Great Inspirational Books

Dr Andreas Matthias on Great Books

An almost-weekly podcast about the greatest inspirational books in the history of writing. No booktok, no book hauls, no speed reading. Just notes on books from a philosophy lecturer who has spent all his life in their company. www.everydawn.com

Episodes

  1. 06/01/2025

    Love, Reason, and Ruin

    Note: This is a pretty long article. If it gets cut off by your email client, simply click on the title of this piece and you will be redirected to the website where you can read the full article. Thanks! Can we escape fate? Are we free to determine our own destiny, our own path through life? Or are we just pawns pushed around by forces we don't understand? Meet Walter Faber, a man who believes in logic, reason, and in engineering his own destiny. Max Frisch's Homo Faber is not just another novel; it's a modern reenactment of ancient tragedy where every rational choice leads to inevitable doom. Hello, welcome back. My name is Andy, and today we are going to talk about a book that is immensely timely. It is a book that talks about tech growth, about technology, and the effects of technology on human beings, on the soul of human beings. But it does this in 1957, at a time when you would not expect this. So, it's an immensely prophetical book. It is also a book that really captures both the essence of ancient Greek tragedy and the essence of what technology does to us in a modern tale. The book I'm talking about is Homo Faber – Homo Fay-ber, you would say perhaps in English – by Max Frisch. Max Frisch was a very influential German-language author, Swiss in fact, who mainly wrote in the '50s, '60s, up to the '70s. He was perhaps one of the biggest names of German literature throughout the '60s and is still taught in schools. His books are very important, very influential, very much talked about. And this book is one of his most famous. There was even a movie made from it, an American movie actually, with American actors – an international production, partly German, partly French, I think, partly American. It was released under the title "Voyager" in the US. What Does "Homo Faber" Mean? You know "homo" means human – Homo Sapiens, the wise human, which is our biological self-designation as a species. And "faber," the second part, is related to the word "to fabricate," "fabrication." "Fabric" means something that is artificially made. And so the term Homo Faber is sometimes used in anthropology, in history or in sociology, as the concept that human beings can be seen under this perspective of being toolmakers, tool-making animals. Homo Faber – fabricating animals. Because other animals – this is at least the assumption there when we use the word – any other animals don't do that. It is not entirely true; crows are known to use tools, apes can use sticks to get bananas from the tree, so they are using tools. But undoubtedly, human beings have a much greater capacity at this. We can not only use tools that we find, but we can fabricate tools. We can fabricate very complex tools or tools for multiple steps that we are going to use in a very remote future. We can fabricate tools for other people; we can make factories which then will produce other things. So, we have multiple levels of tool use, and industrial societies are all based on this idea of fabricating things. And in this way, our whole modern world is a world of fabricating things that started, of course, with the Industrial Revolution back in England. We are defined as being Homo Faber, as being tool-making animals. You cannot think of human beings in any other way. Of course, we have many other properties, but if you look around your world, if you just look around your room, it's full of things that we have fabricated. The room itself, the house is fabricated. None of us live in caves that occur naturally. Behind me, I see a shelf of books; in front of me, the light that shines on me; there's a microphone; there's a camera. We are surrounded by our fabrications. We are tool-making animals, we are tool-using animals. And so Frisch sees the essence of the human being as being Homo Faber. And in this tale – because this is not an anthropological or philosophical book, it's a tale – he begins with a particular person who represents this thing, this Homo Faber. Today, we would say Elon Musk represents the ideal Homo Faber: somebody whose whole life is dedicated to fabricating stuff, artificial stuff that is supposed to make life better or more interesting, or to eradicate disease or to bring us to Mars – all these big promises of industrialization. Zuckerberg from Facebook (Meta) is another Homo Faber. We are surrounded by them; there are many, many like that. Even Bill Gates, you can say, is a Homo Faber. Every industrial person, every software developer defines themselves, defines their life through their work with machines, with artificial things. But it's important to see that although today we have all these big personalities that represent technology, and even the dangers of technology, in reality, this is a very old thing. Technology always existed. The ancient Greeks had technology: they had writing, they built temples, they had lots of artificial structures, they had weapons, military technology. And particularly, of course, throughout human history, all kinds of technologies for everyday life: we had mills, we had windmills, we have water mills; we have again, technologies for war, we have ships, we have technologies of discovery, we have books, we have libraries. These are all technologies. And then there was this explosion of technology in the 18th, 19th century, what we call the Industrial Revolution. This was a big boost in technology and in the way we relate to technology. And this took away from us almost entirely our non-technological life that we had before. So after the Industrial Revolution, we are all married with technology, almost necessarily. It's almost inescapable. There are few individuals who try to live without technology; they go on their homestead and live without electricity and without modern conveniences. But these are so prominent because they are so rare that we watch videos about them and about their lives, and they are on YouTube – perversely again, using technology in order to show us how well they live without technology. And everybody else is just totally embedded in this technological world. The Question Frisch Asks Now the question is: what does this do to us? And this question Frisch asks in the '50s, the end of the '50s. And you have to see that this is a big time of engineering back then. In the '50s, after the Second World War, was the time when the West, especially Western Europe, was rebuilt. The United States didn't need rebuilding because they had not suffered destruction on their own soil. And they had the wealth that came from being the winners in the war. They had machines, they had all this technology that was developed throughout the war: primarily airplanes, landing strips, tanks, cars, vehicles of all sorts, food technologies. And now they took all these technologies and they applied them to everyday life. And suddenly there was this sense of a new explosion, a new age of industrial revolution. You can see this in comics, in The Jetsons and other such visions of people living in this jet age. The jet age itself – jet engines are from this time, end of the Second World War. The first jet engines for airplanes, air travel, which made it possible to travel very quickly, much faster than ever before, and the decline of ocean voyages in favor of airplane voyages. And there was this feeling that we are going into a science fiction world. You had all these science fiction exhibitions, and science fiction itself took off in the '50s. And it was the big time of science fiction. If you look at all these writers – Bradbury, Clarke, Asimov – these all flourished throughout the '50s, '60s, which was the time when people were hungry for technology to change their lives for the better, to bring us into some utopian world. You had concepts of space stations back then, flying to Mars, having these big space stations like you see them in 2001: A Space Odyssey, the Kubrick movie. And then, of course, you had the Apollo program, flying to the moon. And flying to the moon was the big thing. Kennedy at the beginning of the '60s saying that in 10 years we will land on the moon. And I make this promise, I make this plan, I commit us to landing on the moon by the end of the '60s. And they managed. They went to the moon, and they paid a ton of money for it. And they developed all the technologies that were necessary, almost out of nowhere. And within 10 years, a man was standing on the moon. So this is an explosion of technology. This is a belief in technology, the power of technology to make us better. Not only to bring us to the moon in a way like a transportation achievement, but to make our lives better, to make our relationship with the world better. And this is also expressed then – and now we come back to the book – in terms of development help to other countries, which also started after the Second World War. The idea that rich countries help poorer countries, not by colonizing them, but by providing technical help. So you have UNESCO, you have the UN, and all kinds of UN development programs sending engineers from the West and tools from the West and machines from the West, from the rich countries to the developing countries, where they will be used to improve the lives of the people in these developing countries. Thanks for reading Every Dawn! Subscribe for free to receive new posts and support my work. Meet Walter Faber: The Enlightenment Engineer And this is exactly where we are in the book Homo Faber. We have this person, Walter Faber. That's his name. And he is a German (Swiss?) originally, living in New York now, and he's an engineer for the UN (UNESCO in the novel). He's traveling around, sent by his company who develops machines for the developing world. And he's sent around to various places in the developing world to install and oversee the operations of these machines. And so his job is very much the job of this enlightenment engineer, somebody like an Elon Musk, who is convin

  2. 05/03/2025

    Sculpting the Clouds. The Magical Future of JG Ballard

    Hello, welcome back to our series on books you can't miss. And today, I really want to talk about this one: J.G. Ballard, Vermillion Sands. This is one of the most remarkable books I've ever read. And I know that I say this about all the books we are discussing, but you know, all these books are remarkable. This is why I am making these posts and videos, right? I wouldn't make them for books that everybody knows or books that are not remarkable. So obviously, all these books are special. But some books have a magic in them. The language reaches back to some mythical time, when words had this power to enchant people, to enchant the reader. And I feel that Ballard and some other writers can go back to that and give us this language that is more than just the description of plot. You know, this is the opposite of Dan Brown, for example. Dan Brown — and I love Dan Brown, I’ve read all his novels, and I have read novels of his that kept me up all night because he has this trick of ending the chapters always when you want to know what happens in the next chapter. So I really enjoyed Dan Brown, but his language is there to serve the plot. The words are just there to create an image in your mind that helps you understand what's happening. And the whole interest in the book is in what's happening. But with some books, like this one, this is not the case. These books are not about what is happening, although magical things happen in these books too. But a big part of the fun of reading these, perhaps the most fun in reading it, is in enjoying the language. And this, I feel, fits well with the previous video, which was about how to read and how to enjoy poetry. And some of you told me in the comments that it resonated with you and that you thought in similar ways about it. And I feel that you will also enjoy this if you were one of those who enjoy poetry because this is poetry. It is poetry. It is magic put in the service of a story. But the story is itself a story about poetry and magic. It is not a realistic story. None of the things that happen in this book could happen. It is a kind of science fiction. It is a kind of fantasy world that half exists in some imagined future, or that could exist in some imagined future. And nobody knows exactly where it is or what it is exactly about, or when these things happen or how they work, because it is full of magic. It is perhaps similar to some novels of magical realism, of Salman Rushdie for example, who has similar things happening in his novels. But Ballard is still stranger than Rushdie. And the magical pieces in Rushdie are more there to provide the plot points where the real people go through, while here the whole world, this weird world, is actually the protagonist. This is a collection of stories, and the only thing that connects these stories is the words. And therefore, it's right that the book is called Vermilion Sands because these vermilion sands are what connects everything in the story. And vermilion, of course, is the shade of red. And so these are red sands. And I always thought of it as describing some future version of Mars, or perhaps some imagined, some magical version of Mars. Perhaps like Bradbury also does it, you know, Ray Bradbury in his Martian stories. He also has a magical version of Mars which contains canals and water and ancient civilizations of Martians who still walk around as shades and have an influence on the landscape and communicate with the astronauts who go there. And it's all steeped in poetical and allegorical motifs. Thanks for reading Every Dawn! Subscribe for free to receive new posts and support my work. And something similar is happening here. You have this, as I imagine it, (although he never talks about Mars) Martian background, a world of red sand. But it's a world in which the red sand has become normal. It has become something like a seaside resort place where people go to relax, where people go to have a good time. And it very much resembles what I imagine would be going to the sea in England, where you have things like these little cabins that you can rent, these wooden cabins where you can store your stuff, or perhaps you can, you can put, uh, something in there, some chairs, or you can sit comfortably. It has all these, you know, beach chairs and these things. It has bars on the beach. But the beach borders a sea of sand. And not only this, but it also has other incredible things. It has scorpions that have diamonds on them, they have precious jewels on them. And this is such a powerful image, these little scorpions with the jewels on them, because it gives you this magical, almost 'yung' you could say, connection between the danger of the scorpion, who is going to bite you if you come too close, and the attraction of the jewel that is incorporated in this scorpion. Then we have plants that sing. They sing so well that they can sing operas, and they are inspired by other singers. And so a singer can sing, and the plant will sing with them. And there are psychotropic clothes, where the clothes react to the emotions of the wearer. And so you're wearing these clothes, and if your emotions are right, and if the clothes you are wearing feel relaxed and in harmony with the wearer, then they look brilliant and beautiful. But if you have negative thoughts, if you are anxious and you wear the clothes, then they might fall off you, they might look wilted, or they might even strangle you. And this magical world is so convincing and it is so real. And throughout the book, it undergoes a transformation. This is the whole history of this holiday resort of Vermillion Sands. And it begins at its height, where everybody goes to Vermillion Sands because it's the 'in' thing. It's where you go to have a good time. It's where you go to have holiday. It's full of these bars where the rich people go, but it's still accessible in the beginning. Normal people also go there and try to make money by catering to the rich. And then it becomes more and more crazy. It becomes more and more exclusive, and it becomes more and more decadent. And over the course of the book, which is all short stories (this, there's no overarching story, and there is no cast of characters that is constant, it's all different stories), but the overarching thing is a development of Vermillion Sands, of this resort. And so over time, it becomes more exclusive, but they're more decadent and more expensive. And then people start leaving, and things are starting to fall apart. And then towards the end of the book, it gets this air of an abandoned fairground, which is also again a magical environment. Bradbury has also used that in his stories, the idea of this fairground that still contains the ghosts of the people having fun, and somehow their shadows are still there, but in reality, they have departed. And now everything is falling apart, and it's the sadness of the abandoned fairground. And this is what happens to Vermillion Sands too. So everybody goes, everybody leaves, and there is nothing left there anymore. And only a few people are left, only a few people are there, often crazies, loners, people who are left behind when the party has already moved on to some other place. They are left behind in this broken place, and they still create their own stories in this place, which now are stories of abandonment and of decay. And so this is a beautiful book. It's a beautiful book because it's not only beautiful in its language, it is wonderful in its images, and it is also, in this overarching sense, it is a history of a place that begins as a young and strong and crazy place of fun and ends as a place of sadness, in a kind of walk through the seasons where you start in spring and you go through the summer, and in the end, you have the fall, where the fall, the word 'fall' itself, right, indicates a fall, the falling of leaves, the falling of the season, and the decay that comes with it. And so in the end, you have fall and winter in this book, and Vermillion Sands is abandoned. But we have its stories in this book. They are here forever, and we can always access them. And we will start with the first story. I will just read you two pages, the first two pages from the first story. It is not enough to get an idea of what the story is about, and although the story is beautiful, it is wonderful as a story, and the whole book is wonderful as a book, as I said. We will just be able to hear a little bit of this magic of language in this. And I want you to relax and not to think too much about it. Like I said in this poetry video, it's not about really understanding what's happening. It's about closing your eyes and living there, going to Vermillion Sands, being part of it, seeing it in front of your eye. And I will also put up some pictures that I think fit it. So let's enjoy these two pages together. The story is called "The Cloud Sculptors of Coral D". All summer the cloud sculptors would come from Vermillion Sands and sail their painted gliders above the coral towers that rose like wide pagodas beside the highway to Lagoon West. The tallest of the towers was Coral D, and here the rising air above the sand reefs was topped by swanlike clumps of fair weather cumulus. Lifted on the shoulders of the air above the crown of Coral D, we would carve seahorses and unicorns, the portraits of presidents and film stars, lizards and exotic birds. As the crowd watched from their cars, a cool rain would fall onto the dusty roofs, weeping from the sculptured clouds as they sailed across the desert floor towards the sun. Of all the cloud sculptures we were to carve, the strangest were the portraits of Leonora Chanel. As I look back to that afternoon last summer when she first came in her wide limousine to watch the cloud sculptures of Coral D, I know we barely realized how seriously this beautiful but insane woman regarded the sculptures floating above her in that calm sky. Later her port

  3. 04/21/2025

    How To Enjoy Poetry... By Not Understanding It

    You don't have to understand poetry in order to enjoy it. But today, the skill of reading poetry is getting lost. Speed-reading, AI summaries and bullet-point lists have destroyed our ability to read in silent images, to enjoy the feeling of words, to not always search for their meaning. I am Andy, philosophy lecturer, and I have been reading and loving poetry for almost fifty years. And in this episode, I will show you how you can also open up a whole new world of poems for yourself, to read and enjoy and get happiness and meaning from, in your everyday life. Look at this one. These are a few lines from a love poem by Pablo Neruda, but don't worry about that. Let's just read it slowly, without trying to understand it. Just listen to the words. Thanks for reading Every Dawn! Subscribe for free to receive new posts and support my work. Here I love you. In the dark pines the wind disentangles itself. The moon glows like phosphorous on the vagrant waters. Days, all one kind, go chasing each other. The snow unfurls in dancing figures. A silver gull slips down from the west. Sometimes a sail. High, high stars. Oh the black cross of a ship. Alone. Sometimes I get up early and even my soul is wet. Far away the sea sounds and resounds. This is a port. Let the words echo for a little while more. Keep them in your mind, like the aftertaste of something nice, a sweet, a fruit, or a drink that you like. Perhaps you already found this enjoyable. Or perhaps you are saying, like my daughter would, “I don't understand this.” But have patience for a moment longer. Rational understanding is not the only way to relate to the world and to receive input from it. The way we live now, with all the media that bombard us with content all day, we are very much trained to immediately look for the message, the “point” that is made, the one bit of information that we need to extract and use. But for much of human history, this was not the case. Much of what we see and hear today is words — information that is naked, removed from its context, ready to be processed and consumed. But imagine how it was in old times, before most people could read. If you were a farmer, you would go out to your fields in the morning. You would work there in silence, listening to the wind, the birds, the insects. You would see the sky, the trees, the mountains, your crop. All these things would actually give you information, but of a much different kind: it would be indirect, hidden within the world, in need of being decoded. The wind and the colours on the mountains would tell you how far the season has come. The clouds would tell you of the weather. The insect buzz would give you information on how healthy the environment was, on how well your field is being pollinated. The birds, their cries, the species you can see and hear, their flight patterns in the sky — all these things would tell you more about the world around you, about how the year is going along, about when to expect your harvest and whether it will be a good one or not. You would not have a calendar or a phone app to tell you the time or the season. You would have to understand your place within your world by yourself, by using these cues, by feeling the passage of time, the changing of nature, by reading it off a myriad little observations. But it wouldn't be “reading,” really. Again, modern language fails us. You don’t “read” the book of nature. You “feel” it. It's not a process of decoding a linear flow of information, like the one you’re listening to now, but of taking in a whole picture at once, the whole state of the world that surrounds you in one particular moment, and letting your senses, your subconscious, your instincts take over and do the understanding. The result of this process will be a feeling, not a piece of hard information. It will be a feeling situated inside a particular context: YOUR feeling, from YOUR field, about YOUR future plans and YOUR concerns, based on YOUR experience and YOUR past. You won't get context-free advice in this way, and you wouldn't want any. You want your understanding of the seasons and the harvest to apply to YOU and YOUR field, YOUR family, YOUR world — you'd have no use for an abstract list, for information that is not tailored to YOU and YOUR life at this exact place and this exact moment in time. What does all this have to do with poetry? The same sense of feeling something happening that the farmer has, is exactly what allows us to feel poetry and art. Think of an abstract painting like this here: You cannot “understand” that logically. And even if you could, if you dissected the way it is painted, the brushes used and so on, you would still miss the point. You are not supposed to analyse it. You must look at it like the farmer looking at the sky — and let it speak to you in its own language, in its own way. I think of it as tasting the words of a poem, or the image on a painting. When you experience a bite of food, you can do it in two ways: You can either ask yourself: “How was this made?” and try to analyse the ingredients, guess at the way of preparation and how the cook achieved the particular effects that make this food special. Or you can just close your eyes and enjoy it without asking anything at all. The second way is not worse than the first — arguably, it’s better, bringing about more enjoyment in the moment, not less. Let's look at another poem. This one is by Paul Celan, who is generally considered “difficult” to understand. He is, but the whole point is not to try and understand him. Instead, try to get into a dreamy state where you listen and see the images pass by your mind, without trying to make rational sense of them. Here we go: The stone. The stone in the air, which I followed. Your eye, as blind as the stone. We were hands, we baled the darkness empty, we found the word that ascended summer: flower. Flower - a blind man's word. Your eye and mine: they see to water. Growth. Heart wall upon heart wall adds petals to it. One more word like this word, and the hammers will swing over open ground. I know that some will say that you do need to understand these poems. They are coded messages about the Holocaust perhaps, or about other events in the poet’s life, and not trying to understand them devalues the poetry. People who say this usually work at literature departments of universities and make a living off explaining poems to others. And I won’t entirely disagree. There may be multiple layers in a poem, some of them purely rooted in the image, some of them in the sound of the words, and some again in their meaning. That’s fine, and if you can get enjoyment or insights from understanding the hidden meaning, then go ahead. Here I'm not talking to those who are already experts in reading and understanding poetry. For the person who just encounters a poem like that for the first time, it would be bad advice to try and understand every word and every hidden meaning in it. If the poet wanted us to do this, they would have written the meaning out, rather than those images and words that they used. Some people do that, and what they produce is called an essay or a pamphlet, or an instruction manual. But not a poem. The mystery of the language, the richness of the images, the hidden meanings — these are all necessary parts of poems of this kind, and it would be a waste of the poet's effort to strip his work of them in order to just “understand” them. Let me show you another one, this one from a Greek poet I love, Yannis Ritsos. As with all these poets, translations often ruin the work, but we cannot do much about that. Not reading Neruda, Celan or Ritsos at all, because they don't write English, would certainly be worse than to read them in translation. So, here we go: Forgetfulness The house with the wooden staircase and the orange trees, facing the azure, big mountain. The countryside gently walks around inside the rooms. The two mirrors reflect the singing of the birds. Only that in the middle of the bedroom lie abandoned two fabric slippers for the old. So, when the night falls, the dead visit the house again in order to collect something of theirs left behind, a scarf, a vest, a shirt, two socks and then, possibly due to short memory or carelessness, they take along something of ours. Next day, the postman passes our door without stopping. Listen to these words, these images, listen to their taste: “The countryside gently walks around inside the rooms.”“The two mirrors reflect the singing of birds.” Why are the dead careless? Why have they left behind a scarf, a vest, a shirt, two socks? Nobody knows. But it doesn't matter. What matters is the sound of the words, the echo of the images in one's mind, the nameless things that one can take away from it all. Some kinds of poetry speak to us as the sky and the hills spoke to the farmer of old. There is nothing to understand and everything to just stop, and be silent, and listen to. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.everydawn.com

  4. 01/10/2025

    Siddhartha (3) - By the River

    Today, we’re coming to the third part of our reading of Hermann Hesse’s Siddhartha, the life story of a young Hindu man at the time of the Buddha. In the beginning of the book, discussed in the first post in this series, young Siddhartha leaves his home village together with his friend Govinda, and they join a group of ascetics who live in the wilderness. They stay with them for three years, but slowly Siddhartha realises that the whole wisdom of life cannot consist in only running away from it and hiding among wild animals. So he and Govinda travel on, following rumours of the appearance of the Buddha, a wise man who has found the secret to end all suffering. They meet the Buddha, and Govinda becomes a Buddhist monk, but Siddhartha has his doubts: of all the monks in the Buddha’s garden, only one seems to him to be truly enlightened: the Buddha himself. And he is also the only one achieved his enlightenment without following the Buddhist teachings. Siddhartha questions whether enlightenment can be taught at all. Perhaps one needs to arrive at it through the process of experiencing life itself. He parts from the Buddha and from Govinda and makes his way towards the next town. There he meets Kamala, a thoughtful courtesan who likes him and helps him get a job as a merchant’s assistant. In time, Siddhartha’s three special abilities (“I can think. I can wait. I can fast”) prove to be a key for success, not only in the wilderness but also in the world of commerce. Siddhartha makes a fortune without ever really wanting to, and feels increasingly trapped in his life of luxury, while he feels that his dream of the enlightenment keeps receding into the distance. One day, he cannot bear his existence as a man of the world any more. In the night he flees from his life. Without saying farewell, he walks out of his garden, leaving it all behind forever. In the same hour of the night, Siddhartha left his garden, left the city, and never came back. ... When she [Kamala] received the first news of Siddhartha’s disappearance, she went to the window, where she held a rare singing bird captive in a golden cage. She opened the door of the cage, took the bird out and let it fly. For a long time, she gazed after it, the flying bird. From this day on, she received no more visitors and kept her house locked. But after some time, she became aware that she was pregnant from the last time she was together with Siddhartha. Thanks for reading Every Dawn! Subscribe for free to receive new posts and support my work. By the River Siddhartha walked through the forest, was already far from the city, and knew nothing but that one thing, that there was no going back for him, that this life, as he had lived it for many years until now, was over and done away with, and that he had tasted all of it, sucked everything out of it until he was disgusted with it. Dead was the singing bird he had dreamt of. Dead was the bird in his heart. Deeply, he had been entangled in Sansara, he had sucked up disgust and death from all sides into his body, like a sponge sucks up water until it is full. And full he was, full of the feeling of been sick of it, full of misery, full of death, there was nothing left in this world which could have attracted him, given him joy, given him comfort. So Siddhartha stumbles into the forest, not knowing where he’s going or why. He crosses the forest and arrives at a river, and there he suddenly stops. He recognises the river he crossed as a young man, when he first came to this city. Then he knew where he was going — but where is he going now? ... Whatever for should he walk on, wherever to, to which goal? No, there were no more goals, there was nothing left but the deep, painful yearning to shake off this whole desolate dream, to spit out this stale wine, to put an end to this miserable and shameful life. A hang bent over the bank of the river, a coconut-tree; Siddhartha leaned against its trunk with his shoulder, embraced the trunk with one arm, and looked down into the green water, which ran and ran under him, looked down and found himself to be entirely filled with the wish to let go and to drown in these waters. A frightening emptiness was reflected back at him by the water, answering to the terrible emptiness in his soul. Yes, he had reached the end. There was nothing left for him, except to annihilate himself, except to smash the failure into which he had shaped his life, to throw it away, before the feet of mockingly laughing gods. This was the great vomiting he had longed for: death, the smashing to bits of the form he hated! Let him be food for fishes, this dog Siddhartha, this lunatic, this depraved and rotten body, this weakened and abused soul! Let him be food for fishes and crocodiles, let him be chopped to bits by the daemons! With a distorted face, he stared into the water, saw the reflection of his face and spit at it. In deep tiredness, he took his arm away from the trunk of the tree and turned a bit, in order to let himself fall straight down, in order to finally drown. With his eyes closed, he slipped towards death. But at this last moment, the memory of a long-forgotten word comes back to him, a syllable “which is the beginning and the end of all prayers of the Brahmans, the holy ‘Om’...” Siddhartha suddenly realises what he was about to do. Om! he spoke to himself: Om! and again he knew about Brahman, knew about the indestructibility of life, knew about all that is divine, which he had forgotten. But this was only a moment, flash. By the foot of the coconut-tree, Siddhartha collapsed, struck down by tiredness, mumbling Om, placed his head on the root of the tree and fell into a deep sleep. When he awakes, hours later, a Buddhist monk is sitting by his side, guarding his sleep. The monk explains that there are wild animals in this forest, and since he was passing through, he thought it his duty to stop and stay with the sleeping man who a while. The monk does not recognise the man in the rich clothes, but Siddhartha looks into the face of his childhood friend and immediately knows that it was Govinda who, once more, stayed by his side when Siddhartha needed him. Siddhartha tells him who he is. “And now, Siddhartha, what are you now?” “I don’t know it, I don’t know it just like you. I’m travelling. I was a rich man and am no rich man any more, and what I’ll be tomorrow, I don’t know.” “You’ve lost your riches?” “I’ve lost them or they me. They somehow happened to slip away from me. The wheel of physical manifestations is turning quickly, Govinda. Where is Siddhartha the Brahman? Where is Siddhartha the Samana? Where is Siddhartha the rich man? Non-eternal things change quickly, Govinda, you know it.” Govinda looked at the friend of his youth for a long time, with doubt in his eyes. After that, he gave him the salutation which one would use on a gentleman and went on his way. The Ferryman Siddhartha is refreshed from his sleep and the meeting with his friend. It seems to him that the river has taken away the old Siddhartha and left him empty again, ready to find a new life. And Siddhartha knows that this life will begin right here: By this river I want to stay, thought Siddhartha, it is the same which I have crossed a long time ago on my way to the childlike people, a friendly ferryman had guided me then, he is the one I want to go to, starting out from his hut, my path had led me at that time into a new life, which had now grown old and is dead — my present path, my present new life, shall also take its start there! Siddhartha meets the old ferryman, the same one who had brought him over the river the first time, when Siddhartha had just come from the hermits and the meeting with the Buddha. The ferryman remembers him, and offers Siddhartha a place to stay for a while. Siddhartha learns to work the ferry, he helps the old ferryman, Vasudeva, with his small rice plot, they cook and eat and live together. And one day, they talk about the river. “Did you,” so [Siddhartha] asked [Vasudeva] at one time, “did you too learn that secret from the river: that there is no time?” Vasudeva’s face was filled with a bright smile. “Yes, Siddhartha,” he spoke. “It is this what you mean, isn’t it: that the river is everywhere at once, at the source and at the mouth, at the waterfall, at the ferry, at the rapids, in the sea, in the mountains, everywhere at once, and that there is only the present time for it, not the shadow of the past, not the shadow of the future?” “This it is,” said Siddhartha. “And when I had learned it, I looked at my life, and it was also a river, and the boy Siddhartha was only separated from the man Siddhartha and from the old man Siddhartha by a shadow, not by something real. Also, Siddhartha’s previous births were no past, and his death and his return to Brahma was no future. Nothing was, nothing will be; everything is, everything has existence and is present.” Siddhartha spoke with ecstasy; deeply, this enlightenment had delighted him. Oh, was not all suffering time, were not all forms of tormenting oneself and being afraid time, was not everything hard, everything hostile in the world gone and overcome as soon as one had overcome time, as soon as time would have been put out of existence by one’s thoughts? In ecstatic delight, he had spoken, but Vasudeva smiled at him brightly and nodded in confirmation; silently he nodded, brushed his hand over Siddhartha’s shoulder, turned back to his work. And once again, when the river had just increased its flow in the rainy season and made a powerful noise, then said Siddhartha: “Isn’t it so, oh friend, the river has many voices, very many voices? Hasn’t it the voice of a king, and of a warrior, and of a bull, and of a bird of the night, and of a woman giving birth, and of a sighing man, and a thousand other voices more?” “So it is,” Vasudeva nodded,

  5. 12/15/2024

    Siddhartha (2) - In the World

    Last week, we talked about the beginning of Siddhartha’s journey. The young man leaves his village and with it a safe life as a high-caste member of his society, a future priest or scholar. Together with his friend Govinda, he follows a group of begging ascetics into the wilderness, where they stay for three years, learning the arts and skills needed to survive with nothing: fasting, meditating, punishing the body, getting rid of its desires. But at the end of this time, Siddhartha realises that just killing the ego and closing one’s eyes to the world cannot be all that there is to the ultimate wisdom. At the same time, news of the Buddha reach them. They leave the ascetics to go and find the Buddha and to hear his teaching. When they find the wise man, Govinda, Siddhartha’s friend, decides to stay as a monk in the Buddha’s community. Siddhartha is still not convinced. In a meeting between the young man and the old teacher, Siddhartha makes the point that the Buddha himself clearly did not become enlightened by following Buddhist teachings. His enlightenment came as a consequence of the life he had led, his experiences and his thoughts about the world. It was lived rather than learned wisdom that made the Buddha himself — and this is also the path that Siddhartha wishes to follow. He leaves his friend with the other monks and leaves, now alone, to find his destiny: Out of this moment, when the world melted away all around him, when he stood alone like a star in the sky, out of this moment of a cold and despair, Siddhartha emerged, more a self than before, more firmly concentrated. He felt: This had been the last tremor of the awakening, the last struggle of this birth. And it was not long until he walked again in long strides, started to proceed swiftly and impatiently, heading no longer for home, no longer to his father, no longer back. …And here’s the same post as a video with all the images and dozens more! Read on, the story continues below! Kamala Siddhartha now wanders alone along the dusty road, without a goal, without knowing where he’s going, except that he won’t return back. Not to his family, not to his friend, not to the teachings of the Buddha. Whatever it is he’s looking for, it will be something new, an experience he has not yet had. Siddhartha learned something new on every step of his path, for the world was transformed, and his heart was enchanted. He saw the sun rising over the mountains with their forests and setting over the distant beach with its palm-trees. At night, he saw the stars in the sky in their fixed positions and the crescent of the moon floating like a boat in the blue. He saw trees, stars, animals, clouds, rainbows, rocks, herbs, flowers, stream and river, the glistening dew in the bushes in the morning, distant high mountains which were blue and pale, birds sang and bees, wind silverishly blew through the rice-field. All of this, a thousand-fold and colourful, had always been there, always the sun and the moon had shone, always rivers had roared and bees had buzzed, but in former times all of this had been nothing more to Siddhartha than a fleeting, deceptive veil before his eyes, looked upon in distrust, destined to be penetrated and destroyed by thought, since it was not the essential existence, since this essence lay beyond, on the other side of, the visible. But now, his liberated eyes stayed on this side, he saw and became aware of the visible, sought to be at home in this world, did not search for the true essence, did not aim at a world beyond. Beautiful was this world, looking at it thus, without searching, thus simply, thus childlike. Beautiful were the moon and the stars, beautiful was the stream and the banks, the forest and the rocks, the goat and the gold-beetle, the flower and the butterfly. Beautiful and lovely it was, thus to walk through the world, thus childlike, thus awoken, thus open to what is near, thus without distrust. We see here Siddhartha’s journey taking shape. The first step was leaving his father’s home and the certainties of his pre-planned, safe life. The second step was the freeing of his mind from the body, the ability to control his body and to make it follow his will. And now, in this third stage, he realises that the world out there is not just illusion, not random images that should be transcended, but something that might contain inherent meaning, a message, a secret. And he perceives himself as part of that world that waits to be explored and understood: All of this had always existed, and he had not seen it; he had not been with it. Now he was with it, he was part of it. Light and shadow ran through his eyes, stars and moon ran through his heart. This is a quintessentially romantic way of viewing the world: everything that exists is a cipher, a code, a secret pointer to something else, to a realisation that transcends words. The German poet Novalis (1772-1801) gave this sentiment its perhaps clearest expression: Mankind travels along manifold pathways. He who pursues and compares them will perceive the emergence of certain strange figures; figures that appear to be inscribed in that massive tome composed in cipher that one everywhere and in everything beholds: on wings, eggshells, in clouds, in the snow, in crystalline and stone formations, in freezing waters, on the skins and in the bowels of mountain-ranges, of plants, beasts, people, in the stars of the heavens, in contiguous and expansive panes of pitch and glass, in the clustering of iron filings around the magnet, in the extraordinary ebb and flow of contingency. In these one may glimpse an intimation of the key to this wondrous text, its very grammar-book; and yet the intimation refuses to accommodate itself to fixed forms and appears to begrudge any translation into a higher key... (Novalis, The Novices at Sais, translation by Douglas Robertson, used with permission.) Hesse was himself a late romantic, just like Novalis. And his Siddhartha is driven by the same hunger for meaning, the same thirst for a life that is more than what it appears to be. One night, Siddhartha sleeps in the hut of a ferryman by a river. In the morning, the ferryman takes him across. The ferryman got him across the river on his bamboo-raft, the wide water shimmered reddishly in the light of the morning. “This is a beautiful river,” he said to his companion. “Yes,” said the ferryman, “a very beautiful river, I love it more than anything. Often I have listened to it, often I have looked into its eyes, and always I have learned from it. Much can be learned from a river.” And the ferryman predicts that Siddhartha, who does not have any money and cannot pay for his passage, will one day return to pay him. “Do you think so?” asked Siddhartha amusedly. “Surely. This too, I have learned from the river: everything is coming back! You too, Samana, will come back. Now farewell! Let your friendship be my reward. Commemorate me, when you’ll make offerings to the gods.” Later, Siddhartha reaches the outskirts of a city. There, he sees many people and among them a rich woman in a sedan chair, at the entrance of a beautiful garden: Siddhartha stopped at the entrance to the pleasure-garden and watched the parade, saw the servants, the maids, the baskets, saw the sedan-chair and saw the lady in it. Under black hair, which made to tower high on her head, he saw a very fair, very delicate, very smart face, a brightly red mouth, like a freshly cracked fig, eyebrows which were well tended and painted in a high arch, smart and watchful dark eyes, a clear, tall neck rising from a green and golden garment, resting fair hands, long and thin, with wide golden bracelets over the wrists. Siddhartha saw how beautiful she was, and his heart rejoiced. He bowed deeply, when the sedan-chair came closer, and straightening up again, he looked at the fair, charming face, read for a moment in the smart eyes with the high arcs above, breathed in a slight fragrant, he did not know. With a smile, the beautiful woman nodded for a moment and disappeared into the grove, and then the servants as well. But Siddhartha realises that, as long as he looks like a beggar from the wilderness, he will not be able to make this woman’s acquaintance: I am still a Samana, he thought, I am still an ascetic and beggar. I must not remain like this, I will not be able to enter the grove like this. And he laughed. So he goes into the city, befriends a barber, and manages to get a haircut and a shave for free. He washes in the nearby river, and the next day, clean and with his hair oiled, he goes again to meet the woman, the famous courtesan Kamala. This time, Kamala stops and talks to him. “Never before this has happened to me, my friend, that a Samana from the forest came to me and wanted to learn from me! Never before this has happened to me, that a Samana came to me with long hair and an old, torn loincloth! Many young men come to me, and there are also sons of Brahmans among them, but they come in beautiful clothes, they come in fine shoes, they have perfume in their hair and money in their pouches. This is, oh Samana, how the young men are like who come to me.” “Already I am starting to learn from you,” said Siddhartha. “Even yesterday, I was already learning. I have already taken off my beard, have combed the hair, have oil in my hair. There is little which is still missing in me, oh excellent one: fine clothes, fine shoes, money in my pouch. You shall know, Siddhartha has set harder goals for himself than such trifles, and he has reached them.” Still, Siddhartha is new in this city, and he doesn’t know where to go next. So he asks Kamala for advice. “Dear Kamala, thus advise me where I should go to, that I’ll find these three things most quickly?” “Friend, many would like to know this. You must do what you’ve learned and ask for money, clothes, and shoes in return. There is no other

  6. 11/09/2024

    The Romantic Life (002)

    Welcome back to Every Dawn and to this new series where I want to present you a book every week! A book that is not just some random bestseller or something that you can find everywhere and that is discussed, you know, all over the internet. But I want specifically to show you books that perhaps you don't know, books that are perhaps a little less known or a little more rare or a little more out of fashion, but that are still great books and that have been very impactful to myself and that I'm carrying around the world with me in my library of 4,000 books. Which perhaps one day I will show you, you know, the books themselves hanging around our home. Our First Book The problem is that I am not the type who has, you know, a very nicely organized library. I just managed the shelf to make it look reasonably organized for the video. Otherwise, those 4,000 books are just everywhere in my home, and they are not particularly photogenic. So this is why I won't necessarily make a tour of them now, but anyway, the book I would like to begin with is a book that is very dear to me. It is one of the books that has influenced me hugely my whole life. I have spent it in the light of this book because this book has provided a constant illumination to my own life. It was like a light source, like a lamp that is there on the one hand to guide me through dark periods of my own life when things were difficult. On the other hand, it has also been a light, you know, in the other metaphor that I could use to understand myself better, to see myself in this light, and to understand what I was doing and why I was doing it. And also a light to illuminate life in general, what the meaning of life is, and what you know the meaning of life can be for me, the meaning of my life. And all this meaning and illumination and clarity that came out of this book has stayed with me from the first time I read it, which was before I was 18. I am still reading it. It's still always close to me when I go on a holiday. It's always in my backpack as a physical book, and I'm always reading it on flights. I'm always reading it on beaches when whenever it's impractical to carry an electronic book around, and you don't want to be limited by the battery of the book, and so on. And so therefore, I always carry a book, and this is most often the book that I will take because it's also a book that I can reread again and again. I can reread it hundreds of times, which I have done, and I can still enjoy every sentence. Introducing Herman Hesse Now, this is a German book. It's a book which perhaps you will not know, or perhaps you will—who knows? It's by a German author, Herman Hesse. Herman Hesse got a Nobel Prize of literature in the 50s, but he was an author who was born at the end of the 19th century, just at the beginning of the 20th, and he died in 1962, I think. I will put his dates here. And he wrote his last books around the 1950s in the middle of the 20th century. So he lived through all the wars of the 20th century. He did not have an easy life like most people of this generation who were involved in all these world wars, but he found strength and inspiration to create some of the most inspiring, uplifting books that have been published ever. I would say some of the most spiritual books also. Hesse was very much interested in Indian spirituality. He traveled to India. He was bitterly disappointed by what he found there because India was not what he had hoped. The India he saw, obviously, was the India of Colonial British India, a country that was poor and where this spirituality that he craved was not really there. Hesse's Romanticism Hesse was a romantic. He was a person who made up his own world. He created his own world and he lived in that world, and he tried to share his world with us, his readers. But what he saw in India, you know, the poverty, the colonial administration, the suffering, the dirt, the heat—you know, these were all contrary to his own visions of what romantic India, Buddhist India should be—an enlightened place that was perhaps also, you know, as clean and antiseptic as his own Germany or Switzerland where, for him, in his environment, a very clean, organized life. And then suddenly he was thrown into this chaos of mid-20th-century India, and he was shocked. And he did not like it. So he went back to Switzerland and continued to write his stories. The Core of Romanticism In Hesse's work, one thing I already mentioned is the romanticism. So he is a romantic. He's a very classic German romantic in the sense that he wants the world to be in a particular way that excites great emotions in us. This is somehow perhaps one can say the core of the romantic sentiment. You want to have great emotions, and you want these great emotions to be somehow realized not only in your mind, but you want them to be triggered by the greatness of the world, by the way the world is, by the way the universe is, by the greatness of the universe, by the beauty of life, by the staggering variety of creation. And these were sentiments that were already used in German literature and poetry throughout the 18th and 19th centuries when Goethe and Schiller and, you know, philosophers and writers were writing about and Novalis of course, and Kant, and then you had the Romantic Movement also in England with Lord Byron, for example, or Shelley. And you get an idea for this perhaps you have seen those Ivory Merchant movies about British aristocratic young people going to India or being somewhere, you know, in the UK in the early 20th century in, you know, times where they lived in these beautiful houses with white curtains and so on, and had these strong feelings that you associate with these Byronic characters. Romanticism in Literature and Life So this is the kind of the romantic sentiment, sense of sensibility right. For example, this love affair, um, in there these various love affairs, not the restrained ones but the, you know, the silly ones, the ones where you're overcome with emotion, and this overcoming of emotion is even stronger than morality. This is the core of it that you are not restrained by morality, by rules, by society, but your emotion blows up and is such a fundamental force that the whole world has to, you know, follow your emotion, has to yield to it. And you become, in a sense, this superperson, this Übermensch, which later Nietzsche advocated, and Nietzsche is also in this sense a romantic. The feelings that you have become more important than reality, and somewhere on this path, it leads to craziness, of course, right? It leads to a loss of contact with reality, but it is also a sentiment that is very attractive in a way because instead of being like we are today, these little cogs in the big machine of the world, and we feel that, you know, everything is shrinking. The Constraints of Modern Life Our flats are shrinking. I'm living here on 700 square feet with four people in Hong Kong. We don't have so much space, but also cities are growing, and individual space is shrinking, and freedoms are shrinking everywhere. Personal expression is being limited more and more from all sides, and people have to be more predictable and more oiled in a way to fit into this machinery that is built around them. And we don't have so much of an opportunity to be ourselves and to discover ourselves. And of course, capitalism makes things worse because capitalism demands of us to be consumers that have a uniform taste. We need to consume the same things. We cannot just go off and say, "Now I want to, you know, ride a black horse." You will not find a black horse. There are no black horses anymore, right? Perhaps there are one or two somewhere, but then you first have to apply to the local, you know, school riding school, and then you have to find the horse there, and then it's not your horse. It's a shared horse. The Loss of Varied Experiences So we just don't have access to these varied experiences anymore. We can travel, of course, right? But even when we travel, often we will travel with a travel group. We will travel with an agency. We will travel to some kind of organized thing or some organized expeditions or a cruise where everything's pre-organized for you, and you have to just take on your role and do whatever is expected of you instead of being able to be a strong, unique individual, right, with your own perception of the world and your own relation to the universe. And this is what romanticism is about. The Romanticism of Youth Hesse very much has this, and of course, this is, if you think of a human life, a trait that we most have in our youth, not in childhood because childhood is normally again very restricted by the parents, by school, by laws, by regulations. But the moment you step over this limit of 18 years of age, which is still a magical limit, you step over that, and then suddenly you are in a world that is full of possibility. All the restrictions are gone. You're not a child anymore. You can do things. You can sign contracts. You can buy. You can sell stuff. You can move out of your parents' house. You can find your own home. You can discover your own city. You can discover your own new friends that are in the same situation as you, and then suddenly you have this explosion of freedom as an 18-year-old who perhaps leaves home in order to study in another city. And this has always been this age of going away and discovering yourself. And this is just the romantic sentiment. This is just the moment that the romantics also idolize—the idea that I go out and I am myself. The Amish and Romantic Freedom Only for the romantics, this was a lifelong pursuit. To date, something we accept in 18-year-olds and we give them, you know, a few years to discover this. And this, by the way, is something similar to what the Amish have. They have organized this into an even more traditionally ritualized thing where they have this period where you

  7. 11/02/2024

    A New Podcast #083

    Dear Friends and Supporters of Every Dawn, You saw perhaps that I’m starting a new series of posts, where we will weekly discuss inspirational books that have been hugely important and influential for my own life. For your convenience, I have separated the book posts from the (shorter) daily inspiration posts, into two different categories. On the Substack page for Every Dawn, you will be able to select which posts you want to see, in case you are only interested in the books or only in the inspiration (although, of course, I think that you will enjoy both!) Also, you can go to Substack, to your own profile page, and unsubscribe there from one of the two sections, if you decide that you don’t want to receive it in your email. If you don’t do anything, you will from now on receive both the books and the inspiration posts. The books discussions are also available as a podcast now, called the Great Inspirational Books podcast, which you should be able to find in your favourite podcast directory (but it may take a few days for me to appear there — some of these podcast directories are a bit slow to update). The podcast will contain only the books section, not the short inspirational videos, which are too short to do well in podcast form, I’m afraid. I hope that you’ll enjoy the new content and I’ll see you again soon! If you have any feedback, feel free to leave a comment or to send me an email by replying to any of the emails I send you. I read and reply to every message. Best wishes, Andy This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.everydawn.com

About

An almost-weekly podcast about the greatest inspirational books in the history of writing. No booktok, no book hauls, no speed reading. Just notes on books from a philosophy lecturer who has spent all his life in their company. www.everydawn.com