Susan and I went on a short road trip this weekend, and spent some of our time in the car together listening to a lecture by Martin Shaw. Shaw is a storyteller and mythologist, a sort of reflective practitioner of mythtelling. His speech is poetic, and uses rhythm and repetition in a way that reminds me of James Dickey.
This talk was about a great many topics, but they all orbit around how mythical stories can reconnect us with fugitive parts of ourselves. They can help us find our way back to what he calls a “wild integrity.” If that expression makes your heart race slightly, you should definitely listen to his whole talk. The talk is filled with beautiful and consequential phrases, which Shaw always gently repeats and surrounds with just the right amount of silence. These little incantations do some of the same inner-reconnection work he describes myth doing.
Shaw is interesting not only as a source of information, but also as an exemplar. He manages to come off as primordially timeless — but, somehow, at the same time, Gen-X to the bone. In doing so, he offers something that art in its routine pastichery has forgotten. He offers an enworldment — a new way to inhabit our lives — a practical vision that we can enter and live from. This is what all great art offers us when it emerges and renews our sense of meaning. This was the true gift of the Ramones. What Shaw offers really does feel like a home.
Listening to him I realized how much I prize myth as a creative genre. Myth is a style of narrative abstraction, meaning that it discards all but a certain kind of truth. My favorite Borges stories have it. Casares has it. Asimov’s “Nightfall” has it. Nietzsche’s Zarathustra, especially the prologue, is mythic. Dylan’s best songs have mythic lyrics. My inner-eye spontaneously visualizes all these stories in the same style, and this style is a reliable earmark. If my imagination responds to something I read or hear with this style of image, that something is mythic.
But I want to return to the enworldment question. I want to read some of Martin Shaw’s books, and so I did something I’ve been doing a lot of lately: asking ChatGPT to play librarian. “I’m interested in Martin Shaw. What should I read by him?”
It gave me a list. I won’t copy and paste it, because I’ve realized that hearing about other people’s AI adventures is even more tedious than listening to their dreams. ChatGPT asked me why I wanted to read him. And because I believe what ails our time is a crisis of inspiration I responded “I’m interested in myth as a way to reconnect with the desirability dimension of design — especially design of one’s own enworldment.”
And it then asked “Would you say your interest is more in personal enworldment (crafting how you experience reality) or shared enworldment (shaping the desirability of collective systems)?”
My own answer surprised me: “It has to be both! We need modes of self-determination that relate us — not alienate us — from others.”
In this overdue book stuck inside me — one that I now refer to constantly while reading almost anything else — where I play a tilted vision of philosophy, design and religion against each other like chords… In my overdue book, this opening-out and relating quality is what religion brings to philosophy (saving it from solipsism) and to design (saving it from empty production for empty consumption). The name of this saving relational power is Keter.
Inner and outer self-determination that deepens, strengthens and intensifies our relationships — with each other, with the world around us, with all of ourselves (tame and wild), and, most of all, with this radically shocking infinity who surrounds us and saturates us, in whom we live, in whom we participate, who wants something from us. Hineini.