Put the word “routine” into a thesaurus, and you’ll be presented with dreary synonyms such as unremarkable, plain, and conventional. You might personally conjure adjectives such as ordinary, monotonous, and tedious, and happen to be someone who considers routine as appealing as a turd baguette.
And yet, routine could also be a synonym for human existence. We’re obliged to repeat the same processes day in day out, whether it’s the repetitive tasks of our job, emptying the infernal dishwasher, or mindlessly scrolling through Netflix like a member of the undead. Often, we complete our routines wishing we were doing something else; that some excitement might snatch us away before our final brain cell dissolves with a sad whimper.
In Jim Jarmusch’s 2016 film Paterson, we witness an unconventional character who thinks and behaves in the opposite way. Paterson is a bus driver in the city of Paterson, New Jersey. He wakes up around 6:15am without the need of an alarm clock, kisses his wife Laura, eats cheerios, walks to work, drives his bus, eats dinner, walks their dog Marvin, has a beer at the local bar, and then goes home to sleep. You may consider Paterson’s existence to be a Sisyphean hell if not for his kindness, his calm demeanour, his enviable relationship with his wife, and the poetry he writes in the quiet moments of the day.
For Paterson, routine isn’t stifling banality to be avoided at all costs, but a wellspring of beauty and creativity. As he quietly eats his cheerios, he picks up a box of blue-tip matches from his kitchen counter, and inspects them closely. Few of us would pay much attention to something as trivial as a box of matches, but as someone who rejects face value, Paterson is able to suffuse them with charm, inspiring a love poem for his wife that talks of “sober and furious and stubbornly ready” matches that are ready to burst into flame, lighting the cigarette of the woman he loves. As he drives his bus, he smiles as school kids talk about the arrest of Hurricane Carter in a Paterson bar, as blue-collar workers reveal their supposed romantic exploits, and as teenagers talk about an Italian anarchist who published his seditious thoughts in his own Paterson paper. As he sits in the same spot at the same bar with the same drink, a fresh round each day, he watches, listens, and chats with the bar’s owner and its patrons, giving every little thing his full attention. He “looks down at his glass and feels glad,” and is only able to do so because of his deliberate absorption in his own life; his embracing of his own routine.
Paterson doesn’t appear to have aspirations of luxurious, far-flung holidays; of rubbing shoulders with dolphins or sea-turtles or celebrities with bulging buttocks. He doesn’t seem troubled by the privacy of his poetry, confined to its “secret notebook” rather than rocketing him to fame. His willingness to engage with his day-to-day experiences provide him with a satiating richness that dispels the need for something “better,” destroying the pervasive idea that life should be grander, more exciting and more spectacular—a dizzying blast of sound, colour, and aroma that fills us until we burst. Far from being a torturous bore, Paterson’s routines are a goldmine of novel curiosities that he can access because he chooses to be fully involved. His unwavering attention gives him perhaps the greatest gift of all—the idea that life isn’t just enough, but more than enough.
Routine forces us to learn. When we go through the same task enough times, it shifts from consciousness to unconsciousness, and becomes entrenched in our long-term memory. We no longer have to think about the necessary steps, allowing us to switch our attention to the world around us, to discover its charms. Like Paterson, we can become absorbed in our city and merge with it—one living, breathing metropolis, exploding with run-of-the-mill spectacle, witnessed by many, but examined by few.
When routine becomes automatic, our conscious mind is unleashed upon the world; a mental state that we can experience as boredom or fascination, depending on our level of engagement. With the attention dial turned up, routine can be transformed from a pointless and punishing bore to a captivating venture, flush with meaning. Like the Japanese man who inadvertently encourages Paterson to write again after his dog eats his treasured notebook, we might find ourselves saying “a-ha!” at the ordinary and commonplace. And when we regularly recognise beauty in the things that most people would call banal, we too might become poets.
Boredom is a state of mind that makes most people horribly uncomfortable. When all occupations temporarily leave us, and we’re left floundering alone with our thoughts, we might bear witness to a creeping sense of lethargy that seems to enclose our very souls, spawning an instinctive desire to liberate ourselves from the grievous tedium of nothingness, away from the intense feelings of apathy, depression, weariness and languor. Escape seems the logical solution to such apparent ghastliness.
Some writers would even have us believe that boredom is the consequence of a flawed character, claiming listlessness to be wholly unacceptable in such a fascinating world as ours:
“There are no uninteresting things, only uninterested people.”
I’m assuming that Mr. Chesterton was never forced to attend Sunday church as a child, or to spend the day watching Test cricket. Despite existing in a universe comprised of a magnitude of wonder, the shine of its splendour is still easily dulled by the bored human mind, and to classify this as a flaw seems a grave injustice.
For German philosopher Martin Heidegger, to face raw, unadulterated boredom is to stare deep into the foggy abyss, all sense of meaning obliterated, with nothing left but dreaded existential anxiety:
“Profound boredom, drifting here and there in the abysses of our existence like a muffling fog, removes all things and men and oneself along with it into a remarkable indifference”
Boredom has a terrible rap, it seems. But despite being universally maligned, boredom has a multitude of latent benefits, like precious jewels waiting to be unearthed. As with every other emotion that we experience, boredom was developed for an evolutionary benefit: to discover what interests us, and then to motivate us towards it. It serves as a mechanism for seeking new, beneficial experiences. As one sits in a bored funk, mind devoid of focus, appealing ideas may start to emerge from the darkness, and given that doing something seems better than doing nothing, we find ourselves on the receiving end of little zaps of energy, lighting us up with intention. Many significant human advancements may have been the result of bored geniuses.
“Something’s got to happen—that’s the explanation for most human undertakings.”
Jean-Claude Baptiste (Albert Camus—The Fall)
The self-reflection and daydreaming that occurs during periods of boredom are teachers of our own desires, educating us on what we want, and then motivating us to get them. Our instinctive and immediate desire to escape from boredom—whether with social media, television, video games, or whatever else in your escapism arsenal—drowns out these valuable, insightful teachings, in favour of something entertaining, but bereft of meaning. Boredom can force us to start on the difficult and valuable thing that we’ve been putting off for years. It’s an opportunity to tend to our own requirements; to be temporarily introspective, rather than mindless content consumers.
“Boredom makes people keen to engage in activities that they find more meaningful than those at hand.”
Wijnand van Tilburg
The more we employ the numbing tactics of escapism, the greater our alienation from our true selves; those soft whispers that echo in the chambers of our minds.
“Like the trap of quicksand, such thrashing only serves to strengthen the grip of boredom by further alienating us from our desire and passion, which provide compass points for satisfying engagement with life”
John Eastwood, boredom researcher
Few people like to be alone with their thoughts, particularly the difficult ones. But running away only exacerbates them; they grow in your mind like a rapacious virus, goading you into inevitable combat. The beasts that we bury deep within are but temporary prisoners. Every attempt at distraction swells their strength, until they burst forth with a violence that cannot be ignored. Embracing boredom can help you to identify the things that truly bother you, so that you can face them head on, and with a bit of luck, defeat them.
The busyness and distraction habits that we’ve built for ourselves can have a tendency to make our brains feel as though they’re brimming with worthless clutter, and travelling with such speed as to put Speedy Gonzalez to shame. Consuming hundreds of memes, photos and videos with frantic flicks of the thumb might leave you feeling even more stressed than before. By allowing yourself to be bored on occasion, you may find that you’re less tired at the end of the day. Submitting to the odd bout of boredom is like drinking a cup of coffee without the elevated heart-rate.
Having mustered the fortitude to withstand a little boredom, the valuable thing that you decide to do may be suffused with more creativity¹. Innovation often comes from daydreaming, when your mind is in a directionless, wandering state. Only by doing nothing is there room for something to emerge. When we’re in such a state, our brain’s Default Mode Network is activated, a core component of creativity. Incidentally, this network is also activated when taking psychedelics. The empty space of boredom makes room for wondrous creativity.
“So we might try to find that stimulation by our minds wandering and going to someplace in our heads. That is what can stimulate creativity, because once you start daydreaming and allow your mind to wander, you start thinking beyond the conscious and into the subconscious. This process allows different connections to take place. It’s really awesome.”
On the surface, being bored seems a waste of our precious time; a devilish rascal to be avoided at all cost. But digging a little deeper reveals the truth: it’s a driving force of creative thinking, allows golden moments of self-reflection, and compels us towards what we value. Escaping into the glow of a screen while sucking our thumbs for comfort isn’t necessarily the best option. By relenting to our boredom, we may just stumble onto something important.
“When hit by boredom, let yourself be crushed by it; submerge, hit bottom. In general, with things unpleasant, the rule is: The sooner you hit bottom, the faster you surface. The idea here is to exact a full look at the worst. The reason boredom deserves such scrutiny is that it represents pure, undiluted time in all its repetitive, redundant, monotonous splendour.
Boredom is your window on the properties of time that one tends to ignore to the likely peril of one’s mental equilibrium. It is your window on time’s infinity. Once this window opens, don’t try to shut it; on the contrary, throw it wide open.”
Back in the 50’s, not too long after Albert Hoffman discovered the mind-bending, consciousness-expanding properties of LSD, scientists starting conducting experiments into the therapeutic potential of the drug. It became a popular area of research, and by the mid-60’s had spawned six international conferences, and over 1,000 peer-reviewed clinical papers¹.
Meanwhile, the first sparks of the acid revolution had been lit, spearheaded by passionate acolytes such as Timothy Leary and Ram Dass, who believed that the drug held the key to shifting our global consciousness, to create a more peaceful, loving human species. It’d be tough to find a loftier, more noble objective.
Then it all went to shit. Governments across the world became concerned about the widespread, casual use of such a potent substance, particularly one that caused its users to doubt and criticise the power structures within their society, often calling for a freer, less restricted world. LSD was promptly banned by governments, forcing chief manufacturer Sandoz to halt production in the mid-60s¹. The first era of psychedelic therapy was over.
Thankfully, there’s been a resurgence. Governments are once again becoming receptive to the therapeutic potential of “party” drugs such as acid, psilocybin, and MDMA, whose reputation has been tainted in part by the greedy fear-mongering of the popular press. Scientific studies based on psychedelic therapy are becoming increasingly common, some with astounding results. The gold-standard treatment for PTSD is prolonged exposure therapy—MDMA has been found to be twice as successful². Psilocybin—the psychoactive chemical found in magic mushrooms—had an 80% success rate in breaking a smoking habit, compared to 35% for conventional treatments³. It’s also been shown to cure severe depression⁴.
“Perhaps to some extent we have lost sight of the fact that (LSD) can be very, very helpful in our society if used properly.”
Though the hardened conservative will undoubtedly raise his eyebrows in disbelief, the people who have spent their lives taking illegal drugs such as MDMA, LSD, and magic mushrooms may be unsurprised at the results. It’s obvious that these drugs have incredible potential for our psychological health. The pristine empathy and compassion one feels in the midst of an MDMA experience tells you everything you need to know. How could such an emotionally positive experience not have therapeutic potential?
In my late teenage years, I found myself surrounded by friends in the comfortable living room of one of our parents, each of us high on ecstasy. Uninhibited conversation was flowing, and upon reaching the topic of our fathers (Freud’s spirit nestled in the corner, glowing with anticipation), for the first time in his life, one of my friends opened up about his difficult relationship with his dad. He expressed sheer, unalloyed pain at his dad’s early departure from the family, followed by the brutal indifference that he exhibited towards him in the years after. There were floods of tears, but no awkwardness from anybody—just pure compassion and sympathy. Afterwards, he seemed as though a weight had been lifted off his shoulders, finally able to talk about something that had created anguish for years. It remains the most beautiful moment I’ve ever had with my friends. Though we didn’t know it at the time, our drug-taking sessions were a form of self psychedelic therapy.
“What’s unique about MDMA is that it’s actually stimulating but decreases anxiety…it could help people feel calm and comfortable enough to explore painful things that are hard to talk about.”
The bonding power of MDMA cannot be understated, even with people who you’re already close to. Everyone tends to emerge from a session with a feeling of heart-warming emotional closeness, and a fiercer sense of loyalty towards this magnificent bunch of people with who we’ve spent the last eight hours. Time spent on MDMA can be flawlessly authentic, offering a state of mind that encourages you to delve into profoundly meaningful topics that you’re usually too wary to approach.
As a shy and cautious teenager, I’d often have trouble interacting with people who weren’t my friends—the gut-wrenching awkwardness was too much to bear, so I wouldn’t bother trying. MDMA helped to bring me out of my shell, and not just for the duration of the high, but extending far into the future. The rush of empathy one feels while on the drug, mixed with the feeling of immaculate love towards people around you, taught me not only to more easily identify the inherent good in other people, but to realise that I was worthy of their company and friendship. It accorded me the courage needed to speak and act without restraint, teaching myself—little-by-little—that I was more than capable of being a funny, interesting person, whose company people were eager to keep. By improving my emotional intelligence, MDMA has undoubtedly helped to shape my personality into something better.
Psychedelics such as LSD and magic mushrooms also have a reputation for changing people profoundly. In Michael Pollan’s incredible book How To Change Your Mind—a treatise on the beneficial effects of psychedelics—he reveals that many people who take these kinds of drugs describe it as one of “the most meaningful experiences of their lives.” Psychedelics dampen our Default Mode Network, which is suspected to be the creator of our ego. As our sense of self dissipates, we can feel a profound sense of unity with the world around us, and our brains are temporarily permitted to make brand new connections, illustrated beautifully in this diagram from the book.
This is why creatives in Silicon Valley are spending their work days microdosing—it unfetters their naturally restricted brains, allowing them to be more creative than ever before.
“I’m glad mushrooms are against the law, because I took them one time, and you know what happened to me? I laid in a field of green grass for four hours going, ‘My God! I love everything.’ Yeah, now if that isn’t a hazard to our country…how are we gonna justify arms dealing when we realize that we’re all one?”
There’s a big difference between the occasional drug-taking experience, and using substances as a coping mechanism for the pain in your life. Highly-addictive drugs such as cocaine and heroin are a completely different beast, and should be avoided at all costs. This kind of escapism rarely ends well — it’s usually much better to face your suffering head on, with as much courage as you can muster.
“Taking LSD was a profound experience, one of the most important things in my life. LSD shows you that there’s another side to the coin, and you can’t remember it when it wears off, but you know it. It reinforced my sense of what was important — creating great things instead of making money, putting things back into the stream of history and of human consciousness as much as I could.”
When it comes to MDMA, LSD, and psilocybin, it’s no wonder that people are willing to break the law in order to experience them. They can function as a form of self-therapy—a vehicle for fundamentally changing your brain, quicker and more effective than any other method. Since the discovery of LSD back in the 50’s, scientists have suspected its therapeutic benefits, kickstarting a field of research that has shown incredible results. But for the general public, stringent scientific experiments aren’t needed to tell them what they already know: MDMA, LSD, and psilocybin—when used for the right reasons— have the power to improve our lives. This is why millions of everyday people are willing to position themselves on the wrong side of the law. It’s not just about goofing around with your friends—laughing but also terrified at the clouds wiggling and shifting into new shapes—it’s about being equipped with the courage needed to leap over personal boundaries—a shift in consciousness that can teach you how to be a better person, with opportunities to encounter the world from fresher, more fluid perspectives. These drug can equip us with the potential to break out of our tired, restrictive moulds. Scientists have known this for years, as have regular, law-breaking users.
It isn’t a question of whether these drugs have therapeutic benefits, but a question of when our governments will be able to get past their antiquated views and embrace them as valuable weapons in our medical arsenal. Great progress has been made with marijuana. In time, and as more scientific evidence emerges, perhaps the same will happen with MDMA and psychedelics.
Some words of caution MDMA, LSD and psilocybin are still illegal in many countries, and as such, their production lacks quality control. Drug testing kits are essential to test their purity, and obvious discretion required if you’re willing to take the necessary risks to acquire the drugs themselves. This article is by no means an advocation to do so. It’s also worth noting that these drugs aren’t for everyone, particularly for those with serious mental illnesses.
It’s difficult to find someone more refreshingly forthright, and with such clarity of expression, than American writing teacher John Gardner. After a long and successful teaching career, Gardner penned a book on how to write great stories—The Art of Fiction—which is held in high acclaim for its precision and effectiveness as a writing guide. As the title suggests, the book’s primary goal is to offer advice on how to write great fiction, though many of its lessons extend to writing in general, making the book a goldmine of knowledge for writers. Though often loftily arrogant and overly critical, in The Art of Fiction, John Gardner attempts to improve our writing abilities, with resounding success.
For Gardner, a key component of quality, captivating writing is the author’s ability to produce clear images in the reader’s imagination, by using vivid and tangible real-world language.
“A scene will not be vivid if the writer gives too few details to stir and guide the reader’s imagination; neither will it be vivid if the language the writer uses is abstract instead of concrete. If the writer says ‘creatures’ instead of ‘snakes,’ if in an attempt to impress with with fancy talk he uses Latinate terms like ‘hostile manuevers’ instead of sharp Anglo-Saxon words like ‘thrash,’ ‘coil,’ ‘spit,’ ‘hiss,’ and ‘writhe,’ if instead of the desert’s sand and rocks he speaks of the snakes’ ‘inhospitable abode,’ the reader will hardly know what picture of conjure up on his mental screen. These two faults, insufficient detail and abstraction where what is needed is concrete detail, are common—in fact all but universal—in amateur writing.”—John Gardner, The Art of Fiction
Where possible, writing should evoke discernible imagery in the mind of the reader, who is being led on a curious journey, sentence-by-sentence. Writing that lacks concrete imagery can be dreadfully dull, like reading a scientific thesis concerned only with the driest and most serious of matters. One of the joys of experiencing great writing is the process of having your head filled with colourful, vibrant imagery, constantly twisting and warping anew, a compelling, elemental topic threaded through the entire process. Expository writing – the style used to explain concepts – becomes alluring when vivid language is used. This doesn’t mean that every sentence must be packed with dramatic, intense imagery, as though narrating an edge-of-seat thriller, but should rather be peppered with the occasional rich example to keep things interesting. This also makes writing itself more pleasurable, urging us to return to our desks to gleefully bash out another thousand-word masterpiece.
Colourful detail is important because it transports us to a place of ethereal wonder – a dream within our own minds, that we happily traverse in the hope of discovering something treasured.
“If we carefully inspect our physical experience as we read, we discover that the importance of physical detail is that it creates for us a kind of dream, a rich and vivid play in the mind.”—John Gardner
We cannot expect to create an enchanting dream for our reader with a limited vocabulary, or by repeating the same words over and over. A dazzling piece of work will be infused with a great variety of words, chosen not just for their precise meaning, but also for their sing-song rhythm and visual vividness. Stunted vocabulary only gets us so far.
“Limited vocabulary, like short legs on a pole-vaulter, builds in a natural barrier to progress beyond a certain point.”—John Gardner
Another aspect to be toyed and experimented with is sentence length, which can affect the rhythm and emotion of your writing, depending on the desired effect.
“Short sentences give other effects. Also sentence fragments. They can be trenchant, punchy. They can suggest weariness. They can increase the drabness of a drab scene. Used for an unworthy reason, as here, they can be boring. Between these extremes, the endless sentence and the very short sentence, lies a world of variation, a world every writer must eventually explore.”—John Gardner
“By keeping out a careful ear for rhythm, the writer can control the emotion of his sentences with considerable subtlety.”—John Gardner
Though it’s difficult for us to explain why, sometimes we write a sentence that just feels right, sitting snugly within our work, with a level of comfort so elevated as to make us envious. If we’re dissatisfied with a sentence, for the sake of becoming better writers, we must commit the time to ruthless splitting and reworking, until we’ve created something with greater clarity and appeal. With steady practice comes mastery.
“Turning sentences around, trying various combinations of the fundamental elements, will prove invaluable in the end, not just because it leads to better sentences but also because over the years it teaches certain basic ways of fixing rhythm that will work again on other, superficially quite dissimilar sentences. I don’t know myself—and I suspect most writers would say the same—what it is that I do, what formulas I use for switching bad sentences around to make better ones; but I do it all the time, less laboriously every year, trying to creep up on the best ways of getting things said.”—John Gardner
Technical skill isn’t the only thing required to become a masterful writer. We must take the time to satiate our heads with the insightful musings of others, sparking neurological connections and creating something new. As with the process of writing itself, if we have any desire to become experts, this requires relentless practice.
“In order to achieve mastery he must read widely and deeply and must write not just carefully but continually, thoughtfully assessing and reassessing what he writes, because practice, for the writer as for the concert pianist, is the heart of the matter.”—John Gardner
A curious disposition is advantageous to the writer, as it causes her to seek out valuable sources of information, drink them in fully, and becoming a more rounded, knowledgeable human, with better worldly awareness and emotional intelligence. Interesting people are interested people – an essential trait of the writer who wants to create compelling work.
“Part of our interest as we read is in learning how the world works; how the conflicts we share with the writer and all other human beings can be resolved, if at all; what values can we affirm and, in general, what the moral risks are.”—John Gardner
“Anything we read for pleasure we read because it interests us. One would think, since this is so, that the first question any young writer would ask himself, when he’s trying to decide what to write, what be ‘What can I think of that’s interesting?'”—John Gardner
Throwing ourselves into the world with courageous zeal, tasting every experience, and committing fully to our lives (the good and the bad,) helps to develop an intricate, multi-faceted character, filled with wisdom, lending an unmistakable magic to our writing. We’re able to understand the world, offering insightful, original, and resonant frames of reference for our readers.
“On reflection we see that the great writer’s authority consists of two elements. The first we may call, loosely, his sane humanness; that is, his trustworthiness as a judge of things, a stability rooted in the sum of those complex qualities of his character and personality (wisdom, generosity, compassion, strength of will) to which we respond, as we respond to what is best in our friends, with instant recognition and admiration, saying, “Yes, you’re right, that’s how it is!” The second element, or perhaps I should say force, is the writer’s absolute trust (not blind faith) in his own aesthetic judgments and instincts, a trust grounded partly in his intelligence and sensitivity—his ability to perceive and understand the world around him—and partly in his experience as a craftsman; that is (by his own harsh standards), his knowledge, drawn from long practice, of what will work and what will not.”—John Gardner
John Gardner’s The Art of Fictionis filled with gems, which the studious writer can use to become a more skilled and engaging artist. With the right knowledge, a ton of effort, and a little help from Gardner, we can gradually ascend to mastery within our field.
Our humble, trusting paragraphs, an essential component of quality writing, have been led into dark alleys by content-producing “experts”, and found themselves mutilated. Once a solid, distinguishable group of ideas with the purpose of demarcating meaning, the paragraph is now an amputated, unrecognisable mess, writhing on the page while surrounded by its detached, isolated limbs, as though Hannibal Lecter decided to pursue his passion as an editor.
It’s hard to resist the advice of the so-called experts, who boast tens of thousands of Medium followers, and claim to earn thousands of dollars from writing. We want to be successful too, and we’ll try whatever it takes to get there. But when you become successful by altering an essential component of writing – a rule crucial to reading comprehension – you may be a personal success, but you’ve failed everyone else. You’re strengthening our abhorrent quick consumption culture, which is more interested in cherry-picking short, sharp sentences from an article, and so losing the coherence required to properly understand it. We cannot scan an article and expect to comprehend and retain the information fully, appreciate the rhyme of the sentences, or indulge in the vividness of a beautifully descriptive word. Scanning is fine for simplistic, dull writing, but untenable for properly-written pieces. Our desperation for expeditious success is folly – the more frantic our pace, the less we retain. Rather than finishing an article with an entrenched, meaningful idea, we’re left with disjointed bits of incoherent information, carelessly flung into our brain.
A paragraph is determined by a group of related ideas. It cannot be cleaved into smaller pieces without affecting the quality of the writing, or impairing the reader’s ability to understand your intention. If you’re targeting cherry-picking scanners, maiming the paragraph might be a suitable approach for you. But if you’re a writer who wants to produce unhindered, precise content – conveying your ideas perfectly while being a joy to read – don’t listen to the success-at-all-costs charlatans who advocate shorter paragraphs. Their unallayed ambition is wreaking havoc on popular online writing, with impressionable, aspiring writers copying the technique in the hope of becoming successful, contributing to the disfigurement of our once-wonderful art, and making the world a bit more stupid.
It’s woefully distasteful to read an article that is mashed up like a dog’s dinner. The thread of our understanding is cut, discarded, temporarily lost, and we scramble for it like blind fools, finally locating it, only to lose it again during the next “paragraph.” Though the writer may be bursting with good ideas, their failed and misguided execution ruins the reading experience – an encounter that might have been blissfully satisfying. It’s a tragic situation for both writer and reader – the former being encouraged to convey their valuable ideas in a handicapped way, and the latter being deprived of an enjoyable and instructive spell of reading.
An article is not the same thing as a tweet or a Facebook post, and shouldn’t be written as such. It’s a collection of ideas under a common topic, carefully and thoughtfully expounded. Appropriately-sized paragraphs are essential to communicate an idea properly – what is writing if not a method to transmit ideas? What does it become after being butchered by dollar-hungry content frauds?
It’s time for us to collect the remains of our precious paragraphs from the crime scene floor, throw on our scrubs, and like skillful surgeons, stitch them back together into healthy, related units of information. Their treatment has been grievously unfair, and it’s our responsibility to restore them to their former wondrous glory, so that our treasured ideas can be fully comprehended once again.
If you’re an athlete with a performance-enhancing chemical coursing through your veins, you’re considered a cheat. The entire country of Russia was banned from the Olympics back in 2015 for repeated doping scandals, and have only recently been allowed to re-enter under strict conditions. It simply isn’t deemed fair for athletes to infuse themselves with ability-boosting chemicals – what would be the point of having a competition in the first place? Unless there’s a baseline – in this case the undisturbed human body – a tournament cannot be fair from the outset.
Widen the scope from a sports competition, to the competition between humans as a whole. Our species is hierarchical in nature, there’s no doubt about that. Unfortunate circumstances and repeated awful decisions might position us at the lowest rungs of the hierarchy – drug-dependent, chaotically-minded, and living on the streets. Auspicious circumstances could place us at the other end of the scale, highly-successful with a fulfilling job and family life. If the bum discovers a fortuitous chemical that will improve his dire position, is that still considered cheating? Would doping our way to the summit of our economic hierarchy turn us into swindling tricksters, just like the Russian athletes?
“Smart” drugs such as Adderall, Ritalin, Modafinil, and many others are alleged to give you such an advantage. Droves of students are using them in order to excel in their studies, leaving their peers in the dust. How this affects the self-esteem of those left behind is difficult to measure, not to mention the pressure it puts on them to take the drugs themselves in order to keep up. Classical musicians, highly-respectable and almost regal in their image, are taking beta-blockers in an attempt to control their nerves, creating a dependence in the process. There’s clear similarities in the idea of instilling yourself with Dutch Courage by downing a pint of beer before a nerve-wracking event. The French Foreign Legion, the UK’s Ministry of Defence, and the Indian Air Force are all dabbling in the narcolepsy-treatment Modafinil in order to enhance their troops’ performance. The next world war might bear witness to soldiers popping a few smart pills before clambering over the top into no man’s land. In the prosperous Silicon Valley, tech employees are taking small amounts of psychedelics in order to enhance their creativity; everyone wants to be the next Steve Jobs. Idiotic parents are even hooking up their children to “brain stimulation kits” – literally electrocuting their offspring in an effort to improve them. The tyrannical Nurse Ratchett would be proud.
There’s nothing wrong with trying to be the best possible version of yourself, but are smart drugs really a safe way to do so? Though not physiologically addictive like alcohol or cocaine, there’s a clear risk of psychological dependence. When you’ve had a taste of higher-level functioning and reaped the rewards – a job promotion; a better grade on an exam – the incentive to return a lowly, loser-like baseline might be lacking. A bowl of clumpy gruel isn’t quite so appealing after eating Kobe beef. Through consistent use of smart drugs, we’re raising our expectation of what our baseline performance should be. It’s hazardous territory to navigate.
There’s also obvious health concerns to consider. While the traditional smart drugs are FDA-approved, there’s a plethora of other chemicals being sold online which aren’t. Who knows how the impressionable and ambitious souls who take these substances are polluting their bodies? Even the drugs that are approved by the FDA have unclear consequences of long-term use – they simply haven’t been around long enough to know. Are you willing to risk your own health on these chemicals in order to run the rat race a little bit faster? Whatever happened to slowing down and savouring each moment? Life isn’t just about getting ahead of the competition.
It’s easy for drug companies to determine the medical side effects of a product without giving a single thought to the social implications. One only has to look at the opioid epidemic in America as an example, a chemical-compound so effective at numbing pain that it’s become a medical disaster. Could smart drugs be on the same path? Nietzsche’s Will To Power – the idea that the main driving force in humans is to reach the highest possible position in life – supports the idea. Our innate desire to climb the economic hierarchy might be made easier through the use of smart drugs, but at a health cost that nobody really understands. Until we do, it might be wise to continue living your life down in the ditches, unenhanced, as nature intended.
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