Outside

Other people’s words about … the beach

Outside the air is thinner and the sky is bruised with angry storm clouds. She inches her way down the verge, relieved to escape [from the hall], and her breathing eases. She scans the beach: to her right is a shoulder of cliff that juts out into the sea, and to the left is a long worm of bleached sand, with a huddle of stick men on it. Two of the men break away from the pack and walk along the empty beach towards her, while the others clamber over the dunes to a dozen cars parked haphazardly on the roadside. Applause wafts out of the hall and needles of warm rain pick down. She looks harder at the breakaway pair, their heads bowed in conversation …

The wind sighs and seawater sprays [her face].

From ‘The Unforgotten’
by Laura Powell

I read the passage I’ve quoted above just 24 hours before the Premier of South Australia announced a statewide lockdown for the next six days, aimed at preventing a rise in the small, but rapidly increasing and highly infectious, number of cases of COVID-19 that have been detected in South Australia in the last week. At the time I was reading that passage, most South Australians were expecting some kind of restrictions to be imposed soon, but I think we were all taken by surprise by the particular conditions of our lockdown when it was announced, and by the speed with which those conditions were imposed. The very next day — today — we were in lockdown.

Clifftop view, ten days before restrictions were imposed.

Six days is not a long time in the scheme of things, and I understand and respect the reasoning behind our lockdown. Still, the restrictions here for those six days are more severe than any restrictions imposed at any other time this year in any other state in Australia. One person in each household is allowed to leave the house (preferably masked) once a day, to get essential medical items and groceries. Essential workers are also allowed to leave the house (preferably masked) to go to work. No businesses, other than essential businesses (supermarkets, grocery stores, post offices, banks, and — though what this says about our culture, I dread to think — bottle shops) are allowed to operate. Other than that, South Australians are instructed not to leave the house at all, even to exercise. Even to walk their dog.

Bush view, the week before restrictions were imposed.

The restrictions were announced at midday yesterday, and they came into effect at midnight the same day. I finished work at five o’clock, and all I could think to do, once I got home from the office, was to walk down the road for one last wander along the beach before the sun sank. Before midnight came.

I wondered if the beach would be filled with last-minute crowds: I had heard that the shops were. But when I reached the beach, there were no more people than usual. It was a warm, still, muggy afternoon. A woman swam past me, doing breaststroke, heading northwards towards the breakwater, her stroke slow but steady and strong. A couple in their thirties walked by, and I heard the man say to the woman, very articulately, ‘I’m sorry. I’m not always able to articulate myself when I’m … ‘ But then, as they walked on, his voice faded, so that I was left wondering what kind of argument they’d just had, and whether it was lockdown-related or not. A grey-haired man jogged near the shore, with his old, stiff-hipped dog trotting a couple of metres behind him, off-leash. They were in perfect accord, this man and his dog: each time the man turned his head to check on his dog, his dog looked up at him and then trotted on steadily towards him.

There was nothing special or eventful about the beach that afternoon, except that I knew that it would be my last afternoon there for at least six days. Other than that, it was just an ordinary afternoon, the kind of ordinary afternoon on the beach that Laura Powell describes in the passage I’ve quoted above. I tried to work out what I was feeling, and then I gave up and just concentrated, instead, on enjoying the moment for whatever it gave me: the warm air, the sultry clouds, the faintly orange horizon, the silvering sea.

Beach view, a few hours before restrictions were imposed.

I don’t know what lies ahead of us — not just for the next six days, but also for the days and weeks after that. Perhaps the restrictions will ease, if the spread of the virus slows down; otherwise, the restrictions are likely to continue. It’s best not to think too far ahead for now, I guess. I am, besides, grateful to live in a country, and a state, where our leaders take our health seriously; and, on a smaller, more personal scale, I’m grateful to live in a place where I know that the beach lies just down the end of the road — even if I can’t go there for the moment.

I’ll be back there soon. We all will be.

Lately I’ve been reading …

Just one link for today, but it’s relevant, I think:

Cage

Other people’s words about … words

Sometimes at the birth and death of a day, the opal sky is no colour we have words for, the gold shading into blue without the intervening green that is halfway between those colours, the fiery warm colours that are not apricot or crimson or gold, the light morphing second by second so that the sky is more shades of blue than you can count as it fades from where the sun is to the far side where other colours are happening. If you look away for a moment you miss a shade for which there will never be a term, and it is transformed into another and another. The names of the colours are sometimes cages containing what doesn’t belong there, and this is often true of language generally, of the words like woman, man, child, adult, safe, strong, free, true, black, white, rich, poor. We need the words, but use them best knowing they are containers forever spilling over and breaking open. Something is always beyond.

From ‘Recollections of My Non-Existence’
by Rebecca Solnit

In the passage I’ve quoted above, Rebecca Solnit gives a beautiful, vivid description of a sunset, a description which then morphs, somehow — in just the same way she describes the colours in the sky morphing — into a discussion about words: how we use them, how they imprison us, and how our understanding of the way that they imprison us might just set us free.

This year, perhaps even more than previous years, we need the words, as Solnit puts it, to ask ourselves questions about what is happening all around us: in the political sphere, the public health sphere, the environmental sphere. And yet, at the same time, all the words we use when we ask ourselves those very questions, when we try to make sense of this year, are nothing more than containers, cages. I can’t think, honestly, of a word that really captures what this year has been like, or what the meaning of this year might be, or how we might learn from this year so that next year isn’t the same (or worse).

I am a person who loves to read and to write, and so it seems natural to me, when I feel wordless, to equate my wordlessness with despair. But sometimes, this year, when I’ve been at my most wordless in the face of everything that is happening in the world, I have been reminded of a line by Emily Dickinson: Hope is the thing with feathers.

Hope, Dickinson writes, sings the tune without the words. Dickinson’s hope is feathered and wordless; it is an uncaged creature, a creature that is free.

I think of Dickinson’s warm, flitting hope as an antidote to everything else I’ve felt in response to this year. When I read her poem, her words set me free.

Lately I’ve been reading …

With thanks to my mother for the second and third items on this list.

Plunge

Other people’s words about … taking the leap

I cannot be the only woman who fantasises, sometimes, about spinning the wheel, driving her car off a cliff. It seems impossible to do, and therefore I long to do it. If only to make a hole in the preordained. If only to do something other than follow along, bumper to bumper, a dutiful mirror, for once in my life. If only to destroy something, even if it is myself.

I say this, but I can’t even take a leap into the goddamn ocean.

From ‘The Lightness’
by Emily Temple

I like the words by Emily Temple in the passage above, not because I often think about taking a suicidal plunge (I don’t), but because they are fearless. Because they acknowledge the violence inside us. Because they confess to a longing for the impossible, no matter how destructive the longing is.

I’ve spent the weeks (months, in fact) since I last wrote in here going about my life quietly, methodically, following each day, as Temple might have it, bumper to bumper.

Like everybody else in the world, I would call this a strange year, a troubling year. If I had to describe this year in a few, broad brushstrokes, I would say: there has been fire (in both hemispheres now); there has been a plague; there has been an insane king, bent on destroying his kingdom, while his subjects watch on, appalled.

There have been fires; there has been a plague.

In my own little world, on a more personal scale, I’ve turned fifty; I’ve mourned the loss of running in my life, due to an injury that I have yet to overcome; and I’ve farewelled my old dog. Life this year feels entirely strange and yet at the same time preordained, a statement I confess I can provide no explanation for.

Farewell, old friend

I want to finish by adding something wise, something pithy, here, but nothing comes to mind. Sometimes, you just have to keep moving, keep avoiding those cliffs, until you are ready to leap into the goddamn ocean.

Lately I’ve been reading …

Mantra

Other people’s words about … language

I watched them walk down the steps, [and then I] turned around in the hallway, and heard myself say, ‘I’m so lonely’. It shook me because this sentence had become an involuntary verbal tic. I seldom realised I was saying it or perhaps didn’t know that I was speaking the words out loud. I had started to experience this unbidden mantra even while I was still married, mumbling it before sleep, in the bathroom, or even at the grocery store, but it had become more pronounced in the last year. My father had it with my mother’s name. While he was sitting alone in a chair, before he dozed off, and later, in his room at the nursing home, he would utter Marit over and over. He did it sometimes when she was within hearing distance. If she answered the call, he seemed not to know that he had spoken. That is the strangeness of language: it crosses the boundaries of the body, is at once inside and outside, and it sometimes happens that we don’t notice the threshold has been crossed.

From ‘The Sorrows of an American’
by Siri Hustvedt

Have you ever had the same experience as Siri Hustvedt’s narrator Erik describes having in the passage I’ve quoted above — the experience, I mean, of a single phrase that comes to you frequently and (often) unbidden?

Threshold between sky and sea

Until I read this passage, I thought I was alone in this experience, although the phrase that comes to me is not the same phrase as Erik’s phrase. This phrase, my phrase, sometimes comes to me when I’m awake; and it sometimes comes to me when I’m drifting off to sleep; and it sometimes comes to me when I have a pen in my hand and am writing. The phrase, my phrase, is so familiar to me that it has written itself into my very sense of self.

Or perhaps it’s the other way around: the feeling I have when the words come to me is so strong, and so familiar, that it has formed itself into words.

Threshold between bird and world

As I’ve said many times before, I read to find accord with other people whom I will never meet in real life — either the writers themeselves, or the characters whom they create in their writing. Books are words, but they are more than words: their words cross a threshold between words and lived experience.

That, as Hustvedt herself puts it, is the strangeness of language. And, I would add, of life in this world.

Threshold between night and day

More, more, more

Other people’s words about … not being afraid

I don’t know how to explain this, except that everything in my life changed after I had children. I didn’t understand how to parent. No one really knows how to parent until they have kids but I’ve often worried that I parent scared … I didn’t know there were ways to protect the people you loved and not be fearful. Or that we don’t control very much of anything that happens anyway.

From ‘Elsey Come Home’
by Susan Conley

It might seem odd that I feel an affinity with Susan Conley’s words in the passage above, given that I’m not a parent, given that parenthood hasn’t changed my life in the way that she, as a parent, describes it having changed hers. And yet there is such a resonance for me in this passage. Conley’s words apply, I think, not just to parenthood, but to life. I’ve often worried that I parent scared, she writes — but how easy would it be to change the wording slightly? To say instead, I’ve often worried that I live scared?

Quiet skes

I’ve had a funny week this week. I’m still fretting about the way, as the lockdown stage of the coronavirus pandemic comes to an end, the quietness of our world has also, inevitably, begun to recede. There were more people in the office at work this week, more bodies squeezed into our small call centre room, more voices speaking into telephones, more colleagues speaking over each other in an effort to be heard. There were more customers in the shops, cars on the road, commuters on the trains, pedestrians in the streets, people on the beach. There was more laughter, yes, but there was also more noise. There was more of everything.

We don’t control very much of anything that happens anyway, Conley writes, and she is right: just as we had no control over the pandemic happening in the first place, so, also, we don’t have much control over its aftermath. All we can control, as always, is our response to these things.

My response is to try to teach myself to carry the quietness I felt blossom inside of me during the lockdown back into the world as it reopens. But I have to confess that this remains a work in progress. I feel as though I have to learn to retune the strings of my heart: as though, when I plucked them during the lockdown, they made music, but now, once again, all they make is discordant, jangling noise.

So I have no solutions to offer in my post this week, except to say: here I am, plucking away, trying to make music, trying to make a song. Are you, too, learning to sing?

Quiet waters

Lately I’ve been reading …

Bright lights

Other people’s words about … living small

His approach, enjoying small spots of nature every day rather than epic versions of wilderness and escape, made sense to me. Big trips were the glaciers, cruise ships to Madagascar, the Verdon Gorge, the Cliffs of Moher, walking on the moon. Small trips were city parks with abraded grass, the occasional foray to the lake-woods of Ontario, a dirt pile. Smallness did not dismay me. Big nature travel — with its extreme odysseys and summit-fixated explorers — just seemed so, well, grandiose.The drive to go bigger and further just one more instance of the overreaching at the heart of Western culture.

I like smallness. I like the perverse audacity of someone aiming tiny.

From ‘Birds Art Life Death’
by Kyo Maclear

This week marks a new phase in the COVID-19 pandemic, as the world begins to open up again, economically. Here in South Australia, several restrictions will be lifted from 11 May. Cafes will reopen for outdoor eating; travel within the state (to holiday houses and campgrounds) will be encouraged; libraries will open their doors to patrons; swimming pools and community halls will be available for public use once more. All of these reopenings are accompanied by regulations that we could never have imagined prior to the pandemic, most of which are to do with the amount of people gathering in any one spot, and the distance they must keep between each other. But still, even with those rules in place for the foreseeable future, it’s clear that the lockdown is easing slowly.

And I am glad — glad that so few people are ill and dying here now in South Australia; glad that people whose livelihoods have been threatened by the closures of their businesses can now have a chance to make a living again; glad that people who have felt isolated and lonely during lockdown can go out into the world again and reconnect.

But also, I find myself feeling a little sad as the quiet time comes to an end.

Cafe life during the pandemic: the not-so-bright lights

Because, like Kyo Maclear, I, too, on the whole, like smallness. I don’t mean that I like illness or poverty or death — of course not. I don’t mean, either, that I can’t see how incredibly fortunate I’ve been (so far) during this pandemic, given that my health, and the health of all the people I love, remains intact. Given that I still have a job and an income.

But still, for the longest time — for as long as I can remember, in fact — I have felt out of tune with what Maclear calls the overreaching at the heart of Western culture. Over and over in my life, I have sought smallness over largeness; quietness over noise; scarcity over plenitude; closeness over distance; solitude over the throng. Often, this pursuit has felt less like a choice to me than a compulsion or a duty. Often, it has felt very lonely.

During the lockdown, though, as life has shrunk and quietened, as the crowds have thinned and ebbed away, I have seen my instincts and compulsions aligning themselves with the changing world around me. And in this quieter, smaller world, I have felt something inside of me loosen and release. I have felt, for once, at peace.

Through a window: looking up and out to the light

In the society I live in, a Western society like Maclear’s, we are encouraged to spend big, to think big. To live big. In tandem, we are encouraged to ignore the damage that results from doing so — the damage to the environment we live in, and the damage to the quiet places within ourselves, to the truths we feel in the smallness of our own hearts.

Coronavirus has affected the world on a global scale: its effects have been enormous, and they will be long-lasting. And yet, how perverse would it be, to borrow a word from Maclear, if what we take away from this catastrophe is a desire to live smaller, to aim tiny? How audacious? How — dare I say it — wonderful?

Deserted beach: this beautiful light

Lately I’ve been reading …

The life ahead of you

Other people’s words about … distance

They raised their glasses. The room smelt of wine and bread and gravy, and the light was rich and dim.

Geraint didn’t answer.

‘I thought a change of scene … ‘ said Basil. ‘A long voyage on an ocean liner [to India]. Full of hopeful beautiful women,’ he added, daring.

Geraint read Kipling. He thought of the mystery of India, the jungle, the light, the colours, the creatures. The complexities of the silver dealings. The distance. He was, he saw, in need of distance. And his imagination touched on the beautiful young women sailing across dark starlit oceans in search of husbands. A journey like that made you free, made you a different man.

From ‘The Children’s Book’
by AS Byatt

Just a few weeks ago, before the onset of the COVID-19 pandemic, the world we’re living in now would have seemed like something straight out of the pages of a science fiction novel. But then life changed — abruptly, shockingly — and here we are now, living out our strange, new lives. Trying to make sense of our days.

Having no words, myself, for any of this, I have spent my Easter seeking solace in other people’s words. There is no better novel I can think of that describes the kind of vast, sudden change we are experiencing right now than The Children’s Book. In it, AS Byatt chronicles the lives of the members of a family living in Edwardian England as they move, unknowingly, towards 1914 and the outbreak of the First World War … and the end of the world as they knew it.

‘I should like that, sir,’ [Geraint] said. ‘You have been very kind to me.’

Basil said, ‘It was a fortunate day for me when you came into the Bank. You are too young to be fixed by one setback. You have all your life in front of you. The world in front of you.’

Geraint set his [broken heart] against the pull of the oceans and the strange continent. He could feel his own energy stirring.

‘I know,’ he said. ‘You are right. Thank you.’

To say anything more about how Geraint’s life changes shortly after this conversation, or about how wrong Basil’s pronouncements turn out to be, would be to give away the whole, shocking point of this novel. All I will say is this: sometimes we are wrong about the world we live in, and about the lives that we believe lie ahead of us.

Sometimes, as Byatt describes, we are terribly, terribly wrong.

*

At the end of this post, I’ve listed a few of the pieces I’ve read online recently, during this strange, uneasy Easter weekend. I’ve listed them here in case you, like me, find yourself speechless right now: in case you, like me, find yourself seeking solace in other people’s words.

But there’s one other thing I want to leave you with today. This morning, I wandered into our garden — our small, messy, rambling suburban garden, which is more of a yard with some trees we planted in it, really, than a garden — and glanced up through the leaves at the sky. And there, above me, was the sun shining through, distant but warm.

I captured that moment in the photo that accompanies this post. It shows another kind of distance from the one Geraint believes he is entitled to reach out towards. It shows, I want to say, another kind of solace.

The light shining through

Lately I’ve been reading …

Burning, breaking

Other people’s words about … climate change

For the very first time, the wetlands are also on fire. Old Gondwana growth, ancient forests are aflame. This is not the forest that regenerates; what is being lost will never return. It is not hard to see that something is deeply, palpably wrong. All winter drought conditions have intensified; the building fire skipped the river, which should have been a natural break. There is practically no water left; the Shoalhaven is so parched that the town will run dry within months.

From ‘Mourning a Disappearing World as Australia Burns’
by Jessica Friedmann
Read the whole article here

Happy New Year to all my readers. I wish you all a joyous 2020.

I’m writing this post on a day in which bushfires continue to rage uncontrolled across much of my country. I know that this story is being covered by the media, and so there is not much I can say that you yourselves probably haven’t read or thought already. The article I’ve quoted in today’s post is worth reading, though, in addition to whatever else you’ve read or heard: I am in accordance with much of what Friedmann writes.

All I will say is this: it has astonished me for years that I live in a country where it is possible for politicians to deny that climate change is occurring, that I live in a country (a world?) where apathy and bluster are accepted forms of political leadership.

My country is burning. It has been getting ready to burn like this for years. It breaks my heart.

It breaks my heart.

Holiday views, though the fires were already burning when I took this photograph.
View from the Kangaroo Island ferry, 29 December 2019

Savour it

Other people’s words about … moments of beauty

Her head nested in spindly weeds [as she lay down in the grass]; the sky glowed preternaturally blue through the slats. As her breathing slowed, she noted a bee crawling along a blade of grass above her head. She counted its stripes, amazed to see them juxtaposed with the stripes of sky. The bee’s were a warning, the sky’s a promise she could not yet fathom, and for a moment everything seemed connected, aching beauty and imminent danger, the fragility of the bee and the scalded roof of her mouth, the transcendent savour of [the stolen loaf of freshly baked] bread and the fact that she was literally lying in a ditch.

From ‘Tess of the Road’
by Rachel Hartman

I love this passage, in which the protagonist of Rachel Hartman’s novel, Tess, feels utterly present in a single moment of her life: feels herself watching the moment as it unfolds. Tess’s experience of this moment, her sense of being present in it, is what a meditation teacher might call an experience of mindfulness. And yet the description is beautiful rather than didactic, descriptive rather than prescriptive.

Stripes in the sky (1)

Hartman’s words are, I think, a description of the practice of mindfulness at its best. Mindfulness, to me, is not about mantras or breathing or (heaven forbid!) colouring-in books. Instead, and far more simply, it is about slowing down, about looking around, about noticing the world around you. It is, most of all, about seeing.

Because the practice of mindfulness — this kind of mindfulness, anyway, which to me is the only kind that makes any practical or spiritual sense at all — is about stepping outside, into the living, breathing world, the one that exists beyond walls and ceilings and computers and cars. It’s about looking and seeing. And about being grateful for what you see.

Stripes in the sky (2)

This year has been a strange, uneasy year for me: a year of trying to make a living from freelancing, and then trying to readjust to a salaried living, working regular hours, meeting KPIs and targets. I’m grateful for everything I’ve learned throughout the year, and grateful most of all that I was able to seek out other opportunities when freelancing alone wasn’t enough to sustain me.

Still, at times this year, when things got hard, I felt myself becoming frighteningly disconnected from the things that usually matter most to me: those still, small moments like the one Hartman describes, those moments when you stop and breathe the world in, exactly as it. Call it fear that stole those moments away from me; call it loss; call it depression; call it change. Whatever it was, it shocked me. I felt that I had stepped away from the world, and I didn’t know how to step back in.

And yet here I am now, months down the track, and I’m still here, still breathing. I’m stepping back in.

Precarious

Other people’s words about … fighting against entropy

Schizophrenia terrifies. It is the archetypal disorder of lunacy. Craziness scares us because we are creatures who long for structure and sense; we divide the interminable days into years, months, and weeks. We hope for ways to corral and control bad fortune, illness, unhappiness, discomfort, and death — all inevitable outcomes that we pretend are anything but. And still, the fight agains entropy seems wildly futile in the face of schizophrenia, which shirks reality in favour of its own internal logic.

From ‘The Collected Schizophrenias’
by Esmé Weijun Wang

It’s a strange experience returning to the salaried workforce after a period of time away from it. When I went freelance at the beginning of this year due to the closure of the Press for which I had worked as an in-house editor for the previous five years, I suspected that it would be difficult to make a sustainable living from a solely freelance income. And it was. I thought, at first, that it might just be a matter of making contacts, of building up a client base, of learning how to market myself: of learning, essentially, how to ‘hustle’. I thought at first, in other words, that it might just be a matter of time.

So I allowed time to pass as a freelancer, because I knew that I had to. And gradually, after enough time had passed, I came to understand that the passing of time would never be enough to change the precariousness of an income based solely on freelance work. I came to see that the gig economy, which relies on the work of freelancers and contractors like me (more about which, if you’re interested, you can read here), doesn’t just allow for precariousness: it depends on it. And I came to see that precariousness is not something I tolerate gladly.

I do not believe that precariousness is a synonym for freedom or flexibility, as proponents of the gig economy would have us believe. I believe that it is a synonym for anxiety. And anxiety is also something I don’t tolerate gladly.

So I have returned to a part-time salaried job, which I intend to combine with part-time freelance editing work, with an enormous sense of gratitude and relief. Though no job is ever truly permanent or secure, a salary brings with it, for as long as it lasts, certain things that are the antithesis of precariousness: regular hours, fortnightly pay, annual leave, sick leave, superannuation. Along with these financial benefits, a salaried office job, which is what my new job is, also brings with it a workplace outside of the home, and colleagues with whom one interacts every day. These things, too — which are, in essence, about belonging and community — contradict the concept and practice of precariousness. I am immensely grateful for them.

I took the first three photos in today’s post as I wandered the neighbourhood in my lunch break at my new job — a lunch break being yet another one of the ‘perks’ of a salaried office job. I’m working now in Port Adelaide, a suburb in the north-west of Adelaide which was once the heart of the marine industry of Adelaide. The wharves and docks of Port Adelaide are no longer busy in the industrial sense for which they were originally designed, so the streets I now stroll along during my lunch break are lined with abandoned warehouses and marine businesses. At the docks, dolphins swim beneath the bridge that spans the Port River, while trucks thunder overhead. The area has, on the one hand, a sense of history, beauty and purpose, and on the other hand, an air of loss, and decay, and death.

Craziness scares us because we are creatures who long for structure and sense, Esmé Weijun Wang writes in the passage I’ve quoted at the start of this post: we divide the interminable days into years, months, and weeks. She is writing about schizophrenia, and yet I’ve thought of her words frequently as I’ve wandered the streets of Port Adelaide. Because though it is true, now that I am working for a salary once more, that my feeling of precariousness has reduced, still, somehow, this fear remains. I still long for something that feels just out of reach: something that Wang describes as a way to corral and control bad fortune, illness, unhappiness, discomfort, and death, those things that, like precariousness, are, in the end, inevitable.

I took the fourth photo in this post, the photo below, last weekend, which I spent with a group of women in a holiday house in Carrickalinga, a coastal suburb south of Adelaide. The women I was with are all writers and artists. Some of them supplement the income they get from their art with a salaried or waged job; others exist solely on their freelance income. Each of these women is talented and successful in her own right, and each balances her sense of precariousness with a sense of purpose and joy and productivity in her chosen field of art.

I climbed a hill to take the photo you see here. I stood at the top of that hill and looked down at the world below me — the crumbling cliffs, the winding coastal road, the shining blue sea, the horizon at the edge of the ocean — and I felt the world expand around me, stretching out, out, out. The moment felt precarious, as the weekend had felt precarious, as the previous week — which was my first week in my new job — had felt precarious, as my freelance income had felt, and will always feel, precarious. As life feels precarious.

There was nothing I could do to remove the precariousness. All I could do was wonder at the view.

Lately I’ve been reading about …