Review: Why Follow Rules? Trust Your Intuition by James Maberly

Why Follow Rules? Trust your IntuitionWhy Follow Rules? Trust your Intuition by James Maberly
My rating: 5 of 5 stars

This book is not bedtime reading; it’s far too stimulating for the mind. It’s not a book I read at a steady pace either, I pretty much tangoed my way through it over a few months: slow, slow, quick, quick, slow. Sometimes reading with great speed and excitement, at others trying to slowly digest and apply the insights. As a steady consumer of the self-help genre and with long experience in coaching, mentoring and spiritual formation, I can say that this book certainly offers something a little bit different.

As it suggests in the title, the essential message of the the book is a call to trust and follow our intuition. This grand theme crystallises eventually and satisfyingly; however, it also comes with its matrix: a ‘mind dump’ of a lifetime of thinking and creating, researching and relating that the author has done.

Maberly builds his thesis, drawing from his experience in education, wide reading in psychology, friendships, current affairs – all becomes grist to the mill. Of course he has opinions and sometimes speculates, but you can sense ‘intuition’ at work in the early chapters, and that is the whole point. I’d recommend the reader just listen and keep an open mind. The elements do come together, like an impressionist painting.

After Part I, where he introduces what he means by the word ‘intuition’, Part II challenges us with ‘eight critical questions’. These may not seem immediately to be about intuition per se. It’s as if he’s let us peek through the window, and then taken us a circuitous route to the door, during which we learn what we’ll need to know about ourselves when we get into the house.

We begin to discern the small gestures of brush strokes in a generous distribution of quotes and anecdotes. The author uses stories very well, more with the pipe-and-scotch, here’s-my-pet-theory approach than the journalistic precision of, say, Malcolm Gladwell. However, as with Gladwell, there’s an incredible diversity of material hauled into the discussion. He doesn’t shy away from speaking unashamedly of the spiritual aspects of creativity or making certain assumptions about the cosmos. There’s a good measure of synthesis from the well-trodden paths of postmodernism and new-age philosophy, but it’s given with a refreshing naivete. Maberly is like a kid in a sandpit, building something completely awesome with whatever comes to hand.

Then, quite suddenly, I think he goes in for the kill when he comes to distinguish the ‘inituitive self’ from the ego. This was the moment in the book when my mind reached out and latched on for the ride and I felt I was about to see a new horizon. Like the greatest truths, it dips in and out of view like a ship on the swell but it is suggestive of a direction in which we might like to set our compass.

I’m a product of my generation. I’m suspicious of authority and I have no love for rules. Of course, I’m going to pick up a book like this and read it to reinforce what I believe. However, It has become clear to me that the second step of trusting my intuition is something I don’t know so much about. It doesn’t naturally follow. It’s easy enough to throw out the rule book and keep stoking the fires of the ego.

Part III of the book introduces five individuals who have ‘broken the mold’. In Maberly’s terms, they’ve followed an intuitive path and found freedom from the rules. There’s a good cross section here, from famous to relatively unknown in global terms: a millionaire, an artist, a musician, an educationalist. With the exception of Steve Jobs, these individuals are all known personally by the author. He allows them to speak with their own words, then mines their lives to show the outworking of the very things he’s discussed in the book so far.

This is an inspiring section. Each case study brings to light a story of overcoming diverse struggles. I suppose it’s inevitable that each reader will identify more or less with them, but there’s something for everyone here. For me, particularly, it was reading about the cellist and improviser Francois Le Roux that set off a magnificent domino rally in my soul: an invitation to go forward intuitively, drop the trappings and live freely. The insights here alone were worth all the words in the book for me.

To balance my gushy response to this book, I’m not sure if a skeptic would be completely persuaded. If you resist the thesis of the work, you’ll find plenty to argue with, and anyone with an aversion to pop psychology or new-age jargon will need to sit on it in order to finish reading. If that’s you, I think it’s worth trying to hear this on its own terms rather than deciding whether it maps onto your own concept of personality or the soul. I was pretty much in agreement with the ideas before I started reading, and I’ve got pages of journaling and copied-out quotes to keep chewing on.

In some ways I feel the author has made a mistake by disclosing a lifetime’s worth of wisdom that could have been eked out over several books. On the other hand, I’m grateful for such a complete agglomeration to be mined and somehow feel that his continuing journey through intuition and persistent curiosity in the future will unearth still more to share with the world. I very much hope so.

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“True voice” blogging

So, I recently found a great website. I think that’s a rare event. More than half my time online is spent sifting irrelevant information and wincing at bad copy. I don’t say that to set myself up as a discerning arbiter of good taste – I do as much wincing when reading back over this blog as anywhere else.

HighExistence is on a mission to:

  • Provide a medium for freethinking individuals to connect & discuss
  • Compel you to follow your bliss & make a life, not a career
  • Explore all aspects of the human condition
  • Question anything & everything that is considered ‘normal’
  • Promote the general spread of happiness and love

That sounds like an invitation for every crackpot theorist to dive in and fill our screens with the kind of misspelled and vacuous user-generated content that we spend our lives clicking away from. But, like Reddit, HE has an upvoting system for posted items, and it works. Plus, it looks like a bit of vetting goes on before you become a contributor (known as a HEthen).

The platform seems to have become a good place for reading about folks who are taking an experimental approach to life, with themselves as the lab-rats. That’s the kind of stuff I can’t stay away from because, just like everyone else adventuring on the seas of post post-modernity, I’m always obsessing over the grand question of ‘how to live’.

Anyway, there was an article there titled “The Complete Guide to Not Giving a Fu@!<“. I thought, “I’m going to read this but I’ll not be sharing it with my network because it has swears in it.” In one sense the article is a shameless tid-bit of click-bait, but I found, for once, I didn’t click away with a sense of “there’s five minutes of my life I’ll never get back”.

It wasn’t the content (generic self-help chat you’ve probably heard before) that kept me reading , it was the style.

I’ve seen stuff a bit like it before. You might describe it as “true voice”, a little bit “stream of consciousness”. On the surface that’s exactly the type of rubbish I want to sift out. I get hired to straighten out people’s words, and I sometimes feel I’m in a lonely battle to get the world to, you know … use sentences.

However, I have to admit to noticing that the stuff that gets upvoted and read is seldom written in proper sentences and often commits grammar crimes.
Lomogram_2013-12-17_11-19-14-PM
I’ve seen it in countless non-fiction bestsellers on Kindle too. It’s a conversational, ‘true voice’ chat style that could easily have been written in an afternoon by somebody using voice recognition software as they drove in their car, or lounged in the bath.

There are still plenty of inane anecdotes and rambling passages of thought out there. I mean, when will cookery bloggers learn that I’m there for the recipe and I’m skipping the six paragraphs where you gush about when and where you first tasted this dish and how delicious it was, and where your quest for the perfect ingredients took you next?

I’m not talking about that. But there really is a place for the uber-conversational style, when a writer really has something to say. In fact, it’s more engaging.

I’ve been on a bit of a journey in this blog’s five-year lifespan. The way I read and write now has changed, but I still cling to a more ‘literary’ feel on here.

I’ve blogged far less in the last couple of years. I think this is because:

  • having a sense of the blog as a ‘shop window’ has limited what I dare to put in it
  • writing it has started to feel too much like work
  • I’ve been very busy
  • it feels like I’m in a rut with my writing style here and I’m bored with my own voice
  • I’m overwhelmed with ideas for posts because I have too many interests
  • some of my energy is going into writing a book that is becoming a receptacle for a lot of what I’d probably be blogging about

So (and it’s okay to start a sentence with ‘so’) I’m hoping to shift things a bit and make posting more fun for me. Maybe this is a place where I can be a bit freer from the restraints of ‘professional’ writing.

Taking a leaf out of the ‘true-voice blogger’ book feels worth a try.

It’s time to break a few personal rules like this post does. Not only have I abandoned proper sentences but I’ve also posted one of those cringing self-conscious blog posts that ends up talking about the blog and what I’m going to write, instead of actually writing it.

Time to sign off for now.

Thinking and Creating at Ground Level: learning from a 9 year old

Watch this:

It’s no surprise, this clip has gone viral on YouTube. I don’t think we should be surprised to hear evidence that a 9 year old thinks deeply about the meaning of life and the universe. I’m prepared to take it at face value and, even if he’s repeating verbatim material from overheard adult conversations. That’s not the point I want to bring out in this post.

What is the important difference between this and a TED talk?

At a TED talk, the speaker doesn’t roll around on the floor scratch the ground, swing a baseball bat, shred twigs and stare at the sky. At some point in our development, an adult tells us,

Stop fidgeting!

Stand still!

Sit up straight!

Look at me when I’m talking to you!

Right there I think we start to lose something.

Last Autumn, I spent a total of about thirty man-hours at floor level with primary school kids. No furniture, just crayons and paper and our imaginations. I was co-authoring a storybook with them. Although I used muscles I’d forgotten I had, and I ached every night, I rediscovered the joy of creating at ground level and fidgeting incessantly, and I began to experience an awakening of creativity and a shift in perspective that I suspect had something to do with going back to a 9 year old’s way of working.

I have begun to incorporate ‘floor time’ into my creative practice. The floor is bigger than a desk and offers so much more potential for spatial interaction with ideas.

When I was about 11, I was so impressed with the idea of the ‘Bayeux Tapestry’ that I sellotaped together a long line of A4 sheets and drew the story of the stuff I was into at the time: frisbee battles, water bombs, balloon helicopters, forts with heavily defended ramparts, and various inventions such as my toothpaste-powered boat and the perpetual motion machine I was certain would make me famous. I never finished the ‘tapestry’, I just kept adding to it until it went a few times around the room.

I have never been able to dismiss my curiosity about how life might be without furniture, ever since I heard that living on the floor (eating, sleeping, learning) was the norm at Gandhi’s ashrams. In fact, for most people outside of the West, it is still a way of life.

The positive implications of floor living and fidgeting, for posture, bone and muscle, economics and energetics, are probably fruit for a few more posts. But, for now, how might some floor time benefit your creative practice?

Creativity and the Edge Effect or “Yo-Yo Ma and Monkeys”

Earlier this week (8th April), Yo-Yo Ma delivered the Nancy Hanks Lecture on Arts and Public Policy the Kennedy Centre in Washington.

He called it “Art for Life’s Sake: A Roadmap from One Citizen Musician”, and it is well worth reading the transcript or watching the talk. As he champions the cultivation of collaboration, flexibility, imagination, and innovation, his vision of the future workforce is neatly echoed by a new study from Wikia and Ipsos MediaCT called “GenZ: The Limitless Generation”, which suggests these are the very strengths that Generation Z will bring to the table.

However, when Yo-Yo Ma articulates how a biological phenomenon, “the edge effect”, applies to the arts, you can hear the rubber biting the tarmac. This is not new, but he puts it well:

“In ecology, where two ecosystems meet, such as the forest and the savannah, the point of intersection is the site of “edge effect.” In that transition zone, because of the influence the two ecological communities have on each other, you find the greatest diversity of life, as well as the greatest number of new life forms.”

In my final year as an undergraduate in Anthropology, an interest in the edge effect drove me to spend five weeks studying Cercopithecus aethiops (the vervet monkey) in the wild.

Vervet Monkey
Vervet Monkey (Via Wikipedia)

This primate is virtually ubiquitous in sub-Saharan Africa, having even adapted to urban settings in some cases. They also have one of the most complex documented “languages” or systems of calls and vocalisations of any species. I had an inkling that, in some way, the complexity of their language would be matched by a fluidity in social organisation and driven by their occupation of marginal environments (edges) and, ultimately, the physical distribution of their food.

Without boring you with the details, in grossly simplified terms, a gorilla sits around and grunts a lot because most of his food is the same and in the same place. He also has a rigid social structure that has to do with who gets to sit in the middle, eat the good stuff and who defends the territory. The vervet, on the other hand, exploits a huge variety of foods, distributed almost randomly in a marginal environment with lots of space in between. He has to have a language to talk to his tribe fifty meters away and tell them where the good stuff is (or the bad stuff, like predators or anthropologists). He also doesn’t benefit hugely from eating in the same tree as everyone else, so social structure is more “easy-come-easy-go”.

Why does this matter? I asked myself that a few hundred times as I tried to follow the critters for hours through dense bush on mosquito-bitten legs. But it seems likely that innovations, such as language and walking upright, happened under very similar circumstances in the mysterious pre-prehistory of our own species.

Back to the Kennedy centre …

Ma brings on a series of artistes to illustrate the edge effect. What does it look like, for instance, when Lil’ Buck performs his own street-forged dance moves to “The Swan” by Saint-Saens?

He then points out that the pianist on stage with him, Cristina Pato, is also Cristina Pato the bagpipe player from Galicia, a member of the Silk Road Ensemble, who just released her first jazz CD.

“One might say she is an artist who creates her own edge effect!”

That fascinates me!

I don’t think we are particularly comfortable with polymaths these days. Fame, success means being the biggest fish in one pond, not the second biggest in two, or the third biggest in three ponds.

I’m not a Leonardo da Vinci and nor are you (probably), but what can I do to be less of a gorilla: to occupy and exploit the fringes where linguistic innovation flourishes and social interaction is open and uncharted?

Firstly, as someone who primarily wordsmiths, I don’t hang out much with other writers. I love you guys (and gals), hugely, but sometimes I feel mildly threatened because we are grazing the same patch. Hooking me up with a muso, thesp, calligrapher, or chef is more likely to bring out the best in me (with the exception of a mime, perhaps).

Secondly, I hate it when people wibble on about “getting out of your comfort zone”. This is probably because I’m very happy in my comfort zone, thank you, but I’m also very tired of the cliché. Is there a better way to put it?

  • Induce a creative crisis (go analogue for a week).
  • Go on an artist date (indulge in thrill-seeking).
  • Study a parallel discipline (photographers, pick up a paint brush).
  • Throw away the dummy (burn those notebooks, there are plenty of fresh ideas where those ones came from).
  • Move the furniture around (sit next to someone different at the next meeting).
  • Get into your collaboration zone (thanks to one of my favourite collaborators, noahsapprentice, for this suggestion)

Whatever it takes …

How might you create your own edge effect?

I’m just kidding about the mime, by the way.

Linguistic Peeves: “A Big Thank You”

A female African Bush Elephant raises her trun...

I like well modulated grammar. I appreciate the clarity and accuracy that comes from applying the rules. I also enjoy seeing those rules creatively and consciously broken. Language lives; usage comes and goes and I embrace innovation. But (and, yes, these days it is fine to start a sentence with “but”), there are some things up with which I will not put:

A BIG THANK YOU

A big thank you” what? It hangs there like “a wrinkly elephant”.

Okay so, “A big thank you to all our supporters …” from whom? What are people trying to do with this phrase? It is so passive that the wonderful verb of thanking someone has become a wrinkly elephant of a noun that nobody will claim to own.

Fine, then, “We would like to say a big thank you to all our supporters.” Better, but that’s still a bit like saying, “we’d like to say a wrinkly elephant to all our supporters.” And why the conditional? Is there a problem?

“We would like to say a big thank you to all our supporters, but it sounds silly.” I agree with that.

Maybe if the big thank you is what you want to say then it should be in quotation marks? “We would like to say a big thank you to all our supporters.” That doesn’t make sense either, it just adds a dollop of sarcasm.

I’m reminded of the parson in church, “Lord, we pray for all the people in the world and we especially pray for the widows and orphans.” That’s not praying, that’s just telling God that you are praying – WHAT do you pray for the orphans?

Maybe expressing the wish to issue “a big thank you” is a way of avoiding actually thanking anyone in the same way that the parson who prays for widows and orphans never actually prays for them.

Well, I just want to say “a big wrinkly elephant” to all who read this blog.

Thank you for reading it, thank you for commenting and interacting with me. I’m grateful to you all and I just wanted to express that somehow.

Review: Then They Came for Me by Maziar Bahari

Then They Came for Me: A Story of Injustice and Survival in Iran's Most Notorious Prison Then They Came for Me: A Story of Injustice and Survival in Iran’s Most Notorious Prison by Maziar Bahari

My rating: 5 of 5 stars

I think everyone needs to read this book in order to get a better understanding of what is behind that tiny word, “Iran”, when the newsreader says it.

Maziar Bahari, a Newsweek journalist, was arrested following the Iranian election in 2009. Beatings and solitary confinement ensued as the regime attempted to extract a confession from him that he was a spy.

In spite of the agonising circumstances, he had been expecting to return to the side of his pregnant fiancée in London in a matter of days, Maziar writes with warmth and flashes of humour that betray enormous strength of soul. He comes from a family of dissidents whose love for their nation has forced them to defy three generations of tyranny. His father and his sister and numerous friends were incarcerated and tortured under successive regimes and Maziar uniquely weaves their story into an account of the recent history of Iran since the times of the last Shah.

This is not just a book about his imprisonment and eventual release, it is an insightful and authoritative analysis of the tensions within Iran and a snapshot of a generation that is ready for a change that was quite brutally denied them in the last election.

The author is at pains to bring a journalistic fairness to bear even on his captors and tormentors and the human elements of his relationship with his interrogator are poignantly told with a sense that the man who beats him is, himself, a puppet of the regime. This objectivity gives the author the moral high ground at every turn. The paranoia and ignorance of the authorities is starkly contrasted with his attempts to speak the truth. At one point he is interrogated about his relationship with the dead playwright Anton Checkhov, who they are convinced is another zionist spy.

The Iranians have a beautiful and ancient culture and many of the kindest and most well mannered people I have ever met are from Iran. It is tragic that this is not reflected in all the “bad news” that comes from that part of the globe and it is important that we do not respond with the same blindness that grips the current regime. Please read this book.

“Then They Came for Me” is published by Oneworld.

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