The Book of Delights: Poet and Gardener Ross Gay’s Yearlong Experiment in Willful Gladness
INSPIRATIONAL, 16 Dec 2019
“The more you study delight, the more delight there is to study… I felt my life to be more full of delight. Not without sorrow or fear or pain or loss. But more full of delight.”
“The high value put upon every minute of time, the idea of hurry-hurry as the most important objective of living, is unquestionably the most dangerous enemy of joy,” Hermann Hesse wrote at the dawn of the twentieth century in trying to course-correct the budding consumerist conscience toward the small triumphs of attentive presence that make life worth living, adding: “My advice to the person suffering from lack of time and from apathy is this: Seek out each day as many as possible of the small joys.” Delights, we may call them. And that is what poet Ross Gay does call them as he picks up, a century and a civilizational failure later, where Hesse left off with The Book of Delights (public library) — his yearlong experiment in learning to notice, amid a world that so readily gives us reasons to despair, the daily wellsprings of delight, or what Wendell Berry, in his gorgeous case for delight as a countercultural force of resistance, called the elemental pleasures “to which a man had to be acutely and intricately attentive, or he could not have them at all.”
Each day, beginning on his forty-second birthday and ending on his forty-third, Gay composed one miniature essay — “essayettes,” he calls them, in that lovely poet’s way of leavening meaning with makeshift language — about a particular delight encountered that day, swirled around his consciousness to extract its maximum sweetness. (Delight, he tells us, means “out from light,” sharing etymological roots with delicious and delectable.) What emerges is not a ledger of delights passively logged but a radiant lens actively searching for and magnifying them, not just with the mind but with the body as an instrument of wonder-stricken presence — the living-gladness counterpart to Tolstoy’s kindred-spirited but wholly cerebral Calendar of Wisdom.
Page after page, small joy after small joy, one is reminded — almost with the shock of having forgotten — that delights are strewn about this world like quiet, inappreciable dew-drops, waiting for the sunshine of our attention to turn them into gold.
Patterns and themes and concerns show up… My mother is often on my mind. Racism is often on my mind. Kindness is often on my mind. Politics. Pop music. Books. Dreams. Public space. My garden is often on my mind.
In a passage evocative of those delicious lines from Mary Oliver’s serenade to life — “there is so much to admire, to weep over / and to write music or poems about” — he adds:
It didn’t take me long to learn that the discipline or practice of writing these essays occasioned a kind of delight radar. Or maybe it was more like the development of a delight muscle. Something that implies that the more you study delight, the more delight there is to study… I felt my life to be more full of delight. Not without sorrow or fear or pain or loss. But more full of delight. I also learned this year that my delight grows — much like love and joy — when I share it.
And so we learn, as passengers on Gay’s delightcraft, that it is not just a matter of paying attention, but of taking attention, of deliberately shifting it, of diverting the glycogen that pumps our despair muscle and clenches the fist scanning for danger, for that selfsame glycogen is needed to pump our delight muscle and open the palm to hold joy.
When I began this gathering of essays, which, yes, comes from the French essai, meaning to try, or to attempt, I planned on writing one of these things — these attempts — every day for a year. When I decided this I was walking back to my lodging in a castle (delight) from two very strong espressos at a café in Umbertide (delight), having just accidentally pilfered a handful of loquats from what I thought was a public tree (but upon just a touch more scrutiny was obviously not — delight!), and sucking on the ripe little fruit, turning the smooth gems of their seeds around in my mouth as wild fennel fronds wisped in the breeze on the roadside, a field of sunflowers stretched to the horizon, casting their seedy grins to the sun above, the honeybees in the linden trees thick enough for me not only to hear but to feel in my body, the sun like a guiding hand on my back, saying everything is possible. Everything.
To be sure, this capacity for drinking in the glorious everythingness of the world is rooted in recognizing the immense and improbable elemental delight of one’s own existence — the consequence of what Gay calls “the many thousand — million! — accidents — no, impossibilities! — leading to our births,” that miracle of chance he had contemplated a decade earlier in a wondrous poem. He marvels at the improbable origin of his own delight:
For god’s sake, my white mother had never even met a black guy! My father failed out of Central State (too busy looking good and having fun, so they say), got drafted, and was counseled by his old man to enlist in the navy that day so as not to go where the black and brown and poor kids go in the wars of America. And they both ended up, I kid you not, in Guam. Black man, white woman, the year of Loving v. Virginia, on a stolen island in the Pacific, a staging ground for American expansion and domination. Comes some babies, one of them me.
One of the readiest sources of daily delight comes — predictably, given the well documented physiological and psychological consolations of nature — from his beloved community garden. (Gay is as much a poet as he is a devoted gardener, though perhaps as Emily Dickinson well knew, the two are but a single occupation.) In an early-August essayette titled “Inefficiency,” he writes:
I don’t know if it’s the time I’ve spent in the garden (spent an interesting word), which is somehow an exercise in supreme attentiveness — staring into the oregano blooms wending through the lowest branches of the goumi bush and the big vascular leaves of the rhubarb—and also an exercise in supreme inattention, or distraction, I should say, or fleeting intense attentions, I should say, or intense fleeting attentions — did I mention the hummingbird hovering there with its green-gold breast shimmering, slipping its needle nose in the zinnia, and zoom! Mention the pokeweed berries dangling like jewelry from a flapper mid-step. Mention the little black jewels of deer scat and the deer-shaped depressions in the grass and red clover. Uh oh.
Perhaps the most charming category of delights Gay encounters throughout the year are what he terms “unequivocally pleasant public physical interactions with strangers.” One September day, wandering through a small town in Indiana where he had just given a poetry reading at the local college and where “Make America Great Again” signs glare from an auto-shop selling foreign cars, he records this:
While I was working, headphones on, swaying to the new De La Soul record (delight, which deserves its own entry), I noticed a white girl — she looked fifteen, but could’ve been, I suppose, a college student — standing next to me with her hand raised. I looked up, confused, pulled my headphones back, and she said, like a coach or something, “Working on your paper?! Good job to you! High five!” And you better believe I high-fived that child in her preripped Def Leppard shirt and her itty-bitty Doc Martens. For I love, I delight in, unequivocally pleasant public physical interactions with strangers. What constitutes pleasant, it’s no secret, is informed by my large-ish, male, and cisgender body, a body that is also large-ish, male, cisgender, and not white. In other words, the pleasant, the delightful, are not universal. We all should understand this by now.
A few months ago, walking down the street in Umbertide, in Italy, a trash truck pulled up beside me and the guy in the passenger’s seat yelled something I didn’t understand. I said, “Como,” the Spanish word for “come again,” which is a ridiculous thing to say because even if he had come again I wouldn’t have understood him. He knew this, and hopping out of the truck to dump in a couple cans, he flexed his muscles, pointed at me, and smacked my biceps hard. Twice! I loved him! Or when a waitress puts her hand on my shoulder. (Forget it if she calls me honey. Baby even better.) Or someone scooting by puts their hand on my back. The handshake. The hug. I love them both.
And then there are his parenthetical meta-delights — parentheses applied, in proper Lewis Thomas fashion, as containers of delight, wherein the container itself is delightful. For instance, this:
(A delight that we can heal our loved ones, even the dead ones.) Oh broken. Oh beautiful.
Or this, nestled into his Indiana-small-town experience:
(A feature of the small-town Midwest: a city-hallish building in the center, always with some sad statue trumpeting one war or another. This one had a guy in one of those not-very-protective-looking hats they called a helmet during WWI. He’s carrying, naturally, a gun. Jena Osman’s book Public Figures alerted me to the ubiquity of the gun, the weapon, in the hands of our statues. A delight I wish to now imagine and even impose, given that beneficent dictatorship [of one’s own life, anyway] is a delight, all new statues must have in their hands flowers or shovels or babies or seedlings or chinchillas — we could go on like this for a while. But never again — never ever — guns. I decree it, and also decree the removal of the already extant guns. Let the emptiness our war heroes carry be the metaphor for a while.)
This transmutation of terror into transcendence haunts the book as a guiding spirit. In an early-autumn essayette, drawing on Zadie Smith’s elegant reflections on joy, and on Rilke, and on Edmund Burke and the Romantics, Gay offers the daring theory that joy is “not a feeling or an accomplishment: it’s an entering and a joining with the terrible.” He then tests it in the only laboratory we have for our life-theories — our own being-in-the-world:
I dreamed a few years back that I was in a supermarket checking out when I had the stark and luminous and devastating realization — in that clear way, not that oh yeah way — that my life would end. I wept in line watching people go by with their carts, watching the cashier move items over the scanner, feeling such an absolute love for this life. And the mundane fact of buying groceries with other people whom I do not know, like all the banalities, would be no more so soon, or now. Good as now.
Among the most beautiful things I’ve ever heard anyone say came from my student Bethany, talking about her pedagogical aspirations or ethos, how she wanted to be as a teacher, and what she wanted her classrooms to be: “What if we joined our wildernesses together?” Sit with that for a minute.
It astonishes me sometimes — no, often — how every person I get to know — everyone, regardless of everything, by which I mean everything — lives with some profound personal sorrow. Brother addicted. Mother murdered. Dad died in surgery. Rejected by their family. Cancer came back. Evicted. Fetus not okay. Everyone, regardless, always, of everything. Not to mention the existential sorrow we all might be afflicted with, which is that we, and what we love, will soon be annihilated. Which sounds more dramatic than it might. Let me just say dead. Is this, sorrow, of which our impending being no more might be the foundation, the great wilderness? Is sorrow the true wild? And if it is — and if we join them — your wild to mine — what’s that? For joining, too, is a kind of annihilation. What if we joined our sorrows, I’m saying. I’m saying: What if that is joy?
Complement the infinitely delightful Book of Delights with poet Mariahadessa Ekere Tallie’s lovely picture-book about happiness as a daily practice of noticing and Michael McCarthy’s meditation on nature and the serious work of joy, then revisit Bill T. Jones’s spellbinding Universe in Verse performance of one of Ross Gay’s poems.
Brain Pickings is the brain child of Maria Popova, an interestingness hunter-gatherer and curious mind at large obsessed with combinatorial creativity who also writes for Wired UK and The Atlantic, among others, and is an MIT Futures of Entertainment Fellow. She has gotten occasional help from a handful of guest contributors. Email: firstname.lastname@example.org
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