Occasionally, upon witnessing some great athletic performance, hearing some beautiful music, or viewing some astounding work of art, I think to myself, “wouldn’t it be great to have some discernible talent?”
Of course pure, raw talent is exceptionally rare. For the most part, any remarkable performance is the culmination of an immense amount of work. Malcolm Gladwell popularized the the 10,000 Hour Rule, the idea that greatness (in performing arts, computer programming, or whatever) requires 10,000 of practice.
But 10,000 hours of practice is not simply 10,000 hours of practice. It is also 10,000 of not doing something else. Every hour in the gym, the library, or the studio is an hour not spent with family, or relaxing, or anything else. The sacrifices made to achieve greatness are more than the 10,000 hours of practice, they are also the 10,000 not not practicing. We can see the hours of training, but what we can’t see may be more important in the long run.
Beer of the week: Green – The brewers at Tree House Brewing Company must have put in their 10,000 hours because Tree House is one of the hottest names in beer. Green is one of their many renowned IPAs. Green is cloudy, practically muddy, and pours with a big, rocky head. The aroma is hop-forward with some tropical fruit notes. The beer is smooth and creamy with hints of citrus and pineapple and a lingering taste of orange. Green is an excellent IPA.
Reading of the week: First Sorrow by Franz Kafka – I almost wrote that this very short story is about a trapeze artist, but I am never sure what Kafka stories are really about. The main character of the story is a trapeze artist who “never came down from his trapeze by night or day . . . from a desire to perfect his skill.” That’s one way to rack up 10,000 hours quickly.
Question for the week: Can greatness coexist with balance? Or must the great (in any field) have some off-setting deficiency, such as in family life?
Many years ago, I found myself in an off-campus student apartment late at night. The evening had started with cheap keg beer, had proceeded to cheap Canadian whiskey, and, eventually, dumpster-dived Trader Joe’s orange juice. (The OJ was excellent and expiration dates are a lie.)
Anyway, I was in an unfamiliar apartment, with a few people whom I had only just met. I was sitting in a lounge chair. It’s owner, for some reason, decided that the time was right to inform me that his mother had died in that very chair. I was not horrified by the information, but I was fairly rattled by the next sentence:
“My father looked at me and said, ‘We’re finally free.’ ”
In the moment, the idea of a loved one’s death as liberating did not make any sense to me. This appeared to me to be the “monstrous joy” in Kate Chopin’s The Story of an Hour; the perverse realization that another’s death can brighten our own prospect for happiness. And the joy is all the more monstrous because it is so plausible. One simply must deny that there can be any joy in the passing of a loved one, yet there are so many ways in which such an event may be liberating.
But all these years later, I see how little I understood of the situation. I finally appreciate that the statement “we’re finally free” is not the same as “I am glad she’s dead.” I also understand that the “we” in the father’s statement may have included the mother. If she had suffered from a long and painful illness, she may have been freed by the “sweet release of death.”
My own shock on hearing the story was in large part because I have been so lucky with respect to the health of my loved ones. I had not witnessed a long, slow deterioration of health, or even been affected by any untimely deaths. I do not know now how I will react to any given loved one’s death, but I hope that I will not judge myself harshly for my own response. Whether I weep for days or laugh at all of the fun times we had, grief (like death itself) is not something to be planned.
Beer of the week: Zipline Copper Alt – This dark amber altbier comes from Nebraska’s Zipline Brewing Company. It has a nice, rocky head that fades quickly but leaves some noticeable lacing. The aroma has sourdough hints. The label says to look for chocolate and hazelnut notes, but I only get the hazelnut. This beer is a good find.
Reading of the week: The Story of an Hour by Kate Chopin – I don’t want to spoil this excellent story here, so I will only quote from the first line: “Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband’s death.”
Question for the week: Is there a “wrong” way to grieve?
A popular trend in American brewing is packaging beer in 19.2 ounce cans, known as stovepipes. Naturally, the first time that I saw that size, I was somewhat perplexed. And no intuitive explanation for the 19.2 figure presented itself to me.
Of course, the internet had the answer for me: 19.2 American fluid ounces is (approximately) equal to one imperial pint. Because an imperial pint is about one-fifth larger than an American pint, stovepipe cans are popular at sporting events, concerts, and the like, where patrons are keen to minimize time in the beer line.
When I learned that stovepipe cans are actually imperial pints, I had two distinct revelations. First, a scene from George Orwell’s 1984 suddenly made sense to me. Second, Australian drinking habits began to seem (slightly) reasonable.
First, in 1984, there is a scene at a bar in which an old man is perturbed that beer only comes in liter or half-liter glasses. He repeatedly orders a pint, only to be told that the barman–raised after the adoption of the metric system–has never heard of pints, quarts, or gallons. The old man complains that “a ‘alf litre ain’t enough. It don’t satisfy. And a ‘ole litre’s too much. It starts my bladder running. Let alone the price.” This struck me as odd when I read it long ago. To me, half of a liter has always been more than a pint, not less. In America, a liter is just a bit over two pints. But a liter is somewhat less than two imperial pints; each imperial pint is 0.57 liters or thereabouts. So the old man seems to have a legitimate complaint about his beers being more than two imperial ounces smaller than they used to be.
Second, when I was staying in Australia, I found that bar patrons generally did not buy draft beer by the pint. Rather, they drank rounds of smaller beers. The explanation offered to me was that a pint is a just a bit too large a unit. Being familiar only with American pints, I found this odd. Now that I know the Australian pint is about 19.2 American fluid ounces, the explanation for the smaller beers seems more plausible. (Of course, the people I drank with never had just one round, so ordering smaller beers generally smacked of inefficiency.)
My bemusement on this point was multiplied by the puzzling names for the variously sized smaller beer glasses; Australian glass sizes make Orwell’s Newspeak seem comparably reasonable. All of the sizes are officially in milliliters, but are clearly intended to approximate imperial ounce units (for example, beers of about 7, 10, or 15 fluid ounces are common.) But nobody calls the glasses by their actual (metric) or approximate (imperial) volumes. Rather, Australians employ names such as schooner, pot, or middy. And these names also vary from place to place, making it extra hard to know how much beer one may receive at any given bar across the land. For example, a South Australian in Brisbane may be pleasantly surprised when he orders a schooner, and gets 1.5 times as much beer as he expected. And virtually any traveller to Adelaide would be distressed to order a pint and receive only 15 imperial fluid ounces–five fluid ounces less than an imperial pint and some 1.5 American fluid ounces less than an American pint. Anybody planning on visiting Australian public houses should consult Wikipedia’s helpful chart on the subject.
Finally, although not in the nature of a realization, I wonder why the brewers stopped at 19.2 ounces and didn’t push right up to twenty. The 19.2 figure seems somewhat affected when compared to 20. Twenty is such a fine, round number. And 20 ounce beers are already popular at bars and taprooms across the United States, many of which offer 20 ounce pours.
A 19.2 ounce can of beer in America is appreciably more than a half liter and significantly short of a liter. It is also the same as a pint in Australia (with the exception of Adelaide.) It is equal to two pots of beer (in Brisbane or Melbourne) and is larger than a schooner by one-third. And finally, it is (to nobody’s great surprise) 3.2 ounces more than an American pint, and .8 ounces shy of a 20 ounce draft.
Beer of the week: Dragons Milk – This popular bourbon-barrel-aged stout comes from New Holland Brewing Company in a bomber bottle, a popular size for craft beer bottles. At 22 fl. oz., bombers are a fair bit more voluminous than stovepipe cans. But it’s not just size that counts. Dragon’s Milk is 11% alcohol by volume, and the alcohol is clearly noticeable in the taste and aroma. There are also notes of coffee and caramel. Dragon’s Milk is extremely smooth. The whole experience is like a not-too-sweet malted milkshake. It is so rich and boozy that I wouldn’t recommend having much more than one 22 oz. bomber (or a couple American pints or a brace of schooners or a half liter or a few pots…) in one sitting.
Reading of the week: An Essay towards a Real Character and a Philosophical Language by John Wilkins – The principle purpose of this essay is to propose a universal second language. However, this excerpt discusses the related notion of a universal and rational system of measurement, . Although he suggests specific units, Wilkins . He also suggests, but does not press, the notion that we should abandon decimals for octals, because an octal number system is particularly well suited to the mathematical process of bipartition.
Question for the week: What is the best size for a beer?
“For my part, I travel not to go anywhere, but to go. I travel for travel’s sake. The great affair is to move; to feel the needs and hitches of our life more clearly; to come down off this feather-bed of civilization, and find the globe granite underfoot and strewn with cutting flints,” writes Robert Louis Stevenson in his Travels with a Donkey in the Cévennes.
Night is the best time to be in the forest or in the field, away from the city and its restless denizens. “Night is a dead monotonous period under a roof; but in the open world it passes lightly, with its stars and dews and perfumes, and the hours are marked by changes in the face of Nature… All night long [the man who sleeps afield] can hear Nature breathing deeply and freely; even as she takes her rest she turns and smiles.” With some cold beer and some fine weather, a man could do far worse than to spend a night far from the city. Which is why I am going camping this weekend.
Travels with a Donkey describes Stevenson’s 12-day hike across the mountains of central France. I will have to settle for a weekend at a state park, and a few hours of highway driving to get there and back. So what if Stevenson’s trip has the advantages of greater leisure and more picturesque environs? I have the edge in a very important respect; while his trip was made in solitude, mine will be in “solitude made perfect.”
Stevenson lamented, “even while I was exulting in my solitude I became aware of a strange lack. I wished a companion to lie near me in the starlight, silent and not moving, but ever within touch. For there is a fellowship more quiet even than solitude, and which, rightly understood, is solitude made perfect. And to live out of doors with the woman a man loves is of all lives the most complete and free.”
Beer of the week: Melt My Brain – This beer comes from Short’s Brewing Company in Michigan, and from the word “go”, it was sure to be unique. The can advertises a “golden ale brewed with coriander, juniper berries and lime, with tonic water added.” It is the lime and the tonic that predominate, at the expense of the beer itself. The beer pours a very pale and slightly hazy yellow. Lime leads the aroma. The first note on the tongue is sticky sweetness. The sweetness is cut as the flavor develops, first by the tart lime and then by the lingering bitterness of piney hops and quinine. I can’t help but think that the tonic water is a big mistake; it adds way too much sugar. And, although I appreciate the distinctive bitterness of the quinine, I suspect that lime zest and/or more hops could be employed to similar effect. Or they could add quinine rather than whole tonic. (By the way, if you think that a G&T is a low calorie alternative to other cocktails, think again; tonic water has nearly as much sugar as a regular soda pop.) I appreciate the innovation, but Melt My Brain just is not for me.
Reading of the week: Travels with a Donkey in the Cévennes by Robert Louis Stevenson – In this portion of the book, Stevenson describes a beautiful night spent sleeping in a pine forrest. His bespoke sleeping bag was made of “green waterproof cart cloth without and blue sheep’s fur within,” and he woke in the middle of the night to smoke a cigarette and study the color of the night sky. Almost makes me wish I smoked.
Question for the week: Does camping sharpen our appreciation for home, the way that Plato claimed we can only appreciate comfort by being relieved of some discomfort?
Back at in the beginning of April, I wrote a post about memorizing poetry. Over the first three months of this year, I memorized six poems. I am proud to report that I have kept up the pace, and memorized another six poems during Q2.
To celebrate the beginning of baseball season, I started with Casey at the Bat. Then, to go with the return of Game of Thrones, I memorized Fire and Ice by Robert Frost. For those not in the know, the book series that Game of Thrones is based on is known as A Song of Ice and Fire. Frost’s poem about the world ending in either fire or ice was an obvious poem to ponder as GOT wrapped up.
For Mothers’ Day, I memorized Morning Song by Sylvia Plath, a charming poem to her newborn baby. I finished May with We Real Cool by Gwendolyn Brooks. I had been meaning to read more Brooks ever since I attended a lecture by the archivist who is painstakingly working through the poet’s extensive personal notebooks. (Among other things, Brooks recorded everything she ate every day.)
After some thought about what poets were most interesting to me as a child, I decided to memorize Shel Silverstein’s Sick in June. I have always loved humor, and the ability to tell a joke in verse is a tremendous skill. Harlem by Langston Hughes rounded out the first half of the year. And the beginning of summer seems as good a time as any to ponder “a raisin in the sun.”
Compared to the poems I memorized in the first three months of the year, these poems are generally more modern and are mostly shorter. (Casey at the Bat is by far the oldest and the longest of the six.) I certainly have a soft spot formal old poetry, but the structural variety of the poems from these past three months has been a very fun change of pace.
In the first quarter of this year, I memorized three British poems, one Mexican, one Canadian, and one Australian poem. The second quarter accidentally became a study of relatively modern American poetry. The first five poems of the quarter were only American by happenstance. But once I realized what had happened, I specifically chose Harlem as the sixth straight American poem to memorize.
Beer of the week: The Big O – This cloudy wheat beer is brewed by Wisconsin’s O’so Brewing Co. It is bready and delicious. The label made me expect more citrus flavor, but there is not much to speak of. The beer is neither especially sweet nor especially tart. Not that that is a problem; The Big O simply tastes like a very good wheat beer.
Reading of the week: Fire and Ice by Robert Frost – There are a lot of considerations that go into the choice of this poem for this week’s reading. As alluded to above, the end of Game of Thrones was culturally significant, even if you hated how it ended. The battles of ice versus fire and desire versus hatred are deeply embedded in the way we think of the world. Secondly, the weather is finally hot after a cold, wet spring; fire has finally asserted itself over the ice. Lastly, and most importantly, Fire and Ice is not under copyright. With the exception of Casey at the Bat, which was a reading of the week a couple months ago, none of the other poems that I memorized this quarter are in the public domain.
Question for the week: Who is your favorite American poet?
My current job forces me to think of the year in terms of quarters. I am glad to report that Q1, which ended this past week, was very productive. Not at work, necessarily, but in the ways that matter.
For one thing, the Major League Baseball regular season started during Q1. This year was the earliest opening day yet. (To be honest, I still believe that March baseball should be played in either Florida or Arizona. I shouldn’t be able to watch a regular season ballgame and then have to shake snow flurries from my hair the same night.)
More importantly, I have stuck with my new year’s resolution though the first three months of the year. This year, I resolved to memorize two poems a month. It has been an enriching and very pleasurable experience. And, because I have made a habit of reciting the poems to myself as I walk to and from the train during my work commute, the project has not been a drain on my time.
January, I memorized Ozymandias by Percy Shelley and Clancy of the Overflow by Banjo Paterson. In the 2018 film The Ballad of Buster Scruggs, there is a character who performs dramatic recitations of Ozymandias. I’m not sure that is why I chose to start with that poem, but it seems possible. I chose Clancy because Banjo Paterson has been a favorite poet of mine for a long time.
In February, I memorized Dos Cuerpos by Octavio Paz and The Mouse’s Petition by Anna Laetitia Barbauld. After January went so well, I wanted to stretch myself a bit by memorizing a poem in Spanish. I consulted with a bilingual friend of mine who studied poetry in college. My requirements were that the poem be good, short, and have a manageable vocabulary. (After all, it is well over a decade since my last high school Spanish test.) Dos Cuerpos fit the bill. I read The Mouse’s Petition for the first time last year, and was very taken with it. Aside from the obvious merits of the poem itself, I have been very interested in Joseph Priestly and his experiments since my freshman chemistry classes.
To end the first quarter of the year, I memorized If— by Rudyard Kipling and The Quitter by Robert W. Service. If— is probably my favorite poem of all-time. And as a new father, it has taken on additional significance to me. (Also, The Simpsons did it!) The Quitter was chosen as a follow-up to If— because it is very similar in both tone and message. In fact, if I were to call Robert Service “the poor man’s Kipling,” I would probably not be the first.
Overall, I am very pleased with myself and my choices. I cannot help but believe that memorizing poetry is good for the mind and the soul (if those are different things.) I like to think that I have made a good start on a habit that I will keep for years to come. Maybe next year I will memorize famous speeches. But there is no need to get ahead of myself now; I’ve still got three quarters of 2019 to go.
Beer of the week: Son of a Peach – This unfiltered wheat beer from South Carolina’s RJ Rockers Brewing Company is brewed with Carolina peaches. It is peachy, but not overly sweet. The wheat and a hint of vanilla in the finish reminds me of peaches & cream oatmeal. I rather enjoy this beer.
Reading of the week: Casey at the Bat by Ernest Thayer – Now that baseball season is upon us, I’ve decided to memorize Casey at the Bat. It is undoubtedly the best poem ever written about baseball, and arguably the greatest piece of American comic verse ever written.
Question for the week: Excluding song lyrics, what is the longest written work you have ever memorized?