Friday, September 16, 2011

Thurber Tonight: "Sex ex Machina" from "Let Your Mind Alone!"

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Happily mated rabbit terrified by motor-car

"Still other [writers] attribute the whole menace of the machine to sex, and so confuse the average reader that he cannot always be certain whether he has been knocked down by an automobile or is merely in love."
-- from "Sex ex Machina," the last
of our Let Your Mind Alone! offerings

by Ken

As noted previously, this as far as we're going with the Let Your Mind Alone! series (two installments away from the end). I still haven't figured out what we'll do next week for our final week of late-night more-or-less-comic writing. (We might fill in some of the missed episodes of Thurber's My Life and Hard Times . . . .)

I still haven't turned up my lovely replacement copy for my previous lost copy of Thurber and E. B. White's Is Sex Necessary? (for that matter, I still haven't turned up my at-large copy of the Library of America Thurber volume; it's just a matter of time . . . probably), in order to present White's version of how he engineered the use of Thurber drawings -- at a time when practically nobody outside the small office they shared at The New Yorker, which was apparently littered with the damned things, had seen a Thurber drawing -- as illustrations for the book, to the consternation of their editor at Harper's, who assumed, when first confronted with the drawings (with Thurber's dashed-off pencil strokes laboriously and painstakingly inked over by White), that they must be rough sketches for artwork the authors wished to have produced.

There's a lot of other stuff I never got to, but there's one project in particular I've had in mind for ages: to see whether there isn't a manageably extractable chunk from Thurber's memoir The Years With Ross concerning The New Yorker's publication of Wolcott Gibbs's famous November 1936 profile of Time, Inc. editor-magnate Henry Luce (there were all manner of permutations and complications and ramifications), which would be presented in tandem with the piece itself, "TIME . . . FORTUNE . . . LIFE . . . LUCE." That still feels like a lot of work, though. (Why do you think I never did it?)

In the meantime . . . .

YOU KNOW YOU WANT IT! FOR
"SEX EX MACHINA," CLICK HERE


Our coverage of the Let Your Mind Alone! series:

1. "Pythagoras and the Ladder"
2. "Destructive Forces in Life"
3. "The Case for the Daydreamer"
4, "A Dozen Disciplines"
5. "How to Adjust Yourself to Your Work"
6. "Anodynes for Anxieties"
7. "The Conscious vs. The Unconscious"
8. "Sex ex Machina" (tonight)

ONE LAST TIME, ANY REQUESTS?

As noted above, I still don't have this last week planned, so if you have any thoughts, there's at least a chance I may be able to do them, or something like them, or something distantly related to them. As I said the other day, it might be worth a shot.


THURBER TONIGHT (including WOODY ALLEN, ROBERT BENCHLEY, BOB AND RAY, WILL CUPPY, WOLCOTT GIBBS, RING LARDNER, S. J. PERELMAN, JEAN SHEPHERD, and E. B. WHITE TONIGHT): Check out the series to date
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Thursday, September 15, 2011

Thurber Tonight: "The Conscious vs. The Unconscious" from "Let Your Mind Alone!"

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Psychiatrist about to phone his wife

"Of course, I believe that this particular psychiatrist [trying unsuccessfully to telephone his wife to say he could not be home for dinner] dialled the three wrong numbers on purpose. In the case of all husbands, both neurotic and normal, this is known as sparring for time and has no real psychological significance."
-- from "The Conscious vs. The Unconscious"

by Ken

After going back and picking up the opening piece of the Let Your Mind Alone! series, we've now filled in the gap between the two pieces I plucked out previously -- No. 2, "Destructive Forces in Life," and No. 6, "Anodynes for Anxieties." Now we're ready to move on, with Nos. 7 and 8, "The Conscious vs. The Unconscious" tonight and "Sex ex Machina" tomorrow night.

For the remaining pieces in the series, Nos. 9 and 10, "Sample Intelligence Test" and "Miscellaneous Mentation," you'll have to track down a copy of Let Your Mind Alone! and Other More or Less Inspirational Pieces -- they're not that hard to find (Amazon has inexpensive listings for a number of editions) -- or the Library of America Thurber anthology edited by Garrison Keillor, which includes all ten of the Let Your Mind Alone! pieces but only eight of the 28 other "more or less inspirational pieces," not including my much-loved "No Standing Room Only." (Keillor!) Actually, though, among those 28 pieces there aren't many that I love.

CORRECTION: Which reminds me: The other piece that I've been listing in the index since February as being in Let Your Mind Alone! and Other More or Less Inspirational Pieces, "The Letters of James Thurber," is in fact included in My World -- And Welcome to It. Which is vaguely ironic, because when I presented "The Letters of James Thurber," I wrote, "I always have to rummage around the Thurber books to find 'The Letters of James Thurber,' a piece of which I'm extremely fond." I must have known this at the time; I never did identify the book in the text. But I proceeded to dig up a photo of the wrong book, and then formalized the confusion in the index listing. (I've corrected the index.)


FOR A THURBER-CONDUCTED TOUR THROUGH
THE CONSCIOUS AND UNCONSCIOUS, CLICK HERE


Our previous coverage of the Let Your Mind Alone! series:

1. "Pythagoras and the Ladder"
2. "Destructive Forces in Life"
3. "The Case for the Daydreamer"
4, "A Dozen Disciplines"
5. "How to Adjust Yourself to Your Work"
6. "Anodynes for Anxieties"

Tomorrow night: Our (though not the book's) concluding installment, No. 8, "Sex ex Machina" -- how can we resist a treatise with the word "sex" in the title?

ANY REQUESTS?

I'm thinking we'll let this thing run one more week, and I don't have anything planned yet. (I have to try to think of pieces I've been meaning to include, or have forgotten to mean to include, all this time. In the cases of the pieces I know about, there are reasons why I haven't gotten to them, which I'd be surprised if I can solve inside a week.) I'm not saying I can satisfy your requests, but hey, it might be worth a shot.


THURBER TONIGHT (including WOODY ALLEN, ROBERT BENCHLEY, BOB AND RAY, WILL CUPPY, WOLCOTT GIBBS, RING LARDNER, S. J. PERELMAN, JEAN SHEPHERD, and E. B. WHITE TONIGHT): Check out the series to date
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Wednesday, September 14, 2011

Thurber Tonight: "How to Adjust Yourself to Your Work" from "Let Your Mind Alone!"

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B. J. ("Two-Gun") Winfall, of New York City
[Yes, you can click on the drawing to enlarge it.]

"The bartender took his time slamming glasses and a bottle down on the bar. B.J. filled a glass, tossed it off, turned heavily, and faced the roomful of men. 'I'm Two-Gun Winfall from New York City!' he shouted. 'Anybody want anything?'"
-- from tonight's installment of Let Your Mind Alone!,
"How to Adjust Yourself to Your Work"

by Ken

When I first read the Let Your Mind Alone! pieces they were already two or three decades old (though more time has of course elapsed since then), and already came from a world that was in many respects different. That didn't bother me. In fact, it probably enhanced the experience: seeing how that world was different and yet in so many important ways hardly different at all from ours. That still seems to me the case, at this significantly larger remove in time.

I find now, just as I did back then, that Thurber's inquiry into this outpouring of books in what we might now call the "mental self-help" genre had aged hardly at all. Oh, each wave of these things has its own "age" and some of its own jargon, but the character and crappiness of the advice changes remarkably little. For all that the infamous Dorothea Brande and David Seabury (whose, er, "masterpiece," The Art of Selfishness, was published in 1937, the year after How to Worry Successfully) are creatures of their time, they (or their close kin) are just as much creatures of ours. Could the local TV talk shows survive without them?

Even the seemingly "topical" references sometimes defy their age. Al Capone, for example, whose spirit overhangs Thurber's tale of B. J. "Two-Gun" Winfall's invasion of Chicago. When I first read these pieces, everyone I knew had grown up with Capone thanks to The Untouchables. (That would be the TV series, of course, with Robert Stack as he indefatigable and incorruptible Eliot Ness.) Yet Capone, it seems to me, has never lost his iconic status, through Geraldo and the vault on up to Boardwalk Empire.


FOR THE FULL STORY OF "TWO-GUN" WINFALL'S
BRASH BRUSH WITH MORTALITY, CLICK HERE


Our previous coverage of the Let Your Mind Alone! series:

1. "Pythagoras and the Ladder"
2. "Destructive Forces in Life"
3. "The Case for the Daydreamer"
4, "A Dozen Disciplines"
6. "Anodynes for Anxieties"

Tomorrow night: No. 7, "The Conscious vs. the Unconscious" -- introducing Dr. Louis E. Bisch's magnum opus, Be Glad You're Neurotic

THURBER TONIGHT (including WOODY ALLEN, ROBERT BENCHLEY, BOB AND RAY, WILL CUPPY, WOLCOTT GIBBS, RING LARDNER, S. J. PERELMAN, JEAN SHEPHERD, and E. B. WHITE TONIGHT): Check out the series to date
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Tuesday, September 13, 2011

Thurber Tonight: "A Dozen Disciplines" from "Let Your Mind Alone!"

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No, Thurber didn't make the book up.

"At forty-two, I have spent a great many hours thinking about all sorts of subjects, and there is not one of them that I want to go back to for a whole solid hour. I can pretty well cover as much of any subject as I want to in fifteen minutes. Sometimes in six."
-- from tonight's installment of Let Your
Mind Alone!
, "A Dozen Disciplines"

by Ken

We've been filling in pieces from Thurber's 1936-37 series Let Your Mind Alone!, as gathered -- with a bunch of other pieces that hadn't yet appeared in book form -- in the book Let Your Mind Alone! and Other More or Less Inspirational Pieces. Tonight's piece, "A Dozen Disciplines," doesn't seem to have appeared in The New Yorker at all. At least I can't find any trace of it, and the magazine sequence goes from "III. The Case for the Daydreamer" (our No. 3) to "IV. How to Adjust Yourself to Your Work" (our No. 5), with the other pieces proceeding in sequence up to "IX. Miscellaneous Mentation" (our No. 10).

Anyone who has already been inspired by the inspirational writing of Mrs. Dorothea Brande, known to Thurber as "the Wake-Up-and-Live! woman," will find himself richly rewarded in "A Dozen Disciplines."


FOR THE FURTHER ADVENTURES OF THE
WAKE-UP-AND-LIVE! WOMAN, CLICK HERE


Our previous coverage of the Let Your Mind Alone! series:

1. "Pythagoras and the Ladder"
2. "Destructive Forces in Life"
3. "The Case for the Daydreamer"
6. "Anodynes for Anxieties"

Tomorrow night: No. 5, "How to Adjust Yourself to Your Work"

THURBER TONIGHT (including WOODY ALLEN, ROBERT BENCHLEY, BOB AND RAY, WILL CUPPY, WOLCOTT GIBBS, RING LARDNER, S. J. PERELMAN, JEAN SHEPHERD, and E. B. WHITE TONIGHT): Check out the series to date
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Monday, September 12, 2011

Thurber Tonight: "The Case for the Daydreamer" from "Let Your Mind Alone!"

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"In fifteen minutes the average child whose parents are at a party can make enough flat statements of fact about one's personal appearance and ask enough pointed questions about one's private life to send one away feeling that there is little, if any, use in going on with anything at all, let alone a trip to Italy."
-- from tonight's installment of Let Your Mind Alone!,
"The Case for the Daydreamer"

by Ken

After last night's return to Thurber's sublime 1936-37 series Let Your Mind Alone! (later gathered in one of my favorite Thurber volumes, Let Your Mind Alone! and Other More or Less Inspirational Pieces) with the opening piece, "Pythagoras and the Ladder," I thought we'd just continue right along. We've already done No. 2, "Destructive Forces in Life," so tonight let's proceed with No. 3, "The Case for the Daydreamer."


FOR "THE CASE FOR THE DAYDREAMER," CLICK HERE

Our previous coverage of the Let Your Mind Alone! series:

1. "Pythagoras and the Ladder"
2. "Destructive Forces in Life"
6. "Anodynes for Anxieties"

Tomorrow night: No. 4, "A Dozen Disciplines"

THURBER TONIGHT (including WOODY ALLEN, ROBERT BENCHLEY, BOB AND RAY, WILL CUPPY, WOLCOTT GIBBS, RING LARDNER, S. J. PERELMAN, JEAN SHEPHERD, and E. B. WHITE TONIGHT): Check out the series to date
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Sunday, September 11, 2011

Thurber Tonight: "Pythagoras and the Ladder" from "Let Your Mind Alone!"

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"Happy living, [Professor Pitkin] confidently asserted, could be attained by at least six or seven people out of every ten, but he figured that not more than one person in a thousand was actually attaining it."
-- from "Pythagoras and the Ladder,"
the first piece in the "Let Your Mind Alone!" series

by Ken

In this last week I think we'll try to fill some gaps and tie up some loose ends. For example, in Let Your Mind Alone! and other more or less inspirational pieces, from the "Let Your Mind Alone!" series I plucked out two pieces I especially love, "Destructive Forces in Life" (remember that infamous joker Burt Scursey?) and "Anodines for Anxiety." I regret having skipped over the first piece, "Pythagoras and the Ladder," in which Thurber explained the premise of the series. So tonight let's plug that gap.


FOR "PYTHAGORAS AND THE LADDER," CLICK HERE

Our previous coverage of the "Let Your Mind Alone!" series:

2. "Destructive Forces in Life"
6. "Anodynes for Anxieties"

THURBER TONIGHT (including WOODY ALLEN, ROBERT BENCHLEY, BOB AND RAY, WILL CUPPY, WOLCOTT GIBBS, RING LARDNER, S. J. PERELMAN, JEAN SHEPHERD, and E. B. WHITE TONIGHT): Check out the series to date
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Thursday, December 30, 2010

Thurber Tonight: Let Your Mind Alone!: "Anodynes for Anxieties"

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The picture they're looking for, declares Groucho, "is hidden in the house next door." "There isn't any house next door," counters Chico. "Then we'll build one!" says Groucho. Thurber suggests that the mental-success writers (in whose writing "runs a thin, wavy line of this particular kind of Marxist philosophy") "intimate that when Groucho gets the house built next door, the missing picture will be found in it."
The actual "Let Your Mind Alone!" series, ten pieces inspired by the mental self-help books that were the rage in the mid-'30s (though no more than in our time), occupies only about a third of Let Your Mind Alone! and Other More or Less Inspirational Pieces. Of the ten, Thurber included only two in the Thurber Carnival anthology: No. 2, "Destructive Forces in Life," and No. 8, "Sex ex Machina."

I've always been especially fond of tonight's "Thurber Tonight" offering, No. 6, "Anodynes for Anxieties," not least for the splendid use made of the Marx Brothers episode. (As a matter of fact, in the early years of my acquaintance with this piece, the reference was puzzling, because Animal Crackers, the picture in question, had for some time been out of circulation because of some rights dispute or other. it was really exciting when I finally caught up with this lovely scene.) I can't tell you how many times I've tried to paraphrase it. -- Ken


6. Anodynes for Anxieties

I SHOULD LIKE TO BEGIN THIS LESSON with a quotation from Mr. David Seabury's "How to Worry Successfully." When things get really tough for me, I always turn to this selection and read it through twice, the second time backward, and while it doesn't make me feel fine, exactly, it makes me feel better. Here it is:

"If you are indulging in gloomy fears which folow each other round and round until the brain reels, there are two possible procedures:

"First, quit circling. It doesn't matter where you cease whirling, as long as you stop.

"Second, if you cannot find a constant, think of something as different from the fact at which you stopped as you possibly can. Imagine what would happen if you mixed that contrast into your situation. If nothing results to clarify your worry, try another set of opposites and continue the process until you do get a helpful answer. If you persist, you will soon solve any ordinary problem."

I first read this remarkable piece of advice two months ago and I vaguely realized then that in it, somewhere, was a strangely familiar formula, not, to be sure, a formula that would ever help me solve anything, but a formula for something or other. And one day I hit on it. It is the formula by which the Marx brothers construct their dialogue. Let us take their justly famous scene in which Groucho says to Chico, "It is my belief that the missing picture is hidden in the house next door." Here Groucho has ceased whirling, or circling, and has stopped at a fact, that fact being his belief that the picture is hidden in the house next door. Now Chico, in accordance with Mr. Seabury's instructions, thinks of something as different from that fact as he possibly can. He says, "There isn't any house next door." Thereupon Groucho "mixes that contrast into his situation." He says, "Then we'll build one!" Mr. Seabury says, "If you persist you will soon solve any ordinary problem." He underestimates the power of his formula. If you persist, you will soon solve anything at all, no matter how impossible. That way, of course, lies madness, but I would be the last person to say that madness is not a solution.

It will come as no surprise to you, I am sure, that throughout the Mentality Books with which he have been concerned there runs a thin, wavy line of this particular kind of Marxist philosophy. Mr. Seabury's works are heavily threaded with it, but before we continue with him, let us turn for a moment to dear Dorothea Brande, whose "Wake Up and Live!" has changed the lives of God knows how many people by this time. Writes Mrs. Brande, "One of the most famous men in America constantly sends himself postcards, and occasionally notes. He explained the card sending as being his way of relieving his memory of unnecessary details. In his pocket he carries a few postals addressed to his office. i was with him one threatening day when he looked out the restaurant window, drew a card from his pocket, and wrote on it. Then he threw it across the table to me with a grin. It was addressed to himself at his office, and said, 'Put your raincoat with your hat.' At the office he had other cards address to himself at home."

We have here a muzziness of thought so enormous that it is difficult to analyze. First of all, however, the ordinary mind is struck by the obvious fact that the famous American in question has, to relieve his memory of unnecessary details, burdened that memory with the details of having to have postcards at his office, in his pockets, and at his home all the time. If it isn't harder to remember always to take self-addressed postcards with you wherever you go than to remember to put your raincoat with your at when the weather looks threatening, then you and I will eat the postcards or even the raincoat. Threatening weather itself is a natural sharp reminder of one's raincoat, but what is there to remind one that one is running out of postcards? And supposing the famous man does run out of postcards, what does he d -- hunt up a Western Union and send himself a telegram? You can see how monstrous wrapped up in the coils of his own little memory system this notable American must soon find himself. There is something about this system of buying postcards, addressing them to oneself, writing messages on them, and then mailing them that is not unlike one of those elaborate Rube Goldberg contraptions taking up a whole room and involving bicycles, shotguns, parrots, and little colored boys, all set up for the purpose of eliminating the bother of, let us say, setting an alarm clock. Somehow, I can just see Mrs. Brande's famous man at his desk. On it there are two phones, one in the Bryant exchange, the other in the Vanderbilt exchange. When he wants to remind himself of something frightfully urgent, he picks up the Bryant phone and calls the Vanderbilt number, and when that phone rings, he picks it up and says hello and then carries on a conversation with himself. "Remember tomorrow is wifey's birthday!" he shouts over one phone. "O.K.!" he bawls back into the other. This, it seems tome, is a fair enough extension of the activities of our famous gentleman. There is no doubt, either, but that the two-phone system would make the date stick more sharply in his mind than if he just wrote it down on a memo pad. But to intimate that all this shows a rational disciplining of the mind, a development of the power of the human intellect, an approach to the Masterful Adjustment of which our Success Writers are so enamored, is to intimate that when Groucho gets the house built next door, the missing picture will be found in it.

When it comes to anxieties and worries, Mr. Seabury's elaborate systems for their relief or solution make the device of Mrs. Brande's famous American look childishly simple. Mr. Seabury knows, and apparently approves of, a man"who assists himself by fancied interviews with wise advisers. If he is in money difficulties, he has mental conversations with a banker; when business problems press, he seeks the aid of a great industriailst and talks his problems over with this ghostly friend until he comes to a definite conclusion." Here, unless I am greatly mistaken, we have wish fulfillment, fantasy, reverie, and woolgathering at their most perilous. This kind of goings-on with a ghostly banker or industrialist is an escape mechanism calculated to take a man so far from reality he might never get back. I tried it out myself one night just before Christmas when I had got down to $60 in the bank and hadn't bought half my presents yet. I went to bed early that night and had Mr. J. P. Morgan call on me. I didn't have to go to his office; he heard I was in some difficulty and called on me, dropping everything else. He came right into my bedroom and sat on the edge of the bed. "Well, well, well," he said, "what's this I hear about you being down?" "I'm not so good, J. P.," I said, smiling wanly. "We'll have the roses back in those cheeks in no time," he said. "I'm not really sick," I told him. "I just need money." "Well, well, well," he exclaimed, heartily, "is that all we need?" "Yes, sir," I said. He took out a checkbook. "How'd a hundred thousand dollars do?" he asked, jovially. "That would be all right," I said. "Could you give it to me in cash, though -- in tens and twenties?" "Why, certainly, my boy, certainly," said Mr. Morgan; and he gave me the money in tens and twenties. "Thank you very much, J. P.," I said. "Not at all, Jim, not at all!" cried my ghostly friend. "What's going on in there?" shouted my wife, who was in the next room. It seems that I had got to talking out loud, first in my own voice and then louder, and with more authority, in Mr. Morgan's "Nothing, darling," I answered. "Well, cut it out," she said. The depression that settled over me when I realized that I was just where I had been when I started to talk with Mr. Morgan was frightful. I haven't got completely over it yet.

The Filing-Card System

This mental-conversation business is nothing, however, compared to what Mr. Seabury calls "picture-puzzle making in worry." To employ this aid in successful thinking, you have to have fifty or sixty filing cards, or blank cards of some kind or other. To show you how it works, let us follow the case history of one Frank Fordson as Mr. Seabury relates it. It seems that this Fordson, out of work, is walking the streets. "He enters store after store with discouraged, pessimistic proprietors. There are poor show windows and dusty sidewalks. They make Frank morbid. His mind feels heavy. He wishes he could happen on a bright idea." He does, as you shall see. Frank consults a psychologist. This psychologist tells him to take fifty filing cards and write on each of them a fact connected with his being out of work. So he writes on one "out of work" and on another ""dusty sidewalks" and on another "poor show windows," etc. You and I would not be able to write down more than fifteen things like that before getting off onto something else, like "I hate Joe Grubig" or "Now is the time for all good men," but Frank can do fifty in his stride, all about how tough things are. This would so depress the ordinary mind that it would go home to bed, but not Frank. Frank puts all of the fifty cards on the floor of the psychologist's office and begins to couple them up at random, finally bringing into accidental juxtaposition the one saying "out of work" and one saying "dull sign." Well, out of this haphazard arrangement of the cards, Frank, Mr. Seabury says, got an idea. He went to a hardware store the next day and offered to shine the store's dull sign if the proprietor would give him a can of polish and let him keep what was left. Then he went around shining other signs, for money, and made $3 that day. Ten days later he got a job as a window-dresser and, before the year was out, a "position in advertising."

"Take one of your own anxieties," writes Mr. Seabury, "Analyze it so as to recall all the factors. Write three score of these on separate cards. Move the cards about on the floor into as many different relations as possible. Study each combination." Mr. Seabury may not know it, but the possible different relations of sixty cards would run into the millions. If a man actually studied each of these combinations, it would at least keep him off the streets and out of trouble -- and also out of the advertising business, which would be something, after all. Toy soldiers, however, are more fun.

Now, if this kind of playing with filing cards doesn't strike your fancy, there is the "Worry Play." Let me quote Mr. Seabury again. "You should write out a description of your worry," he says, "divide it into three acts and nine scenes, as if it were a play, and imagine it on the stage, or in the movies, with various endings. Look at it as impersonally as you would look at a comedy and you might be surprised at the detachment you would gain." I have tried very hard to do this. I try out all these suggestions. They have taken up most of my time and energy for the past six months and got me into such a state that my doctor says I can do only three more of these articles at the outside before I go to a sanitarium. A few years ago I had an old anxiety and I was reminded of it by this "Worry Play" idea. Although this old anxiety has been dead and gone for a long time, it kept popping up in my mind because, of all the worries I ever had, it seemed to lend itself best to the drama. I tried not to think about it, but there it was, and I finally realized I would have to write it out and imagine it on the stage before I could dismiss it from my consciousness and get back to work. Well, it ran almost as long as "Mourning Becomes Electra" and took me over three weeks to dramatize. Then, when I thought I was rid of it, I dreamed one night I had sold the movie rights, and so I had to adapt it to the movies (a Mr. Sam Maschino, a movie agent, kept bobbing up in my dreams, hectoring me). This took another two weeks. I could not, however, attain this detachment that Mr. Seabury talks about. Since the old anxiety was my own anxiety, I was the main character in it. Sometimes, for as many as fifteen pages of the play script and the movie continuity, I was the only person on the set. I visualized myself in the main rôle, naturally -- having rejected Leslie Howard, John Gielgud, and Lionel Barrymore for one reason or another. I was lousy in the part, too, and that worried me. Hence I advise you not to write out your worries in the form of a play. It is simpler to write them out on sixty pieces of paper and juggle them around. Or talk about them to J. P. Morgan. Or send postcards to yourself about them. There are a number of solutions for anxieties which I believe are better than any of these, however: go out and skate, or take in a basketball game, or call on a girl. Or burn up a lot of books.


SUNDAY NIGHT: "Preface to a Life" from My Life and Hard Times


THURBER TONIGHT: Check out the series to date

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Monday, December 27, 2010

Thurber Tonight: Let Your Mind Alone!: "Destructive Forces in Life"

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I'm afraid we'll only be able to sample the "Let Your Mind Alone!" pieces from 1937 (gathered in book form in Let Your Mind Alone! and Other More or Less Inspirational Pieces), Thurber's response to the genre of mental self-improvement books which was flourishing at the time -- and has continued to flourish ever since. "Destructive Forces in Life" is the second piece in the series. -- Ken


Destructive Forces in Life

The mental efficiency books go into elaborate detail about how to attain Masterful Adjustment, as one of them calls it, but it seems to me that the problems they set up, and knock down, are in the main unimaginative and pedestrian: the little fusses at the breakfast table, the routine troubles at the office, the familiar anxieties over money and health—the welter of workaday annoyances which all of us meet with and usually conquer without extravagant wear and tear. Let us examine, as a typical instance, a brief case history presented by the learned Mr. David Seabury, author of "What Makes Us Seem So Queer," "Unmasking Our Minds," "Keep Your Wits," "Growing Into Life," and "How to Worry Successfully." I select it at random. "Frank Fulsome," writes Mr. Seabury, "flung down the book with disgust and growled an insult at his wife. That little lady put her hands to her face and fled from the room. She was sure Frank must hate her to speak so cruelly. Had she known it, he was not really speaking to her at all. The occasion merely gave vent to a pent-up desire to 'punch his fool boss in the jaw.'" This is, I believe, a characteristic Seabury situation. Many of the women in his treatises remind you of nobody so much as Ben Bolt's Alice, who "wept with delight when you gave her a smile, and trembled with fear at your frown." The little ladies most of us know would, instead of putting their hands to their faces and fleeing from the room, come right back at Frank Fulsome. Frank would perhaps be lucky if he didn't get a punch in the jaw himself. In any case, the situation would be cleared up in approximately three minutes. This "had she known" business is not as common among wives today as Mr. Seabury seems to think it is. The Latent Content (as the psychologists call it) of a husband's mind is usually as clear to the wife as the Manifest Content, frequently much clearer.

I could cite a dozen major handicaps to Masterful Adjustment which the thought technicians never touch upon, a dozen situations not so easy of analysis and solution as most of theirs. I will, however, content myself with one. Let us consider the case of a man of my acquaintance who had accomplished Discipline of Mind, overcome the Will to Fail, mastered the Technique of Living—had, in a word, practically attained Masterful Adjustment—when he was called on the phone one afternoon about five o'clock by a man named Bert Scursey. The other man, whom I shall call Harry Conner, did not answer the phone, however; his wife answered it. As Scursey told me the story later, he had no intention when he dialed the Conners' apartment at the Hotel Graydon of doing more than talk with Harry. But, for some strange reason, when Louise Conner answered, Bert Scursey found himself pretending to be, and imitating the voice of, a colored woman. This Scursey is by way of being an excellent mimic, and a colored woman is one of the best things he does.

"Hello," said Mrs. Conner. In a plaintive voice, Scursey said, "Is dis heah Miz Commah?" "Yes, this is Mrs. Conner," said Louise. "Who is speaking?" "Dis heah's Edith Rummum," said Scursey. "Ah used wuck for yo frens was nex doah yo place a Sou Norwuck." Naturally, Mrs. Conner did not follow this, and demanded rather sharply to know who was calling and what she wanted. Scursey, his voice soft with feigned tears, finally got it over to his friend's wife that he was one Edith Rummum, a colored maid who had once worked for some friends of the Conners' in South Norwalk, where they had lived some years before. "What is it you want, Edith?" asked Mrs. Conner, who was completely taken in by the impostor (she could not catch the name of the South Norwalk friends, but let that go). Scursey -- or Edith, rather -- explained in a pitiable, hesitant way that she was without work or money and that she didn't know what she was going to do; Rummum, she said, was in the jailhouse because of a cutting scrape on a roller-coaster. Now, Louise Conner happened to be a most kind-hearted person, as Scursey well knew, so she said that she could perhaps find some laundry work for Edith to do. "Yessum," said Edith. "Ah laundas." At this point, Harry Conner's voice, raised in the room behind his wife, came clearly to Scursey, saying, "Now, for God's sake, Louise, don't go giving our clothes out to somebody you never saw or heard of in your life." This interjection of Conner's was in firm keeping with a theory of logical behavior which he had got out of the Mind and Personality books. There was no Will to Weakness here, no Desire to Have His Shirts Ruined, no False Sympathy for the Colored Woman Who Has Not Organized Her Life.

But Mrs. Conner, who often did not listen to Mr. Conner, in spite of his superior mental discipline, prevailed. [Note: This sometimes happens even when the husband is mentally disciplined and the wife is not.] "Where are you now, Edith?" she asked. This disconcerted Scursey for a moment, but he finally said, "Ah's jes rounda corna, Miz Commah." "Well, you come over to the Hotel Graydon," said Mrs. Conner. "We're in Apartment 7-A on the seventh floor." "Yessm," said Edith. Mrs. Conner hung up and so did Scursey. He was now, he realized, in something of a predicament. Since he did not possess a streamlined mind, as Dr. Mursell has called it, and had definitely a Will to Confuse, he did not perceive that his little joke had gone far enough. He wanted to go on with it, which is a characteristic of wool-gatherers, pranksters, wags, wish-fulfillers, and escapists generally. He enjoyed fantasy as much as reality, probably even more, which is a sure symptom of Regression, Digression, and Analogical Redintegration. What he finally did, therefore, was to call back the Conners and get Mrs. Conner on the phone again. "Jeez, Miz Commah," he said, with a hint of panic in his voice, "Ah cain' fine yo apottoman!" "Where are you, Edith?" she asked. "Lawd, Ah doan know," said Edith. "Ah's on some floah in de Hotel Graydon." "Well, listen, Edith, you took the elevator, didn't you?" "Dass whut Ah took," said Edith, ^uncertainly. "Well, you go back to the elevator and tell the boy you want off at the seventh floor. I'll meet you at the elevator." "Yessm," said Edith, with even more uncertainty. At this point, Conner's loud voice, speaking to his wife, was again heard by Scursey. "Where in the hell is she calling from?" demanded Conner, who had developed Logical Reasoning. "She must have wandered into somebody else's apartment if she is calling you from this building, for God's sake!" Whereupon, having no desire to explain where Edith was calling from, Scursey hung up.

A Mentally Disciplined Husband With Mentally Undisciplined Wife

After an instant of thought, or rather Disintegrated Phantasmagoria, Scursey rang the Conners again. He wanted to prevent Louise from going out to the elevator and checking up with the operator. This time, as Scursey had hoped, Harry Conner answered, having told his wife that he would handle this situation. "Hello!" shouted Conner, irritably. "Who is this?" Scursey now abandoned the role of Edith and assumed a sharp, fussy, masculine tone. "Mr. Conner," he said, crisply, "this is the office. I am afraid we shall have to ask you to remove this colored person from the building. She is blundering into other people's apartments, using their phones. We cannot have that sort of thing, you know, at the Graydon." The man's words and his tone infuriated Conner. "There are a lot of sort of things I'd like to see you not have at the Graydon!" he shouted. "Well, please come down to the lobby and do something about this situation," said the man, nastily. "You're damned right I'll come down!" howled Conner. He banged down the receiver.

Bert Scursey sat in a chair and gloated over the involved state of affairs which he had created. He decided to go over to the Graydon, which was just up the street from his own apartment, and see what was happening. It promised to have all the confusion which his disorderly mind so deplorably enjoyed. And it did have. He found Conner in a tremendous rage in the lobby, accusing an astonished assistant manager of having insulted him. Several persons in the lobby watched the curious scene. "But, Mr. Conner," said the assistant manager, a Mr. Bent, "I have no idea what you are talking about." "If you listen, you'll find out!" bawled Harry Conner. "In the first place, this colored woman's coming to the hotel was no idea of mine. I've never seen her in my life and I don't want to see her! I want to go to my grave without seeing her!" He had forgotten what the Mind and Personality books had taught him: never raise your voice in anger, always stick to the point. Naturally, Mr. Bent could only believe that his guest had gone out of his mind. He decided to humor him. "Where is this -- ah -- colored woman, Mr. Conner?" he asked, warily. He was somewhat pale and was fiddling with a bit of paper. A dabbler in psychology books himself, he knew that colored women are often Sex Degradation symbols, and he wondered if Conner had not fallen out of love with his wife without realizing it. (This theory, I believe, Mr. Bent has clung to ever since, although the Conners are one of the happiest couples in the country.) "I don't know where she is!" cried Conner. "She's up on some other floor phoning my wife! You seemed to know all about it! I had nothing to do with it! I opposed it from the start! But I want no insults from you no matter who opposed it!" "Certainly not, certainly not," said Mr. Bent, backing slightly away. He began to wonder what he was going to do with this maniac.

At this juncture Scursey, who had been enjoying the scene at a safe distance, approached Conner and took him by the arm. "What's the matter, old boy?" he asked. "H'lo, Bert," said Conner, sullenly. And then, his eyes narrowing, he began to examine the look on Scursey's face. Scursey is not good at dead-panning; he is only good on the phone. There was a guilty grin on his face. "You -----," said Conner, bitterly, remembering Scursey's pranks of mimicry, and he turned on his heel, walked to the elevator, and, when Scursey tried to get in too, shoved him back into the lobby. That was the end of the friendship between the Conners and Bert Scursey. It was more than that. It was the end of Harry Conner's stay at the Graydon. It was, in fact, the end of his stay in New York City. He and Louise live in Oregon now, where Conner accepted a less important position than he had held in New York because the episode of Edith had turned him against Scursey, Mr. Bent, the Graydon, and the whole metropolitan area.

Anybody can handle the Frank Fulsomes of the world, but is there anything to be done about the Bert Scurseys? Can we so streamline our minds that the antics of the Scurseys roll off them like water off a duck's back? I don't think so. I believe the authors of the inspirational books don't think so, either, but are afraid to attack the subject. I imagine they have been hoping nobody would bring it up. Hardly anybody goes through life without encountering his Bert Scursey and having his life—and his mind -- accordingly modified. I have known a dozen Bert Scurseys. I have often wondered what happened to some of their victims. There was, for example, the man who rang up a waggish friend of mine by mistake, having got a wrong number. "Is this the Shu-Rite Shoestore?" the caller asked, querulously. "Shu-Rite Shoestore, good morning!" said my friend, brightly. "Well," said the other, "I just called up to say that the shoes I bought there a week ago are shoddy. They're made, by God, of cardboard. I'm going to bring them in and show you. I want satisfaction!" "And you shall have it!" said my friend. "Our shoes are, as you say, shoddy. There have been many complaints, many complaints. Our shoes, I am afraid, simply go to pieces on the foot. We shall, of course, refund your money." I know another man who was always being routed out of bed by people calling a certain railroad which had a similar phone number. "When can I get a train to Buffalo?" a sour-voiced woman demanded one morning about seven o'clock. "Not till two a.m. tomorrow, Madam," said this man. "But that's ridiculous!" cried the woman, "I know," said the man, "and we realize that. Hence we include, in the regular fare, a taxi which will call for you in plenty of time to make the train. Where do you live?" The lady, slightly mollified, told him an address in the Sixties. "We'll have a cab there at one-thirty, Madam," he said. "The driver will handle your baggage." "Now I can count on that?" she said. "Certainly, Madam," he told her. "One-thirty, sharp."

Just what changes were brought about in that woman's character by that call, I don't know. But the thing might have altered the color and direction of her life, the pattern of her mind, the whole fabric of her nature. Thus we see that a person might build up a streamlined mind, a mind awakened to a new life, a new discipline, only to have the whole works shot to pieces by so minor and unpredictable a thing as a wrong telephone number. On the other hand, the undisciplined mind would never have the fortitude to consider a trip to Buffalo at two in the morning, nor would it have the determination to seek redress from a shoestore which had sold it a faulty pair of shoes. Hence the undisciplined mind runs far less chance of having its purpose thwarted, its plans distorted, its whole scheme and system wrenched out of line. The undisciplined mind, in short, is far better adapted to the confused world in which we live today than the streamlined mind. This is, I am afraid, no place for the streamlined mind.


TOMORROW NIGHT: Our final installment of "The Pet Department"


THURBER TONIGHT: Check out the series to date

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Tuesday, September 16, 2003

[9/16/2011] Thurber Tonight: "Sex ex Machina" from "Let Your Mind Alone!" (continued)

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"[Dr. Bisch] examines the case of three hypothetical men who start across a street on a red light and get in the way of an oncoming automobile. . . . 'B' stands still, 'accepting the situation with calm and resignation,' thus becoming one of my favorite heroes in modern belles-lettres . . . ."
-- from "Sex ex Machina"


"Sex ex Machina" appeared originally in The New Yorker of March 13, 1937.


Let Your Mind Alone!
8. Sex ex Machina


"Many people believe that it was a sad day indeed
when Benjamin Franklin tied that key to a kite
string and flew the kite in a thunderstorm."


WITH THE DISAPPEARANCE OF THE GAS MANTLE and the advent of the short circuit, man's tranquillity began to be threatened by everything he put his hand on. Many people believe that it was a sad day indeed when Benjamin Franklin tied that key to a kite string and flew the kite in a thunderstorm; other people believe that if it hadn't been Franklin, it would have been someone else. As, of course, it was in the case of the harnessing of steam and the invention of the gas engine.

At any rate, it has come about that so-called civilized man finds himself today surrounded by the myriad mechanical devices of a technological world. Writers of books on how to control your nerves, how to conquer fear, how to cultivate calm, how to be happy in spite of everything, are of several minds as regards the relation of man and the machine. Some of them are prone to believe that the mind and body, if properly disciplined, can get the upper hand of this mechanized existence. Others merely ignore the situation and go on to the profitable writing of more facile chapters of inspiration. Still others attribute the whole menace of the machine to sex, and so confuse the average reader that he cannot always be certain whether he has been knocked down by an automobile or is merely in love.

Dr. Bisch, the Be-Glad-You're-Neurotic man, has a remarkable chapter which deals, in part, with man, sex, and the machine. He examines the case of three hypothetical men who start across a street on a red light and get in the way of an oncoming automobile. "A" dodges successfully; "B" stands still, "accepting the situation with calm and resignation," thus becoming one of my favorite heroes in modern belles-lettres; and "C" hesitates, wavers, jumps backward and forward, and finally runs head-on into the car.

To lead you through Dr. Bisch's complete analysis of what was wrong with "B" and "C" would occupy your whole day. He mentions what the McDougallians would say ("Instinct!"), what the Freudians would retort ("Complexes!"), and what the behaviorists would shout ("Conditioned reflexes!"). He also brings in what the physiologists would say -- deficient thyroid, hypoadrenal functioning, and so on. The average sedentary man of our time who is at all suggestible must emerge from this chapter believing that his chances of surviving a combination of instinct, complexes, reflexes, glands, sex, and present-day traffic conditions are about equal to those of a one-legged blind man trying to get out of a labyrinth.

Let us single out what Dr. Bisch thinks the Freudians would say about poor Mr. C, who ran right into the car. He writes, "'Sex hunger,' the Freudians would declare. 'Always keyed up and irritable because of it. Undoubtedly suffers from insomnia and when he does sleep his dream life must be productive, distorted, and possibly frightening. Automobile unquestionably has sex significance for him . . . to 'C' the car is both enticing and menacing at one and the same time. . . . A thorough analysis is indicated. . . . It might take months. But then, the man needs an analysis as much as food. He is heading for a complete nervous collapse.'" It is my studied opinion, not to put too fine a point on it, that Mr. C is heading for a good mangling, and that if he gets away with only a nervous collapse, it will be a miracle.

I have not always, I am sorry to say, been able to go the whole way with the Freudians, or even a very considerable distance. Even though, as Dr. Bisch says, "One must admit that the Freudians have had the best of it thus far. At least they have received the most publicity." It is in matters like their analysis of men and machines, of Mr. C and the automobile, that the Freudians and I part company. Of course, the analysis above is simply Dr. Bisch's idea of what the Freudians would say, but I think he has got it down pretty well.

Dr. Bisch himself leans toward the Freudian analysis of Mr. C, for he says in this same chapter, "An automobile bearing down upon you may be a sex symbol at that, you know, especially if you dream it." It is my contention, of course, that even if you dream it, it is probably not a sex symbol, but merely an automobile bearing down upon you. And if it bears down upon you in real life, I am sure it is an automobile. I have seen the same behavior that characterized Mr. C displayed by a squirrel (Mr. S) that lives in the grounds of my house in the country. He is a fairly tame squirrel, happily mated and not sex-hungry, if I am any judge, but nevertheless he frequently runs out toward my automobile when I start down the driveway, and then hesitates, wavers, jumps forward and backward, and occasionally would run right into the car except that he is awfully fast on his feet and that I always hurriedly put on the brakes of the 1935 V-8 Sex Symbol that I drive.

I have seen this same behavior in the case of rabbits (notoriously uninfluenced by any sex symbols save those of other rabbits), dogs, pigeons, a doe, a young hawk (which flew at my car), a blue heron that I encountered on a country road in Vermont, and once, near Paul Smiths in the Adirondacks, a fox. They all acted exactly like Mr. C. The hawk, unhappily, was killed. All the others escaped with nothing worse, I suppose, than a complete nervous collapse. Although I cannot claim to have been conversant with the private life and the secret compulsions, the psychoneuroses and the glandular activities of all these animals, it is nevertheless my confident and unswervable belief that there was nothing at all the matter with any one of them. Like Mr. C, they suddenly saw a car swiftly bearing down upon them, got excited, and lost their heads. I do not believe, you see, there was anything the matter with Mr. C, either. But I do believe that, after a thorough analysis lasting months, with a lot of harping on the incident of the automobile, something might very well come to be the matter with him. He might even actually get to suffering from the delusion that he believes automobiles are sex symbols.

It seems to me worthy of note that Dr. Bisch, in reciting the reactions of three persons in the face of an oncoming car, selected three men. What would have happened had they been Mrs. A, Mrs. B, and Mrs. C? You know as well as I do: all three of them would have hesitated, wavered, jumped forward and backward, and finally run head-on into the car if some man hadn't grabbed them. (I used to know a motorist who, every time he approached a woman standing on a curb preparing to cross the street, shouted, "Hold it, stupid!") It is not too much to say that, with a car bearing down upon them, ninety-five women out of a hundred would act like Mr. G -- or Mr. S, the squirrel, or Mr. F, the fox. But it is certainly too much to say that ninety-five out of every hundred women look upon an automobile as a sex symbol.

For one thing, Dr. Bisch points out that the automobile serves as a sex symbol because of the "mechanical principle involved." But only one woman in a thousand really knows anything about the mechanical principle involved in an automobile. And yet, as I have said, ninety-five out of a hundred would hesitate, waver, and jump, just as Mr. C did. I think we have the Freudians here. If we haven't proved our case with rabbits and a blue heron, we have certainly proved it with women.

To my notion, the effect of the automobile and of other mechanical contrivances on the state of our nerves, minds, and spirits is a problem which the popular psychologists whom I have dealt with know very little about. The sexual explanation of the relationship of man and the machine is not good enough. To arrive at the real explanation, we have to begin very far back, as far back as Franklin and the kite, or at least as far back as a certain man and woman who appear in a book of stories written more than sixty years ago by Max Adeler.

One story in this book tells about a housewife who bought a combination ironing board and card table, which some New England genius had thought up in his spare time. The husband, coming home to find the devilish contraption in the parlor, was appalled. "What is that thing?" he demanded. His wife explained that it was a card table, but that if you pressed a button underneath, it would become an ironing board. Whereupon she pushed the button and the table leaped a foot into the air, extended itself, and became an ironing board. The story goes on to tell how the thing finally became so finely sensitized that it would change back and forth if you merely touched it -- you didn't have to push the button. The husband stuck it in the attic (after it had leaped up and struck him a couple of times while he was playing euchre), and on windy nights it could be heard flopping and banging around, changing from a card table to an ironing board and back.

The story serves as one example of our dread heritage of annoyance, shock, and terror arising out of the nature of mechanical contrivances per se. The mechanical principle involved in this damnable invention had, I believe, no relationship to sex whatsoever. There are certain analysts who see sex in anything, even a leaping ironing board, but I think we can ignore these scientists.

No man (to go on) who has wrestled with a self-adjusting card table can ever be quite the man he once was. If he arrives at the state where he hesitates, wavers, and jumps at every mechanical device he encounters, it is not, I submit, because he recognizes the enticements of sex in the device, but only because he recognizes the menace of the machine as such. There might very well be, in every descendant of the man we have been discussing, an inherited desire to jump at, and conquer, mechanical devices before they have a chance to turn into something twice as big and twice as menacing. It is not reasonable to expect that his children and their children will have entirely escaped the stigma of such traumata.

I myself will never be the man I once was, nor will my descendants probably ever amount to much, because of a certain experience I had with an automobile. I had gone out to the barn of my country place, a barn which was used both as a garage and a kennel, to quiet some large black poodles. It was 1 a.m. of a pitch-dark night in winter and the poodles had apparently been terrified by some kind of a prowler, a tramp, a turtle, or perhaps a fiend of some sort. Both my poodles and I myself believed, at the time, in fiends, and still do. Fiends who materialize out of nothing and nowhere, like winged pigweed or Russian thistle. I had quite a time quieting the dogs, because their panic spread to me and mine spread back to them again, in a kind of vicious circle.

Finally, a hush as ominous as their uproar fell upon them, but they kept looking over their shoulders, in a kind of apprehensive way. "There's nothing to be afraid of," I told them as firmly as I could, and just at that moment the klaxon of my car, which was just behind me, began to shriek. Everybody has heard a klaxon on a car suddenly begin to sound; I understand it is a short circuit that causes it. But very few people have heard one scream behind them while they were quieting six or eight alarmed poodles in the middle of the night in an old barn. I jump now whenever I hear a klaxon, even the klaxon on my own car when I push the button intentionally. The experience has left its mark.

Everybody, from the day of the jumping card table to the day of the screaming klaxon, has had similar shocks. You can see the result, entirely unsuperinduced by sex, in the strained faces and muttering lips of people who pass you on the streets of great, highly mechanized cities. There goes a man who picked up one of those trick matchboxes that whir in your hands; there goes a woman who tried to change a fuse without turning off the current; and yonder toddles an ancient who cranked an old Reo with the spark advanced. Every person carries in his consciousness the old scar, or the fresh wound, of some harrowing misadventure with a contraption of some sort. I know people who would not deposit a nickel and a dime in a cigarette-vending machine and push the lever even if a diamond necklace came out. I know dozens who would not climb into an airplane even if it didn't move off the ground. In none of these people have I discerned what I would call a neurosis, an "exaggerated" fear; I have discerned only a natural caution in a world made up of gadgets that whir and whine and whiz and shriek and sometimes explode.

I should like to end with the case history of a frknd of mine in Ohio named Harvey Lake. When he was only nineteen, the steering bar of an old electric runabout broke off in his hand, causing the machine to carry him through a fence and into the grounds of the Columbus School for Girls. He developed a fear of automobiles, trains, and every other kind of vehicle that was not pulled by a horse. Now, the psychologists would call this a complex and represent the fear as abnormal, but I see it as a purely reasonable apprehension. If Harvey Lake had, because he was catapulted into the grounds of the Columbus School for Girls, developed a fear of girls, I would call that a complex; but I don't call his normal fear of machines a complex. Harvey Lake never in his life got into a plane (he died in a fall from a porch), but I do not regard that as neurotic, either, but only sensible.

I have, to be sure, encountered men with complexes. There was, for example, Marvin Belt. He had a complex about airplanes that was quite interesting. He was not afraid of machinery, or of high places, or of crashes. He was simply afraid that the pilot of any plane he got into might lose his mind.

"I imagine myself high over Montana," he once said to me, "in a huge, perfectly safe tri-motored plane. Several of the passengers are dozing, others are reading, but I am keeping my eyes glued on the door to the cockpit. Suddenly the pilot steps out of it, a wild light in his eyes, and in a falsetto like that of a little girl he says to me, 'Conductor, will you please let me off at One-Hundred-and-Twenty-fifth Street ?'"

"But," I said to Belt, "even if the pilot does go crazy, there is still the co-pilot."

"No, there isn't," said Belt. "The pilot has hit the co-pilot over the head with something and killed him."

Yes, the psychoanalysts can have Marvin Belt. But they can't have Harvey Lake, or Mr. C, or Mr. S, or Mr. F, or, while I have my strength, me.

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RETURN TO THE BEGINNING OF THE POST
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Monday, September 15, 2003

[9/15/2011] Thurber Tonight: "The Conscious vs. The Unconscious" from "Let Your Mind Alone!" (continued)

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"Our psychiatrist, in this meaty chapter, takes up a great many more cases, many more than I can disagree with in the space at my disposal, but I can't very well leave out the one about the man and the potatoes, because it is one of my favorites."
-- from "The Conscious vs. The Unconscious"


"The Conscious vs. The Unconscious" appeared originally in The New Yorker of Feb. 20, 1937.


Let Your Mind Alone!
7. The Conscious vs. The Unconscious


The Hercules of the Conscious vs. the Augean Stables of the Unconscious? ("That is my own colorful, if somewhat labored, metaphor and I don't want to see any of the other boys swiping it.")


IT IS HIGH TIME THAT WE WERE GETTING AROUND TO A CONSIDERATION of the magnum opus of Louis E. Bisch, M.D., PhD., formerly Professor of Neuropsychiatry at the New York Polyclinic Medical School and Hospital, and Associate in Educational Psychology at Columbia University, and the author of Be Glad You're Neurotic. Some of the reassuring chapter titles of his popular treatise are "I'm a Neurotic Myself and Delighted," "You Hate Yourself. No Wonder!," "No, You're Not Going Insane Nor Will Any of Your Fears Come True," "Are Your Glands on Friendly Terms?," and "Of Course Your Sex Life Is Far from Satisfactory."

Some of you will be satisfied with just these titles and will not go on to the book itself, on the ground that you have a pretty good idea of it already. I should like, however, to have you turn with me to Chapter VII, one of my favorite chapters in all psycho-mentology, "Your Errors and Compulsions Are Calls for Help."

The point of this chapter, briefly, is that the unconscious mind often opposes what the conscious mind wants to do or say, and frequently trips it up with all kinds of evasions, deceits, gags, and kicks in the pants. Our popular psychiatrists try to make these mysteries clear to the layman by the use of simple, homely language, and I am trying to do the same. Dr. Bisch relates a lot of conflicts and struggles that take place between the Hercules of the Conscious and the Augean Stables of the Unconscious (that is my own colorful, if somewhat labored, metaphor and I don't want to see any of the other boys swiping it).

"I myself," writes Dr. Bisch, "forgot the number of a hospital where I was to deliver a lecture when I was about to apologize for my delay. I had talked to that particular hospital perhaps a hundred times before. This was the first time, however, that I was consciously trying to do what unconsciously I did not want to do."

If you want unconsciously as well as consciously to call a hospital one hundred times out of one hundred and one, I say your conscious and unconscious are on pretty friendly terms. I say you are doing fine. This little experience of Dr. Bisch's is merely to give you a general idea of the nature of the chapter and to ease you into the discussion gently. There are many more interesting examples of conflict and error, of compulsion and obsession, to come.

"A colleague," goes on Dr. Bisch, "told me that when he decided to telephone his wife to say he could not be home for dinner he dialled three wrong numbers before he got his own. 'It's because she always flares up when I'm detained at the office,' he explained." This shows that psychiatrists are just as scared of their wives as anybody else. Of course, I believe that this particular psychiatrist dialled the three wrong numbers on purpose. In the case of all husbands, both neurotic and normal, this is known as sparring for time and has no real psychological significance.

I almost never, I find in going slowly and carefully through Dr. Bisch's chapter, taking case histories in their order, agree with him. He writes, "The appearance of persons whom one dislikes or is jealous of, who have offended in some way or whom one fears, tend to be blotted from the mind." Well, some twelve years ago I knew, disliked, was jealous of, feared, and had been offended by a man whom I shall call Philip Vause. His appearance has not only not been blotted from my mind, it hasn't even tended to be. I can call it up as perfectly as if I were holding a photograph of the man in my hand.

In nightmares I still dream of Philip Vause. When, in these dreams, I get on subways, he is the guard; when I fly through the air, the eagle that races with me has his face; when I climb the Eiffel Tower, there he is at the top, his black hair roached back, the mole on the left cheek, tin thin-lipped smile, and all. Dr. Bisch goes on to say that "the more disagreeable an incident, the deeper is it finally repressed." To which he adds, "The recollection of the pain attending child-birth never lingers long." He has me there.

Dr. Bisch proceeds from that into this: "A man who mislays his hat either dislikes it, wants a new one, experienced unpleasantness when last he wore it, or he does not want to go out. And what you lose you may be sure you do not value, even if it be your wedding ring. Psychologists claim that we lose things because we want to be rid of them or the association they carry, but that we are unwilling to admit the fact to ourselves and actually throw the thing away."

This shows you pretty clearly, I think, the point psychologists have reached. I call it mysticism, but I am a polite fellow; you can call it anything you want to. Under any name, it isn't getting us anywhere. Every husband whose tearful wife has lost her wedding ring will now begin to brood, believing (if he strings along with the psychologists instead of with me) that the little darling threw it away, because she is really in love with Philip Vause, and that her tears over her loss are as phony as the plight of a panhandler's family. Let us leave all the sad young couples on the point of separating and go on to Dr. Bisch's analysis of a certain man.

"A certain man," writes Dr. Bisch, "forgot to wind the alarm on several occasions, in consequence of which he was late for work. He also forgot his keys on two occasions and had to wake up his wife in the early hours of the morning. Twice he forgot the furnace at night with the result that there was no heat the next day. In this case the unconscious was trying to tell him that he did not like living in the country although consciously he maintained that he did, for the good of the children."

There are, from the standpoint of my own school of psychology, so many fallacies in this piece of analysis that I hardly know where to begin. But let us begin at the beginning, with the failure to wind the alarm clock. Now, a man who does not want to stay home winds the clock so that it will wake him and he can get the hell out and go to the office. There is surely nothing sounder than this. Hence the failure to wind the alarm clock shows that his unconscious was trying to tell him that he did not want to go to the office any more but wanted to stay at his house in the country all the time.

The key-forgetting business I simply do not believe. A man who has had to rout out his wife once in the early hours of the morning is not going to forget his key a second time. This is known as Thurber's Empirical Law No. 1.

If Dr. Bisch had lived in the country as long and as happily as I have, he would know this simple and unmystical fact: any man can forget to fix the clock and the furnace; especially the furnace, because the clock is usually right where it can be seen, whereas the furnace isn't. Some husbands "forget" to bank the furnace because they have kept hearing funny noises in the cellar all evening and are simply scared to go down there. Hundreds of simple little conscious motives enter into life, Dr. Bisch, hundreds of them.

"A woman," goes on Dr. Bisch, "who wished to consult an attorney about a divorce wrote to him: 'I have been married 22 years.' But the second 2 had evidently been added afterward, indicating that probably she was embarrassed to admit not being able to make a go of it after living with the man so long."

How's that again, Doctor? I may be dumb, but I don't exactly catch all that. Couldn't the woman have really been married only 2 years, and couldn't she have added the second 2 indicating that probably she was embarrassed to admit that she was giving up trying to make a go of it after living with the man so short a time? Maybe we better just drop this one.

"A woman," continues Dr. Bisch (this is another woman), "who was talking to me about an intended trip to the lakes of northern Italy said: 'I don't wish to visit Lavonia Bay.' She, herself, was surprised, as no such place exists. Inasmuch as the trip was to be a honeymoon, it was 'love, honor, and obey' that really was bothering her."

I take off my hat to the Doctor's astonishing powers of divination here, because I never would have figured it out. Now that he has given me the key, I get it, of course. "Love, honor, and obey," love-honor-obey, Lavonia Bay. I wonder if he knows the one about the woman who asked the librarian for a copy of In a Garden. What she really wanted was Enoch Arden. I like Lavonia Bay better, though, because it is psycho-neurotic, whereas there was nothing the matter with the other poor woman; she just thought that the name of the book was In a Garden. Dr. Bisch might very likely see something more in this, but the way I've always heard it was that she just thought the name was In a Garden.

"When a usually efficient secretary," writes Dr. Bisch, "makes errors in typing or shorthand, the excuse of fatigue or indisposition should be taken with a grain of salt. Resentment may have developed toward the employer or the work, or something may unconsciously be bothering her. Some years ago my own secretary often hit the t key by mistake. I discovered a young man by the name of Thomas was courting her."

That doesn't explain the mistakes of a secretary I had five or six years ago. I had never had a secretary before, and had, indeed, never dictated a letter up to that time. We got some strange results. One of these, in a letter to a man I hoped I would never hear from again, was this sentence: "I feel that the cuneo has, at any rate, garbled the deig." This was not owing to fatigue or indisposition, or to resentment, although there was a certain resentment -- or even to a young man named Cuneo or Deig. It was simply owing to the fact that my secretary, an Eastern girl, could only understand part of what I, a Middle-Westerner, was saying. In those days, I talked even more than I do now as if I had steel wool in my mouth, and the young lady just did not "get" me. Being afraid to keep asking me what I was trying to say, she simply put down what it sounded like.

I signed this particular letter, by the way, just as she wrote it, and I never heard again from the man I sent it to, which is what I had hoped would happen. Psychiatrists would contend that I talked unintelligibly because of that very hope, but this is because they don't know that in Ohio, to give just one example, the word "officials" is pronounced "fishuls," no matter what anybody hopes.

We now go on to the case of a gentleman who deviated from the normal, or uninteresting. "In dressing for a formal dinner," says Dr. Bisch, "a man put on a bright red bow tie. His enthusiasm was self-evident."

That is all our psychiatrist says about this one, and I think he is letting it go much too easily; I sense a definite drop here. If I were to say to you that in dressing for a formal dinner last night I put on a bright red bow tie and you were to say merely, "Your enthusiasm was self-evident," I would give you a nasty look and go on to somebody else who would get a laugh out of it, or at least ask what the hell was the idea.

For the purpose of analysis in this particular case, I think you would have to know who the man was, anyway. If it was Ernest Boyd, that's one thing; if it was Jack Dempsey, that's another thing; if it was Harpo Marx or Dave Chasen, that's still another thing, or two other things. I think you really have to know who the man was. If the idea was to get a laugh, I don't think it was so very good. As for Dr. Bisch's notion that the man was enthusiastic, I don't see that at all. I just don't see it. Enthusiastic about what?

Our psychiatrist, in this meaty chapter, takes up a great many more cases, many more than I can disagree with in the space at my disposal, but I can't very well leave out the one about the man and the potatoes, because it is one of my favorites. It seems that there kept running through this unfortunate gentleman's mind the words "mashed potatoes, boiled potatoes, mashed potatoes, boiled potatoes" -- that old line. This went on for days, and the poor fellow, who had a lot of other things he wanted to keep repeating, could only keep repeating that.

"Here," says Dr. Bisch, "the difficulty lay in the fact that the man had previously received a reprimand from his employer regarding his easy-going ways with the men who were under him in his department. 'Don't be too soft!' the employer had shouted. 'Be hard!' That very evening his wife served French fried potatoes that were burnt. 'I should be hard with her, too,' he mused. The next day the 'mashed potatoes, boiled potatoes' had been born."

Now my own analysis is that the fellow really wanted to kill (mash) his wife and then go out and get fried or boiled. My theory brings in the fried potatoes and Dr. Bisch's doesn't, or not so well, anyway. I might say, in conclusion, that I don't like fellows who muse about getting hard with their wives and then take it out in repeating some silly line over and over. If I were a psychiatrist, I would not bother with them. There are so many really important ailments to attend to.

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Sunday, September 14, 2003

[9/14/2011] Thurber Tonight: "How to Adjust Yourself to Your Work" from "Let Your Mind Alone!" (continued)

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Lutheran pastor Frank Buchman (1878-1961), who made the cover of Time as a "cultist," was the driving force behind the Oxford Group, a worldwide Christian evangelical movement of the '20s and '30s that according to Wikipedia (in a neutrality-"disputed" article, for the record) "was unlike other forms of evangelism in that it targeted and directed its efforts to the 'up and outers': the elite and wealthy of society."


"No man likes to see a familiar thing at an unfamiliar angle, or in an unfamiliar light, and this goes, above all things, for his own face. The glimpses that men get of themselves in mirrors set at angles to each other upset them for days. Frequently they shave in the dark for weeks thereafter."
-- from "How to Adjust Yourself to Your Work"


"How to Adjust Yourself to Your Work" appeared originally in The New Yorker of Jan. 9, 1937.


Let Your Mind Alone!
5. How to Adjust Yourself to Your Work


I FIND THAT THE INSPIRATIONAL BOOKS ARE FREQUENTLY DISPOSED to touch, with pontifical cheerfulness or owlish mysticism, on the problem of how to get along in the business world, how to adjust yourself to your employer and to your fellow-worker. It seems to me that in this field the trainers of the mind, both lady and gentleman, are at their unhappiest. Let us examine, in this our fourth lesson [Note: Thurber appears not to be allowing for the addition of "A Dozen Disciplines" to the book version of Let Your Mind Alone!, making "How to Adjust Yourself to Your Work" the fifth rather than fourth installment -- Ed.], what Mrs. Dorothea Brande, who is reputedly changing the lives of almost as many people as the Oxford Group, has to say on the subject.

She presents the case of a man (she calls him "you") who is on the executive end of an enterprise and feels he should be on the planning end. "In that case," she writes, "your problem is to bring your talents to the attention of your superior officers with as little crowding and bustling as possible. Learn to write clear, short, definite memoranda and present them to your immediate superior until you are perfectly certain that he will never act upon them. In no other circumstances are you justified in going over his head."

Very well, let us start from Mrs. Brande's so-called point of justification in going over your superior's head, and see what happens. Let us suppose that you have presented your favorite memoranda to your immediate superior, Mr. Sutphen, twice and nothing has happened. You are still not perfectly certain that he will never act upon them. To be sure, he has implied, or perhaps even said in so many words, that he never will, but you think that maybe you have always caught him at the wrong moment. So you get up your memoranda a third time.

Mr. Sutphen, glancing at your paper and noting that it is that same old plan for tearing out the west wall, or speeding up the out-of-town truck deliveries, or substituting colored lights for bells, is pretty well convinced that all you do in your working hours is write out memoranda. He figures that you are probably suffering from a mild form of monomania and determines to dispense with your service if you submit any memoranda again.

After waiting a week and hearing nothing from Mr. Sutphen, you decide, in accordance with Mrs. Brande's suggestion, to go over his head and take the matter up with Mr. Leffley. In doing so, you will not be stringing along with me. I advise you not to go over Mr. Sutphen's head to Mr. Leffley; I advise you to quite writing memoranda and get to work. The Mr. Leffleys of this country have enough to do the way it is, or think they have, and they do not like to have you come to them with matters which should be taken up with the Mr. Sutphens. They are paying the Mr. Sutphens to keep you and your memoranda from suddenly bobbing up in frotn of them.

In the first place, if you accost the Mr. Leffleys personally, you become somebody else in the organization whose name and occupation they are supposed to know. Already they know who too many people are. In the second place, the Mr. Leffleys do not like to encounter unexpected memoranda. It gives them a suspicion that there is a looseness somewhere; it destroys their confidence that things are going along all right; it shakes their faith in the Mr. Sutphens -- and in the Mr. Bairds, the Mr. Crowfuts, and the old Miss Bendleys who are supposed to see that every memorandum has been filed away, or is being acted on.

I know of one young man who was always sending his particular Mr. Leffley, over Mr. Sutphen's head, memoranda done up in limp-leather covers and tied with ribbon, this to show that he was not only clear, short, and definite, but neat. Mr. Leffley did not even glance between the leather covers; he simply told Miss Bendley to turn the thing over to Mr. Sutphen, who had already seen it. The young man was let go and is now a process-server.

Keep, I say, our clear, short, and definite memoranda to yourself. If Mr. Sutphen has said no, he means no. If he has taken no action, no action is going to be taken. People who are all the time submitting memoranda are put down as jealous, disgruntled, and vaguely dangerous. Employers do not want them around. Sooner or later Mr. Sutphen, or Mr. Leffley himself, sees to it that a printed slip, clear, short, and definite, is put in their pay envelopes.

My own experience, and the experience of many friends, in dealing with superiors has covered a wide range of crucial situations of which these success writers appear to be oblivious and for which they therefore have no recommended course of action (which is probably just as well). I am reminded of the case of Mr. Russell Soames, a friend of mine, who worked for a man whom we shall call Mr. B. J. Winfall.

This Winfall, some five or six years ago, in the days when Capone was at large and wholesale shootings were common in Chicago, called Soames into his office and said, "Soames, I'm going out to Chicago on that Weltmer deal and I want you to go along with me." "All right, Mr. Winfall," said Soames. They went to Chicago and had been there only four or five hours when they were calling each other Russell and B.J. and fighting for the check at the bar.

On the third day, B.J. called Russell into his bedroom (B.J. had not left his bedroom in thirty-six hours) and said, "Russell, before we go back to New York, I want to see a dive, a hideout, a joint. I want to see these gangsters in their haunts. I want to see them in action, by God, if they ever get into action. I think most of it is newspaper talk. Your average gangster is a yellow cur." B.J. poured himself another drink from a bottle on his bedside table and repeated, "A yellow cur." Drink, as you see, made B.J. pugnacious (he had already gone through his amorous phase).

Russell Soames tried to argue his chief out of this perilous plan, but failed. When Russell would not contact the right parties to arrange for B.J.'s little expedition, B.J. contacted them himself, and finally got hold of a man who knew a man who could get them into a regular hangout of gorillas and finger men. Along about midnight of the fourth day in Chicago, B. J. Winfall was ready to set out for the dive. He wore a cap, which covered his bald spot, and he had somehow got hold of a cheap, ill-fitting suit, an ensemble which he was pleased to believe gave him the effect of a hardboiled fellow; as a matter of fact, his nose glasses, his pink jowls, and his paunch betrayed him instantly for what he was, a sedentary businessman.

Soames strove to dissuade his boss, even in the taxi on their way to the tough spot, but Winfall pooh-poohed him. "Pooh, pooh, Russell," he snarled out of the corner of his mouth, unfamiliarly. "These kind of men are rats." He had brought a flask with him and drank copiously from it. "Rats," he said, "of the first order. The first order, my boy." Soames kept repeating that he felt B.J. was underrating the dangerousness of the Chicago gangster and begged him to be on his good behavior when they got to the joint, if only for the sake of B.J.'s wife and children and his (Russell's) old mother. He exacted a reluctant promise that B.J. would behave himself, but he was by no means easy in his mind when their taxi finally stopped in front of a low, dark building in a far, dark street.

"Leave it to me, Russell, my boy," said B.J. as they got out of the cab. "Leave it to me." Their driver refused to wait, and Russell, who paid him off, was just in time to restrain his employer from beating on the door of the place with both fists. Russell himself knocked, timidly. A thin Italian with deadly eyes opened the door a few inches, Russell mentioned a name, falteringly, and the man admitted them.

As Russell described it to me later, it was a dingy, smoky place with a rough bar laid across the back attended by a liver-faced barman with a dirty rag thrown over one shoulder, and only one eye. Leaning on the bar and sitting at tables were a lot of small, tough-faced men. They all looked up sullenly when Russell and B.J. walked in. Russell felt there was a movement of hands in pockets.

Smiling amiably, blinking nervously, Russell took his companion's arm, but the latter broke away, strode to the bar, and shouted for whiskey. The bartender fixed his one eye on B.J. with the glowering, steady gaze Jack Dempsey used to give his opponents in the ring. He took his time slamming glasses and a bottle down on the bar. B.J. filled a glass, tossed it off, turned heavily, and faced the roomful of men. "I'm Two-Gun Winfall from New York City!" he shouted. "Anybody want anything?"

"The bartender fixed his one eye on B.J. with the glowering, steady gaze Jack Dempsey used to give his opponents in the ring."

By the most cringing, obsequious explanations and apologies, Russell Soames managed to get himself and his boss out of the place alive. The secret of accomplishing such a feat as he accomplished that night is not to be found in any of the inspirational books. Not a single one of their impressive bits of advice would get you anywhere.

Take Mrs. Brande's now famous italicized exhortation, "Act as if it were impossible to fail." Wasn't B. J. Winfall doing exactly that? And was that any way to act in this particular situation? It was not. It was Russell Soames' craven apologies, his abject humility, his (as he told me later) tearful admission that he and B.J. were just drunken bums with broken hearts, that got them our of there alive. The success writers would never suggest, or even tolerate, any such behavior. If Russell Soames had followed their bright, hard rules of general conduct, he would be in his grave today and B. J. Winfall's wife would be a widower.

If Mrs. Brande is not, as in the case of the memoranda-writer, suggesting a relationship with a superior which I believe we have demonstrated to be dangerous and unworkable (and missing altogether the important problem of how to handle one's employer in his more difficult moments), she is dwelling mystically on the simple and realistic subject of how to deal with one's fellow-workers. Thus, in embroidering the theme that imagination can help you with your fellow-workers, she writes, "When you have seen this, you can work out a code for yourself which will remove many of the irritations and dissatisfactions of your daily work. Have you ever been amused and enlightened by seeing a familiar room from the top of the stepladder; or, in mirrors set at angles to each other, seen yourself as objectively for a second or two as anybody else in the room? It is that effect you should strive for in imagination."

Here again I cannot hold with the dear lady. The nature of imagination, as she describes it, would merely terrify the average man. The idea of bringing such a distorted viewpoint of himself into his relation with his fellow-workers would twist his personality laboriously out of shape and, in the end, appall his fellow-workers. Men who catch an unfamiliar view of a room from the top of a stepladder are neither amused nor enlightened; they have a quick, gasping moment of vertigo which turns rapidly into plain terror. No man likes to see a familiar thing at an unfamiliar angle, or in an unfamiliar light, and this goes, above all things, for his own face. The glimpses that men get of themselves in mirrors set at angles to each other upset them for days. Frequently they shave in the dark for weeks thereafter.

To ask a man to steadily contemplate this thing he has seen fleetingly in a mirror and to figure it as dealing with his fellow-workers day by day is to ask him to abandon his own character and to step into another, which he both disowns and dislikes. Split personality could easily result, leading to at least fifteen of the thirty-three "varieties of obliquity" which Mr. David Seabury lists in his How to Worry Successfully, among them Cursory Enumeration, Distortion of Focus, Nervous Hesitation (superinduced by Ambivalence), Pseudo-Practicality, Divergency, Retardation, Emotional Compilation, Negative Dramatization, Rigidism, Secondary Adaptation, False Externalization, Non-Validation, Closure, and Circular Brooding.

I don't know why I am reminded at this point of my Aunt Kate Obetz, but I am. She was a woman without any imaginative la-di-da, without any working code save that of direct action, who ran a large dairy farm near Sugar Grove, Ohio, after her husband's death, and ran it successfully.

One day something went wrong with the cream separator [Note: you can click on the illustration at right to enlarge it -- Ed.], and one of her hands came to her and said nobody on the farm could fix it. Should they send to town for a man? "No!" shouted my Aunt Kate. "I'll fix it myself!" Shouldering her way past a number of dairy workers, farm hands, and members of her family, she grasped the cream separator and began monkeying with it. In a short time she had reduced it to even more pieces than it had been in when she took hold of it. She couldn't fix it. She was just making things worse. At length, she turned on the onlookers and bawled, "Why doesn't somebody take this goddamn thing away from me?"

Here was a woman as far out of the tradition of inspirationalist conduct as she could well be. She admitted failure; she had no code for removing irritations and dissatisfactions; she viewed herself as in a single mirror, directly; she lost her temper; she swore in the presence of subordinates; she confessed complete surrender in the face of a difficult problem; she didn't think of herself as a room seen from the top of a stepladder. And yet her workmen and her family continued to love and respect her. Somebody finally took the cream separator away from her; somehow it was fixed. Her failure did not show up in my aunt's character; she was always the same as ever.

For true guidance and sound advice in the business world we find, I think, that the success books are not the place to look, which is pretty much what I thought we would find all along.

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