Hindus Seek Detachment. Have Plants and Animals Already Found It?

Here in suburbia, next to a glassy corporate office, sits a Hindu temple, its white, ornate façade surrounded by parking lots. Curious, I removed my shoes and walked into the large room. Instead of chairs or benches I found a marble, white and gold room with altars placed throughout. Worshippers strolled from one garlanded deity to the next, circling them several times or standing before them with hands together, eyes closed, heads lowered.

hindu temple inside (blogs.bootsnall.com

(blogs.bootnall.com)

Along the walls was a frieze of passages from the Bhagavad Gita, the dialogue between the god Krishna and a warrior about to enter battle, Arjuna. I walked beneath Krishna’s words about detachment:

He who hates no creature, who is friendly and compassionate to all, who is free from attachment, balanced in pleasure and pain, and forgiving…is dear to Me.

He by whom the world is not agitated and who cannot be agitated by the world, who is freed from joy, envy, fear, and anxiety—is dear to Me….

He who neither rejoices, nor hates, nor grieves, nor desires, renouncing good and evil, full of devotion, is dear to Me.

He who is the same to foe and friend, and also in honor and dishonor, who is the same in cold and heat and in pleasure and pain, who is free from attachment, to whom censure and praise are equal, who is silent, content with anything, homeless, steady-minded, full of devotion—that man is dear to Me.

I left the temple soothed by the place and by the words, by the invocation of a calm that does not take sides or react or pursue.

In my backyard later, I wondered whether nature sends us the same message of the value of steadfastness that Krishna proclaims. Can the non-theist find in other living things a model of that centeredness that rises above dualities?

(ivillage.com)

(ivillage.com)

I’m not sure. The backyard is a calm place, but even in winter the creatures there are hardly without their “attachments.” Birds search constantly for food and for each other. The trees and bushes and grass, though less agitated, are hardly “content with anything.” They wilt in a drought and burst with life when the environment is kind. They are different in good circumstances and bad, very different. What would Krishna say?

He might observe that plants and animals follow their in-born programs with no distracting superstructure of plans, preferences, or judgments. He would probably say that, except for humans and some animals, other living things may struggle and even kill but they don’t hate, they may shy from danger but they aren’t riven by anxiety, they may react differently to cold and heat but only at the basic physiological level.

So perhaps in the backyard I am looking at an imperfect but good lesson in how beings can do the work of staying alive and yet remain undistracted and unconfused. Can the human non-theist find a model of detachment in other living things? Partly, yes.

A River and a Volleyball

Dere’s an ol’ man called de Mississippi
Dat’s de ol’ man dat I’d like to be
What does he care if de world’s got troubles?
What does he care if de land ain’t free?

Paul Robeson singing

Paul Robeson singing “Ol Man River” in the 1936 film of Show Boat
(youtube)

Ol’ man river,
Dat ol’ man river
He mus’ know sumpin’
But don’t say nuthin’
He jus’ keeps rollin’
He keeps on rollin’ along….

You an’ me, we sweat an’ strain,
Body all achin’ an’ rack’d wid pain,
Tote dat barge!
Lif’ dat bale!
Git a little drunk
An’ you land in jail.

Ah gits weary
An’ sick of tryin’
Ah’m tired of livin’
An’ skeered of dyin’
But ol’ man river,
He jes’ keeps rollin’ along.

The 1927 sheet music for

The 1927 sheet music for “Ol Man River” 
(Wikipedia)

“Ol’ Man River,” a moving lament of hard labor, racism, and indifference, might read like a Negro spiritual from the days of slavery, but it is not. It is a musical number from Show Boat, written in 1927 and set in the 1920s, about a river boat that offers theatrical productions at towns along the water. “Ol’ Man River” is sung by one of the dock workers, Joe; here is Paul Robeson’s peerless rendition from the 1936 film version. The lyrics were written by Broadway songwriter Oscar Hammerstein.

If it is not an actual Negro spiritual, how might we describe this song? Unlike traditional spirituals, the song includes very few biblical references—only to the judgment day when Joe will find rest and to another river, the Jordan, that he longs to cross to a new life. And Joe’s song is not a prayer, as many spirituals and hymns are; he is singing about the Mississippi, not to it.

But the song is spiritual in other ways. It is a vision of suffering. And it personifies the river as an all-knowing, constant, imperturable companion. Although the river “don’ say nuthin’,” imagining it as a witness helps Joe feel less alone. The river is personified more than it is deified; the spirituality of “Ol’ Man River” is relatively non-theistic. It adapts the language and emotion of a Negro spiritual to create a secular hymn of sorrow. But it reminds us of how long humans have been animating the forces of nature to help them manage their fears or understand what they could not control.

Wilson, Tom Hanks' companion in

Wilson, Tom Hanks’ companion in “Cast Away”
(rogerebert.com)

A personification similar to “ol’ man river” is Wilson, Tom Hanks’ volleyball in the film Cast Away. After a plane crash, Hanks’ character washes ashore on an uninhabited island along with cargo that includes a Wilson volleyball. Hanks draws its face with his bleeding hand. Over the ensuing years, he chats with Wilson, listens to it, yells at it, and finally weeps when it floats away from the raft that Hanks escapes on.

Like Joe’s all-knowing river, Wilson, in Hanks’ mind, seems wise. Unlike the mute river, though, and appropriately for a man alone on a deserted island, Wilson seems to listen and respond. Both works portray the emergence of a living persona in an object, a process that results from an individual’s suffering and the need for a reliable, wise—but not a notably supernatural or even sympathetic—companion.

Yet Joe’s river is, compared to the volleyball, a grander spiritual vision. The Mississippi is the witness for the exploitation and racism that fill not only Joe’s life but the lives of those around him. The Mississippi of the song is a transcendent presence and perhaps offers Joe the consolation that suffering and injustice are small pieces of a larger entity. Joe understands that the flow of the river, like the flow of time, does not stop for the struggles of anyone.

Oliver Sacks and the Comforts of Metal

Oliver Sacks and Robin Williams on the set of Awakenings (brainpickings.org)

Oliver Sacks and Robin Williams on the set of the film Awakenings
(brainpickings.org)

I was first aware of Oliver Sacks with the publication in 1985 of his book The Man Who Mistook His Wife for a Hat. The descriptions of his mentally ill patients were as intriguing as the title. A few years later, Robin Williams played Sacks in Awakenings, the story of the kind and idealistic doctor who finds a drug that revives his catatonic patients at a hospital in the Bronx.

Sacks died of cancer in 2015. He had been writing for a few months for the New York Times about his struggle. One of these wrenching and beautiful pieces is “My Periodic Table.” In it, Sacks describes three aspects of nature in which he sees different sides of himself.

“Times of stress throughout my life have led me to turn, or return, to the physical sciences, a world where there is no life, but also no death.” With death approaching, “I am again surrounding myself, as I did when I was a boy, with metals and minerals, little emblems of eternity.” These include element 81, Thalium, a souvenir of last year’s 81st birthday; Lead, 82, for the birthday just celebrated; and Bismuth, 83. “I do not think I will see my 83rd birthday, but I feel there is something hopeful, something encouraging, about having ‘83’ around.”

(Reading this touched off my own memory of how, as a boy, I tried with my father’s help to collect all 92 natural elements. In a display case on the wall over my bed I placed some sulfur and carbon from my chemistry set, small bottles of hydrogen, nitrogen and other gases that I had made, and bits of lead, iron, and other metals. Bringing together in my room the building blocks of nature felt like a commanding achievement, though the final display came to only about 20 items.)

While Sacks finds consolation in the basic metals, he responds differently to the stars. About viewing the starry sky one night, he writes that “It was this celestial splendor that suddenly made me realize how little time, how little life, I had left. My sense of the heavens’ beauty, of eternity, was inseparably mixed for me with a sense of transience—and death.”

Lastly, when he “wanted to have a little fun” before beginning immunotherapy, he visited the lemur research center in North Carolina. “Lemurs are close to the ancestral stock from which all primates arose, and I am happy to think that one of my own ancestors, 50 million years ago, was a little tree-dwelling creature not so dissimilar to the lemurs of today. I love their leaping vitality, their inquisitive nature.”

A lively ancestor, mortality among the stars, deathless birthday metals—a sacred trinity of sorts, Sacks’ selection of holy companions. We select from nature according to our joys and fears. The chemical elements mean little to me now and I don’t have thoughts one way or the other about metals and their durability. But I share sometimes Sacks’ sense of feeling belittled by the stars; they do inspire awe, but in contemplating my life and death, I’m in need of something friendlier. For me, Sacks’ lemurs are on a better track. I find consolation by including myself among the mass of organisms of all kinds—not just humans—living and dying now, the wave of rising and falling life as the current of beings sweeps on, out of its billion-year past.