{Thunder. THIRD APPARITION,
a Child crowned, with a tree in his hand.}
MACBETH
What is this
That rises like the issue of a king,
And wears upon his baby-brow the round
And top of sovereignty?
ALL
Listen, but speak not to’t.
Third Apparition
Be lion-mettled, proud; and take no care
Who chafes, who frets, or where conspirers are:
Macbeth shall never vanquish’d be until
Great Birnam wood to high Dunsinane hill
Shall come against him.
MACBETH
That will never be.
Who can impress the forest, bid the tree
Unfix his earth-bound root? Sweet bodements! good!
Rebellious dead, rise never till the wood
Of Birnam rise, and our high-placed Macbeth
Shall live the lease of nature, pay his breath
To time and mortal custom. Yet my heart
Throbs to know one thing: tell me, if your art
Can tell so much, shall Banquo’s issue ever
Reign in this kingdom?
ALL
Seek to know no more.
* * *
I was dreaming that the earth was too big to fail. And in any case, the power I’ve consolidated will protect me from the storms and draughts that have begun to plague the planet. These things are just a manifestation of chance. Whether they’ve increased in severity and frequency is a matter of conjecture. Something we might discuss in our spare time. Simply undecidable, unprovable. And it’s that uncertainty that will protect me like a the highest wall of any castle.
A huge “migration” of trees has begun across much of the West due to global warming, insect attack, diseases and fire, and many tree species are projected to decline or die out in regions where they have been present for centuries, while others move in and replace them, a new study says.
But surely this migration isn’t visible to the naked eye. These trees aren’t on the move. They remain rooted to the earth, this idea of trees marching toward the castle is shear fantasy.
The messenger replied:
“Ecosystems are always changing at the landscape level, but normally the rate of change is too slow for humans to notice,” said Steven Running, the University of Montana Regents Professor and a co-author of the study. “Now the rate of change is fast enough we can see it.”
* * *
{Enter a Messenger}
MACBETH
Thou comest to use thy tongue; thy story quickly.
Messenger
Gracious my lord,
I should report that which I say I saw,
But know not how to do it.
MACBETH
Well, say, sir.
Messenger
As I did stand my watch upon the hill,
I look’d toward Birnam, and anon, methought,
The wood began to move.
MACBETH
Liar and slave!
Messenger
Let me endure your wrath, if’t be not so:
Within this three mile may you see it coming;
I say, a moving grove.
MACBETH
If thou speak’st false,
Upon the next tree shalt thou hang alive,
Till famine cling thee: if thy speech be sooth,
I care not if thou dost for me as much.
I pull in resolution, and begin
To doubt the equivocation of the fiend
That lies like truth: ‘Fear not, till Birnam wood
Do come to Dunsinane:’ and now a wood
Comes toward Dunsinane. Arm, arm, and out!
If this which he avouches does appear,
There is nor flying hence nor tarrying here.
I gin to be aweary of the sun,
And wish the estate o’ the world were now undone.
Ring the alarum-bell! Blow, wind! come, wrack!
At least we’ll die with harness on our back.
{Exeunt}
* * *
I awake from this dream and know that I am not Macbeth. I am no character in a play; I’m a real person of flesh and blood. And yet, I seem to wear his clothes and speak his lines. How is it that I feel implicated in his crimes? And the impossible is now visible, the trees have unfixed their earthbound roots and move toward the castle. What is my next move?
While on the one hand I welcome the new biography of Steve Jobs, on the other I cringe at the stories of his life coming out of the mouths of his admirers. As the narrator of one’s own life, one has the option of zigging while the world expects a zag. Now the language appears to be definitive, like a spreadsheet that reports a trend without the possibility of a reversal. A chorus of voices now crowd out the man they claim to speak for. It’ll be some time before his voice, as his voice, will be audible again.
On the death of the poet William Butler Yeats, the poet W.H. Auden wrote an elegy. There’s something different about the passing of a poet. There are two bodies that become separated. The body of work, the poetry, is left behind and in some sense changed. Auden writes of Yeats, “Mad Ireland hurt you into poetry.” I have this same sense about Steve Jobs, the circumstances of his birth and childhood hurt him into poetry. And in the end, it’s not the technology, so much as the poetry that touches us.
He disappeared in the dead of winter:
The brooks were frozen, the airports almost deserted,
And snow disfigured the public statues;
The mercury sank in the mouth of the dying day.
What instruments we have agree
The day of his death was a dark cold day.
Far from his illness
The wolves ran on through the evergreen forests,
The peasant river was untempted by the fashionable quays;
By mourning tongues
The death of the poet was kept from his poems.
But for him it was his last afternoon as himself,
An afternoon of nurses and rumours;
The provinces of his body revolted,
The squares of his mind were empty,
Silence invaded the suburbs,
The current of his feeling failed; he became his admirers.
Now he is scattered among a hundred cities
And wholly given over to unfamiliar affections,
To find his happiness in another kind of wood
And be punished under a foreign code of conscience.
The words of a dead man
Are modified in the guts of the living.
But in the importance and noise of to-morrow
When the brokers are roaring like beasts on the floor of the Bourse,
And the poor have the sufferings to which they are fairly accustomed,
And each in the cell of himself is almost convinced of his freedom,
A few thousand will think of this day
As one thinks of a day when one did something slightly unusual.
What instruments we have agree
The day of his death was a dark cold day.
II
You were silly like us; your gift survived it all:
The parish of rich women, physical decay,
Yourself. Mad Ireland hurt you into poetry.
Now Ireland has her madness and her weather still,
For poetry makes nothing happen: it survives
In the valley of its making where executives
Would never want to tamper, flows on south
From ranches of isolation and the busy griefs,
Raw towns that we believe and die in; it survives,
A way of happening, a mouth.
III
Earth, receive an honoured guest:
William Yeats is laid to rest.
Let the Irish vessel lie
Emptied of its poetry.
In the nightmare of the dark
All the dogs of Europe bark,
And the living nations wait,
Each sequestered in its hate;
Intellectual disgrace
Stares from every human face,
And the seas of pity lie
Locked and frozen in each eye.
Follow, poet, follow right
To the bottom of the night,
With your unconstraining voice
Still persuade us to rejoice;
With the farming of a verse
Make a vineyard of the curse,
Sing of human unsuccess
In a rapture of distress;
In the deserts of the heart
Let the healing fountain start,
In the prison of his days
Teach the free man how to praise
The elegies for Steven Paul Jobs come pouring forth. The traditional elements of an elegy correspond to the stages of loss. Grief and sorrow are expressed through a lament; the life of the departed is idealized through admiration and praise; and then comes solace and consolation. As we find ourselves more than midway on life’s journey, the poetic form of the elegy reveals itself as a palpable presence. It’s not a form whose outlines are traced from a recipe extracted from a book, there’s a direct physical encounter with its contours as we stop for a moment, and look across the grain of time.
Businessmen, technologists, and tech bloggers have focused on different aspects of the Jobs legacy. I’d like to turn the spotlight to some of the language used to talk about what made Jobs different: visionary, genius, magic, and of course, crazy. These are words we use to describe something on the other side of the line, something well beyond ordinary grasp. From the stance of the technologist, the business person or the engineer, these are not qualities that can be captured in an algorithm, a spreadsheet or a mechanical device. Jobs appears to be an anomaly, the impossible exception—we shake our heads and say, ” we won’t see his like again.”
Steven P. Jobs wasn’t a hardware engineer, he didn’t write software code, he wasn’t an industrial designer. He didn’t finish college, given his qualifications, he wouldn’t even be considered for the position he held. The common wisdom in the technology community is that great companies start with great engineers—then eventually the suits come in and ruin everything. The technology industry’s utopia is a world run by engineers. Yet, Jobs, who was not an engineer, is acknowledged as the industry’s great visionary.
If we were listening, Jobs told us what he was doing. He explicitly stated that “Apple’s goal is to stand at the intersection of technology and the humanities.” This maxim hasn’t been given due consideration. Jobs restated this idea many times and in different formulations. At the iPad2 launch, he said it this way:
“It’s in Apple’s DNA that technology alone is not enough. It’s technology married with liberal arts, married with the humanities that yields the results that makes our hearts sing.”
To the engineers in the crowd, this talk of “singing hearts” must seem like a lot of sentimental hogwash. It’s the nuts and bolts that really make the difference. Technology stands alone, it doesn’t need to marry anyone, or anything, to win the day. Talk of ‘singing hearts’ is just Jobs as salesman, some of that ‘reality distortion field’ stuff.
We strip rhetoric from logic, we limit design to the surface, we consider the humanities to be the frothy nonsense floating at the top of an education that should be devoted to hardcore business and science. It’s the ‘nice-to-have,’ but inessential item on the to-do list. As the center of thought moves further and further in that direction, we lose even the language to describe the kinds of things Jobs accomplished. And while we can’t articulate it, there’s no question that we hear its music.
Heard melodies are sweet, but those unheard are
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear’d;
Pipe to the spirit ditties of no tone:
John Keats
Ode on a Grecian Urn
Here’s Jobs talking about his approach in a Fortune magazine interview in 2000:
“We don’t have good language to talk about this kind of thing,” Mr. Jobs replied. “In most people’s vocabularies, design means veneer. It’s interior decorating. It’s the fabric of the curtains and the sofa. But to me, nothing could be further from the meaning of design. Design is the fundamental soul of a man-made creation that ends up expressing itself in successive outer layers of the product or service. The iMac is not just the color or translucence or the shape of the shell. The essence of the iMac is to be the finest possible consumer computer in which each element plays together. … That is the furthest thing from veneer. It was at the core of the product the day we started.”
Here the humanities aren’t the thin layer of frosting spread on top of the core of technology to make it look nice. In a sense, technology is medium through which a fundamentally humanistic vision is expressed. Where the common wisdom is to start with the engineering and the technology, Jobs and the team at Apple start with an act of poetic imagination. The slogan “think different” encapsulates this idea. The ‘difference’ in this kind of thinking is that it starts with the humanities and technology as equal partners in the eventual expression of the product or service. Or as Jobs eloquently describes it, the kernel of the idea “expressing itself in successive outer layers.”
Of all the commentary, it was James B. Stewart’s piece in the New York Times that captured some of the unheard melody, the poetic thinking emanating from the office of the CEO.
“Most people underestimate his grandeur and his greatness,” Gadi Amit, founder and principal designer of New Deal Design in San Francisco, told me. “They think it’s about design. It’s beyond design. It’s completely holistic, and it’s dogmatic. Things need to be high quality; they have to have poetry and culture in each step. Steve was cut from completely different cloth from most business leaders. He was not a number-crunching guy; he was not a technologist. He was a cultural leader, and he drove Apple from that perspective. He started with culture; then followed with technology and design. No one seems to get that.”
It’s hard to find parallels. Braun and Olivetti in Europe had beautiful designs, but never had Apple’s success. Mr. Amit mentioned Italy’s Enzo Ferrari, the racecar driver and founder of the Ferrari sports car manufacturer. “Apple has the status that Ferrari has in Italy,” Ms. Antonelli said. “It’s a source of national pride and of pride for every employee. You get to that stature only if you created something so fundamental that everyone loves.”
Mr. Amit says he believes Mr. Jobs’s legacy will be “the blending of technology and poetry. It’s not about design per se; it’s the poetic aspect of the entire enterprise. Compared to Bill Gates or Warren Buffett, he’s in a different class. I think this is a revolutionary shift. Jobs is a revolutionary character. He shifted the industry and changed our lives through this amalgamation of culture and technology. If you’re looking for C.E.O.’s of this caliber, you have to look outside the engineering and business schools. That is truly revolutionary.”
When we lament that we won’t see another like Steven P. Jobs again, we need to acknowledge the cold, hard facts of the situation. We aren’t looking for people like Jobs to lead our greatest companies. In fact, we’re probably doing everything in our power to make sure that people like him don’t get anywhere near a leadership role. We’ve de-valued and de-funded the humanities, we’ve relegated poetic thinking to third class status.
In 1821 Percy Bysshe Shelley wrote “A Defense of Poetry.” Although he never wrote one, the work of Steven P. Jobs was a modern defense of poetry.
The most unfailing herald, companion, and follower of the awakening of a great people to work a beneficial change in opinion or institution, is poetry. At such periods there is an accumulation of the power of communicating and receiving intense and impassioned conceptions respecting man and nature. The person in whom this power resides, may often, as far as regards many portions of their nature, have little apparent correspondence with that spirit of good of which they are the ministers. But even whilst they deny and abjure, they are yet compelled to serve, that power which is seated on the throne of their own soul. It is impossible to read the compositions of the most celebrated writers of the present day without being startled with the electric life which burns within their words. They measure the circumference and sound the depths of human nature with a comprehensive and all-penetrating spirit, and they are themselves perhaps the most sincerely astonished at its manifestations; for it is less their spirit than the spirit of the age. Poets are the hierophants of an unapprehended inspiration; the mirrors of the gigantic shadows which futurity casts upon the present; the words which express what they understand not; the trumpets which sing to battle, and feel not what they inspire; the influence which is moved not, but moves. Poets are the unacknowledged legislators of the world.
I chanced upon a copy of Harold Bloom’s 1963 book, “Blake’s Apocalypse” while wandering through the stacks at the Mechanics’ Institute Library. The light blue hardcover book, without a dust jacket, had the sturdy appearance of a book published in the early 60s. There’s a sort of utilitarian optimism about its construction and feel. One senses in it an object with the confidence that it was built for the long haul.
The confluence of Bloom’s analysis and Blake’s poetry is intoxicating. But it was Bloom’s comment on the attitude of Innocence in Blake’s “Book of Thel” that caused me to pause and mark down this passage:
Unlike Adam and Eve, fearful and disgraced, and hiding from the judgement of death, Thel is sadly resigned. Gentle she will hear the voice that marks the evening of her beauty. Innocence can be maintained, and this unbodied child can die a child, to be absorbed into the natural cycle of her paradise.
Yet she could choose a better way, at the price of a birth into suffering and fallen reality. What “The Book of Thel,” by its very form, makes clear is the human limitations of the state of Innocence. Here is born what the engraved tracts had foretold: Blake’s dialectics of Nature, or his argument about the relative values of Innocence and Experience. Innocence is a higher state than Experience, but you cannot progress in it, for where there are no oppositions of spirit, the spirit stagnates. There are no truths in Innocence because there are no falsehoods, and no vision but stasis, because the only contrary to desire is mere cycle. The destiny of man in Eden is repetition., the circle of natural organicism. Thel’s Innocence is natural ignorance; she abides in a Mystery, and her very form is a reflection in a glass, a shadow in the water, an infant’s dream.
Like a reflection in a glass, like shadows in the water,
Like dreams of infants, like a smile upon an infant’s face,
Like the dove’s voice, like transient day, like music in the air.
Ah! gentle may I lay me down and gentle rest my head,
And gentle sleep the sleep of death, and gentle hear the voice
Of him that walketh in the garden of the evening time.
