Commuting days until retirement: 133
The underlying theme of this blog is retirement, and it will be fairly obvious to most of my readers by now – perhaps indeed to all three of you – that I’m looking forward to it. It draws closer; I can almost hear the ‘Happy retirement’ wishes from colleagues – some expressed perhaps through ever-so-slightly gritted teeth as they look forward to many more years in harness, while I am put out to graze. But of course there’s another side to that: they will also be keeping silent about the thought that being put out to graze also carries with it the not too distant prospect of the knacker’s yard – something they rarely think about in relation to themselves.
Because in fact the people I work with are generally a lot younger than I am – in a few cases younger than my children. No one in my part of the business has ever actually retired, as opposed to leaving for another job. My feeling is that to stand up and announce that I am going to retire will be to introduce something alien and faintly distasteful into the prevailing culture, like telling everyone about your arthritis at a 21st birthday party.
The revolving telescope
For most of my colleagues, retirement, like death, is something that happens to other people. In my experience, it’s around the mid to late 20s that such matters first impinge on the consciousness – indistinct and out of focus at first, something on the edge of the visual field. It’s no coincidence, I think, that it’s around that same time that one’s perspective on life reverses, and the general sense that you’d like to be older and more in command of things starts to give way to an awareness of vanishing youth. The natural desire for what is out of reach reorientates its outlook, swinging through 180 degrees like a telescope on a revolving stand.
But I find that, having reached the sort of age I am now, it’s doesn’t do to turn your back on what approaches. It’s now sufficiently close that it is the principal factor defining the shape of the space you now have available in which to organise your life, and you do much better not to pretend it isn’t there, but to be realistically aware. We have all known those who nevertheless keep their backs resolutely turned, and they often cut somewhat pathetic figures: a particular example I remember was a man (who would almost certainly be dead by now) who didn’t seem to accept his failing prowess at tennis as an inevitable corollary of age, but rather a series of inexplicable failures that he should blame himself for. And there are all those celebrities you see with skin stretched ever tighter over their facial bones as they bring in the friendly figure of the plastic surgeon to obscure the view of where they are headed.
Perhaps Ray Kurzweil, who featured in my previous post, is another example, with his 250 supplement tablets each day and his faith in the abilities of technology to provide him with some sort of synthetic afterlife. Given that he has achieved a generous measure of success in his natural life, he perhaps has less need than most of us to seek a further one; but maybe it works the other way, and a well-upholstered ego is more likely to feel a continued existence as its right.
Enjoying the view
Happiness is not the preserve of the young (Wikimedia Commons)
But the fact is that for most of us the impending curtailment of our time on earth brings a surprising sense of freedom. With nothing left to strive for – no anxiety about whether this or that ambition will be realised – some sort of summit is achieved. The effort is over, and we can relax and enjoy the view. More than one survey has found that people in their seventies are nowadays collectively happier than any other age group: here are reports of three separate studies between 2011 and 2014, in Psychology Today, The Connexion, and the Daily Mail. Those adverts for pension providers and so on, showing apparently radiant wrinkly couples feeding the ducks with their grandchildren, aren’t quite as wide of the mark as you might think.
Speaking for myself, I’ve never been excessively troubled by feelings of ambition, and have probably enjoyed a relatively stress-free, if perhaps less prosperous, life as a result. And the prospect of an existence where I am no longer even expected to show such aspirations is part of the attraction of retirement. But of course there remain those for whom the fact of extinction gives rise to wholly negative feelings, but who are at the same time brave enough to face it fair and square, without any psychological or cosmetic props. A prime example in recent literature is Philip Larkin, who seems to make frequent appearances in this blog. While famously afraid of death, he wrote luminously about it. Here, in his poem The Old Fools he evokes images of the extreme old age which he never, in fact, reached himself:
Philip Larkin (Fay Godwin)
Perhaps being old is having lighted rooms
Inside your head, and people in them, acting.
People you know, yet can’t quite name; each looms
Like a deep loss restored, from known doors turning,
Setting down a lamp, smiling from a stair, extracting
A known book from the shelves; or sometimes only
The rooms themselves, chairs and a fire burning,
The blown bush at the window, or the sun’s
Faint friendliness on the wall some lonely
Rain-ceased midsummer evening.
Dream and reality seem to fuse at this ultimate extremity of conscious experience as Larkin portrays it; and it’s the snuffing out of consciousness that a certain instinct in us finds difficult to take – indeed, to believe in. Larkin, by nature a pessimist, certainly believed in it, and dreaded it. But cultural traditions of many kinds have not accepted extinction as inevitable: we are not obliviously functioning machines but the subjects of experiences like the ones Larkin writes about. As such we have immortal souls which transcend the gross physical world, it has been held – so why should we not survive death? (Indeed, according some creeds, why should we not have existed before birth?)
Well, whatever immortal souls might be, I find it difficult to make out a case for individual survival, and this is perhaps the majority view in the secular culture I inhabit. It seems pretty clear to me that my own distinguishing characteristics are indissolubly linked to my physical body: damage to the brain, we know, can can change the personality, and perhaps rob us of our memories and past experience, which most quintessentially define us as individuals. But even though our consciousness can be temporarily wiped out by sleep or anaesthetics, there remains the sense (for me, anyway) that since we have no notion whatever of how we could provide an account of it in physical terms, there is the faint suggestion that some aspect of our experience could be independent of our bodily existence.
You may or may not accept both of these beliefs – the temporality of the individual and the transcendence of consciousness. But if you do, then the possibility seems to arise of some kind of disembodied, collective sentience, beyond our normal existence. And this train of thought always reminds me of the writer Arthur Koestler, who died by suicide in 1983 at the age of 77. An outspoken advocate of voluntary euthanasia, he’d been suffering in later life from Parkinson’s disease, and had then contracted a progressive, incurable form of leukaemia. His suicide note (which turned out to have been written several months before his death) included the following passage:
I wish my friends to know that I am leaving their company in a peaceful frame of mind, with some timid hopes for a de-personalised after-life beyond due confines of space, time and matter and beyond the limits of our comprehension. This ‘oceanic feeling’ has often sustained me at difficult moments, and does so now, while I am writing this.
In fact Koestler had, since he was quite young, been more closely acquainted with death than most of us. Born in Hungary, during his earlier career as a journalist and political writer he twice visited Spain during its civil war in the 1930s. He made his first visit as an undercover investigator of the Fascist movement, being himself at that time an enthusiastic supporter of communism. A little later he returned to report from the Republican side, but was in Malaga when it was captured by Fascist troops. By now Franco had come to know of his anti-fascist writing, and he was imprisoned in Seville under sentence of death.
Koestler portrayed on the cover of the book
In his account of this experience, Dialogue with Death, he describes how prisoners would try to block their ears to avoid the nightly sound of a telephone call to the prison, when a list of prisoner names would be dictated and the men later led out and shot. His book is illuminating on the psychology of these conditions, and the violent emotional ups and downs he experienced:
One of my magic remedies was a certain quotation from a certain work of Thomas Mann’s; its efficacy never failed. Sometimes, during an attack of fear, I repeated the same verse thirty or forty times, for almost an hour, until a mild state of trance came on and the attack passed. I knew it was the method of the prayer-mill, of the African tom-tom, of the age-old magic of sounds. Yet in spite of my knowing it, it worked…
I had found out that the human spirit is able to call upon certain aids of which, in normal circumstances, it has no knowledge, and the existence of which it only discovers in itself in abnormal circumstances. They act, according to the particular case, either as merciful narcotics or ecstatic stimulants. The technique which I developed under the pressure of the death-sentence consisted in the skilful exploitation of these aids. I knew, by the way, that at the decisive moment when I should have to face the wall, these mental devices would act automatically, without any conscious effort on my part. Thus I had actually no fear of the moment of execution; I only feared the fear which would precede that moment.
That there are emotional ‘ups’ at all seems surprising, but later he expands on one of them:
Often when I wake at night I am homesick for my cell in the death-house in Seville and, strangely enough, I feel that I have never been so free as I was then. This is a very strange feeling indeed. We lived an unusual life on that patio; the constant nearness of death weighed down and at the same time lightened our existence. Most of us were not afraid of death, only of the act of dying; and there were times when we overcame even this fear. At such moments we were free – men without shadows, dismissed from the ranks of the mortal; it was the most complete experience of freedom that can be granted a man.
Perhaps, in a diluted, much less intense form, the happiness of the over 70s revealed by the surveys I mentioned has something in common with this.
Koestler was possibly the only writer of the front rank ever to be held under sentence of death, and the experience informed his novel Darkness at Noon. It is the second in a trilogy of politically themed novels, and its protagonist, Rubashov, has been imprisoned by the authorities of an unnamed totalitarian state which appears to be a very thinly disguised portrayal of Stalinist Russia. Rubashov has been one of the first generation of revolutionaries in a movement which has hardened into an authoritarian despotism, and its leader, referred to only as ‘Number One’ is apparently eliminating rivals. Worn down by the interrogation conducted by a younger, hard-line apparatchik, Rubashov comes to accept that he has somehow criminally acted against ‘the revolution’, and eventually goes meekly to his execution.
Shades of Orwell
By the time of writing the novel, Koestler, like so many intellectuals of that era, had made the journey from an initial enthusiasm for Soviet communism to disillusion with, and opposition to it. And reading Darkness at Noon, I was of course constantly reminded of Orwell’s Nineteen Eighty-Four, and the capitulation of Winston Smith as he comes to love Big Brother. Darkness at Noon predates 1984 by nine years, and nowadays has been somewhat eclipsed by Orwell’s much more well known novel. The two authors had met briefly during the Spanish civil war, where Orwell was actively involved in fighting against fascism, and met again and discussed politics around the end of the war. It seems clear that Orwell, having written his own satire on the Russian revolution in Animal Farm, eventually wrote 1984 under the conscious influence of Koestler’s novel. But they are of course very different characters: you get the feeling that to Orwell, with his both-feet-on-the-ground Englishness, Koestler might have seemed a rather flighty and exotic creature.
Orwell (aka Eric Blair) from the photo on his press pass (Wikimedia Commons)
In fact, during the period between the publications of Darkness at Noon and 1984, Orwell wrote an essay on Arthur Koestler – probably while he was still at work on Animal Farm. His view of Koestler’s output is mixed: on one hand he admires Koestler as a prime example of the continental writers on politics whose views have been forged by hard experience in this era of political oppression – as opposed to English commentators who merely strike attitudes towards the turmoil in Europe and the East, while viewing it from a relatively safe distance. Darkness at Noon he regards as a ‘masterpiece’ – its common ground with 1984 is not, it seems, a coincidence. (Orwell’s review of Darkness at Noon in the New Statesman is also available.)
On the other hand he finds much of Koestler’s work unsatisfactory, a mere vehicle for his aspirations towards a better society. Orwell quotes Koestler’s description of himself as a ‘short-term pessimist’, but also detects a utopian undercurrent which he feels is unrealistic. His own views are expressed as something more like long-term pessimism, doubting whether man can ever replace the chaos of the mid-twentieth century with a society that is both stable and benign:
Nothing is in sight except a welter of lies, hatred, cruelty and ignorance, and beyond our present troubles loom vaster ones which are only now entering into the European consciousness. It is quite possible that man’s major problems will NEVER be solved. But it is also unthinkable! Who is there who dares to look at the world of today and say to himself, “It will always be like this: even in a million years it cannot get appreciably better?” So you get the quasi-mystical belief that for the present there is no remedy, all political action is useless, but that somewhere in space and time human life will cease to be the miserable brutish thing it now is. The only easy way out is that of the religious believer, who regards this life merely as a preparation for the next. But few thinking people now believe in life after death, and the number of those who do is probably diminishing.
In death as in life
Orwell’s remarks neatly return me to the topic I have diverged from. If we compare the deaths of the two men, they seem to align with their differing attitudes in life. Both died in the grip of a disease – Orwell succumbing to tuberculosis after his final, gloomy novel was completed, and Koestler escaping his leukaemia by suicide but still expressing ‘timid hopes’.
After the war Koestler had adopted England as his country and henceforth wrote only in English – most of his previous work had been in German. In being allowed a longer life than Orwell to pursue his writing, he had moved on from politics to write widely in philosophy and the history of ideas, although never really being a member of the intellectual establishment. These are areas which you feel would always have been outside the range of the more down-to-earth Orwell, who was strongly moral, but severely practical. Orwell goes on to say, in the essay I quoted: ‘The real problem is how to restore the religious attitude while accepting death as final.’ This so much reflects his attitudes – he habitually enjoyed attending Anglican church services, but without being a believer. He continues, epigramatically:
Men can only be happy when they do not assume that the object of life is happiness. It is most unlikely, however, that Koestler would accept this. There is a well-marked hedonistic strain in his writings, and his failure to find a political position after breaking with Stalinism is a result of this.
Again, we strongly feel the tension between their respective characters: Orwell, with his English caution, and Koestler with his continental adventurism. In fact, Koestler had a reputation as something of an egotist and aggressive womaniser. Even his suicide reflected this: it was a double suicide with his third wife, who was over 20 years younger than he was and in good health. Her accompanying note explained that she couldn’t continue her life without him. Friends confirmed that she had entirely subjected her life to his: but to what extent this was a case of bullying, as some claimed, will never be known.
Of course there was much common ground between the two men: both were always on the political left, and both, as you might expect, were firmly opposed to capital punishment: anyone who needs convincing should read Orwell’s autobiographical essay A Hanging. And Koestler wrote a more prosaic piece – a considered refutation of the arguments for judicial killing – in his book Reflections on Hanging; it was written in the 1950s, when, on Koestler’s own account, some dozen hangings were occurring in Britain each year.
But while Orwell faced his death stoically, Koestler continued his dalliance with the notion of some form of hereafter; you feel that, as with Kurzweil, a well-developed ego did not easliy accept the thought of extinction. In writing this post, I discovered that he had been one of a number of intellectual luminaries who contributed to a collection of essays under the title Life after Death, published in the 1970s. Keen to find a more detailed statement of his views, I actually found his piece rather disappointing. First I’ll sketch in a bit of background to clarify where I think he is coming from.
Back in Victorian times there was much interest in evidence of ‘survival’ – seances and table-rapping sessions were popular, and fraudulent mediums were prospering. Reasons for this are not hard to find: traditional religion, while strong, faced challenges. Steam-powered technology was burgeoning, the world increasingly seemed to be a wholly mechanical affair, and Darwinism had arrived to encourage the trend towards materialism. In 1882 the Society for Psychical Research was formed, becoming a focus both for those who were anxious to subvert the materialist world view, and those who wanted to investigate the phenomena objectively and seek intellectual clarity.
But it wasn’t long before the revolution in physics, with relativity and quantum theory, exploded the mechanical certainties of the Victorians. At the same time millions suffered premature deaths in two world wars, giving ample motivation to believe that those lost somehow still existed and could maybe even be contacted.
Koestler in later life (Eric Koch/Wikimedia Commons)
This seems to be the background against which Koestler’s ideas about the possibility of an afterlife had developed. He leans a lot on the philosophical writings of the quantum physicist Edwin Schrodinger, and seeks to base a duality of mind and matter on the wave/particle duality of quantum theory. There’s a lot of talk about psi fields and suchlike – the sort of terminology which was already sounding dated at the time he was writing. The essay seemed to me to be rather backward looking, sitting more comfortably with the inchoate fringe beliefs of the mid 20th century than the confident secularism of Western Europe today.
A rebel to the end
I think Koestler was well aware of the way things were going, but with characteristic truculence reacted against them. He wrote a good deal on topics that clash with mainstream science, such as the significance of coincidence, and in his will used his legacy to establish a department of parapsychology, which was set up at Edinburgh University, and still exists.
This was clearly a deliberate attempt to cock a snook at the establishment, and while he was not an attractive character in many ways I do find this defiant stance makes me warm to him a little. While I am sure I would have found Orwell more decent and congenial to know personally, Koestler is the more intellectually exciting of the two. I think Orwell might have found Koestler’s notion of the sense of freedom when facing death difficult to understand – but maybe this might have changed had he survived into his seventies. And in a general sense I share Koestler’s instinct that in human consciousness there is far more yet to understand than we have yet been able to, as it were, get our minds around.
Retirement, for me, will certainly bring freedom – not only freedom from the strained atmosphere of worldly ambition and corporate business-speak (itself an Orwellian development) but more of my own time to reflect further on the matters I’ve spoken of here.