by Zadie Smith
Well, sure—but you have also to be open to them. Because you needn’t have had even a whiff of whoring in your life to legitimately find yourself too busy to visit Aristotle. Busy changing nappies. Busy cleaning the sink or going to work. And since, in the contemporary world, we have to place in “liberal studies” not only a handful of canonical philosophers but also two thousand years of culture—plus a bunch of new forms not dreamed of in Seneca’s philosophy (Polish cinema, hip-hop, conceptual art)—you can understand why many people feel rather pushed for time. It’s tempting to give up on our liberal studies before even making the attempt, the better to continue on our merry way, fighting, drinking, and all the rest. At least then, we have the satisfaction of a little short-term pleasure instead of a lifetime of feeling inadequate. Still, I admire Seneca’s idealism, and believe in his central argument, even if I have applied it haphazardly in my own life: “We are in the habit of saying that it was not in our power to choose the parents who were allotted to us, that they were given to us by chance. But we can choose whose children we would like to be.” Early on, for better or worse, I chose whose child I wanted to be: the child of the novel. Almost everything else was subjugated to this ruling passion, reading stories. As a consequence, I can barely add a column of double digits, I have not the slightest idea of how a plane flies, I can’t draw any better than a five-year-old. One of the motivations for writing novels myself is the small window of opportunity it affords for a bit of extracurricular study. I learned a little about genetics writing my first novel, and went quite far with Rembrandt during my third. But these are only little pockets of knowledge, here and there. I think Seneca is right: life feels longer the more you engage with it. (Look how short life felt to the poet Larkin. Look how little he did with it.) I should be loving sculpture! But I have not gone deeply into sculpture. Instead, having been utterly insensitive to sculpture, I fill the time that might have been usefully devoted to sculpture with things like drinking and staring into space.
Nowhere do I have this sensation of loss as acutely as with music. I had it recently while being guided round an underground record shop, in Vancouver, by a young man from my Canadian publishers who wanted to show me this fine example of the local cultural scene (and also to buy tickets for a heavy-metal concert he planned to attend with his wife). I wandered through that shop, as I always do in record shops, depressed by my ignorance and drawn toward the familiar. After fifteen shiftless minutes, I picked up a hip-hop magazine and considered a Billie Holiday album that could not possibly contain any track I did not already own. I was preparing to leave when I spotted an album with a wonderful title: More Songs About Buildings and Food. You will probably already know who it was by—I didn’t. Talking Heads. As I stopped to admire it, I was gripped by melancholy, similar perhaps to the feeling a certain kind of man gets while sitting with his wife on a train platform as a beautiful girl—different in all aspects from his wife—walks by. There goes my other life. Is it too late to get into Talking Heads? Do I have the time? What kind of person would I be if I knew this album at all, or well? If I’d been shaped not by Al Green and Stevie Wonder but by David Byrne and Kraftwerk? What if I’d been the type of person who had somehow found the time to love and know everything about Al Green, Stevie Wonder, David Byrne and Kraftwerk? What a delight it would be to have so many “parents”! How long and fruitful life would seem!
I will admit that in the past, when I have met connoisseurs, I’ve found it a bit hard to believe in them entirely. Philistinism often comes with a side order of distrust. How can this person possibly love as many things as she appears to love? Sometimes, in a sour spirit, I am tempted to feel that my connoisseur friends have the time for all this liberal study because they have no children. But that is the easy way out. True connoisseurs were like that back when we were all twenty years old; I was always narrower and more resistant. For some people, the door is wide open, and pretty much everything—on the condition that it’s good—gets a hearing. And I am indebted to my friends of this kind who have, after all, managed to effect some difficult and arduous changes in my taste. I’m grateful for the re-education, while still fearing that my life will never be long enough to give serious consideration to all the different kinds of wine that can be squeezed out of different kinds of grapes.
With Joni, it was all so easy. In a sense, it took no time. Instantaneous. Involving no progressive change but, instead, a leap of faith. A sudden, unexpected attunement. Or a retuning from nothing, or from a negative, into something soaring and positive and sublime. It will perhaps insult sincerely religious people that I should compare something rare and precious, the “leap of faith,” to something as banal as realizing that Blue, by Joni Mitchell, is a great album, but to a person like me, who has never known God (who has only read and written a lot of words about other people who have known God), the structure of the sensation, if not the content, seems to be unavoidably related. I am thinking particularly of Kierkegaard’s Fear and Trembling, and, even more particularly, of the “Exordium” (“Attunement”) that opens that strange book, and which many people (including me) usually skip, in confusion, to get to the meat of the “Problemata.” The “Exordium” is like a weird little novel. In it, Kierkegaard summons up a character: a simple, faithful man, “not a thinker . . . not an exegetical scholar,” who is obsessed with the biblical tale of Abraham and Isaac but finds that he cannot understand it. So he tells it to himself four times, in different versions, as if it were an oral fairy tale that mutates slightly with each retelling.
The basic details stay the same. (In all versions, the ram, and not Isaac, gets killed.) The variation exists in the reactions of Abraham and Isaac. In the first iteration, Abraham, in order to preserve his son’s faith in God, pretends that he, Abraham, hates Isaac and wants him killed. In the second, everything goes according to plan except that Abraham can’t forgive or forget what God just asked him to do, and so all joy leaks from his life. In the third, Abraham can’t believe how he can possibly be forgiven for something that was so clearly a sin. In the final version, it’s Isaac who loses his faith: how could his father have considered the terrible crime, even for a moment? Following each of these retellings, there is a small paragraph of analogy to a quite different situation, that of a mother weaning her child:
When the child is to be weaned, the mother blackens her breast. It would be hard to have the breast look inviting when the child must not have it. So the child believes that the breast has changed, but the mother—she is still the same, her gaze is tender and loving as ever. How fortunate the one who did not need more terrible means to wean the child!
That’s the version following the first story, the one in which Abraham tries to take the rap for the Lord. In these peculiar breast-feeding anecdotes it is not always obvious where the analogy lies. Professional philosophers spend much time arguing over the precise symbolic links. Is God the mother? Is Isaac the baby? Or is Abraham the mother, Isaac the baby, and God the breast? I really haven’t the slightest idea. But in each version a form of defense is surely offered, some kind of explanation, a means of comprehending. It’s not that my mother is refusing me milk; it’s that I don’t want it anymore, because her breast is black. It’s not that God is asking something inexplicable; it’s that my father wants me dead. All the versions the simple man tells himself are horrible in some way, but they are at least comprehensible, which is more than you can say for the paradoxical truth: God told me I would be fruitful through my son, and yet God is telling me to kill my son. (Or: my mother loves me and wants to give me milk, yet my mother is refusing to give me milk.) And after rehearsing these various rationalizations the simple man still finds himself confounded by the original biblical story: “He sank down wearily, folded his hands, and said, ‘No one was as great as Abraham. Who is able to understand him?’”
When I read the “Exordium,” I feel that Kierkegaard is trying to get me into a state of readiness for a consideration
of the actual biblical story of Abraham and Isaac, which is essentially inexplicable. The “Exordium” is a rehearsal: it lays out a series of rational explanations the better to demonstrate their poverty as explanations. For nothing can prepare us for Abraham and no one can understand him—at least, not rationally. Faith involves an acceptance of absurdity. To get us to that point, Kierkegaard hopes to “attune” us, systematically discarding all the usual defenses we put up in the face of the absurd.
Of course, loving Joni Mitchell does not require an acceptance of absurdity. I’m speaking of the minor category of the aesthetic, not the monument of the religious. But if you want to effect a breach in that stolid edifice the human personality, I think it helps to cultivate this Kierkegaardian sense of defenselessness. Kierkegaard’s simple man makes a simple mistake: he wants to translate the mystery of the biblical story into terms that he can comprehend. His failure has something to teach us. Sometimes it is when we stop trying to understand or interrogate apparently “absurd” phenomena—like the category of the “new” in art—that we become more open to them.
Put simply: you need to lower your defenses. (I don’t think it is a coincidence that my Joni epiphany came through the back door, while my critical mind lay undefended, focused on a quite other form of beauty.) Shaped by the songs of my childhood, I find it hard to accept the musical “new,” or even the “new-to-me.” If the same problem does not arise with literature, that’s because I do not try to defend myself against novels. They can be written backward or without any “e”s or in one long column of text—novels are always welcome. What created this easy transit in the first place is a mystery; I feel I listened to as many songs in childhood as I read stories, but in music I seem to have formed rigid ideas and created defenses around them, whereas when it came to words I never did. This is probably what is meant by that mysterious word “sensibility,” the existence of which so often feels innate. I feel sure that had I, in 1907, popped in on Joyce in his garret I would have picked up his notes for Ulysses and been excited by what he was cooking up. Yet if, in the same year, I had paid a call on Picasso in his studio, I would have looked at the canvas of Les Demoiselles d’Avignon and been nonplussed, maybe even a little scandalized. If, in my real life of 2012, I stand before this painting in the Museum of Modern Art, in New York, it seems obviously beautiful to me. All the difficult work of attunement and acceptance has already been done by others. Smart critics, other painters, appreciative amateurs. They kicked the door open almost a century ago—all I need do is walk through it.
Who could have understood Abraham? He is discontinuous with himself. The girl who hated Joni and the woman who loves her seem to me similarly divorced from each other, two people who happen to have shared the same body. It’s the feeling we get sometimes when we find a diary we wrote, as teenagers, or sit at dinner listening to an old friend tell some story about us of which we have no memory. It’s an everyday sensation for most of us, yet it proves a tricky sort of problem for those people who hope to make art. For though we know and recognize discontinuity in our own lives, when it comes to art we are deeply committed to the idea of continuity. I find myself to be radically discontinuous with myself—but how does one re-create this principle in fiction? What is a character if not a continuous, consistent personality? If you put Abraham in a novel, a lot of people would throw that novel across the room. What’s his motivation? How can he love his son and yet be prepared to kill him? Abraham is offensive to us. It is by reading and watching consistent people on the page, stage and screen that we are reassured of our own consistency.
This instinct in audiences can sometimes extend to whole artistic careers. I’d like to believe that I wouldn’t have been one of those infamous British people who tried to boo Dylan offstage when he went electric, but on the evidence of past form I very much fear I would have. We want our artists to remain as they were when we first loved them. But our artists want to move. Sometimes the battle becomes so violent that a perversion in the artist can occur: these days, Joni Mitchell thinks of herself more as a painter than a singer. She is so allergic to the expectations of her audience that she would rather be a perfectly nice painter than a singer touched by the sublime. That kind of anxiety about audience is often read as contempt, but Mitchell’s restlessness is only the natural side effect of her art-making, as it is with Dylan, as it was with Joyce and Picasso. Joni Mitchell doesn’t want to live in my dream, stuck as it is in an eternal 1971—her life has its own time. There is simply not enough time in her life for her to be the Joni of my memory forever. The worst possible thing for an artist is to exist as a feature of somebody else’s epiphany.
Finally, those songs, those exquisite songs! When I listen to them, I know I am in the debt of beauty, and when that happens I feel an obligation to repay that debt. With Joni, an obvious route reveals itself. Turns out that while she has been leading me away from my musical home she has been going on her own journey, deep into the place where I’m from:
For twenty-five years, the public voice, in particular the white press, lamented the lack of four-on-the-floor and major/minor harmony as my work got more progressive and absorbed more black culture, which is inevitable because I love black music: Duke Ellington, Miles Davis. Not that I set out to be a jazzer or that I am a jazzer. Most of my friends are in the jazz camp. I know more people in that community, and I know the lyrics to forties and fifties standards, whereas I don’t really know sixties and seventies pop music. So I’m drawing from a resource of American music that’s very black-influenced with this little pocket of Irish and English ballads, which I learned as I was learning to play the guitar. Basically, it was like trainer wheels for me, that music. But people want to keep me in my trainer wheels, whereas my passion lies in Duke Ellington, more so than Gershwin, the originators, Charlie Parker. I like Patsy Cline. The originals in every camp were always given a hard time.
I wonder what it will be like to hear the music of my childhood processed through Joni Mitchell’s sensibility? I didn’t know anything about her “black period” until I started to write this piece and read some of her interviews online, among them a long discussion she had with a Texas DJ in 1998. Now I mean to seek out this later music and spend some time with it. Make the effort. I don’t imagine it will be such an effort these days, not now that I feel this deep current running between us. I think it must have always been there. All Joni and I needed was a little attunement. Those wandering notes and bar crossings, the key changes that she now finds dull and I still hear as miraculous. Her music, her life, has always been about discontinuity. The inconsistency of identity, of personality. I should have had faith. We were always going to find each other:
I’m contracted for an autobiography. But you can’t get my life to go into one book. So I want to start, actually, kind of in the middle—the Don Juan’s Reckless Daughter period, which is a very mystical period of my life and colorful. Not mystical on bended knee. If I was a novelist, I would like that to be my first novel. And it begins with the line “I was the only black man at the party.” (Laughs) So I’ve got my opening line.
WINDOWS ON THE WILL: ANOMALISA
On a wintry afternoon, alone with the kids, I visited the Central Park Zoo. It’s not a very big place, just zoo-sized, and after seeing the animals, we found ourselves lining up to enter the little movie theater to watch something called The Polar Express 4-D Experience. A Christmas-themed spin-off from the 2004 movie, it employs the same “performance capture” animation technique, familiar from video games, in which an actor’s movements are turned into computer-generated images. Hero Boy—the original protagonist—is still only about ten years old. We find him in his room, enduring his own voiceover, as spoken by his avuncular adult self, Tom Hanks:
On Christmas Eve, many years ago, I lay quietly in my bed. I did not rustle the sheets, I breathed slowly and silently. I was listening for a sound I was afraid I’d never hear: the ringing bells of Santa’s sl
eigh.
Hero Boy looks like a human, his flesh is fleshy, his yellow pajamas flap and wrinkle, and his hair has the hair-like quality of hair. But those eyes! They belong to a puppet, a waxwork, an automaton. Realistic eyes prove a step too far for 3-D imaging. The effect—as many noted the first time around—is creepy. Uncanny valley. But kids don’t care. My children loved Hero Boy and his dead zombie eyes, and the snow that fell on their heads from the ceiling of the theater and the breeze blowing out of their seats onto the backs of their tiny necks. And because I was alone with them, I had nobody to talk with about my own 4-D experience, no one with whom to express that vague dread adults tend to feel in the face of an attempt at absolute verisimilitude. I had no one to bore with a Schopenhauer reference:
The true work of art leads us from that which exists only once and never again, i.e. the individual, to that which exists perpetually and time and time again in innumerable manifestations, the pure form or Idea; but the waxwork figure appears to present the individual itself, that is to say that which exists only once and never again, but without that which lends value to such a fleeting existence, without life. That is why the waxwork evokes a feeling of horror: it produces the effect of a rigid corpse.
For the children the great interest of the movie—aside from its reality effect—was the manner in which it probed the ontological status of Santa. Is Santa real? For Hero Boy is having a crisis of faith and, sneaking from bed, pulls out a volume of an encyclopedia and looks up the entry on the North Pole. “Stark and barren,” he reads. Also: “Devoid of life.” My thoughts exactly.
The rest is easily summarized: the Polar Express arrives, Hero Boy and some other dead-eyed zombie children get on board, and we, the audience, get snowed on, blown on and shaken—as if on a real train—until we reach the real Santa, who exists, and drops a little silver bell from his sleigh, which the boy later finds. The thing about this bell is that only those who “believe” can hear it ring. While other children grow up and cease being able to hear the ringing of the bell, Hero Boy always hears it, for the rest of his life, even when he’s late-middle-aged Tom Hanks. He believes.