“At 60, one starts to get young,” said Pablo Picasso, “but by then it’s too late.”
I’m beginning to fathom what this French rascal meant.
Because it now takes me a good part of the morning just to rev up: to discharge all the night’s clogged phlegm, scrape off the rheumy crust from my sleepy eyes, straighten my spine, my thinning hair and unruly eyebrows, ensure all my frostbitten toes are still there, and patiently stand over the toilet bowl watching my piss trickle slower than it takes coffee to percolate. By that time, I’m already tired, a good part of the morning is shot, and I’m close to calling it a day. My biggest fear, I’ll say, is that my decaying body won’t keep pace with my youthful spirit that keeps stamping the ground like a hotblooded bull.
Brazilian writer Paulo Coelho said age only slows the rhythm of the man who never dares walk on his own two feet. In other words: the man who doesn’t live true to himself and so leads an inauthentic life. Still, while I have proven this to be true, my two feet are getting weary and are having trouble keeping up with the frenzied pace I have purposely given my life for almost eight years now.
Back then, at the start of this new chapter in my life, I took one look at the span between the end of my childhood and my present and realized that most of those thirty odd years had elapsed under the implacable weight of tedium; that hulking monster who Spanish writer Luis Landero says approaches by drumbeat in a slow parade with his ashen face and lugubrious retinue of phantoms to officially shut down a life with the death lock of monotony. In a panic, I also recognized that my hourglass was more than half empty which lent the urgency of the terminally ill to whatever time I figured I had left.
It doesn’t take much to remind me what a mayfly I am… what a soap bubble floating over a children’s party. — ‘Memento Mori’ by Billy Collins
Few people live this way. They squander their time as if death were nothing but an unfounded rumor. There you are, in your prime… late twenties, early thirties perhaps, looking ahead at half a century of wonderful experiences until a ghoul shatters your fantasy; a pandemic, say, which does not discriminate between young and old. If you are wise and humble, you are seized with a sudden terror when realizing your half century is nowhere near guaranteed.
My own anxiety flared hotter while sifting my memories and recognizing there were experiences which would never again repeat themselves.
One of the greatest betrayals of our illusion of permanence, one of the sharpest daggers of loss, is the retroactive recognition of lasts. — Maria Popova
I recalled the last time I had been spellbound by the shocking iridescence of a Blue Morpho butterfly weaving through the white-blossomed coffee trees in my native country when I was about ten years old. The last daring dive I took from a cliff into the bracing waters of the most magical lake in the world. The time my daughters last took turns on my back and rode me like a prancing pony across the living room carpet. Unrepeatable moments… the sharpest daggers of loss.
Then and there, at age 54, I vowed to fall in love again — with life — and relish every single moment and experience as if they were my last. To do that, I needed to recover my childhood’s sense of wonder, awe, and delight.
First, I knew I had to disrupt the linear relationship between expense and value, seeing I had spent fortunes in the past on stuff without deriving much meaning or delight. In this realm, children have it licked, having two advantages as says philosopher Alain de Botton: “They don’t know what they are supposed to like, and they don’t understand money, so price is never a guide of value for them. Now, the little money I have, I invest on experiences, not things.”
Next, I needed to see the world with fresh eyes, like children and artists do, for whom everything is relevant and little goes unseen. And for that, I had to train myself to forget the names I once used to label things.
An ‘ordinary’ old tree, then, would cease to be nothing but a ‘tree,’ but also a woodland elder, whose rugged bark, under my caress, could feel like the sagging skin on my father’s back. The moon would cease to be nothing but a dead rock floating in space, but also the poetic beacon for starstruck lovers or the lighthouse of melancholy. Wind not just wind, but the lofty carrier of sighs and seeds. Everything had to become unfamiliar and extraordinarily uncommon.
The whole conception of the normal, the average, the commonplace, is due to a significant mental disease, said English author John Cowper Powys, adding that the most unphilosophical, irreligious and immoral word in the English language is the word “commonplace”.
Along with fresh eyes, I also had to train my apathetic soul to feel anew.
“It’s useless to try to feel new things without feeling them in a new way,” said Portuguese poet Fernando Pessoa. “For things are what we feel they are, and the only way for there to be new things… for us to feel new things, is for there to be some novelty in how we feel them.”
I decided to move “out of my mind” to get lost in sensation. I willfully awoke my numbed senses to the world and began to savor the fresh rain inside blueberries, to imagine a sugarcane field in every spoonful, to hear a beehum in a drop of honey and taste in an apple the summer and snows, the wild welter of Earth and the insistence of sun, as poet D.H. Lawrence said was necessary to live in blissful awareness. Lovemaking became a metaphor; an erotic ritual; a ceremony; raw animal sex transfigured by my imagination. I became voracious, lustful, uninhibited, incandescent, and wild!
Learn to Tango, the most erotic dance in the world. You will shed the crippling binary neurosis of Western modernity whereby in matters of body and mind we are either intellecting or having sex. — Kapka Kassabova
It was as if I had awoken a caged beast inside me who clamored for release, so I decided to record his stentorian tumult and logorrheic yearnings in my Memoir:
“I want to carry thunderbolts in my hands. My blood to burn. Dance barefoot in mud while drinking rain. Pluck a slippery fish from an icy stream with bare hands and tear its flesh with my teeth. I want to swim in the ocean and not bathe for months. Push massive boulders down steep, rugged mountains. Prance and lock horns with goats in the Alps. Punch a white shark on its snout and watch it sink, cross-eyed into the abyss. I want to shoot a spear through the black heart of a crow. Women to cower when I look at them with rapacious eyes with the radiance and intensity of stars. I want orgasms like Supernovas! I want to crush pungent leaves and rub them all over my body; I don’t want to smell like soap but loam. I want to throw my shoes into a lake and never retrieve them. I want my flesh to be lacerated by branches, dirt and grime under my nails, fungus eating away at my toenails, heels like sandpaper, and yank snakes from my nostrils. I want to slap the young to wake them from their stupor and then inflame them. I want to kiss a woman wearing a plate inside her lips, have her devour my heart, spit the sinew, and swallow the bloody pulp. I want to communicate by drumbeats, walk naked into a forest fire, blow smoke onto women’s smug faces who refuse to feed their men raw meat. I want to sew bloody fangs onto every child’s cuddly teddy bear. Tumble with a girl who wears a necklace made of men’s skulls. I no longer want to tiptoe my way through life but stomp! Not whisper but bellow. I want my tumult to be heard!
But now that I’m approaching 60, my spirit and my body are out of sync and I’m afraid my moldering carcass will give out before I have sucked all the marrow out of life. There’s so much I still want to do and time’s running out. And yet, I refuse to go quietly into the night.
While I know full well there is nothing I can do against the universal law of entropy (from dust to dust), I still put my body through its paces like a war horse. I keep it lean, sturdy, prepared, just like Greek writer Nikos Kazantzakis said in ‘Saviors of God’:
I keep my brain wide awake, lucid, unmerciful. I unleash it to battle relentlessly.
I keep my heart flaming, courageous, restless.
I stay unsatisfied, unconforming. Whenever a habit becomes convenient, I smash it!
And to all my ills and troubles, I respond with laughter and the sense that I, and the world, are mad.
Hardly a day goes by in which I don’t strive to live rapt in wonder, awe, and delight. To see the world anew like a child. To savor every moment as if it were my last.
Genius is nothing more nor less than childhood recovered at will. — Charles Baudelaire
At age 80, writer Henry Miller said he was a far more cheerful person than he was at twenty or thirty. “What is called youth is not youth,” he scoffed, “but something like premature old age. It was only in my forties that I really began to feel young. By then, I was ready for it. I had lost many illusions, but not my enthusiasm, nor my unquenchable curiosity. With this attribute goes another which I prize above everything else, and that is the sense of wonder.”
When Picasso said we start to get young at the age of sixty but too late, he added that “only then does one start to feel free; only then has one learned to strip oneself down to one’s essential creative simplicity.”
We are doomed to decay, says Maria Popova, so we cope by creating.
Therefore, as long as I can still drag my weary carcass out of bed each morning, I’ll keep spinning my yarns as my tribute for being one of the happiest of men alive on this wondrous world.
However many pages remain in my book, I intend to fill them with tall tales of adventure so that after biting the dust, my grandchildren will one day gather by an open fire, read my tumult, and become inflamed with a burning passion for a spirited and well-lived life.
Follow my tumult, here.
The Purpose of Aging is to Become a Wizard
“When I was young, I knew what I hoped to become; but I have become what I do not know how to be: old.” — Philip Wylie