On Literary Heroes

This week has seen the passing of two of my literary heroes: Cormac McCarthy and Robert Gottlieb. This essay will serve as an inadequate eulogy to two people who have, in different ways, shaped my recent literary tastes and sensibilities.

Cormac McCarthy is today celebrated in the public mind mainly for his Pulitzer Prize-winning novel, The Road, which depicts a father-son relationship in a harrowing dystopian world.

But the core of his oeuvre, and I think what will make his legacy truly lasting, is what I think of as his “cowboy” novels – the Border trilogy (which is made up of All The Pretty Horses, The Crossing and Cities of the Plain), No Country for Old Men, and what many consider to be his masterpiece, Blood Meridian.

All these novels have a shared style and mood: taciturn protagonists, terse dialogue, stark depictions of nature and beauty, and an almost tyrannical approach to punctuation (no quotation marks, no semicolons!)

The distinct style of Cormac McCarthy’s novels have often been described as “cinematic”, which probably explains the profusion of Hollywood productions that have been based on his novels: the Coen Brothers’ No Country for Old Men, The Road featuring Vigo Mortensen, All The Pretty Horses featuring Matt Damon.

Sometime late last year, his final two novels were published, a twinned publication of Stella Maris and The Passenger. I was not impressed by the novels on the whole, sadly: the digressions on mathematics and physics were fascinatingly geekcore, but the fantastical elements felt like a warmed-up version of Blood Meridian’s Judge Holden, and the supposedly-unspeakable love at the core of the story did not feel entirely fleshed out or believable. This does not, of course, detract from Cormac McCarthy’s legacy – I still believe he is one of the most important novelists in the English language of the late 20th and early 21st century.

Robert Gottlieb, in contrast, lived a life mostly in relative obscurity, even though, in the literary world, he is a veritable rockstar. The list of those who have benefited from his wise editing is littered with household names and acclaimed authors: Joseph Heller, Toni Morrison, John le Carré, Michael Crichton, Robert Caro, Doris Lessing. He was editor of the New Yorker. And he had an unexpected side gig as a longtime member of the board at the New York City Ballet.

I encountered Robert Gottlieb for the first time some years ago, when copies of his memoirs, Avid Reader, hit the shelves of my local bookstore. It still remains emblazoned in my mind that he had finished all seven volumes of Proust over the course of one week while in university!

Both of these men, in their lifetimes and in their own way, changed the ways in which people see the world. The community of readers across the world, of whom I consider myself to be an enthusiastic member, will mourn these men and cherish their legacies.

On One Hundred Days

One hundred days ago, I started writing again – egged on by some unnameable djinn of my unsatisfied youth. I took pencil to paper (occasionally, but more frequently, digits to keyboard) and started writing again – rediscovering the undulating joys and sorrows of words, like an old sailor rowing his small dinghy past the crags and coastlines that he once knew well.

I say “rediscover”, because for a brief period in my youth, this was all I ever wanted to do – to read joyfully, and to write soulfully: to breathe in the mysteries of the universe, to bask in the crypticism of existence, and to exhale outwards for others whatever small particles of wisdom I was able to assemble from the dustmotes of Life.

What can I say? Many years came in between myself and I – years filled with the longing for warm embraces and silent kisses, for the hollow thrill of rising in the estimation of one’s peers, for the sheer and desperate act of merely staying alive. Many years of wanting to start, some days of actually starting, and on those rare days, being quickly embarrassed into silence by my own sense of futile ambition.

Then one day, I started writing again. And again. And again. Each time, I would tell myself, quietly and firmly: this is for yourself. No one but yourself. Because we are all silently rowing our own little small dinghies in the darkness of being alone – every word, every sentence, every exhalation is a furious defiance of the inexorability of Time, to say I exist, dammit!

I breathe in again. Breathe out. Inhale. Exhale. Repeat, every day, every week, every year, evermore.

On Writing Everyday

The other day, a friend of mine asked, “Where you find the time to write/update your blog on a regular basis?? Kasi tips sikit!”

I was tickled by this question, because of course writing is writing – you just pick up your pen (or keyboard, choose your poison) and write away. 

But then, upon further reflection, I realised that my friend did have a point: after sporadic bursts of writing for more than a decade (and when I mean sporadic, the gap between my writings were usually numbered in months, even years!) I have finally gotten into a regular rhythm of writing. It may not necessarily be elegant or beautiful writing (though I do aim to write well, or at least, progress towards eventually writing better as I get more practice), but this morning I checked my Jetpack app, and it greeted me thus:

“You’re on a 46-day streak on Essays / Esei!”

Astounding, even to me, because this must surely be the most sustained period of public writing I have ever managed in my life. 

Of course, I have been writing almost daily in my journal for almost a decade now, but this bout of public writing is a recent phenomenon. I would say two things have spurred this recent turn.

The first is reading Montaigne’s Essays. (Yes, my current blog title is directly inspired by that legendary Frenchman.) Writing in a time of great religious and political upheaval, Michel Eyquem, Sieur de Montaigne retired from the turbulent politics of his day to take refuge in his castle and in his books, and began writing a series of essays that has not only enshrined him in the literary canon of the West, but has also inspired legions of similar writings across the centuries, including Francis Bacon and every other blogger today. Presaging the Renaissance, Montaigne made it an explicit aim to focus on himself as a subject of writing – glorying in his own joys and sorrows, his own rationalities and idiosyncrasies. He wrote about friendship and learning languages and parenthood and wisdom and literature and heroes and simple folk and fame and memory and marriage and death. He was certainly the world’s first true essayist, and reading Montaigne today, even in translation, would remind us of how modern his thinking was. Those of us grappling with issues of burnout and consumerism and the meaning of life, would find ourselves nodding vigorously, as I did, on reading Montaigne’s prognostications.

Reading Montaigne (the present continuous tense applies here – I am probably still only a quarter of the way through his voluminous writings) is inspiring to me. I have always wanted to write, and I have always known, since childhood, that I had it in me to write. Certainly not Shakespearean or Proustian levels of writing, but I have stories that I want to tell – like many of us. 

It just always baffled me, the art of writing: I would have moments (usually during holidays, when my mind suddenly has the space to roam, outside of the daily strictures of corporate life) when I would be inspired to write about something, or even struck by the idea of a grand writing project – a memoir, perhaps, or a novel in verse about Malaysian politics. As my own paltry output would testify, these were often mere angan Mat Jenin that would take root in my imagination, but die ignominious deaths, out of a lack of any real tangible action. 

The problem is that the blank page would always stare at me, almost taunting me: Kau siapa, nak tulis semua ni? Apa kau tau? My own insecurities and lack of courage would embarrass me into silence.

And this is where the second point of inspiration came along. One evening, several weeks ago, while glancing at the permanent pile of books hidden underneath our coffee table in the living room, I glanced at a copy of Carl Roger’s On Becoming A Person. I think I must have just finished a rather well-written book, because my common and ineluctable pattern is that right after reading a particularly satisfying book, I get into a restless and rather flailing mood. Gratified by the recent high of beautiful and profound writing, I would be casting around for another bout of the same intellectual and spiritual high. Often, after reading a very good book, I would be going through one book after the other, flitting through several pages, and eventually casting off one book for another, dissatisfied at not being presented with yet another magnificent read. (I know, it’s rather sad.) 

So it was in this mood that I discovered Carl Rogers, and sat down to read through his philosophy of client-centred therapy. His approach, apparently radical for his time, was almost laughably simple: he believed that the main task of the therapist is to provide a safe and non-judgmental space for the patient to fully express herself, to find within themselves the courage to try to live out their own unique individual self. Carl Rogers taught me, as he has certainly taught many others, that the path towards truly living is to have the courage to explore one’s own authenticity, and to embrace all sides of one’s self: the good, the bad, the sad, the happy, the glorious, the mean, even the most shameful parts of who we are. Being truly human is to accept our humanity, in all its ineffability.

I have written about Carl Rogers earlier, and I should not belabour the point. But what reading Carl Rogers did to me, was to encourage me – literally, to give me courage – to embrace who I am, and to decide: I want to make this journey towards better acceptance of who I am. And I want to use my writings as a means to explore this. 

And so I picked up my blog, which has been around since, oh maybe 2012, but had lain fallow through long periods of abandonment, and I promised myself: whatever and however my day would be like, I would make it a point to find time through the hours and days to make sure that I write enough to be able to publish something, every day. It would be wonderful if every day I could publish something profound and meaningful and elegant and beautiful – but if on some days, or many days, I don’t, that would be okay. I just need to write, and use that space to discover who I am, and this world that I live in. 

So that’s it. That’s the “tip”. I simply decided that of all the things in my life, this exercise in writing would take precedence, and be up there in my list of daily priorities, like taking a shower every morning, and praying five times a day (not always succeeding on this one, tapi bro cuba), and telling my wife everyday that I love her. And part of achieving this is also to let other, less important things, drop out of your life. I try to cut out TV and Netflix from my life. No more computer games – even Marvel Snap and Mini Metro get little time on my calendar now. I don’t go out much at night, except to have dinner with close friends and family, and even in that latter, it is mostly just spending time with my wife. I get into bed around 10, often even earlier. 

It’s nice to know that it’s been 46 continuous and unbroken days of trying to write more honestly, more openly. In the same way, I am trying to be more honest, more open with my own self. To accept my failures and disappointments, as much as I take comfort in my “achievements”, however grand or meek they may seem in the eyes of others. 

Some years ago, bereft in what was certainly depression, feeling disappointed at how my life had turned out, I took refuge in a series of books about palliative care and mortality. I remember reading the final pages of Paul Kalanithi’s When Breath Becomes Air, tears streaming down my face at two in the morning. I came out of that particular period of reading with a determination, almost grim in its steely grip, of wanting to learn how to live well, so that I could die well. I wanted it so that when I finally come to the final moments of my life, I can look back at a life well lived. 

These writings are part of that project, and perhaps that also explains the tenacity of these past few weeks. To use the much-loved metaphor of a much-beloved mentor of mine, if this is my “Game of the Impossible”, then I want to play it well. I want to be present for every inning that each new day presents to me. 

And this is how I find time every day to write. 

On the Books I Would Write if I Had All The Time in the World, Part I

A random assortment of the titles of books I would write if I was independently wealthy enough to just spend all my days writing books:

1. The Trip: From Kuala Lumpur to Oxford in the Summer of 2018

2. UMNO: A Biography of Malaysia’s Grand Old Party

3. Kanun Sastera Melayu: Menelusuri Khazanah Persuratan Bangsa dari Tun Seri Lanang ke Usman Awang

4. Sakau: How Najib Razak Destroyed Tun Razak’s Legacy

5. The Tattered Hibiscus: Poems on and about Malaysia

6. Reformasi, 1998-2022: Suatu Penilaian

7. Tan Sri Asri Muda: Sebuah Biografi Politik dan Peribadi

8. The New Economic Policy: Achievements and Failures in Malaysia’s Bumiputera Policy

9. How I Learned to Stop Worrying About Other People and Pay Attention to the Prospect of My Own Impending Death

10. Essays: A Decade of Writing, 2023-2033

Today’s Reads VII – Student Loan Financing, the Papaya, and Bad Writing

  1. This is an interesting model for student loan financing. Are there more institutions / countries out there that employ this model? The moral hazard risk looks real enough; I’d be keen to see implementations in which the risks are mitigated… #education #financing
  2. The power of the humble papaya! It is gratifying to see the endless ways in which our natural environs can be repurposed for good 🙂 #papaya #beauty #FT
  3. I knew it!!! All this time, lawyers make you think that their contracts are incomprehensible because we lack “legal expertise”… turns out they are just bad writers LOL #law #contracts