Tag: reading

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Reading Writing

The Starting Five I Keep

On November 25, 1963, every journalist in America was at Arlington Cemetery covering the state funeral of John F. Kennedy. Jimmy Breslin went to find the grave digger.

His name was Clifton Pollard. He was paid $3.01 an hour. He had been called in on his day off because the foreman thought he was the best they had, and the foreman was right about that. Breslin spent the morning with him while the ceremony unfolded a few hundred yards away — the dignitaries, the riderless horse, the flag folded into a triangle and handed to a widow. Pollard ate a ham sandwich and kept working.

The piece Breslin filed that afternoon is still taught in journalism schools sixty years later. Not because it covered the funeral better than anyone else. Because it didn’t cover the funeral at all. It found the true subject by ignoring the announced one.

That instinct — turn away from the obvious, walk toward the unglamorous specific, trust that the universal is hiding there — is the one idea I’ve returned to more than any other. It shows up in two very different writers who occupy, in my mind, the same position on the roster.

Breslin got there through deadline fury and a saloon-bred instinct for where the real story was breathing. He didn’t theorize about it. He just did it, on a deadline, in a city that rewarded the loud and the fast. John McPhee got to the same place by an entirely different route: patience, structure, and a willingness to spend six months learning how canoes are made or what happens to a piece of shad on its way up the Delaware River. Breslin worked like a man catching a cab. McPhee worked like a man building a cathedral.

But the underlying claim is identical. If you stay with a specific, unglamorous subject long enough — if you resist the pull toward the obvious center — it will eventually yield something that couldn’t have been reached directly. Pollard and his shovel. The orange grower and his grove. The nuclear physicist who also happens to be a canoe builder. The method is the same. Look where no one else is looking. Wait longer than feels reasonable. Write what you find.

This is one player, really. Just wearing two different jerseys.

The second seat belongs to Wright Thompson — not a single book but a stance. The premise that the most revealing place in any story isn’t the event itself but the moment before and after it, when the subject is alone with something they haven’t yet put into words. Every piece in this tradition is quietly asking: what is this person carrying that they can’t say out loud? It’s a question that turns out to apply well beyond sportswriting. It applies to most things worth writing about.

The third is whatever the Apple design era taught about constraint and clarity. Not nostalgia — something more durable. The idea that removing something can be an act of confidence. That the most useful things often appear to be doing less than they are. This one surfaces constantly in writing, in argument, in the editing pass where you decide what the piece actually needs versus what it accumulated along the way. Features are easy to add. Knowing what to cut requires a different kind of certainty.

The fourth is the philosophy embedded in spaced repetition — not the algorithm but the claim underneath it. That knowledge you don’t revisit isn’t really yours. That understanding decays on a predictable schedule whether you acknowledge it or not. The honest response isn’t anxiety about this; it’s the habit of return. Going back to the same passage, the same idea, the same question on a different day, and finding it has changed — or finding that you have.

The fifth seat shifts. That’s probably the right design. Four constants and one that evolves is roughly the correct ratio for a starting lineup that has to play in different eras. Right now that seat belongs to the question of what AI does to a practiced human sensibility — whether it erodes it by substitution or clarifies it by contrast. Earlier it was held by a certain kind of systems thinking. Before that, something else. The player who earns that spot is always the one asking the question the current moment most needs answered.

The coach who wins five championships doesn’t do it with the same roster. But he does it with the same philosophy. The starting five aren’t the players who happened to be good once. They’re the ones who keep earning their minutes regardless of what the season throws at you.

Breslin knew where to find Clifton Pollard because he’d been looking in that direction his whole career. The skill wasn’t the story. The skill was knowing that the story was never where everyone else was standing.

That’s the one I keep coming back to.

Categories
Haiku Living Reading

The Presence We Keep Deferring

I have so many unread articles saved to Instapaper that I’ve stopped checking the count. Each one felt, in the moment of saving it, like something I needed. A long piece on urban planning, a profile of someone interesting, a reported essay I fully intended to sit with.

The app is beautifully designed for exactly this — the frictionless capture, the clean reading interface waiting patiently on the other side.

What it can’t do is manufacture the attention I didn’t have when I saved it and still don’t have now. The articles aren’t the problem. The premise is: that presence is something you can bank.

There’s a haiku I keep returning to, from Natalie Goldberg’s Three Simple Lines. It’s by a poet named Fumiko Harada:

Morning chill
I savor this moment —
one meeting one lifetime

Eleven words. No verb in the third line, which makes it feel less like a thought and more like a verdict.

The Japanese concept underneath it is ichi-go ichi-e — loosely, “one time, one meeting.” It’s a Zen idea with origins in the tea ceremony, the understanding that each gathering is singular and therefore irreversible. You cannot archive it. You cannot search for it later. When it ends, it doesn’t go anywhere you can retrieve.

This is what the Instapaper queue is, at scale: an archive of moments I decided to experience later. The article about urban planning was written by someone who spent months reporting it, on a day when some editor thought it was ready, and landed in my feed on a morning when something about the headline caught me. That constellation doesn’t reassemble. Later is a different article.

The tools I use every day are getting astonishing. There are systems that can summarize, translate, recall, explain, anticipate. I use them. I find them genuinely useful.

But there’s a habit of mind they reward — a kind of perpetual deferral of full attention — that I haven’t fully reckoned with. The promise, always, is that you can engage more completely later, once the summary is ready, once the transcript exists, once the notes have been taken. Presence becomes a productivity tax you pay while waiting for a deliverable.

Harada’s haiku doesn’t moralize. The speaker isn’t lecturing herself into awareness. She’s just cold, and awake, and choosing to notice. I savor this moment. The word “savor” does a lot of work. It implies effort. You savor things that could be missed.

The pivot in the third line is what stays with me. One meeting one lifetime. Not “this meeting will last a lifetime” — that would be sentiment. It’s more like a mathematical statement: the cardinality of this encounter is one. There is exactly one of them. This morning, this particular chill, whatever conversation or solitude is happening inside it — that set has one element. By tomorrow it has zero. No amount of documentation changes that arithmetic.

I’m working on believing that.

Categories
Books

The Observer Observed

I first encountered Susan Orlean not in person, but in the ashes. Specifically, the ashes of the Los Angeles Central Library. Reading The Library Book was a masterclass in how to weave a forensic investigation with a love letter to a public institution. It was reportage, but it possessed a beating heart. She has spent decades at The New Yorker perfecting the art of the “curious observer”—the person standing just to the side of the frame, noticing the detail everyone else missed.

That is why picking up Joyride felt different.

In a memoir, the observer must finally step in front of the lens. The transition from The Library Book—which is about the preservation of collective memory—to Joyride—which is about the fluidity of personal memory—is a fascinating shift. When a journalist writes a memoir, there is often a tension. They are used to looking outward, hunting for the story in orchids or arsonists. Turning that gaze inward requires a different kind of bravery.

“A commute has a destination; a joyride has only a duration.”

The title itself suggests a specific philosophy of living. It implies that the movement itself is the point. As I read, I found myself thinking about the difference between navigating a life and simply driving through it. Orlean captures that distinct feeling of the wind in your hair, the blur of the scenery, and the realization that the “plot” of our lives is often just the things that happen while we are busy steering.

We read writers like Orlean not just for what they saw, but for how they saw it. In Joyride, she reminds us that the most interesting routes are rarely the most direct ones. A great read!

Categories
Creativity Inspiration Living Quotations

The Conveyer Belt of Life

Lovely highlight this morning from Rick Rubin: “You might imagine that the outside world is a conveyor belt with a stream of small packages on it, always going by. The first step is to notice the conveyor belt is there. And then, any time you want, you can pick up one of those packages, unwrap it, and see what’s inside.” (Rick Rubin, The Creative Act)

Categories
AI AI: Large Language Models Living Reading

Human vs Machine: The Art of Rereading

Ann Patchett’s observation about the transformative nature of rereading strikes at the heart of what makes literature an endlessly renewable resource.

Like walking through a familiar neighborhood at different times of day or in different seasons, returning to a book seems to reveal new shadows, fresh angles, and unexpected details that were there all along, waiting for us to discover them.

The words on the page haven’t changed, but we bring new perspectives shaped by our own encounters as we live each day. Each major life transition – education, career shifts, parenthood, loss – adds another lens through which we view the world. These experiences accumulate and enrich our capacity to recognize nuance and complexity in what we read. Our changing interpretations become a kind of dialogue between our past and present selves.

This distinctly human rereading experience stands in stark contrast to AI models that process the same text identically each time, unchanged by the passage of time or accumulation of experience. While AI can analyze text with impressive sophistication, it cannot bring the lived experience that makes each human rereading unique and meaningful.

Our ability to find new meaning in old pages is a testament to our capacity for growth, emotional development, and the continuous evolution of our consciousness. Humans FTW!