particularly given that some of them are properly long. Even giving myself two years, and removing those I’ve already read, will be a stretch, but let’s give it a shot.

One of the things that Vonnegut taught me during our year (and a half) together is that it can be difficult to focus attention on one author, one voice, however entertaining and captivating that voice might be. Two thirds of the way in, there comes the desire for a bit of variety, a voice that’s a bit different. This was less of an issue with Burton and his Nights, a collection of tales brought together by the whim of this old Victorian.

Let the journey begin.

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Something occurred to me this week that I’d like to spend some time exploring. It hit me during a short segment on CNN about Encyclopaedia Britannica, of all things. But then it’s interesting to follow these chains of memory sometimes.

I can remember visits to my grandparents’ house when I was young, and leafing through the 1912 edition of the Britannica that lived in a trunk in the attic. I loved the weight of the volumes in my hands and the feel of the pages. And when we were cleaning out the attic some years later, we found the original wooden crate in which it had been shipped, and we could see the extent to which the volumes had expanded over time and would no longer fit in that original container.

But the recent thought was a thought in a different direction. The Britannica is still for me, to a lesser extent than it used to be, a symbol of the totality of human knowledge. I’m sure that even the writers of the Britannica would probably acknowledge that they provided a summary, even in that 1912 edition, but holding those volumes gave me the illusion of being able to develop an understanding.

Developing that understanding has become more difficult over time, and becomes more difficult day by day. The speed at which we as humans are producing knowledge is fearsome. I subscribe to a daily arxiv.org update on the submissions in some areas of mathematics, and even that very limited picture is more than I can absorb, and I’ve chosen the areas I’m interested in.

And this brings me to the core of this thought. Even in very small patches in the overall space of the exploration of things known and not yet known, it is becoming increasing difficult to keep an eye on and understanding of what is known. On the one hand, this is very exciting, because the more hands, the merrier in terms of developing our understanding.

But on the other hand, and I am extrapolating from my personal experience here, we explore these areas because we want to understand, and so there can be a joyous frustration in trying to keep up with everyone else on the same quest.

So that is the balance that sparked this whole scree. The balance I’m thinking of here is the balance of breadth versus depth. We can focus our attention on a very very small patch, thereby denying breadth, and work in increasing the depth of our understanding. Or we can focus our attention on larger patches, with the consequent necessity of mining this patch to a lesser depth, if only because we are finite creatures and we have only a finite amount of time and effort that we can put into this work.

And we can leave this first part of what will undoubtedly be a discussion of several parts, by remembering VGER from Star Trek: The Motion Picture, naively tasked with understanding everything there was to understand, and then not knowing what to do once it had accomplished this mission. Fiction perhaps can bridge this divide between breadth and depth, but it seems to me to be beyond what we can do at present.

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The past few years, and 2020 in particular, have been extremely hard on my personal practice of Zen. I am very much an amateur, doing some reading and some solo practice, and needless to say, recent events have proven to be very distracting.

One of my personal sourcebooks is Zen Flesh, Zen Bones, a Collection of Zen and pre-Zen Writings, brought together by Paul Reps. One of my favorite stories is 14. Muddy Road. Two monks, Tanzan and Ekido in this version, are travelling after a heavy rain. They come across a swollen stream and a washed out bridge, and a young woman unable to cross. Tanzan, the older of the two, carries the woman across the stream and sets her down, and he and Ekido continue on their way. After some time, Ekido upbraids his older companion; they are monks, and they shouldn’t go near women. Tanzan then says, I’ve already set her down; why are you still carrying her.

I think about this story a lot. My head constantly buzzes with things other than what I am attempting to focus on at the moment, but more than that, I find it difficult to set things down and walk away from them.

The world at the moment is a swirling maelstrom of complications and distractions, of events far beyond my control to influence. Amidst all of the complications, it is hard sometimes to see clearly, what are the things to set on the side of the road and what are the things worth carrying. What are the things that need to be carried.

A small, non-political aspect of this is something I’ve written about before, namely the List of Things To Do. Like most others, I have my list of projects, some with deadlines and some without. I have set some (few) projects down on the side of the road and walked away, but I have difficulty even here not pausing and looking behind me, wondering what if I were to go back and give them one more chance.

I recognize that this is drifting away from the core of the story, and there are analogies that I am tempted to stretch and push beyond their capacity to maintain their internal cohesion. But I do sometimes think of Ekido as the angel on one shoulder, telling me what I should do, and then I think of the angel on the other shoulder, whispering that those things left on the side of the road still deserve my attention, and it is a difficult voice to still.

But still it I must. Each day brings new opportunities, new projects, new ideas and new possibilities, and yes new deadlines. However long I’ve carried them, there are things to be set down and left to their own devices, so that the weight of all of them doesn’t sink me into the road.

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Mom has been doing some cleaning over the past few years, and from time to time she sends me pieces of my past that she’s come across. Most of these relate to high school or university days (for instance, multiple copies of my university graduate programme, in a box on a shelf), but occasional she finds something properly interesting.

Over the weekend, she sent through a report written at the end of my second grade year, in the summer of 1972. I won’t go into the details, and it has been interesting to reflect on some of the points raised therein, but rather than these specific details, I’d like to spend some time perambulating around the fact of having such a window.

These occasional reports, this recent one and others previous, as close as I will ever come to having a conversation with the young Jimmy, on the cusp of 8 years of age, a time long enough ago that my memories resemble snapshots of moments more than moving pictures. And for those incidents that are formative if only because they’re the moments and memories that persist, we have to accept the possibility that decades of reviewing those memories have corrupted the tape.

I think about this whenever I read history. I’ve recently finished The Sleepwalkers by Christopher Clark, a detailed account of the discussions and deliberations that took place across Europe in the few years leading up to the beginning of World War I in 1914. I enjoyed the book and the exquisite level of detail, but even here we have only what was written down and what survived, and we can only speculate on the conversations of which we have no record.

The farther back we go into our collective human history, the more pervasive an issue this becomes. The written record becomes thinner as we go back through the decades and centuries and millenia. And it’s not just that the record becomes thinner; it’s that what is written becomes more focused on particular areas of our past lives. This might be why we appreciate the individual voices from the past that sometimes arise, in documentaries for instance.

It’s this I think that lead to the reading project I set myself a couple of years ago, to read human writings from the beginning. I am still wandering through the streets of ancient Sumer. I listen to stories whose context I don’t yet understand. I wonder about the events and beliefs that sit behind these stories. And I ache to know what stories we told to each other and our cousins, sitting around fires tens of millenia ago, and what echoes of those stories still inhabit our stories today.

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