“One should be in harmony with, and not rebellion against, the strength of the opponent.”
BY MARIA POPOVA
When he emigrated from Hong Kong to America in 1959, Bruce Lee (November 27, 1940–July 20, 1973) adapted the ancient Chinese conceptual martial art Wing Chun into his own version, Jun Fan Gung Fu, literally translated as “Bruce Lee’s Kung Fu,” and popularized it in America. Over the course of his short life, he became not only a trailblazing martial artist but a modern philosopher whose ideas on personal development and the cultivation of character have continued to inspire generations.
On his ascent to superstardom, Lee was too poor to afford long-distance phone calls. Instead, he turned to letters not only as a medium for keeping in touch with his loved ones and collaborators but also as a creative sandbox for fleshing out the ideas that informed his philosophy. Those letters are now collected in Bruce Lee: Letters of the Dragon (public library) — the most direct record of the views, beliefs, and ideals that shaped Lee’s enduring legacy.
In a 1964 letter to Taky Kumura, his first student and one of his dearest friends, 24-year-old Lee outlines the learning process of gung fu. Under the heading “Self-cultivation,” he considers the essential purpose of leisure in spiritual development and writes:
The point where [one is] to rest being known, the object of pursuit is then determined; and, that being determined, a calm unperturbedness may be attained too. To that calmness there will succeed a tranquil repose. In that repose there may be careful deliberation, and that deliberation will be followed by the attainment of the desired end.
Wishing to cultivate oneself, one first rectifies his heart.
Wishing to rectify his heart, one seeks to be sincere in his thoughts.
Wishing to be sincere in his thoughts, one first extends to the utmost of his knowledge — such extension of knowledge lies in the investigation of things.
Only in repose, Lee points out, can the mind begin to investigate the nature of things, empty itself of interferences, and learn not to let external triggers induce internal states of fear, anger, sorrow, and anxiety. He writes of this contemplative space:
A gung fu man rests therein, and because he rests, he is at peace. Because he is at peace, he is quiet. One who is at peace and is quiet, no sorrow or harm can enter; therefore his inner power remains whole and his spirit intact.
Illustration by Maurice Sendak from ‘Open House for Butterflies’ by Ruth Krauss. Click image for more.
Under the captions “NO MIND” and “NO THOUGHT,” Lee adds:
Discard all thoughts of reward, all hopes of praise and fears of blame, all awareness of one’s bodily self. And, finally, [close] the avenues of sense perception and let the spirit out, as it will.
The highest skill operates on an unconscious level.
Sincere thought means thought of concentration (quiet awareness). The thought of a distracted mind cannot be sincere. Man’s mind and his behavior are one, his inner thought and outer expression cannot contradict each other. Therefore a man should set up his right principle and this right mind (principle) will influence his action.
Under the heading “Yielding,” he writes:
Yielding will overcome anything superior to itself; its strength is boundless.
The yielding will has a reposeful ease, soft as downy feathers — a quietude, a shrinking from action, an appearance of inability to do (the heart is humble, but the work is forceful). Placidly free from anxiety one acts in harmony with the opponent’s strength. One does not move ahead but responds to the fitting influence.
Nothing in the world is more yielding and softer than water; yet it penetrates the hardest. Insubstantial, it enters where no room is. It is so fine that it is impossible to grasp a handful of it; strike it, yet it does not suffer hurt; stab it, and it is not wounded.
Illustration by Shaun Tan for a special edition of the Brothers Grimm fairy tales. Click image for more.
Under the heading “Law of Non-Interfering,” Lee elaborates on this philosophy of yielding as an act of strength:
One should be in harmony with, and not rebellion against, the strength of the opponent.
[…]
The strongest is he that makes use of his opponent’s strength — be the bamboo tree which bends toward the wind; and when the wind ceases, it springs back stronger than before.
Writing to his editor at Black Belt magazine on September 2 of that year, Lee draws a graphic representation of this idea and elaborates on the notion of strength and suppleness as complementary rather than contradictory forces:
Just as an object needs a subject, the person in attack is not taking an independent position but is acting as an assistant. After all, you need your opponent to complete the other half of a whole.
The gentleness/firmness is one inseparable force of one unceasing interplay of movement. If a person riding a bicycle wishes to go somewhere, he cannot pump on both [of] the pedals at the same time or not pump on them at all. In order to move forward he has to pump on one pedal and release the other. So the movement of going forward requires this “oneness” of pumping and releasing, and vice versa, each being the cause of the other.
The real object of our love is not outside of us, the real object of our love is ourselves. We have to know how to love ourselves, know how to return to our true nature, to see the wholesome, the good, the true and the beautiful within us. Then we will be able to see that in others.
This we know: all things are connected
Like the blood that unites us.
We did not weave the web of life,
We are merely a strand in it.
Whatever we do to the web, we do to ourselves.
Two weeks ago I had the good fortune to be honored by Mama's Kitchen as one of their Volunteers of the Year. And my Friday Crew went an extra step and bought me a bouquet of flowers. I was embarrassed to be the center of attention and I ended up taking the most awkward picture I've taken since 1976, but I owed it to all of those good people to accept it graciously.
I love this photograph by my friend Troy Davidson. Lots of interesting textures, great foreground, middle ground and background, great light and shadow. And it's an ordinary location. Finding beauty in the everyday is a true gift.
This being human is a guest house.
Every morning a new arrival.
A joy, a depression, a meanness,
some momentary awareness
comes as an unexpected visitor. Welcome and entertain them all!
Even if they’re a crowd of sorrows,
who violently sweep your house
empty of its furniture,
still treat each guest honorably.
He may be clearing you out
for some new delight.
The dark thought, the shame, the malice, meet them at the door laughing,
and invite them in.
Be grateful for whoever comes,
because each has been sent
as a guide from beyond.
This was a great concert! The music by itself as played by the San Diego Symphony was exciting and complex, truly thrilling. It was an expanded orchestra with saxophone, piano, harp, and lots of percussion. The large audience was very much into it, many of them arriving in costume. It was a great evening.
This is the novel that introduces Sherlock Holmes and Dr. Watson to the world. There's an unexpected jump in the middle from London's foggy dampness to the blazing desert of the American Southwest which is really well done. I found this much more engaging than the shorter stories I've read so far.
"You should be angry. You must not be bitter. Bitterness is like cancer. It eats upon the host. It doesn’t do anything to the object of its displeasure. So use that anger. You write it. You paint it. You dance it. You march it. You vote it. You do everything about it. You talk it. Never stop talking it." - Maya Angelou.
“... They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools.” — William Faulkner, The Sound and the Fury
“Anyhow,” said Mrs. Wilkins, stopping her, “I'm sure it's wrong to go on being good for too long, till one gets miserable. And I can see you've been good for years and years, because you look so unhappy”—Mrs. Arbuthnot opened her mouth to protest—“and I—I've done nothing but duties, things for other people, ever since I was a girl, and I don't believe anybody loves me a bit—a bit—the b-better—and I long—oh, I long—for something else—something else—”
I love love love this book. Four women bereft of love, even married bereft of love, in a cold, wet London February go to a medieval castle in Italy in April. Love, along with the flowers, blooms abundantly. Elizabeth von Arnim's touch is light, affectionate and humorous. It's a romantic comedy of manners, similar to Jane Austen, but more kind. It's a hero's journey, stepping out of their comfort zone to find something better. An effective antidote from the ills of the world.
as·per·i·ty/əˈsperədē/
noun; harshness of tone or manner.
“It's queer how out of touch with truth women are. They live in a world of their own, and there had never been anything like it, and never can be. It is too beautiful altogether, and if they were to set it up it would go to pieces before the first sunset. Some confounded fact we men have been living contentedly with ever since the day of creation would start up and knock the whole thing over.” - Joseph Conrad, Heart of Darkness, 1899
This paragraph is a product of its time and the character speaking, to be sure. But it's fascinating to me that the whole thing is equally true if you reverse the genders and change one other word:
“It's queer how out of touch with truth men are. They live in a world of their own, and there had never been anything like it, and never can be. It is too rugged altogether, and if they were to set it up it would go to pieces before the first sunset. Some confounded fact we women have been living contentedly with ever since the day of creation would start up and knock the whole thing over.”
ten·e·brous ˈtenəbrəs/
adjective: dark; shadowy or obscure.
“And in the hush that had fallen suddenly upon the whole sorrowful land, the immense wilderness, the colossal body of the fecund and mysterious life seemed to look at her, pensive, as though it had been looking at the image of its own tenebrous and passionate soul.” - Joseph Conrad, Heart of Darkness.
This volume is a wonderful collection of short novels by authors from the US, Europe, and Russia. These stories give us writers at the top of their profession and the height of their skill and talent. Several, Tolstoy Conrad Faulkner, I intend to read more of. All of them I'm glad I had a chance to experience. Not only are they well told stories on their own, they all illustrate a wider context of the authors' lives and society around them. I especially loved that the editors give us an extended essay about the author and the story at the end of each piece instead of a couple of unsatisfactory paragraphs all lumped together in an introduction. This gives the reader a chance to read the story unbiased and form their own opinion and then fill in and expand that opinion with the details and context of the author's life and career. A pleasure to read.
I don't agree with Albert Camus' existentialist philosophy that it's absurd to look for meaning in life, but I enjoyed this book. Something about the spare, plain language kept drawing me in so I found it easy to read and to return to. Though the protagonist is ammoral, not seeing any difference whether he does or does not do something, the story ends on a hopeful note. He realizes at the end that though the universe may not care whether we live or not, we all get the same thing: we all get a life. Therefore we should be good to each other. And it's possible to be happy in all circumstances.
I read this because it's the basis for the movie "The Adjustment Bureau" which I love. This short story is very short, but it's very good. Time and events being tweaked by government like bureaucrats is a great concept and this story is just a nugget, a kernel, giving us the taste of the idea. I'm glad the writers of the movie took it and ran with it, fleshing it out, giving it the full treatment it deserves.
I loved reading this book. It was one I couldn't wait to get back to when away from it. Growing up in Illinois, state motto “Land of Lincoln,” I've learned about Abraham Lincoln since a very young child and have continued to look for more information as an adult. FYI: the Abraham Lincoln Presidential Library and Museum is very much worth a visit with the whole family, www.alplm.org. Though I'm not a Lincoln scholar this book seemed to remain true to what we know from history of the man. Placing fantasy fiction in a real time and place with real historical figures works for both the author and the reader; the author doesn't have to build an entire universe from scratch and the reader can jump right in to something that feels very real without a lot of explanation. Seth Grahame-Smith does start his story when Abe is a young child with some background on his parents giving the reader a complete story of Abe's life from birth to death.
A story about fighting vampires works really well with the story of fighting slavery. The vampires sucking the blood of enslaved people are a physical manifestation of the wealth and greed that is stealing their life. It also parallels current events in that large multinational corporations are trying to suck up all of the resources and wealth for themselves. And like then, they're lying about what's causing our problems and their real intentions.
The story is episodic and a bit dry at times, but that's a side effect of it being told as real history, like a biography of Lincoln's life. I would have given it 5 stars except that the e-version I read was organized oddly. The Table of Contents for example is at the back of the ebook. There are links to it, the text, a preview of the authors next book, and the copyright page at the front, but expecting to see it in the first few pages I just kept turning pages as if reading a traditional book and started reading when I came to the story. I didn't see the Table of Contents until I got to the end. Also, while reading I kept coming across asterisks that implied notes with more explanation, but there is no indication of where the note is, nothing at the bottom of the page or the end of the chapter. The asterisks are not numbered like many footnotes and there is no Notes page listed in the Table of Contents. Again, it wasn't until I was done reading I came across the Notes page and noticed one of the asterisks might be dark blue instead of black. That's when I discovered that each one is a link that pulls of a pop-up with the Note on it. So if you've got the ebook, know to tap the asterisks as you come across them.