Tutira: Herbert Guthrie-Smith and the Story of a Now-Toxic Lake

Tutira, Story of a New Zealand Sheep Station by William Herbert Guthrie SmithBrowsing grandparents’ bookshelves is always an experience of rediscovery. Books often seem to skip a generation, and then come back to teach the next. Finding William Herbert Guthrie-Smith’s book Tutira in my grandparents’ bookshelves left me embarrassed that I had not heard of it before—wondering, even, why I’d not been taught about it at school.

Tutira is, according to its subtitle, “The Story of a New Zealand Sheep Station”. Its author came out to New Zealand as a young man of just 21, and set about finding a farm of his own. He first tried Canterbury, where he learned his skills, but soon moved to the norther climate of Hawkes Bay, finding the area north of Napier around Lake Tūtira to suit his purposes well. The book—large, heavy, and filled with maps and photos taken by Guthrie-Smith himself—is a record of 40 years spent farming the land, and was published in 1921, almost 100 years ago.

Lake Tutira photograph William Guthrie Herbert-Smith

No detail about the process of farming or the changes of the seasons and animals is too small for Guthrie-Smith. It’s a stunning work of patience and observation. We learn of the arrival of the willow tree in New Zealand direct from the seeds of the trees that planted Napoleon’s tomb on Saint Helena; we read descriptions of the floor of the lake as Guthrie-Smith plumbed it like Thoreau plumbed Walden pond. Spending a spring weekend reading Tutira is itself an exercise in patience; page after page of minute detail does not make for easy reading, but the whole picture built up is one of sensitivity and care for a natural environment that is changing beyond anyone’s understanding.

And that was Guthrie-Smith’s motivation for writing the book—to note what nature in early New Zealand was like, for those who may someday never see it. With great foresight Guthrie-Smith explains in his preface:

“So vast and rapid have been the alterations which have occurred in New Zealand during the past forty years, that even those who, like myself, have noted them day by day, find it difficult to connect past and present—the pleasant past so completely obliterated, the changeful present so full of possibility. These alterations are not traceable merely in the fauna, avifauna, and flora of the Dominion, nor are they only to be noted on the physical surface of the countryside: more profound, they permeate the whole outlook in regard to agriculture, stock-raising, and land tenure.

The story of Tutira is the record of such change noted on one sheep-station in one province. Should its pages be found to contain matter of any permanent interest, it will be owing to the fact that the life portrayed has for ever finished, the conditions sketched passed away beyond recall. A virgin countryside cannot be restocked; the vicissitudes of its pioneers cannot be re-enacted; its invasion by alien plants, animals, and birds cannot be repeated; its ancient vegetation cannot be resuscitated,—the words “terra incognito” have been expunged from the map of little New Zealand.”

And then I remembered, after reading about half the book, when I had last read the name Tutira—earlier this year, in a New Zealand Herald article titled simply, “Lake Tutira Turns Toxic.”

“Lake Tutira has an algal bloom likely to be toxic to people and animals… Warning signs were permanently in place at Lake Tutira but people were urged to avoid contact with the lake water and to keep animals away while the cyanobacteria were present.”

It seems too great an irony—too painful a one—that it is Guthrie-Smith’s lake (he gifted the land to the Crown after his death and it is now managed by the Department of Conservation) to be now a feature example of the state of New Zealand’s natural environment. Cleaning up rivers to make them once again swimmable was one of the few points of agreements by virtually all parties in New Zealand’s recent general election, which is at once a promising sign, but also a depressing one for how it came to needing to clean them up in the first place.

And though the decrepit state of Lake Tutira is recent, one of Guthrie-Smith’s central messages is that the environment is changing all the time—species of trees were dying in his day, rare birds disappearing frequently. Environmental change is itself perhaps the only constant in Tutira. Later in his life, while preparing the third edition of his book, Guthrie-Smith began to repent for so many of the changes he himself had caused on the land; Tutira Station itself had once been native bushed, burned down to make way for his farm. Though Guthrie-Smith seems resistant to any grand narratives or messages, one can sense a message of encouraging people to have care and compassion for the land and its species—to understand the necessity of change, but to be thoughtful and caring in it.

If New Zealand had a Henry David Thoreau, Herbert Guthrie-Smith would seem to be it—minus a political message but with a whole lot more conviction and example.


My family’s copy of the book belonged to my great-grandfather, Charles William Corner, who spent his life tending Napier’s parks and gardens. I don’t know if he ever met Guthrie-Smith, but in the small world of Hawkes Bay at that point—and the smaller world of naturalists and gardeners—I think it quite likely.

Note: After writing this I came across an article reviving Guthrie-Smith in the context of Hawkes Bay today. It’s a great read, with more detail than I’ve given here.

Herbert Guthrie Smith, Tutira 1926 William Blackwood

Design and Living: Architect Ernst Plischke’s Manifesto for Housing in New Zealand

Unnoticed by most New Zealanders in May 1939 was the arrival in Wellington of an architect of international stature. Racism, xenophobia and war were driving some of the best minds of Europe to (very) distant shores, and one can only imagine the reaction Ernst Anton Plischke had when he arrived in Wellington with his wife and children. A highly sophisticated and well-educated Austrian, Plischke grew up in Vienna and moved in prominent circles with names across the arts. After graduating from his studies he was immediately recruited by Peter Behrens (who had earlier recruited others central to the Modernist movement like Mies van der Rohe and Le Corbusier); Plischke later joined Josef Frank’s studio, then moved to New York to work for Ely Jacques Kahn (architect of many of the city’s skyscrapers). While in New York he met Frank Lloyd Wright. This is the man—urbane, sophisticated, with a prominent career looking increasingly assured—who, as a Jew aligned to the socialists, fled to Wellington, New Zealand, following the reunification of Austria and Germany.

We do know that life in New Zealand wasn’t the easiest for Plischke. For instance, while working for the Department for Housing Construction—a quickly conceived government plan to cope with looming housing shortages following the anticipated end of the war—Plischke designed the Dixon Street Flats in Wellington. A few years later, his boss Gordon Wilson won the New Zealand Institute of Architects Gold Award for precisely those buildings. It seems that many who he worked with were envious of his talent and whenever possible appropriated aspects of his designs; and as a final insult, his Austrian qualifications were deemed insufficient for him to join the New Zealand Institute of Architects. So, when Plischke finally left his government job, he went into private partnership with a fully qualified New Zealander, Cedric Firth.

Ernst Plischke architect New Zealand Design and Living book During his time in New Zealand (he left twenty four years after arriving to return to Vienna) Plischke designed numerous public buildings, social houses and private dwellings. These certainly set an example. But Plischke also wanted other architects and the public to understand the philosophy behind his buildings—to see Modernism as not just sleek lines and lots of glass, but as a philosophy of living. To this end, in 1947 he published a pamphlet book called Design and Living. It is a remarkable publication, filled with drawings, acting as an architectural primer, a philosophy of modern design, and a portfolio of key Plischke works. For a country facing once again a housing crisis—just as we were when Plischke wrote the book—it presents lessons we appear still to need to digest.

A house is a framework for living

Plischke's Corner Flat in Wellington, completed 1959/60
Plischke’s Corner Flat in Wellington, completed 1959/60

In New Zealand architectural history Plischke is usually presented as one of a band of International Style-ists opposed to any attempt to find a ‘vernacular’—i.e., a ’New Zealand style’—of architecture. Plischke’s kind of modernism has been criticised for being wilfully ignorant of local conditions or culture, for enforcing a supposed rational uniformity on all inhabitants of a building no matter where in a country or even where in the world they reside. This is the same criticism of Le Corbusier’s dictum that “a building is a machine for living in”. People are organic beings, not machines, is the protest.

But in reading Plischke’s own Design and Living one is struck by how far he himself seemed to have moved beyond this kind of international-vernacular debate entirely. In one important section he nods to all the different philosophies of housing, from an ascetic/simple living view, to the Corbusian ‘machine’ philosophy, and even a kind of post-modern ‘home as self-expression’ view. And he then moves beyond them:

“There is the person who says that a house should be essentially a shelter against wind and rain and cold; that any structure which effectively keeps out those elements is a good house. There is the person who wants, besides shelter, something he describes as a snug, cosy home. The man who imagines himself up to the moment will probably oppose that idea and demand that a house should function like a motor-car, or, rather, like an ocean liner: a machine that makes life as efficiently comfortable as possible. Then, we know the person who wants to impress his friends with his success and his worth as a citizen. And we know what his house usually looks like. But there are people who dislike the idea of display, who think that a house should be something more than a shelter or a snuggery or a machine. They realise that a house is a framework in which our lives are lived, and that life does not entirely consist of working, eating, and sleeping. They want a richer and fuller life, and they know that the house they live in can play an active part in attaining it.”

Plischke’s philosophy is far more complex than those other views, but also, in a way, far more simple. Here’s where I think his own origins play a role in having shaped his philosophy. Having grown up in a cultural centre, somewhere where art and culture being discussed at the coffee house was a central part of existence, Plischke sees the buildings in which we live and converse as existing to help bring out those heights of human achievement and accomplishment. Elsewhere he expands on this view:

“Earlier I said that houses make a framework for richer and fuller living: this goes far beyond the materialistic idea that a house should be merely a shelter. A rich and full life can be called a civilised life. And we who belong to a young country just beginning to build should remind ourselves that history does not judge a civilisation by its material and economic organisation alone, but rather by the thoughts and arts that it inspired.”

This is no architect concerned with building monuments to a nation or monuments to himself. It’s almost a modest view—that the best an architect can do is get out of the way and let artists, scientists and workers get on with their lives.

New Zealand housing in crisis

Plischke wrote his book as New Zealand was still in the midst, though emerging gradually, from a housing crisis. The cost of housing was rising; there weren’t enough houses to go around; and government housing programmes weren’t being built fast enough. He had for years been working on social housing developments, and was very sensitive to the charge that as a modernist architect he was elitist, and his homes unaffordable. At various points in Design and Living Plischke responds to that criticism, providing costings for his houses and showing that they fit below the government grant provided for affordable housing.

Though he didn’t put it as simply as this, Plischke seems almost to have a three-point plan for solving New Zealand’s housing woes:

  1. Adjust expectations
  2. Build smaller, but more efficiently
  3. Think at the family, town and city level, not in terms of number of houses built

Way back in 1947 Plischke seemed to take for granted that the way we were building wasn’t sustainable, and that at a certain point we would have to change our expectations about a quarter-acre patch. As he wrote simply,

“The first and most important step towards getting good design and good value would be that we ourselves should revise our taste and our ideas about what we think is good building and good furniture.”

Note that it wasn’t “change the dream of home ownership”, but just that in owning our homes we might need to change our views about the kind of homes we would be living in. This then led on to his view that multi-units were the way to go, and had been unfairly tarnished in the public eye by early failed projects:

“No doubt dissatisfaction can be and has been caused by multi-units when, because of the house shortage, families have had to put up with houses not designed for their needs; but this is rather like having to wear shoes that don’t fit you. The multi-unit proposal is one well worth discussion.”

Plischke thought we could build smaller houses, but not have the impression that we were living in smaller houses. Everywhere in Design and Living he makes suggestions for how to make a small home seem more spacious: use beds that fold-up into a cavity in the wall so that during the day the space can double as a living room; build-in all storage and furniture; put mirrors on the inside of wardrobes so that they don’t need to stand alone, for instance.

And, last, Plischke was adamant that government was using the wrong metrics to talk about housing:

“To many people a housing programme simply means a certain number of houses to be built on a certain area. But a housing programme can also mean the settlement of a certain number of families. You will notice the change of emphasis. The distinction becomes clearer if we think in terms of new suburbs or even of new townships…”

At a time when parties still propose building x or y number of houses, his change of emphasis to the family unit and to suburbs and towns is a good reminder about what is eventually at stake in the building of houses.

— — — —

It is ironic that Plischke’s legacy is still larger in Austria than in New Zealand despite the fact that he spent his most productive years here. Everywhere in Wellington you can see his buildings, from sleek residential buildings popping up over hillsides in suburbs, to his large tower on Lambton Quay. Plischke’s status in the public mind was solidified with a 2004 exhibition at the City Gallery in Wellington put on by the NZ Institute of Architects (the brochure of which I’ve included below).

Plischke’s book Design and Living still seems fresh with ideas, and it’s also fascinating to see how so many aspects of house design that we now take for granted were at one point controversial and revolutionary. It is disappointing that the book is so hard to find—the copy I read was practically falling apart in my hands. Now seems a good time for a re-print, if a local publisher could manage it.

Plischke Architect Wellington City Gallery Brochure 2004Plischke Architect Wellington City Gallery Brochure 2004

Montaigne Says We Should Be Better Learned, Not More Learned

Montaigne reminds us in his essay Of Pedantry of the difference between wisdom and knowledge, and laments the fact that we naturally favour the former:

“In truth, the care and expense of our fathers aims only at furnishing our heads with knowledge; of judgement and virtue, little news. Exclaim to our people about a passer-by “Oh, what a learned man!” and about another “Oh, what a good man!” They will not fail to turn their eyes and their respect towards the first. There should be a third exclamation: “Oh, what blockheads!” We are eager to inquire: “Does he know Greek or Latin? Does he write in verse or in prose?” But whether he has become better or wiser, which would be the main thing, that is left out. We should have asked who is better learned, not who is more learned.”

To be better learned is to have learned also to apply one’s knowledge to one’s life; to be more learned is to be a walking encyclopaedia. The latter, however, is more easily measured and more easily observed, for we can always recite facts. Wisdom must be demonstrated over time, and often requires certain circumstances to be seen.

But always our aim should be to become better learned. That alone is what helps one to live.

On The Uses Of A Liberal Education: As “Lite Entertainment for Bored College Students”

Mark Edmundson Harper's On the Uses of a Liberal Education, as Lite Entertainment for Bored College StudentsIt is teacher evaluation day. The professor’s final spiel for the semester has just concluded, and they leave the classroom so we can sum up a semester’s worth of learning and frustration in a five minute questionnaire. “Please rank, on a scale of 1 to 5, how well this professor helped you to engage with course concepts.” Student translation: “Please rank, on a scale of 1 to 5, how annoyed you at times got with this class, how funny and relaxed the professor was, whether you’re satisfied with the grade you think they’ll give you, and don’t forget to take into account whether you’re having a good day today”. The reductionism of the activity extends to the point of absurdity, but perhaps teacher evaluation is, after all, merely the catharsis at the end of a tragedy. That tragedy is the failure of a given class to live up to the promise of a liberal education—a tragedy replayed in thousands of classrooms at hundreds of universities.

It doesn’t always happen like that. I’ve had fantastic classes that have challenged me in precisely the ways I think a liberal education should. But the experience of just “making it through” a class is one that everyone has, all too often—both students and professors.

In September 1997, Harper’s Magazine published a section titled “On The Uses Of A Liberal Education.” The section contained two essays, each making a very different point largely because of the very different perspectives from which the two authors looked at education. First was Mark Edmundson’s, which acerbically described liberal education as “Lite entertainment for bored college students”.

Edmundson is a professor of English at the University of Virginia, and his essay is written in the tone of a disgruntled traditionalist. Those are two positions that I should, technically, find it hard to relate to. And yet parts of the essay resonated. They resonated in the way they captured the promise of liberal education and its on-the-ground failure in too many classrooms at too many universities. But most importantly, the essay resonated in how it captured the individual responsibility of both students and professors to recapture what they believe a liberal education should be about.

Edmundson begins his essay with a picture that should be familiar:

“A college student getting a liberal arts education ponders filling out a questionnaire that includes an opportunity for him to evaluate his instructor. At times it appears that the purpose of his education is just to entertain him.”

I do wonder whether it is a mistake to set up liberal education as depending so heavily on the image of the classroom. The classroom is but one component of a real education, yet frequently Edmundson seems to talk about them as if all education happened in the class. Regardless, he uses this image, and what it means for professors, to explain how education and consumer culture have moved closer and closer together. When a student praises Edmundson for “presenting this difficult, important & controversial material in an enjoyable and approachable way”, he finds himself rejecting the complement.

“Thanks but no thanks. I don’t teach to amuse, to divert, or even, for that matter, to be merely interesting. When someone says she “enjoyed” the course — and that word crops up again and again in my evaluations — somewhere at the edge of my immediate complacency I feel encroaching self-dislike. That is not at all what I had in mind… I want some of them to say that they’ve been changed by the course. I want them to measure themselves against what they’ve read.

Consumer culture leads students to seek “enjoyable experiences” in their education. Admissions departments have become marketing departments, Edmundson muses, and he thinks its no surprise that students expect the pleasant, fun view of the college they had from the brochures to continue while they’re there. Students necessarily search in their education for what the marketing departments told them they were buying.

“Is it a surprise, then, that this generation of students — steeped in consumer culture before going off to school, treated as potent customers by the university well before their date of arrival, then pandered to from day one until the morning of the final kiss-off from Kermit or one of his kin — are inclined to see the books they read as a string of entertainments to be placidly enjoyed or languidly cast down? Given the way universities are now administered (which is more and more to say, given the way that they are currently marketed), is it a shock that the kids don’t come to school hot to learn, unable to bear their own ignorance? For some measure of self-dislike, or self-discontent — which is much different than simple depression — seems to me to be a prerequisite for getting an education that matters. My students, alas, usually lack the confidence to acknowledge what would be their most precious asset for learning: their ignorance.”

And from this, we get a vision for what liberal education should be about.

“The aim of a good liberal-arts education was once, to adapt an observation by the scholar Walter Jackson Bate, to see that “we need not be the passive victims of what we deterministically call “circumstances” (social, cultural, or reductively psychological-personal), but that by linking ourselves through what Keats calls an ‘immortal free-masonry’ with the great we can become freer — freer to be ourselves, to be what we most want and value.”

And then, a vision for what the world will look like if we don’t live up to liberal education’s ideal.

“What happens if we keep trudging along this bleak course? What happens if our most intelligent students never learn to strive to overcome what they are? What if genius, and the imitation of genius, become silly, outmoded ideas? What you’re likely to get are more and more one-dimensional men and women. These will be people who live for easy pleasures, for comfort and prosperity, who think of money first, then second, and third, who hug the status quo; people who believe in God as a sort of insurance policy (cover your bets); people who are never surprised. They will be people so pleased with themselves (when they’re not in despair at the general pointlessness of their lives) that they cannot imagine humanity could do better. They’ll think it their highest duty to clone themselves as frequently as possible. They’ll claim to be happy, and they’ll live a long time.”

It was the very end of Edmundson’s essay that struck me as most important. Where it was sometimes strange to relate to Edmundson’s disgruntled style and his position as a professor, I think his summing up places the burden squarely on every individual student and every professor for making their education what it should truly be about. And rightly so.

“Ultimately, though, it is up to individuals — and individual students in particular — to make their own way against the current sludgy tide. There’s still the library, still the museum, there’s still the occasional teacher who lives to find things greater than herself to admire. There are still fellow students who have not been cowed. Universities are inefficient, cluttered, archaic places, with many unguarded comers where one can open a book or gaze out onto the larger world and construe it freely. Those who do as much, trusting themselves against the weight of current opinion, will have contributed something to bringing this sad dispensation to an end.”

Edmundson’s essay presents that powerful statement of individual responsibility in education. This was what I disagreed most with Bill Deresiewicz on, when in his book Excellent Sheep he seems to place the burden of responsibility for liberal education on university administrators. I said then that I think the right tools for a proper education—a “self-inflicted wound” as Deresiewicz calls it—do exist at universities, but it is entirely for students to want them, to look for them and to use them.

The Shallows by Nicholas Carr: A Summary

Note: This is a book review of Nicholas Carr’s The Shallows that I originally published in September of 2011 on this blog. Republishing after being asked by someone for the link. 

A Review/Summary of The Shallows by Nicholas CarrI’ve just finished reading The Shallows, a book by Nicholas Carr. It’s a reasonably technical book that goes in-depth into the workings of our brains to look at how the Internet is affecting the way we “think, read, and remember”.

Carr starts off by explaining how he’s been having trouble focussing recently. He says that he sits down to read a book but finds himself unable to read a page without looking up from the book, and he finds his mind wandering off on tangents quite often. He also says that he has trouble focussing on other tasks, and can’t remember things as well as he used to be able to. I have the same problems, and Carr even says that he reckons most people who use the Internet these days will be suffering the same things.

From there, he goes on to describe in detail why it is that we’re finding ourselves so distracted nowadays. In essence, his thesis is that new media will change the way that our brain works, and there are many side-effects to this. A side effect of the Internet is that we find it harder to focus.

When things like the typewriter was invented, Carr uses the description of how Nietzsche found his writing style change when he used a typewriter. He started using smaller, more choppy sentences, and this was as a direct result of simply changing the medium he used to write.

When the wristwatch was invented, people found themselves more efficient but also a lot more tired as they were now acting by bodily rhythms that other people had set for them, instead of by their natural body clock.

All these technological changes, Carr argues, have side-effects that mostly affect our deep-brain thinking. Here’s a few examples.

Carr comes to the conclusion that there are generally two types of knowledge: deep domain expertise, and knowing where to find relevant information. While the Internet gives us access to all relevant information, it reduces our deep domain expertise as we no longer need to store as much information in our brains.

The Windows operating system was the birth of true multitasking. Before this, people did one thing at a time on computers. They would word process, or they would email. There was no capacity to do both at the same time. Therefore there were no distractions to what people were working on. But with Windows, people suddenly had distractions, as different applications would run at the same time. People thought this would lead to an increase in productivity, but in many ways productivity has decreased because people are now no longer as focussed on what they are working on.

The part of The Shallows that got me thinking most was the very last chapter. Carr describes how new technologies make us lose part of ourselves. Clocks made us lose our natural rhythm. Maps made us lose our spacial recognition capacities. He gives many more examples. But the Internet, unlike most of these other technologies, is perhaps making us lose our touch with the real world. Our brains jump around constantly as if we are browsing websites. We are constantly pressured to be looking at our phones and computers and replying to messages. The end result is that we live more and more inside the Internet, and when we need to leave it, we can’t work as well as we previously could.

It’s not like we can change the course of technology and reverse these negative effects. But it’s worth thinking about how to mitigate them, and to that end, Carr’s The Shallows is an excellent place to start.

What It Means to be Against Everything: A Brief Review of Mark Greif’s Book

“We have no language but health. Those who criticise dieting as unhealthy operate in the same field as those who criticise overweight as unhealthy. Even those who think we overfixate on the health of our food call it an unhealthy fixation. But choosing another reason for living, as things now stand, seems to be choosing death. Is the trouble that there seems to be no other reason for living that isn’t a joke, or that isn’t dangerous for everyone–like the zealot’s will to die for God or the nation? Or is the problem that any other system than this one involves a death-seeking nihilism about knowledge and modernity, a refusal to admit what scientists, or researchers, or nutritionists, or the newest diet faddists, have turned up? As their researches narrow the boundaries of life. 

Health is our model of all things invisible and unfelt. If, in this day and age, we rejected the need to live longer, what would rich Westerners live for instead?”

Greif’s overarching criticism across many of his essays is that we live as if the point of living was to extend life. In Against Exercise he criticises our use of time simply on self-maintenance and self-prolongation, whereby we give up life to supposedly extend it. The same applies to food: we spend our days thinking and worrying about what to eat, restricting what we eat, so that we may be “healthy”, as if health was the point of life rather than its means. As soon as we became secure in our food supply, we began restricting our diets in a kind of confusion of what to do with our newfound freedom.

Individual phenomena are used in Greif’s work as examples of his overarching critique: that we value the wrong things without realising it. “I had to show”, Greif writes in the introduction to his collection of essays, Against Everything, “how every commonplace thing might be a compromise. The standards universally supposed might not be “universal.” Or they simply might not suit a universe in which my mother and I could happily live.” ‘Foodieism’ and exercise are where he deconstructs most destructively the ends towards which we direct our lives.

Health—through food, and exercise—is precisely the area where we feel, as a society, that we are making progress. The prevailing narrative is that we’ve seen through the destructiveness and dangers of large-scale food capitalism, and are now aware enough to ‘do the right thing’—buying local and organic, for a start. To critique that improvement can seem curmudgeonly, perhaps rash. We improve ourselves, and try to improve the planet, and yet here Greif is to criticise, to tell us we’re mistaken. Would there ever be a world in which he wouldn’t find something to criticise, even his own utopia?

And yet he manages to criticise gracefully. Tactfully, even, so as to avoid knee-jerk anger at his own naysaying. I read Greif as a countervailing voice, someone who knows (and maybe even hopes) he won’t be taken fully seriously, and yet hopes that by arguing “against everything”, we will be able to find a middle way through our problems, avoiding the worst of the dangers. It is hard to believe he wants to be taken seriously—he is arguing, essentially, that we are all mistaken in our thinking about food, the logical conclusion to which is that we simply should not think about it, eating whatever we want whenever we want. But by reminding of the dangers of the path we are on, we can improve that path and avoid its pitfalls.

Greif acknowledges the endlessness, and even the destructiveness, of being “against everything”. But for him it is not a negative attitude towards modern society; it seems more a state of being where one always maintains the belief that things can be improved. “I knew a ‘philosopher’ to be a mind that was unafraid to be against everything”, Grief says; “Against everything, if it was corrupt, dubious, enervating, untrue to us, false to happiness… To wish to be against everything is to want the world to be bigger than all of it, disposed to dissolve rules and compromises in a gallon or a drop, while an ocean of possibility rolls around us.”

So when he is against exercise, and against modern food, and against “the concept of experience”, reality television, YouTube and the hipster, Greif at his core merely wants to show that modern life need not be all-encompassing. The ocean of possibility rolls all around, and ultimately, “No matter what you are supposed to do, you can prove the supposition wrong, just by doing something else.”

Grief’s essays shed light on that opposite, cutting through prevailing narratives, and showing that the very things life seems to demand of us are what we should be most sceptical of.

Satisfied Age and Wisdom

When I began university I deleted everything from the blog I had been writing since age 14. Gone were hundreds of articles I’d written, thousands of comments people had made. I was such a different person to who I was when I was fourteen that I was embarrassed to read what I had then thought, and more embarrassed at the thought that others might read it and think that person back then was the same person as I was now.

I had the vague sense that at some point or other I might regret deleting everything. But the concern over the gap between who I had once been and who I was at present meant at that point in time that I simply wanted it all to be gone. I was both worried for myself, reading back over what I’d previously thought, and worried what others might think of me. It wasn’t that anything I’d thought or written was controversial, or anything anyone would find surprising. Rather, it was the mere idea that I now knew more that meant I didn’t like the views I’d previously held.

Of course, I know better now. But back then I also knew better. And I know now that at some point in future I will know I was wrong now, and that I’ll then know better. That sums up intellectual development, it seems to me.

Robert Louis Stevenson wrote in his essay ‘Crabbed Age and Youth’ that

“A man finds he has been wrong at every preceding stage of his career, only to deduce the astonishing conclusion that he is at last entirely right.”

But I don’t quite agree. A young man or woman may deduce the conclusion that he or she is at last entirely right, but someone on the path to any sort of satisfied age and any sort of wisdom must surely have learned the lesson that one’s present views are merely the meeting place of what one was once certain of, and the views that one will come to hold. No knowledge or perspective on life can be final, in this light; and for it to be so, one must have given up on the very intellectual development that led her to that point in her opinions at which she now stands.

For the perspective one holds at any age beyond one’s youth to be considered final, one must have performed some almighty mental contortions. It is, after all, a contradiction: one says one now knows best, while at the same time acknowledging that at every other point one thought one knew best one was, in fact, wrong.

But Louis Stevenson is still here to help. His essay is one I’ve returned to over and over, to the point where after three readings every single page was dog-eared, entirely defeating the purpose of doing so. One passage in particular came as both relief and revelation, showing at once why we need not regret views we once held, and how every view we’ve ever held at any point make an important point.

“You need repent none of your youthful vagaries. They may have been over the score on one side, just as those of age are probably over the score on the other. But they had a point; they not only befitted your age and expressed its attitudes and passions, but they had a relation to what was outside of you, and implied criticisms on the existing state of things, which you need not allow to have been undeserved, because you now see that they were partial. All error, not merely verbal, is a strong way of stating that the current truth is incomplete. The follies of youth have a basis in sound reason, just as much as the embarrassing questions put by babes and sucklings.”

There is, I think, good reason to chuckle at what I’ve written here. For while explaining my views with a sense of certainty and finality, I’ve at the same time acknowledged that a future me is likely to think everything I’ve written right now is wrong.

To that, I have nothing to say; only that I will not repent, and that I’ll continue to write, day after day, to ensure I never think that once and for all I am at last entirely right. If I ever come close to that end, I’ll have all this to look back on. And perhaps I’ll then know enough not to delete it.