Robert Pirsig - Zen and the Art of Motorcycle Maintenance

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Phædrus, our narrator, takes a present-tense cross-country motorcycle trip with his son during which the maintenance of the motorcycle becomes an illustration of how we can unify the cold, rational realm of technology with the warm, imaginative realm of artistry. As in Zen, the trick is to become one with the activity, to engage in it fully, to see and appreciate all details — be it hiking in the woods, penning an essay, or tightening the chain on a motorcycle.

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– This motorcycle seems to be running a little hot — but I suppose it’s just the hot dry country we’re going through — I’ll leave the answer to that in a mu state — until it gets worse or better. —

We stop for a long chocolate malted in the town of Mitchell, nestled in some dry hills that we can see out the plate-glass window. Some kids come in on a truck and stop and all pile off and come into the restaurant and sort of dominate it. They’re reasonably well-behaved, just noisy and energetic, but you can see the lady who’s running it is a little nervous about them.

Dry desert, sandy country again. Into it we go. It’s late afternoon now and we’ve really covered the miles. I’m getting quite sore from sitting all this time on the cycle. Feeling really tired now. So was Chris back at the restaurant. A little despondent too. I think maybe he — well — let it go. —

The mu expansion is the only thing I want to say about truth traps at this time. Time to switch to the psychomotor traps. This is the domain of understanding which is most directly related to what happens to the machine.

Here by far the most frustrating gumption trap is inadequate tools. Nothing’s quite so demoralizing as a tool hang-up. Buy good tools as you can afford them and you’ll never regret it. If you want to save money don’t overlook the newspaper want ads. Good tools, as a rule, don’t wear out, and good secondhand tools are much better than inferior new ones. Study the tool catalogs. You can learn a lot from them.

Apart from bad tools, bad surroundings are a major gumption trap. Pay attention to adequate lighting. It’s amazing the number of mistakes a little light can prevent.

Some physical discomfort is unpreventable, but a lot of it, such as that which occurs in surroundings that are too hot or too cold, can throw your evaluations way off if you aren’t careful. If you’re too cold, for example, you’ll hurry and probably make mistakes. If you’re too hot your anger threshold gets much lower. Avoid out-of-position work when possible. A small stool on either side of the cycle will increase your patience greatly and you’ll be much less likely to damage the assemblies you’re working on.

There’s one psychomotor gumption trap, muscular insensitivity, which accounts for some real damage. It results in part from lack of kinesthesia, a failure to realize that although the externals of a cycle are rugged, inside the engine are delicate precision parts which can be easily damaged by muscular insensitivity. There’s what’s called “mechanic’s feel”, which is very obvious to those who know what it is, but hard to describe to those who don’t; and when you see someone working on a machine who doesn’t have it, you tend to suffer with the machine.

The mechanic’s feel comes from a deep inner kinesthetic feeling for the elasticity of materials. Some materials, like ceramics, have very little, so that when you thread a porcelain fitting you’re very careful not to apply great pressures. Other materials, like steel, have tremendous elasticity, more than rubber, but in a range in which, unless you’re working with large mechanical forces, the elasticity isn’t apparent.

With nuts and bolts you’re in the range of large mechanical forces and you should understand that within these ranges metals are elastic. When you take up a nut there’s a point called “finger-tight” where there’s contact but no takeup of elasticity. Then there’s “snug”, in which the easy surface elasticity is taken up. Then there’s a range called “tight”, in which all the elasticity is taken up. The force required to reach these three points is different for each size of nut and bolt, and different for lubricated bolts and for locknuts. The forces are different for steel and cast iron and brass and aluminum and plastics and ceramics. But a person with mechanic’s feel knows when something’s tight and stops. A person without it goes right on past and strips the threads or breaks the assembly.

A “mechanic’s feel” implies not only an understanding for the elasticity of metal but for its softness. The insides of a motorcycle contain surfaces that are precise in some cases to as little as one ten-thousandth of an inch. If you drop them or get dirt on them or scratch them or bang them with a hammer they’ll lose that precision. It’s important to understand that the metal behind the surfaces can normally take great shock and stress but that the surfaces themselves cannot. When handling precision parts that are stuck or difficult to manipulate, a person with mechanic’s feel will avoid damaging the surfaces and work with his tools on the nonprecision surfaces of the same part whenever possible. If he must work on the surfaces themselves, he’ll always use softer surfaces to work them with. Brass hammers, plastic hammers, wood hammers, rubber hammers and lead hammers are all available for this work. Use them. Vise jaws can be fitted with plastic and copper and lead faces. Use these too. Handle precision parts gently. You’ll never be sorry. If you have a tendency to bang things around, take more time and try to develop a little more respect for the accomplishment that a precision part represents.

Low-angled shadows in the dry country we’ve been through have left a kind of blue depressed feeling. —

Maybe it’s just the usual late afternoon letdown, but after all I’ve said about all these things today I just have a feeling that I’ve somehow talked around the point. Some could ask, “Well, if I get around all those gumption traps, then will I have the thing licked?”

The answer, of course, is no, you still haven’t got anything licked. You’ve got to live right too. It’s the way you live that predisposes you to avoid the traps and see the right facts. You want to know how to paint a perfect painting? It’s easy. Make yourself perfect and then just paint naturally. That’s the way all the experts do it. The making of a painting or the fixing of a motorcycle isn’t separate from the rest of your existence. If you’re a sloppy thinker the six days of the week you aren’t working on your machine, what trap avoidances, what gimmicks, can make you all of a sudden sharp on the seventh? It all goes together.

But if you’re a sloppy thinker six days a week and you really try to be sharp on the seventh, then maybe the next six days aren’t going to be quite as sloppy as the preceding six. What I’m trying to come up with on these gumption traps I guess, is shortcuts to living right.

The real cycle you’re working on is a cycle called yourself. The machine that appears to be “out there” and the person that appears to be “in here” are not two separate things. They grow toward Quality or fall away from Quality together.

We arrive in Prineville Junction with only a few hours of daylight left. We’re at the intersection with Highway 97, where we’ll turn south, and I fill up the tank at the corner and then am so tired I go around in back and sit on the yellow-painted cement curb with my feet in the gravel and the last rays of the sun flaring through the trees into my eyes. Chris comes and sits down too, and we don’t say anything, but this is the worst depression yet. All that talk about gumption traps and I fall right into one myself. Fatigue maybe. We’ve got to get some sleep.

I watch the cars go by for a while on the highway. Something lonely about them. Not lonely… worse. Nothing. Like the attendant’s expression when he filled the tank. Nothing. A nothing curb, by some nothing gravel, at a nothing intersection, going nowhere.

Something about the car drivers too. They look just like the gasoline attendant, staring straight ahead in some private trance of their own. I haven’t seen that since — since Sylvia noticed it the first day. They all look like they’re in a funeral procession.

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