Sarah Bakewell - How to Live - A Life of Montaigne in One Question and Twenty Attempts at an Answer

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From Starred Review
Review In a wide-ranging intellectual career, Michel de Montaigne found no knowledge so hard to acquire as the knowledge of how to live this life well. By casting her biography of the writer as 20 chapters, each focused on a different answer to the question How to live? Bakewell limns Montaigne’s ceaseless pursuit of this most elusive knowledge. Embedded in the 20 life-knowledge responses, readers will find essential facts — when and where Montaigne was born, how and whom he married, how he became mayor of Bordeaux, how he managed a public life in a time of lethal religious and political passions. But Bakewell keeps the focus on the inner evolution of the acute mind informing Montaigne’s charmingly digressive and tolerantly skeptical essays. Flexible and curious, this was a mind at home contemplating the morality of cannibals, the meaning of his own near-death experience, and the puzzlingly human behavior of animals. And though Montaigne has identified his own personality as his overarching topic, Bakewell marvels at the way Montaigne’s prose has enchanted diverse readers — Hazlitt and Sterne, Woolf and Gide — with their own reflections. Because Montaigne’s capacious mirror still captivates many, this insightful life study will win high praise from both scholars and general readers. -Bryce Christensen
“This charming biography shuffles incidents from Montaigne’s life and essays into twenty thematic chapters… Bakewell clearly relishes the anthropological anecdotes that enliven Montaigne’s work, but she handles equally well both his philosophical influences and the readers and interpreters who have guided the reception of the essays.”
— “Serious, engaging, and so infectiously in love with its subject that I found myself racing to finish so I could start rereading the Essays themselves… It is hard to imagine a better introduction — or reintroduction — to Montaigne than Bakewell’s book.”
—Lorin Stein, “Ms. Bakewell’s new book,
, is a biography, but in the form of a delightful conversation across the centuries.”
— “So artful is Bakewell’s account of [Montaigne] that even skeptical readers may well come to share her admiration.”
— “Extraordinary… a miracle of complex, revelatory organization, for as Bakewell moves along she provides a brilliant demonstration of the alchemy of historical viewpoint.”
— “Well,
is a superb book, original, engaging, thorough, ambitious, and wise.”
—Nick Hornby, in the November/December 2010 issue of “In
, an affectionate introduction to the author, Bakewell argues that, far from being a dusty old philosopher, Montaigne has never been more relevant — a 16th-century blogger, as she would have it — and so must be read, quite simply, ‘in order to live’… Bakewell is a wry and intelligent guide.”
— “Witty, unorthodox…
is a history of ideas told entirely on the ground, never divorced from the people thinking them. It hews close to Montaigne’s own preoccupations, especially his playful uncertainty — Bakewell is a stickler for what we can’t know…
is a delight…”
— “This book will have new readers excited to be acquainted to Montaigne’s life and ideas, and may even stir their curiosity to read more about the ancient Greek philosophers who influenced his writing.
is a great companion to Montaigne’s essays, and even a great stand-alone.”
— “A bright, genial, and generous introduction to the master’s methods.”
— “[Bakewell reveals] one of literature's enduring figures as an idiosyncratic, humane, and surprisingly modern force.”

(starred)
“As described by Sarah Bakewell in her suavely enlightening
Montaigne is, with Walt Whitman, among the most congenial of literary giants, inclined to shrug over the inevitability of human failings and the last man to accuse anyone of self-absorption. His great subject, after all, was himself.”
—Laura Miller, “Lively and fascinating…
takes its place as the most enjoyable introduction to Montaigne in the English language.”
— “Splendidly conceived and exquisitely written… enormously absorbing.”
— “
will delight and illuminate.”
— “It is ultimately [Montaigne’s] life-loving vivacity that Bakewell succeeds in communicating to her readers.”
—The Observer
“This subtle and surprising book manages the trick of conversing in a frank and friendly manner with its centuries-old literary giant, as with a contemporary, while helpfully placing Montaigne in a historical context. The affection of the author for her subject is palpable and infectious.”
—Phillip Lopate, author of “An intellectually lively treatment of a Renaissance giant and his world.”
— “Like recent books on Proust, Joyce, and Austen,
skillfully plucks a life-guide from the incessant flux of Montaigne’s prose… A superb, spirited introduction to the master.”
— In a wide-ranging intellectual career, Michel de Montaigne found no knowledge so hard to acquire as the knowledge of how to live this life well. By casting her biography of the writer as 20 chapters, each focused on a different answer to the question How to live? Bakewell limns Montaigne’s ceaseless pursuit of this most elusive knowledge. Embedded in the 20 life-knowledge responses, readers will find essential facts — when and where Montaigne was born, how and whom he married, how he became mayor of Bordeaux, how he managed a public life in a time of lethal religious and political passions. But Bakewell keeps the focus on the inner evolution of the acute mind informing Montaigne’s charmingly digressive and tolerantly skeptical essays. Flexible and curious, this was a mind at home contemplating the morality of cannibals, the meaning of his own near-death experience, and the puzzlingly human behavior of animals. And though Montaigne has identified his own personality as his overarching topic, Bakewell marvels at the way Montaigne’s prose has enchanted diverse readers — Hazlitt and Sterne, Woolf and Gide — with their own reflections. Because Montaigne’s capacious mirror still captivates many, this insightful life study will win high praise from both scholars and general readers. -Bryce Christensen Named one of Library Journal’s Top Ten Best Books of 2010 In a wide-ranging intellectual career, Michel de Montaigne found no knowledge so hard to acquire as the knowledge of how to live this life well. By casting her biography of the writer as 20 chapters, each focused on a different answer to the question How to live? Bakewell limns Montaigne’s ceaseless pursuit of this most elusive knowledge. Embedded in the 20 life-knowledge responses, readers will find essential facts — when and where Montaigne was born, how and whom he married, how he became mayor of Bordeaux, how he managed a public life in a time of lethal religious and political passions. But Bakewell keeps the focus on the inner evolution of the acute mind informing Montaigne’s charmingly digressive and tolerantly skeptical essays. Flexible and curious, this was a mind at home contemplating the morality of cannibals, the meaning of his own near-death experience, and the puzzlingly human behavior of animals. And though Montaigne has identified his own personality as his overarching topic, Bakewell marvels at the way Montaigne’s prose has enchanted diverse readers — Hazlitt and Sterne, Woolf and Gide — with their own reflections. Because Montaigne’s capacious mirror still captivates many, this insightful life study will win high praise from both scholars and general readers.
—Bryce Christensen

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What would Montaigne have made of it all? He enjoyed following pointing fingers around a page of Plutarch, yet he claimed to be exasperated by much literary interpretation. The more a critic works on a text, he said, the less anyone understands it. “The hundredth commentator hands it on to his successor thornier and rougher than the first one had found it.” Any text can be turned into a jumble of contradictions:

See how Plato is moved and tossed about. Every man, glorying in applying him to himself, sets him on the side he wants. They trot him out and insert him into all the new opinions that the world accepts.

Would a time ever come, Montaigne wondered, when the interpreters would get together and agree of a particular work: “There has been enough about this book; henceforth there is nothing more to say about it”? Of course not; and Montaigne knew that his own work must keep going through the same mill for as long as it had readers. People would always find things in him that he never intended to say. In doing so, they would actually create those things. “An able reader often discovers in other men’s writings perfections beyond those that the author put in or perceived, and lends them richer meanings and aspects.”

I have read in Livy a hundred things that another man has not read in him. Plutarch has read in him a hundred besides the ones I could read, and perhaps besides what the author had put in.

Over the centuries, this interpretation and reinterpretation creates a long chain connecting a writer to all future readers — who frequently read each other as well as the original. Virginia Woolf had a beautiful vision of generations interlinked in this way: of how “minds are threaded together — how any live mind is of the very same stuff as Plato’s & Euripides … It is this common mind that binds the whole world together; & all the world is mind.” This capacity for living on through readers’ inner worlds over long periods of history is what makes a book like the Essays a true classic. As it is reborn differently in each mind, it also brings those minds together.

There can be no really ambitious writing without an acceptance that other people will do what they like with your work, and change it almost beyond recognition. Montaigne accepted this principle in art, as he did in life. He even enjoyed it. People form strange ideas of you; they adapt you to their own purposes. By going with the flow and relinquishing control of the process, you gain all the benefits of the old Hellenistic trick of amor fati: the cheerful acceptance of whatever happens. In Montaigne’s case, amor fati was one of the answers to the general question of how to live, and as it happened it also opened the way to his literary immortality. What he left behind was all the better for being imperfect, ambiguous, inadequate, and vulnerable to distortion. “Oh Lord,” one might imagine Montaigne exclaiming, “by all means let me be misunderstood.”

19. Q. How to live? A. Be ordinary and imperfect

BE ORDINARY

THIS BOOK HAS been, in part, the story of how Montaigne has flowed through time via a sort of canal system of minds. Samples have been taken at each lock: from

— Montaigne’s first enthusiastic readers, who praised his Stoic wisdom and his skill in collecting fine thoughts from the ancients;

— the likes of Descartes and Pascal, who found him distasteful and fascinating in equal measure for his Skepticism and his blurring of the boundary between humans and other animals;

— the libertins of the seventeenth century, who loved him as a daring freethinker;

— Enlightenment philosophers of the eighteenth century, who were drawn again to his Skepticism and his liking for New World cultures;

— Romantics, who hailed a “natural” Montaigne while wishing he would warm up;

— readers whose own lives were disrupted by war and political turmoil, and who made Montaigne a hero and companion;

— late nineteenth-century moralists who blushed at his bawdiness and deplored his lack of ethical fiber, but managed to reinvent him as a respectable gentleman like themselves;

— some four hundred years of Montaigne-reading English essayists and accidental philosophers;

— a not-so-accidental philosopher, Friedrich Nietzsche, who admired Montaigne’s lightness of spirit and reimagined his Stoic and Epicurean tricks of living for a new era;

— modernists like Virginia Woolf, who tried to capture the feeling of being alive and conscious;

— editors, transcribers, and remixers, who molded Montaigne into different shapes;

— late twentieth-century interpreters who built extraordinary structures out of a handful of Montaigne’s words.

All along the way, there have been those who thought he wrote too much about his urinary system, those who thought he needed help with his writing style, and those who found him too cozy; as well as those who found a sage in him, or a second self so close that they were unsure whether they were reading the Essays or writing it themselves.

Many of these disparate readings have been transformations of the three great Hellenistic traditions, as transmitted — and altered — by Montaigne. This is natural, since those traditions were the foundation of his thought, and their lines of influence run through the whole of European culture. They can hardly be separated from each other even in their earliest origins; in Montaigne’s modernized version they became more entangled than ever. They are held together above all by their shared pursuit of eudaimonia or human flourishing, and by their belief that the best way of attaining it is through equanimity or balance: ataraxia . These principles bind them to Montaigne, and through him to all the later readers who come to the Essays looking for companionship, or for a practical, everyday wisdom they can use .

Modern readers who approach Montaigne asking what he can do for them are asking the same question he himself asked of Seneca, Sextus, and Lucretius — and the same question they asked of their predecessors. This is what Virginia Woolf’s chain of minds really means: not a scholarly tradition, but a series of self-interested individuals puzzling over their own lives, yet doing it cooperatively. All share a quality that can simply be thought of as “humanity”: the experience of being a thinking, feeling being who must get on with an ordinary human life — though Montaigne willingly extended the union of minds to embrace other species too.

This is why, for Montaigne, even the most ordinary existence tells us all we need to know:

I set forth a humble and inglorious life; that does not matter. You can tie up all moral philosophy with a common and private life just as well as with a life of richer stuff.

Indeed, that is just what a common and private life is: a life of the richest stuff imaginable.

BE IMPERFECT

Montaigne was so often in poor health in his last few years that he seemed to pass half his time in the borderlands between life and death — that zone he had briefly visited in his prime, after his riding accident. He was not yet old, being only in his late fifties, but he knew that his kidney-stone attacks could kill him at any time, and sometimes he longed for it, so great was the agony. But these days the stone did not grab him by the ruff like a bullying strongman and pull him up close to death’s tyrannical face. It enticed him “artfully and gently,” leaving him plenty of time to think between attacks. Death looked friendly, just as the Stoics said it should be.

I have at least this profit from the stone, that it will complete what I have still not been able to accomplish in myself and reconcile and familiarize me completely with death.

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