A birthday is perhaps the most appropriate time to reflect on time passed. It invites thought about a year of one’s life in its entirety, and comparison of that year to others. It can allow a deeper understanding of how we’re spending the only thing we really have—time—and whether we’re spending it the way we want to be.

But to reflect on a year of life is no easy task, and it is made more difficult by the reality that more recent events take on larger significance in the mind’s eye. Those events that happened 364 days ago may well have been the more consequential, but those that happened yesterday bear greater significance in how we’re immediately living life today.

The challenge is to attempt, as best one can, to get rid of the importance adjustments our minds make, and assess the events of a year without the effects of presentism. The only way I know to do this is through keeping a diary every day of the year.

A diary removes the presentist bias by showing what we thought of things as they occurred, and how we judged their importance at the time. It treats every day as equal, but allowed us at the time to make judgements of importance. When reading back over a year on a certain day, like a birthday, one can then see events as they were and how they affected one at the time.

A birthday can become hard work. Looking back over 365 days takes time, and especially when it comes to the reality of your life, it takes energy. But it’s a necessary excuse to take that time, and to spend that energy, to look back on how we’re spending our days.

For if how we spend our days is how we live our lives, and we wish to reflect on how we’re living our lives, we better record how we spend our days, and at some point we better make some sense of all that time.

The irony is that the presentist bias may be precisely what gets in the way of keeping a diary, by telling us that today is just too busy, or too important, or something or other, and that’s why we can’t write about it. Reflection takes time, every single day.

Introduction to Writing Fiction

They told me, when I was younger, that this is not how you write a paragraph.

A paragraph must be more than a sentence long, they said. Longer than two, too.

And when writing a paragraph, you must stick to the same idea throughout. When playing soccer you should stay in your position. And recently I learned that when working, you should keep to your assigned tasks, and that it doesn’t pay to go outside your job description.

Four sentences per paragraph might be okay. But if it’s a four-sentence paragraph, you must keep to the same idea throughout it, and you should be very careful — very very careful; extremely careful, if I was to emphasise the point — of how you link different paragraphs together, to ensure that your sentences don’t run too long, and to make sure that a single paragraph is not dominated unnecessarily by extraneous and overly verbose vocabulary. Make sure your paragraph doesn’t do that.

When your paragraph is of a suitable length, there are other things to watch out for. For instance, don’t repeat the same word like “vocabulary” over and over again, because that makes the vocabulary overly repetitive, and repetitive vocabulary makes for a repetitive story, and no one wants to read a repetitive story.

And a good paragraph will start with a thesis sentence stating what the paragraph is about. “It will then include a quotation”, my teachers told me, “to provide evidence for what you are saying, since you are not yourself an authority on the topic you are writing about.” The rest of the paragraph is where you can offer your analysis of a quotation. It is true that I am not an authority figure on structuring a good paragraph, but the question I wish to raise here is whether my teachers were, either. After all, how do they define “good” in a good paragraph?

Show, don’t tell. My thesis in this piece of fiction (make sure you don’t state your thesis either at the end of a paragraph or in the middle of your essay, they also told me; and remember that fiction needs not state a “point”) is that eminent writers have always in their prime broken the established norms of writing. If they did not break the norms of established writing, then they did nothing new, nothing worth remembering. But the paradox of eminence is that to break established rules is to immediately open yourself to criticism, to be rejected by those who are already eminent.

I want to learn to write good fiction. And what they told me was, whatever you do, make sure your story has a beginning, a middle and an end; that it has a theme and a setting, a protagonist and an antagonist, and, most importantly, a turning point. If it does not have those elements, then it is not a story. It would merely be a personal essay, and a bad one at that, with bad paragraphs, and it would be boring to read.

They told me, basically, not to write a story like this. And most importantly, don’t write a story like this that ends in a paragraph only one sentence long.

That wouldn’t make a good story, and that wouldn’t make a good paragraph.

Why Do We Commit To Sport?

A friend once asked me why I spend so much time cycling. He could understand spending perhaps forty-five minutes cycling each day, so as to keep fit and keep a good physique. But why would I bother going for such long rides on the weekends, hundreds of kilometres, often solo? What did I achieve by doing that?

I replied by saying, because I enjoy it. Because this time means something to me. Because it helps me in other parts of my life in ways I’ll never understand. Those were the closest I could get to what cycling means to me, but for this friend, these reasons were wholly insufficient. Again, he could understand time spent cycling (or any kind of exercise) up to a point, but unless one was training to be an Olympic athlete (where there are very clear rewards), he simply could not understand what one would get out of devoting so much time to an activity that in the scheme of things doesn’t achieve anything.

This question of what one achieves through running or cycling or any other sport that takes immense commitment is one that seems to sit behind Haruki Murakami’s brief, autobiographical book What I Talk About When I Talk About Running. On the surface the book traces Murakami’s preparation for the 2005 New York City Marathon; it takes us through Hawaii, Japan, Greece and New York City and into Murakami’s early days running and writing in what is written as a personal attempt to understand what running has meant to him.

The obvious summary of the book says that there are certain lessons Murakami took from running that he applied to his writing which allowed him to succeed. Running a marathon is different from running a 10km; the training is different, the body is different, and writing a novel is a marathon, so the lessons Murakami learnt from his training helped him become a successful writer.

“You’ll naturally learn both concentration and endurance when you sit down every day at your desk and train yourself to focus on one point. This is a lot like the training of (running) muscles I wrote of a moment ago…” These kinds of lessons are interspersed throughout the book, and make for one kind of reading. But it is, in essence, the point of view of my friend who couldn’t understand the extent of my commitment to cycling. It’s a view of running that says running serves a practical purpose in our lives, which is why we do it. There is little point in doing it beyond the point where it serves that purpose.

Those practical purposes do exist, but I think Murakami is getting at his deeper commitment in this book. Cycling means more to me than for how it teaches me life lessons, but as my response to my friend showed, I was unsure how to describe that meaning.

I think Murakami comes as close as he can to describing it late in the book, when he talks about driving home from a race and wondering what it was all for.

“After our unpretentious race on a fall Sunday, we were all on our way back to our own homes, back to our own mundane lives. And with the next race in mind, each of us, in our place, will most likely go about our usual training. Even if, seen from the outside, or from some higher vantage point, this sort of life looks pointless or futile, or even extremely inefficient, it doesn’t bother me. Maybe it’s some pointless act like, as I’ve said before, pouring water into an old pan that has a hole at the bottom, but at least the effort you put into it remains. Whether it’s good for anything or not, cool or totally uncool, in the final analysis what’s most important is what you can’t see but can feel in your heart. To be able to grasp something of value, sometimes you have to perform seemingly inefficient acts. But even activities that appear fruitless don’t necessarily end up so.”

Murakami captures the intrinsic side of his sport; it is done for its own sake, regardless of how it looks from the outside. It feels right, somewhere inside, and that’s why we do it, even if it takes up too much time, even if it’s inefficient, futile and pointless. It may be all those things if we look for a purpose it serves; but if we stop looking for a purpose and instead do it precisely because we want to, the time spent running or cycling falls away, and these can be some of the most enjoyable and rewarding experiences in life, perhaps precisely because we cannot explain why they were so.

I think that’s what Murakami really talks about when he talks about running. Not how it served his writing, but just what it is in his life, without the activity needing to achieve something.

How We Start Our Days is How We Start Our Lives

I’ll admit I hadn’t heard of Annie Dillard before I came across a quotation of hers. Yet as some quotations seem inexplicably to do, hers bowled me over; made me freeze at the full stop, made me stare out the window at nothing in particular and caused that wonderful zooming-out of perspective that I often think is three-quarters of the reason why I read.

The quotation said, simply and nonchalantly, “How we spend our days is, of course, how we spend our lives.”

Of course! Of course how we spend our days is how we live our lives. Without the “of course” the quotation may not have struck as it did; the “of course” pats us on the back and says, it’s okay, you knew this deep down, but it took a writer to bring it to the surface; don’t take it personally that you’d forgotten about it all these years. Dillard wrote this line in her book The Writing Life, which is a reflection on writers and writing, and which seems the only appropriate place for a line like that to be written.

Of all the people I’ve met, writers seem to be those who daily live the idea. Pico Iyer has embodied the idea for me; he need not say the words, for how he structures his days all points to that larger knowledge that it is these parts that determine the whole.

To structure a life at the outset is an impossible task. I was once in North Carolina on a cycling trip with the Yale Cycling Team, and we were to scale Mt Mitchell, the “highest peak east of the Mississippi”. From our small cabin we could see the mountain stretching upwards interminably, the peak, however, always obscured in a misty cloud. One’s mind could not at once comprehend climbing the entire mountain; once we began, it was only possible by breaking the hours-long climb into each visible stretch of road. I only needed to make it to the next bend in the road, beyond which I could not see, and once I made it there, I could make it to the next bend, and do this enough times and I’d reach the peak.

It is a pleasurable thought that for most of us, our lives are already broken into these neat, short stretches of road. We need only decide how to live today, and then decide tomorrow, and through these individual decisions we will live a life. It reduces the overwhelming. It breaks up lifelong commitments into daily reaffirmations, which seem certainly feasible.

And if, out of respect for Dillard’s masterstroke, even at risk of butchering it, I could offer a slight tweak to her formulation, to break those individual days down into even more manageable parts, it would be this: how we start our days is how we start our lives.

Focus on the start of each day. Get it right, do something you’re proud of in the first hour, and, slowly but surely, you’ll find life itself becomes something you’re proud 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.