js_thrill: greg from over the garden wall (Default)
My experience in therapy, at least, this most recent time I've gone, where I've found it very helpful, has had a lot of moments that felt like huge epiphanies of insight, which, when I try to explain them to other people, are difficult to relate in any way that don't basically have me telling someone else that my huge insight from therapy was something like if I stop putting my hand on the hot stove, I won't get burned as often.  This insight is true, but usually, the reaction is either for me and the other person to laugh that I needed someone to help me figure that out, or for them to worriedly inquire as to how often I was jamming my hand onto a hot stove.

This is why I'm sort of obsessed with my personal spin on the pagliacci meme:
 
 

Heard joke once: Man goes to doctor. Says “It hurts when I do this.” Doctor says “Treatment is simple. Don’t do this.” Man bursts into tears.

“But Doctor, I *am* do this.”

Good joke. Everybody laugh. Roll on snare drum. Curtains.

In the original "Doctor it hurts when I do this" joke the punchline is a goof on the doctor being bad. You want a fix for not being able to raise your arm above your head, and the doctor says to just avoid the thing that triggers the pain.  But in a therapy context, I kept finding myself in the other scenario. I would be like "dating apps are making me miserable." "Well, get off the dating apps."   The Pagliacci twist to the punchline, is crucial (for me!) because I so often don't want to give up the things that are making me miserable.  They are part of who I am. And that is the joke.  I am literally making myself miserable, and so, the reason the advice seems to insightful is because it's actually difficult to see that I don't have to keep jamming my hand onto the stove, when my self-conception is the person who grabs hot things off the stove.

So, one day, my therapist was all prepared to explain to me how to identify and avoid emotionally unavailable women. She had spotted a pattern in the people I had been dating. And she asked if I thought that would be useful, or whether I needed that. I think her exact question was, "do you think you know how to tell when someone is emotionally unavailable." And I said "oh, they usually tell me, like explicitly, by saying something like they aren't ready to be dating", and she was flummoxed. Because she was assuming I would need like, help spotting the people so as not to pursue them. So she like put her stack of notes aside and said "okay, maybe you could try, when someone says that, not trying to date that person, and trying to date someone else instead?"  And I was like "hmmm...interesting."  Because that had not occurred to me.

So, that insight was "when someone says they aren't ready to be dating, don't date/attempt to date them."  That was a really big insight for me.  But it is hard to explain succinctly why that isn't blindingly obvious.  It's like saying if you stop putting your hand on a hot stove, you won't get burned as much. Hard to fault the accuracy, but wow, did you really need to be told that? (Reader: I did.).

Now, in fairness to that insight, we will eventually notice a thread running through all these insights, and so, there is a non-obvious insight lurking behind the scenes.

I sometimes felt listless and like I couldn't get myself to do the things I needed to do, and I just wanted to watch netflix or whatever instead of doing the things i was supposed to do. My therapist (this was the next therapist, because the previous one had a medical thing that required her to stop seeing patients), gave me this advice that was so good and worked so well I like wrote it down and took a picture and put it in a place so I could make sure I would have access to it when I needed to consult it again. And then next time I was feeling listless I went to look up this brilliant advice:  "if you are feeling listless and tempted to spend all day watching netflix/avoiding responsibilities/etc., ask: what am I feeling, what made me feel this way/what set me off, then do something to process/release the feeling (cry/rant/discuss)”

This one is less full-on obvious. But it does boil down to "ask yourself how you are feeling, then engage with your feelings." And again, this does not feel like super sophisticated advice.  A lot of this advice reminds me of when I started to take flute lessons in my late 20s.  The flute instructor was explaining to me how to breathe. And I mistakenly thought I knew how to breathe, since I had, after all, been breathing for my entire life.  But actually, no. I did not know how to breathe, and some very obvious things about breathing were just completely alien to me.  So, I had to learn about breathing in my late twenties. And similarly I am learning about feelings in my forties.  Like what you do when you have them (apparently "avoid them" is not the correct approach).

But doctor, I *am* do this.

I used to answer the phone whenever my mom called. It didn't matter what else I was doing.  Watching a movie at home, out with friends, etc.. Pretty much anything besides if I were teaching a class, if the phone rings, and it was my mom, I'm going to pick up the phone.  And I am very bad at ending phone calls. I don't know how to say I want to go.  I can say I need to go, if there is something that requires me to leave, but I don't know how to say I am done because I want to be done.  My therapist asked me if I was annoyed sometimes that my mom's call interrupted a movie I was watching, or something else I was doing. And I said yes. And she asked why I didn't just let it go to voicemail and then call back later, when it was a good time. And I didn't have an answer. Because I didn't know why I didn't do that. It was a good plan. I started doing that. I was less annoyed on the phone with my mom. So this insight was...to not answer the phone when it wasn't a good time to talk.

Here's where things take a turn for the less obvious (or maybe you know me and have heard this, or maybe you just know how these patterns go): I've complained, before, many times, to many people, about how much I hate that my mom will answer the phone whenever it rings. It doesn't matter what is going on, it doesn't matter the circumstance, she picks up the phone.  Even just to tell the person she will call them back.  It drives me nuts. My therapist didn't point this out to me. I drew this connection myself. I was like "wait, how did I not realize I do the thing?"  I don't do it the same way, I don't answer every phone call, I don't answer in all circumstances, but it's very much the same thing. I answer the phone, especially from my mom, even when it is inconvenient, putting whatever I was doing on hold.  And my therapist was like "the solution is: don't do that."

But doctor, I *am* do this.

I mask my sadness a lot (less now than I used to!).  And I don't like to talk about my feelings, so I am very good at reflexively flipping the conversation around to what's going on with you instead of me.  I've been consciously trying to undo these habits. It's hard.  My therapist suggested that I try just telling people how I felt.  This is among the three scariest pieces of advice I think she's given me.  But again, we're still in the zone of very obvious things to try.  I was talking to my friend Julia, who is a very good friend, and often has pithy ways of putting things, and I asked her once why my friends can't tell when I am lonely or sad. Is it just that they don't care? And she was like "what do you say when people ask you how you are doing?" and I said "I said I'm doing fine" and she said, "well maybe the issue is that you're lying to them."  And I wanted to protest that I wasn't lying to them, but it was hard to dispute that given my own contribution to the discussion.  So, in this case, the advice was some combination of "tell people what's going on, and/or maybe stop actively concealing it" (sub-advice: don't hold it against people for not seeing it when you do hide it).  And again: this advice is super obvious. I've come to call this one the Princess and the Pea principle.  I can't hide my emotions under a hundred layers of mattress and then decide that my only true friends are the ones who can detect it behind all of that padding. I mean, I can, but that's is a recipe for disappointment and isolation.  It goes in tandem with another nonsense rule I had invented, which is that help I ask for doesn't count. True help (according to the made up rules I invented) is offered without being asked, and so if I have to ask for the help, it's just fake help being offered begrudgingly and isn't real friendship or affection.  So, my only friends are psychic mind-readers who know I am feeling some kind of way, and figure out what i need without being told, and then do it without being asked.  Then I feel sad and lonely and unloved, but it's not my fault! (Reader: it is a bit my fault!).

"Tell your friends how you feel or they won't know," and "ask for the help you need, or you won't get it" are, again, not earth shattering strategies to be getting from therapy, but they were things I needed to hear.


The not quite as obvious common thread through all of these pieces of advice, really, is that if you ask yourself, "who wouldn't find this advice obvious?" or more pointedly, "what would be going on with someone, where they would consistently be missing the obviousness of these things, and need to have it pointed out to them?" and to get there, I am going to talk about Grover. Specifically, "Grover Goes to School".

"Grover Goes to School" was a book I read so, so many times as a kid. It had an audio tape that came with it, so you could listen along while reading it. It may have had a record instead of an audio tape, I don't remember.

a kid version of grover standing up at a desk saying "I am Grover and I want to be friends with everybody"
 

I am going to describe the plot of the book, and then you will probably get to the moral of this story well before I did.  Grover is excited to go to school, but also nervous because his new school is not on Sesame Street and he won't know anyone there. But he really wants to make friends!  He brings his new school supplies, some toys, his lunchbox full of delicious food he likes, and heads off to school. He introduces himself, and then throughout the day, other kids are like "hey that's a neat pencil case, want to trade?" and Grover thinks "Oh, I want them to like me, I better say yes." so he trades his nice pencil case, or his jelly sandwiches, or his toy truck. He offers to clean up after recess so other kids can go get snacks, so that they will like him. Then, he has an emotional breakdown and starts crying in class. (Like Grover, I had emotional outbursts in school a lot. Mine went well past the age when it was socially acceptable. I would run out of the room crying, and go hide in the bathroom. When it got to be junior high and it was still happening, I just had to make it stop, so I just sort of didn't let myself cry.).  One of the other kids asks Grover what's wrong, and Grover says he didn't want to give up his pencil case or trade his sandwich and no one saved him any snacks after recess, and he didn't want to play jump rope he wants to play jacks, and the other kid doesn't know how to play jacks but is willing to learn. So they play jacks, and have fun. And then someone asks to trade whatever else Grover has, and Grover says no, he likes what he has, and it turns out it is okay, because being someone's friend doesn't depend on giving them things to make them like you. So Grover gets home and says he had a great day because he made two friends.  And the moral of the book, which is very clear, is that Grover shouldn't keep placing his value in how he can serve others, but instead, he should more or less trust that he is a likable monster, and value himself accordingly.

I read this book so many times.  It's sort of shocking to me the extent to which the lesson I am still trying to learn is the really simple, obvious lesson of this children's book that I read and loved.  The sort of person who misses all these obvious lessons is the anxious little monster at the outset of the book. The one who doesn't value themself, and who doesn't have a sense of their own worth.  The one who places their own sense of value in the approval of others, and so tries to make themselves useful and pleasing to others, and stuffs away or ignores their own happiness and desires.  They take on burdens that aren't theirs, and tell themself that they don't expect anything in return, but then resent that their needs and wants aren't being met.  But of course, they aren't telling anyone what they want or need.  So, they resent the failure of reciprocation, but from the outside, everyone else thought it was a gift, not an exchange.

And since we are talking about me, really, not Grover, when I was wrestling with a sort of half-awareness that I was upset with people for not doing things that I didn't ask them to do, or for not returning favors that they weren't obligated to return, I felt guilty about having expectations that I knew were unfair, while also not having ever addressing my original anger or sadness or whatever else was going on with my unmet needs to begin with.

When groups of friends were trying to figure out where to go for dinner, I used to not weigh in if my preference was slight, because I was worried that if I said I preferred Thai, people would treat that as a stronger vote than it was, and we'd go for Thai food when the other people weren't really excited about it.  My therapist told me that she doesn't usually give outright instructions to patients but that I should definitely stop doing that (I already knew that, before she told me, to be fair).

The thing is, it's hard to untangle your self-conception.  I've thought of myself as someone who is helpful and useful to others for a really long time. And it's not like I am aiming to replace those features with their opposites or anything, but when, in the same year, I am reading the Zhuangzi and re-discover Grover Goes to School and getting more and more of these obvious epiphanies from my therapist, and they are all telling me that I should stop placing my value in how I can be useful to others, it does seem like it is time to redefine myself.

But doctor, I *am* do this.

js_thrill: a screencap of the tiger from the scroll painting of zhang daoling riding his tiger (tiger)
 
“But human speech is not just a blowing of air. Speech has something of which it speaks, something it refers to.”
 
 
I've dawdled a bit in writing about the second chapter of The Zhuangzi.  There are themes in it that resonate with me a lot, but it is a bit less accessible to me in some ways than the first chapter.  It opens with this discussion between two characters about whether the world is like an instrument and the sounds of nature are like music, and transitions into a discussion of whether words differ from mere air being blown.

The issue here is that speech has aboutness.  When I say something, I am not just making noise, the noises I make are words and the words have meanings.

 
“Yes, but what it refers to is peculiarly unfixed. So is there really anything it speaks of? Or has nothing ever been spoken of? You take it to be different from the chirping of baby birds. Is there really any difference? Or is there no difference? Is there any dispute going on there? Or is there no dispute? Is anything demonstrated by it? Or is nothing demonstrated by it? How could any course of activity become so concealed and unnoticed that there could be any question about whether it is a genuine or a false course? How could any act of speaking become so concealed and unnoticed that there could be any question about whether it is right or wrong to say? After all, where could any course veer off to without that course thus being present there? Where could any speaking be present without that speech thus being deemed acceptable there?
 

The text in this chapter is, I think, more didactic, and less narrative, which, oddly, should have made it easier for me to get my head around, but after all the work I did getting myself to understand the mode the first chapter is written in, was a strange shift.  And, of course, it's not like it is written as an essay or a treatise, it is still written in the form of anecdotes, but they contain these longer digressions.  I think part of what is happening is that The Zhuangzi is here engaging with a point about the treachery of language.

The issues in chapter two, especially the early passages, are things that I have thought about and wrestled with in other contexts before, but The Zhuangzi has very specific targets in mind. It calls out the Mohists and Confucians by name, it references the White Horse Not Horse paradox, in some ways it is a very reactionary text.  Plus, I've been told it is full of puns and jokes that are not always captured in translations (this chapter in particular has a bunch of wordplay about this/that and right/wrong that turns on character overlap in classical Chinese that isn't preserved in English, and is hard to translate).

I've been spending a lot of time thinking about the transition from the treachery of language, in the first part of the chapter, to what seems to be a bolder metaphysical thesis, as the chapter progresses, about the indistinguishability of things themselves.  The first bit, about the inadequacy of language is an easy pill to swallow.  Language really can't (despite the apparent success it has in the practical arena) do the full job demanded of it.  But this seems to be a failing as language, and not something that bears on the shape of reality.

At the same time, The Zhuangzi seems to comfortably transition:

 
What is acceptable we call acceptable; what is unacceptable we call unacceptable. A road is made by people walking on it; things are so because they are called so. What makes them so? Making them so makes them so. What makes them not so? Making them not so makes them not so. Things all must have that which is so; things all must have that which is acceptable. There is nothing that is not so, nothing that is not acceptable.

This passage descends from what we call acceptable (unacceptable) to what is acceptable (unacceptable), and then combines the making of roads with things being called by a label.  This is the passage (as I read it) where we get a clear collapse between the linguistic and the metaphysical.  But I am not sure I understand why.

So I will probably spend some more time in the future reading this chapter and thinking about it, because this portion is perplexing to me, and doesn't sit comfortably with me yet.  The next bit coming up, though ("three in the morning"), I have an easier way into, because it is about tricking monkeys into being less grumpy, and that is an easier thing to get my head around.

I am not sure I will stick to a strict linear progression through the text, because, if there is one thing I feel like i have permission to do here, it is wander freely through it, but also, I did want to talk about this part, which is opaque to me and somewhat frustrating, so I felt like better to go through than around.

js_thrill: a screencap of the tiger from the scroll painting of zhang daoling riding his tiger (tiger)
Here are some of the different translations of the title of Chapter one of the Zhuangzi: "Free and Easy Wandering" (Watson), "Wandering Far and Unfettered" (Ziporyn), "Wandering Where You Will" (Palmer), "Carefree Wandering" (Mair), "Transcendental Bliss" (Giles).  Obviously one of these is an odd-one-out, being the only one not to invoke the concept of wandering.  I don't have any working knowledge of Classical Chinese, so I can't really judge the relative merits of these translations.  My first exposure to the Zhuangzi was by way of Ziporyn's translation, which is what they call maximalist; but which is also reported to have the merit of capturing the spirit and tone of the work better than some of the more conservative or literal translations.

In the spirit of carefree wandering, I am going to skip forward slightly, past the story of the Sage who speaks of the Spiritlike Man ("Though the age calls for reform, why should he wear himself out over the affairs of the world?"), and go to the shaggy-dog tale that really centers my understanding of (and affection for) the Zhuangzi.

This story co-stars Huizi, the representative of the School of Names, and a friend and foil to Zhuangzi in the text.  Huizi is upset because the Duke of Wei gave him some gourd seeds, and he planted them, and the gourds that grew were ENORMOUS.  Too big, in fact, to use for the things that people use gourds for: 

"I tried using it for a water container, but it was so heavy I couldn’t lift it. I split it in half to make dippers, but they were so large and unwieldy that I couldn’t dip them into anything. It’s not that the gourds weren’t fantastically big—but I decided they were of no use, and so I smashed them to pieces.”

Zhuangzi says, roughly, "well aren't you clueless when it comes to big things!" And then tells a *whole* other story.

In the town of Song there was a family that washed clothes, and they had a salve they used, to keep their hands from getting chapped.  They made a bit of money each year doing this laundry, which the salve enabled them to do.  A traveler heard about the salve, and offered them 100 measures of gold for the recipe. They talked it over and agreed, realizing that it would take them a whole lot of time to make that much money doing laundry.

The traveler takes the recipe to the King of Wu, who is engaged in war with Yue, and explains that he can help the army, because the salve will help them avoid dropping their weapons in battle (or something along those lines).  The army prevails, the King is grateful, the man is enfeoffed, and becomes a duke.

The salve had the power to prevent chapped hands in either case; but one man used it to get a fief, while the other one never got beyond silk bleaching—because they used it in different ways.
 
Or, as Ziporyn translates:
 
The power to keep the hands from chapping was one and the same, but one man used it to get an enfeoffment and another couldn’t even use it to avoid washing silk all winter.
 
 
Zhuangzi goes on to note that the giant gourd could have been used as, essentially, a sort of raft, to lazily and gently float one's way down a river or around a lake. But Huizi was too busy trying to make it work like a ladle or a small bucket.  Zhuangzi suggests that Huizi's head is maybe too cluttered to think of these things, and Huizi retorts:

“I have a big tree called a shu. Its trunk is too gnarled and bumpy to apply a measuring line to, its branches too bent and twisty to match up to a compass or square. You could stand it by the road, and no carpenter would look at it twice. Your words, too, are big and useless, and so everyone alike spurns them!”

But you can't insult Zhuangzi by calling him useless. Because uselessness is a virtue for Zhuangzi: 

"Now you have this big tree, and you’re distressed because it’s useless. Why don’t you plant it in Not-Even-Anything Village or the field of Broad-and-Boundless, relax and do nothing by its side, or lie down for a free and easy sleep under it? Axes will never shorten its life, nothing can ever harm it. If there’s no use for it, how can it come to grief or pain?
 
Now, we'll come back to useless trees, specifically, a bit later. Carpenter Shi (or Stoney, in the Ziporyn translation) will be the foreshadowed carpenter who passes a giant tree that is not fit for chopping and whose wood would not be good to use in any carpentry.  But the statement here from Zhuangzi is clearly too strong. Right before the bit I quoted we get some allusions to animals, and obviously in the animal kingdom, harms befall animals all the time.  And prey animals are not being useful in the sense that we are seeing condemned here, I don't think. So it will be worth unpacking this.  But the central idea being expressed here, seems to be: If you are useless, no one can use you, and you can't get used up.

This anecdote has a lot more going on, because the clever traveler makes himself useful and becomes a Duke.  In the story, this seems to be celebrated as a clever way to use the salve. However, we already saw (in the last discussion), that a sage knows better than to get involved in politics.  So, why use the example of political machinations, and political reward?  In fact, the folks who seem to have won big are the launderers, who sold the salve and no longer have to bleach clothes all winter.  There is something puzzling, at least, about the story, even once we have gotten past the superficial level of the analogy.

But this also reinforces the theme, which I have again noted, but not truly explored, of the sage's remove from the affairs of this world ("Though the age calls for reform, why should he wear himself out over the affairs of the world?").  But here, at least, we are getting more insight into why this is the recommended stance.  In the anecdote about the imitator of the dead, it was because you make more of a hash of things by trying to fix things.  Here, it is because you are a tree.  You can either flourish as a tree, or get converted to lumber.  But in addition to the harms that befall you in getting converted to lumber, lumber is used to manufacture the materials of the conventional world, and the conventional world is the problem you were dissatisfied with.

I am not sure I am fully grasping the Zhuangist rationale, here, to be honest, but a) fear not, this theme is not going away, and b) I think it is okay for me to allow my thoughts to wander some, so long as they are unfettered. 

At least, now, it should be clearer why the keystone tag for this post-series is "learning to be useless".  For me, I have really largely tried to be useful.  Sometimes far too much, sometimes without it being asked, sometimes in ways that were, it turns out, unwelcome busy-bodying.  Definitely in ways that have, on balance, been frustrating to me and have taken a toll.  When I first got into this text, it did feel like the work was yelling at me personally. Both in that I have been the imitator of the deceased who made a giant mess by rushing to the kitchen, and because I have been useful in ways that led me to get used.  I have found it to be, if nothing else, a good corrective to think hard about the value of unlearning the impulse of usefulness, and seeing if that can help me to flourish.
js_thrill: a screencap of the tiger from the scroll painting of zhang daoling riding his tiger (tiger)
 The Zhuangzi opens with the story of a giant fish (ironically named "Roe") who transforms into a giant bird named something like Phoenix and/or Friend (the book has a lot of puns that can't easily be translated—at least, not by me—and then proceeds through some rapid considerations about variations in perspective. To a tiny creature, a small puddle is the same as a vast ocean. Is the vastness of the sky the same to Friend Phoenix as it is to us? Is the endless blue of the heavens the same as the endless blue below?  For a short-lived species, a single day is like a whole year, and so on.  I don't have much to say about the shifting perspectives right now, but it felt weird to skip talking about them entirely. The idea of unmooring yourself out from your own perspective is pretty crucial to the work.

The first part that really grips me when I read the Zhuangzi comes after the story of the giant fish/friend-phoenix, though, it is not disconnected from it.  A little bird watching the phoenix judges it:

The little quail laughs at him, saying, “Where does he think he’s going? I give a great leap and fly up, but I never get more than ten or twelve yards before I come down fluttering among the weeds and brambles. And that’s the best kind of flying, anyway! Where does he think he’s going?” Such is the difference between big and little.

And this transitions into the story of people who are useful in one particular way:

Therefore a man who has wisdom enough to fill one office effectively, good conduct enough to impress one community, virtue enough to please one ruler, or talent enough to be called into service in one state, has the same kind of self-pride as these little creatures. Song Rongzi would certainly burst out laughing at such a man. The whole world could praise Song Rongzi and it wouldn’t make him exert himself; the whole world could condemn him and it wouldn’t make him mope. He drew a clear line between the internal and the external and recognized the boundaries of true glory and disgrace. But that was all. As far as the world went, he didn’t fret and worry, but there was still ground he left unturned.

Song Rongzi is unmoved by social assessment.  Praise is no positive incentive, condemnation is no force to dissuade him. Song Rongzi is only motivated internally. As the last line of the passage above suggests, Song Rongzi is not the utmost exemplar we will see, but we've already established some of the most central themes that are going to get delivered in the work:  a focus on nature, shifting and appreciating perspective (especially broader perspectives), and a rejection of that which is artificial or conventional, such as utility to a particular community, or social praise/blame. We are then told of Liezi, who it is suggested is capable of flying (for 15 days at a time, more like the Phoenix than like the little quail), and the passage concludes that "say, the Utmost Person has no definite identity, the Spiritlike Person has no particular merit, the Sage has no one name." (I am mixing quotations between the Watson translation and the Ziporyn translation, in these posts.)

Ziporyn uses "name" where Watson translates "fame" both of them driving home the point from the bit about Song Rongzi's indifference to praise/blame/social status, but Ziporyn is sensitive to the relevance of some upcoming wordplay when we get Emperor Yao offering the empire to Xu You.
 
Yao wanted to cede the empire to Xu You. “When the sun and moon have already come out,” he said, “it’s a waste of light to go on burning the torches, isn’t it? When the seasonal rains are falling, it’s a waste of water to go on irrigating the fields. If you took the throne, the world would be well ordered. I go on occupying it, but all I can see are my failings. I beg to turn over the world to you.”
 
Xu You said, “You govern the world and the world is already well governed. Now if I take your place, will I be doing it for a name? But name is only the guest of reality— will I be doing it so I can play the part of a guest? When the tailorbird builds her nest in the deep wood, she uses no more than one branch. When the mole drinks at the river, he takes no more than a bellyful. Go home and forget the matter, my lord. I have no use for the rulership of the world! Though the cook may not run his kitchen properly, the priest and the impersonator of the dead at the sacrifice do not leap over the wine casks and sacrificial stands and go take his place.”

We see Xu You, sagely decline the offer to be the emperor, because it is not needed. Why would he take on that role, other than for the esteem and status attached to it?  We have a reversal here, where the small birds and animals, who, before, were being lambasted to some extent, are now being extolled.  They take only the resources they need, and do not horde more out of pride or desire for social status (I leave to one side the issues of whether this is accurate animal psychology).

The final line contains, I think, an important element of the Zhuangist ethos, and also one that speaks to me personally.  From context, I am just going to fill in that at the relevant type of funeral, someone played the role of impersonating the deceased, a sort of living icon/effigy.  And if that is the job you have at the funeral, it doesn't matter if the cook is messing up, you can't go jump up and run to the kitchen and start cooking. That's just going to make things worse, because then you'll knock over the wine and candles and such, and there won't be an impersonator of the deceased, and there still will be a disorderly kitchen.

Sometimes I tell people that what I like about the Zhuangzi is that I feel like it is yelling at me in the specific way I need to be yelled at. And this part is a great example. I have the urge to be helpful sometimes in ways that no one asked me to be, and in ways that are not my job to be. And then both I, and the person who did not request my help, get frustrated.  Often, it doesn't matter whether I am right about what they should do.  In those situations, I am like the impersonator of the deceased at a funeral, running into the kitchen, knocking things over, making things more chaotic, instead of less.

When I first read this passage, and much of the text of the Zhuangzi, I was frustrated, because I felt like it was telling me not to try to make things better.  Note that, even though the passage opens suggesting that the world is run well, the lesson switches to Xu You suggesting that one should not try to change how things are governed, even if they are governed poorly.  I still think this is a worry, but I think reflecting on the funeral analogy can help to ground an understanding of why the Zhuangzi doesn't put forward an account of how to combat the system's ills.  (This will also come into focus in a different way when it gets more into themes about the system itself being the ills).  So, for now, it is a therapeutic for corpse-imitators who are too tempted to jump up and try to help out in the kitchen.

I'll stop here for now, even though this isn't the whole of the first chapter.

I'm going to tag all the posts in this series with both "zhuangzi" and "learning to be useless" so if you want to find them later, those are the tags to click.

js_thrill: greg from over the garden wall (Default)
When I moved into my house (in 2016?), I was given a money tree as a housewarming gift:

a tall tree in a plain red pot on a wooden table in a somewhat messy room
 

It is possible that I have never taken care of a plant before? But a money tree is relatively easy to take care of. The directions on the card that came with it said to put two ice cubes in with it once a week. I would periodically rotate it, and I had tried a few different locations for it, so that I could get a sense of how much light/how direct of light it needed. At a certain point, the pot it was in seemed insufficient, so I went to home depot and bought the next size up and some potting soil and re-potted it. Eventually, it seemed to be getting too big for that pot (the one pictured above). I thought about going to Home Depot again, but remembered that my friend Alexis makes pottery. So I asked her if she takes requests.

Alexis was very gracious and said she would be happy to take this on! She said she'd be enjoying putting text on her pottery, and asked if I had any text I'd want on the pot. I'd been thinking a lot about trees lately, because there are a number of places in philosophy where trees turn up as pivotal examples. When discussing identity over time, John Locke talks about a sapling growing into a huge oak, and being different matter, but remaining the same tree the whole time. George Berkeley says he will rest his whole case for his philosophical system on the question of whether it is possible for his opponent to imagine a tree that is not even so much as being thought of by anyone at all in the universe. Margaret Cavendish wrote a poem in which a man has a conversation with the tree he is chopping down, trying to convince it that it would be great to be turned into a boat or the walls of a castle, and the tree is not having it. Zhuangzi has a somewhat recurring motif of a useless tree. Here is the relevant part of the Zhuangzi, it involves a master Carpenter and his apprentice, and a giant tree. This translation is by Brook Ziporyn. You can see a different version of the translation here by Burton Watson, if you like:

 
Carpenter Stoney was traveling in Qi when he came upon the tree of the shrine at the Qu Yuan bend. It was over a hundred arm spans around, so large that thousands of oxen could shade themselves beneath it. It overstretched the surrounding hills, its lowest branches hundreds of feet from the ground, at least a dozen of which could have been hollowed out to make into ships. It was surrounded by marveling sightseers, but the carpenter walked past it without a second look.
 
When his apprentice finally got tired of admiring it, he caught up with Carpenter Stoney and said, “Since taking up my axe to follow you, Master, I have never seen a tree of such fine material as this! And yet you don’t even deign to look twice at it or pause beneath it. Why?”
 
Carpenter Stoney said, “Stop! Say no more! This is worthless lumber! As a ship it would soon sink, as a coffin it would soon rot, as a tool it would soon break, as a door it would leak sap, as a pillar it would bring infestation. This is a talentless, worthless tree. It is precisely because it is so useless that it has lived so long.”
 
Back home that night, the tree appeared to Carpenter Stoney in a dream. It said to him, “What do you want to compare me to, one of those cultivated trees? The hawthorn, the pear, the orange, the rest of those fructiferous trees and shrubs—when their fruit is ripe they get plucked, and that is an insult. Their large branches are bent, their small branches are pruned. Thus do their abilities embitter their lives. That is why they die young, failing to fully live out their Heaven-given lifespans. They batter themselves with the vulgar conventions of the world, as do all the other things of the world. As for me, I’ve been working on being useless for a long time. It almost killed me, but I’ve finally managed it—and it is of great use to me! If I were useful, do you think I could have grown to be so great?
 
“Moreover, you and I are both things, objects—how then should we objectify each other? We are members of the same class, namely, things—is either of us in a position to classify and evaluate the other? How could a worthless man with one foot in the grave know what is or isn’t a worthless tree?”
 
Carpenter Stoney awoke and told his dream to his apprentice. The apprentice said, “If it’s trying to be useless, what’s it doing with a shrine around it?” Carpenter Stoney said, “Hush! Don’t talk like that! Those people came to it for refuge on their own initiative. In fact, the tree considers it a great disgrace to be surrounded by this uncomprehending crowd. If they hadn’t made it a shrine, they could easily have gone the other way and started carving away at it. What it protects, what protects it, is not this crowd, but something totally different. To praise it for fulfilling its responsibility in the role it happens to play—that would really be missing the point!”

I started to write a lot of stuff about uselessness in the Zhuangzi, but that seems like a post for another time. I basically told Alexis to use any part of that passage that spoke to her, in particular the carpenter's dream.

Yesterday, a package arrived from Alexis, with my new plant pot in it!

I had no idea what lines she had chosen or anything at all about the pot, until I opened the package.
 

the older plain red pot next to alexis's beautiful new pot, which is multi-colored earth tones

 


As you can see this is a very nice upsize for my tree's home. Here are some close ups of the new pot with text visible:

the pot sitting on the brown table, text reading "they batter themselves with the vulgar conventions of the world"the pot sitting on the brown table, text reading "if i were useful, do you think i could have grown so great?"

I was extremely moved by this. I found myself crying when it arrived, and after I had repotted it.  I'm going to spend some time unpacking that at some point, but mostly right now, I want to share the artistry/craftwork with others.  Here are some pictures of the tree, in its new home:





Thank you Alexis!

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Lewis Powell

March 2024

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