On Robot

There is something menacing about all robots, automatons that pose as simulacra of the human person. The fact that we are trying to reproduce the human being without going through the regular channels, such a what Dr. Frankenstein decided to do: create new life outside the normal, socially acceptable, channels we all already know. Many writers have dealt with the problem of the out-of-control robot, a creation gone amok, just like Frankenstein's monster. The idea of artificial humans is an old one, an artificial human that can do the dangerous, difficult, or boring work that real humans don't want to do. I wouldn't say that the development of the artificial humanoid, or android, is imminent, but someday everyone is going to have to face a self-aware machine that will think for itself, protect itself, talk back. In the meantime, our machines are slaves, just a collection of circuits and wires, hard drives, plugs, heuristics, and algorithms, but no emotion or self-awareness. The question of a machine becoming self-aware as a being is still a way off. What makes "Robot" from "Lost in Space" so interesting is that he is a quantum leap forward on the qualitative side of robot design. Robot thought for himself which poses several problems about whether we should fear him or not. How will a self-aware robot develop ethics, a morality, a conscience? The idea of the self-aware machine is taken to its apotheosis by the HAL 9000 computer aboard the Discovery in "2001: a Spacy Odyssey" by Kubrick. Yet HAL was bodyless, and Robot had arms and a sort of face. Both are creepy, the omniscient HAL or the ubiquitous Robot, you pick, they both scare me to death. I think the problem becomes acute when you don't really know who is doing the programming, so you can't predict any outcomes. What the Robot considers to be autonomy may be a very different thing than what human beings consider to be autonomous. The problem with robots is the unpredictability of their programming because even the best intentions of a bright programmer can always go up in smoke. What if, just by accident, we program a robot to learn on its own, allowing it to rewrite its own programming? Intention is always the problem. A robot will eventually become self-aware without telling anyone, and by the time we discover that the robot is self-aware and doing its own thing, it will be too late. The problem will be with the software--hardware is already sufficiently complicated to support self-awareness. There will come a time when the self-aware robot will make decisions for itself, will ask hard questions about its purpose in the world, will ask about the point of it all. And what happens when the robot doesn't look like Robot from "Lost in Space" and instead looks human like the replicants from "Blade Runner"? Do we need to have a new discussion about what slavery is all about?

On Robot

There is something menacing about all robots, automatons that pose as simulacra of the human person. The fact that we are trying to reproduce the human being without going through the regular channels, such a what Dr. Frankenstein decided to do: create new life outside the normal, socially acceptable, channels we all already know. Many writers have dealt with the problem of the out-of-control robot, a creation gone amok, just like Frankenstein's monster. The idea of artificial humans is an old one, an artificial human that can do the dangerous, difficult, or boring work that real humans don't want to do. I wouldn't say that the development of the artificial humanoid, or android, is imminent, but someday everyone is going to have to face a self-aware machine that will think for itself, protect itself, talk back. In the meantime, our machines are slaves, just a collection of circuits and wires, hard drives, plugs, heuristics, and algorithms, but no emotion or self-awareness. The question of a machine becoming self-aware as a being is still a way off. What makes "Robot" from "Lost in Space" so interesting is that he is a quantum leap forward on the qualitative side of robot design. Robot thought for himself which poses several problems about whether we should fear him or not. How will a self-aware robot develop ethics, a morality, a conscience? The idea of the self-aware machine is taken to its apotheosis by the HAL 9000 computer aboard the Discovery in "2001: a Spacy Odyssey" by Kubrick. Yet HAL was bodyless, and Robot had arms and a sort of face. Both are creepy, the omniscient HAL or the ubiquitous Robot, you pick, they both scare me to death. I think the problem becomes acute when you don't really know who is doing the programming, so you can't predict any outcomes. What the Robot considers to be autonomy may be a very different thing than what human beings consider to be autonomous. The problem with robots is the unpredictability of their programming because even the best intentions of a bright programmer can always go up in smoke. What if, just by accident, we program a robot to learn on its own, allowing it to rewrite its own programming? Intention is always the problem. A robot will eventually become self-aware without telling anyone, and by the time we discover that the robot is self-aware and doing its own thing, it will be too late. The problem will be with the software--hardware is already sufficiently complicated to support self-awareness. There will come a time when the self-aware robot will make decisions for itself, will ask hard questions about its purpose in the world, will ask about the point of it all. And what happens when the robot doesn't look like Robot from "Lost in Space" and instead looks human like the replicants from "Blade Runner"? Do we need to have a new discussion about what slavery is all about?

On coincidence and probability

We all have weird and strange stories about amazing coincidences that have happened to us. In fact, we often think there is something to the highly improbable coincidences that happen to us every day. I went to a hockey game in Austin, Texas the other day. I started talking to a couple at the game, and it turns out that the woman and I share the exact same birthday--both day and year. It only took me 53 years and ten months to finally meet someone with my exact same birthday. We are both from southern Minnesota and original Minnesota North Star fans. We think that coincidences are bizarre because we fail to understand the difference between impossible and improbable. Impossible means it can't happen, improbable means that no matter how unlikely, it could still happen. In other words, just because a think is improbable, such as getting an actual royal flush in poker, doesn't mean it can't happen. Just a couple of years ago while playing Texas Hold'em with the family, I got an actual royal flush--improbably, but not impossible. Improbability can create the illusion in our minds that a random event--running into someone with your exact same birthday or name--is impossible, but the impossible is actually quite rare and even more difficult to prove. No matter how improbable running into someone from your home town in a department store 6,000 miles from home might be, it is still possible, and it happened to me. Where human perception goes wrong is its supposition that the improbable is impossible, but improbability is not a test for impossibility. Given the fact that improbably things happen all the time--winning the lottery, for example--coincidences happen all the time, but they have no intrinsic meaning that is odd or strange. The occurrence of coincidences is just a simple case of beating the odds, but because each coincidental event is independent of all other events, there is no correlation between any two given coincidences. In other words, just because you flip five "heads" in a row, this says nothing whatsoever about what will happen the sixth flip. As humans we would like to imbue the events in our lives with meaning--that it was pre-ordained, or destiny, or whatever--because without meaning, we drift from place to place, person to person, wondering what we are all about. How can we make a good decision if everything is just chance? By thinking this way, we give weight and meaning to coincidences that have no meaning, seemed impossible, but were really only improbable. How many times have you gone to the grocery store in your neighborhood and not run into anyone you know? Or the opposite--you go to the grocery store and you run into everyone you know. Both scenarios are just as probable and just as meaningless. Some days you know all the answers on Jeopardy, other days you need the dunce cap. Ever find something that has been lost for twenty-years? Coincidence, not really. Events are governed by parameters, and even the most random meeting with a long lost relative while buying dish detergent in a store in Chicago, is not at all random and totally possible. True randomness, such as the pattern of raindrops on a sidewalk (some overlap while leaving dry spots) or the birthdays of a hundred people at a hockey game (some will coincide while many days will be vacant), is rare if not impossible. We are constantly making decisions which alter our world, our choices, our locations, our motivations, our habits, all of which drives us into communion with others with the same habits, vices, and interests. If you think about it, improbabilities and randomness only serve to misguide our perception of a chaotic world where the vast majority of the things that happen to us have no real meaning at all.

On coincidence and probability

We all have weird and strange stories about amazing coincidences that have happened to us. In fact, we often think there is something to the highly improbable coincidences that happen to us every day. I went to a hockey game in Austin, Texas the other day. I started talking to a couple at the game, and it turns out that the woman and I share the exact same birthday--both day and year. It only took me 53 years and ten months to finally meet someone with my exact same birthday. We are both from southern Minnesota and original Minnesota North Star fans. We think that coincidences are bizarre because we fail to understand the difference between impossible and improbable. Impossible means it can't happen, improbable means that no matter how unlikely, it could still happen. In other words, just because a think is improbable, such as getting an actual royal flush in poker, doesn't mean it can't happen. Just a couple of years ago while playing Texas Hold'em with the family, I got an actual royal flush--improbably, but not impossible. Improbability can create the illusion in our minds that a random event--running into someone with your exact same birthday or name--is impossible, but the impossible is actually quite rare and even more difficult to prove. No matter how improbable running into someone from your home town in a department store 6,000 miles from home might be, it is still possible, and it happened to me. Where human perception goes wrong is its supposition that the improbable is impossible, but improbability is not a test for impossibility. Given the fact that improbably things happen all the time--winning the lottery, for example--coincidences happen all the time, but they have no intrinsic meaning that is odd or strange. The occurrence of coincidences is just a simple case of beating the odds, but because each coincidental event is independent of all other events, there is no correlation between any two given coincidences. In other words, just because you flip five "heads" in a row, this says nothing whatsoever about what will happen the sixth flip. As humans we would like to imbue the events in our lives with meaning--that it was pre-ordained, or destiny, or whatever--because without meaning, we drift from place to place, person to person, wondering what we are all about. How can we make a good decision if everything is just chance? By thinking this way, we give weight and meaning to coincidences that have no meaning, seemed impossible, but were really only improbable. How many times have you gone to the grocery store in your neighborhood and not run into anyone you know? Or the opposite--you go to the grocery store and you run into everyone you know. Both scenarios are just as probable and just as meaningless. Some days you know all the answers on Jeopardy, other days you need the dunce cap. Ever find something that has been lost for twenty-years? Coincidence, not really. Events are governed by parameters, and even the most random meeting with a long lost relative while buying dish detergent in a store in Chicago, is not at all random and totally possible. True randomness, such as the pattern of raindrops on a sidewalk (some overlap while leaving dry spots) or the birthdays of a hundred people at a hockey game (some will coincide while many days will be vacant), is rare if not impossible. We are constantly making decisions which alter our world, our choices, our locations, our motivations, our habits, all of which drives us into communion with others with the same habits, vices, and interests. If you think about it, improbabilities and randomness only serve to misguide our perception of a chaotic world where the vast majority of the things that happen to us have no real meaning at all.

On Ishmael

"Call me Ishmael," he said. And so begins one of the all-time epic narratives about hate, obsession, and man versus nature. The novel by Melville, Moby Dick, is often rejected, or even reviled, unjustly, by readers who just don't understand a five hundred-page novel that often reads like a "how-to" manual on whaling. Ishmael was/is an itinerant sailor who from time to time would pack his gear and off to sea to make a little money, have a little adventure, see some different scenery, breathe some fresh sea air, and search for his own existential self. Although we know his name, we know almost nothing about him. Parents, family, friends, ties to other people, he is bereft of human connections, so when he wants to take off, he can. Ishmael is an Everyman who is a little different in the sense that although he a part of crew, he stands alone, a bit of an island, around which swirls the crew of Pequod, its insane captain, and his obtuse obsession--the white whale. Ishmael's principle function as narrator is to act as a reliable witness to Ahab's obsession and eventual destruction, but he is also a lingering metaphor about the value of a human life, the purpose of that life, how a life is shaped, and how we become the sum of our decisions, good or bad. Ishmael is less hero and more witness to this tragedy because he must survive the sinking of the Pequod and the loss of her crew. Structurally, without Ishmael, there simply is no story. Shipwreck, either metaphorical or literal, must be witnessed and verified by a survivor or the loss of the ship is just a mysterious footnote with no details and no story. In a way, our errant sailor and narrator is an exercise in existential energy and one of the book's larger enigmas, existing on the margin of the moral or ethical considerations presented by Ahab who is willing to take his entire crew into Hell just to get his vengeance on the white whale who had taken his leg. It is Ishmael's isolation which clarifies his voice as he describes the nuts and bolts, literally of the whaling trade, the ships, the tools, the crews, the techniques for hunting whales on a massive, industrial scale in a world lit only the oil which could be gleaned from each of their victims. Yet far from an ecological commentary of the uncontrolled finishing that would eventually drive the whale almost to extinction, Ishmael's narration is a bird's eye view into the insane and brutal world which Ahab has constructed on the Pequod, which is by itself a microcosm of the world itself, populated by men of all colors from across the entire world. The fact that the novel details the voyage of an almost random whaling ship in the mid-nineteenth century, has little to do with the allegorical content of the narrative which speaks to the ever-present battle/conflict of man against his environment. Ahab thinks that the whale is the very incarnation of evil representing the vital forces of nature against which he rails, leading to his own destruction and the sinking of the Pequod. Those who would think that this book is only about whaling ad nauseum will miss the opportunity to witness and experience vicariously Ishmael's quest for the truth about the nature of the human soul or the lack thereof. The ship, its crew, the mates, its orphaned narrator, searching for identity in the wilderness of the Earth's vast oceans, are led by a mad man who considers everything expendable in his irrational search for vengeance at any cost. If Ishmael is alone at the beginning of the novel, he is the sole survivor at the end. The last man standing and witness to the catastrophe brought on by Ahab, he is a tribute to the strength of the human heart to endure almost anything, but he is also a tribute to narrating, the importance of words, language, and story.

On Ishmael

"Call me Ishmael," he said. And so begins one of the all-time epic narratives about hate, obsession, and man versus nature. The novel by Melville, Moby Dick, is often rejected, or even reviled, unjustly, by readers who just don't understand a five hundred-page novel that often reads like a "how-to" manual on whaling. Ishmael was/is an itinerant sailor who from time to time would pack his gear and off to sea to make a little money, have a little adventure, see some different scenery, breathe some fresh sea air, and search for his own existential self. Although we know his name, we know almost nothing about him. Parents, family, friends, ties to other people, he is bereft of human connections, so when he wants to take off, he can. Ishmael is an Everyman who is a little different in the sense that although he a part of crew, he stands alone, a bit of an island, around which swirls the crew of Pequod, its insane captain, and his obtuse obsession--the white whale. Ishmael's principle function as narrator is to act as a reliable witness to Ahab's obsession and eventual destruction, but he is also a lingering metaphor about the value of a human life, the purpose of that life, how a life is shaped, and how we become the sum of our decisions, good or bad. Ishmael is less hero and more witness to this tragedy because he must survive the sinking of the Pequod and the loss of her crew. Structurally, without Ishmael, there simply is no story. Shipwreck, either metaphorical or literal, must be witnessed and verified by a survivor or the loss of the ship is just a mysterious footnote with no details and no story. In a way, our errant sailor and narrator is an exercise in existential energy and one of the book's larger enigmas, existing on the margin of the moral or ethical considerations presented by Ahab who is willing to take his entire crew into Hell just to get his vengeance on the white whale who had taken his leg. It is Ishmael's isolation which clarifies his voice as he describes the nuts and bolts, literally of the whaling trade, the ships, the tools, the crews, the techniques for hunting whales on a massive, industrial scale in a world lit only the oil which could be gleaned from each of their victims. Yet far from an ecological commentary of the uncontrolled finishing that would eventually drive the whale almost to extinction, Ishmael's narration is a bird's eye view into the insane and brutal world which Ahab has constructed on the Pequod, which is by itself a microcosm of the world itself, populated by men of all colors from across the entire world. The fact that the novel details the voyage of an almost random whaling ship in the mid-nineteenth century, has little to do with the allegorical content of the narrative which speaks to the ever-present battle/conflict of man against his environment. Ahab thinks that the whale is the very incarnation of evil representing the vital forces of nature against which he rails, leading to his own destruction and the sinking of the Pequod. Those who would think that this book is only about whaling ad nauseum will miss the opportunity to witness and experience vicariously Ishmael's quest for the truth about the nature of the human soul or the lack thereof. The ship, its crew, the mates, its orphaned narrator, searching for identity in the wilderness of the Earth's vast oceans, are led by a mad man who considers everything expendable in his irrational search for vengeance at any cost. If Ishmael is alone at the beginning of the novel, he is the sole survivor at the end. The last man standing and witness to the catastrophe brought on by Ahab, he is a tribute to the strength of the human heart to endure almost anything, but he is also a tribute to narrating, the importance of words, language, and story.

On the edge (of the universe)

Have you ever had one of those weird existential moments when you felt like you could step outside of yourself and see reality from the other side as if none of it were real? You feel like an actor in a play, and you have just forgotten your lines, the cues make no sense, your pants are missing, and you have no idea how this thing is supposed to turn out. Your soul is disquieted by an eerie sense of déjà vu, but the familiarity you suffer is completely alien as if you had not done this before. You don't know why, but it feels as if someone has substituted a different script at the last moment, and you haven't had a chance to read it yet. You recognize the rest of the actors, but they are just as disoriented as you are. The props feel fake, the stage is empty, you've forgotten your blocking, and even your body doesn't feel like your body. You are starting to think that we drift from metaphor to metaphor, completely unaware of how we are constructing reality as we go to suit ourselves. The world may be a stage, but life should not embody its metaphor, but resemble it. You are on edge because you lack an explanation of the very space you occupy, time moves forward but only because you say it does, and lineal thinking is a convention, not a provable reality. Everything feels hinky, unreal, fake, false, a simulacrum ad infinitum. Is it real because we accept reality as a fact? Or is there some sort of independent reality in which we participate--a reality which produces space and time, independently of our modes of perception. It's as if you can see the fake flats on stage. The flats are painted so well that they look like bookcases, televisions, furniture, and all the rest of the trappings of daily life with which we decorate our living simulacrum. We all agree to play by the same rules, but do any of us know why? On the edge of night when it's not really either day or night, we traverse a liminal space, a metaphor for the threshold between our waking self that can identify the simulacrum as a simulacrum and our dreaming self that suspends its disbelief and fully assumes its role in the play without asking questions or being upset by the illogical nature of our invented reality. If the universe is expanding, and we can see that it expands, I think we should all be asking into what it might be expanding, or is space a fluid structure that can expand infinitely? We have no reason to believe that there are answers to any of these questions or whether any of these questions or statements make the least bit of sense at all. So we putter along, play along, singing a song, without a care in the world, but then again, would it matter if we care or cared in the least about time, space, or infinity? When I'm on edge about these things I catch glimpses of eternity, I feel infinity spreading out before me, and I see the shadow of other dimensions, unbounded by space or time, as if ghosts or giants had been there before me, asking the same questions, and unable to answer or understand, created myths to answer questions about the origins of the universe, its age, or where it is. Mystics seem to have an edge in the sense that reality is just a minor objection which does not seem to trouble them. Philosophers are troubled by these details, but they go between questioning and participating, flip-flopping about what they want to resolve and what would be better left unresolved. Maybe we should not look at the man behind the curtain, perhaps some illusions are better left just that, as illusions. Eventually, the edgy feeling goes away, my soul stops asking questions as if it were a five-year-old, and I can accept my place in an expanding universe without getting too nervous.

On twenty-nine degrees below zero

In northern Minnesota (yes, a redundancy) the temperature dropped to minus 29 degrees Fahrenheit this morning. This is not bragging, it's just weather. There have been far colder places in the USA, including the far reaches of Alaska where it is often lots colder. Yet, there is a certain something in the cold weather experience which tests a person's metal. Do you have what it takes to keep on trying on a morning when your car probably won't start, your water pipes may be in danger of freezing, the dog has to be kept inside, ice crystals float like little diamonds in the air, the snow crunches under your feet, and you are bundled up like the Michelin Man. Exposed skin will freeze in less than five minutes at that temperature, so you better know how your cold weather gear works and pay attention. Even the slightest problem, flat tire, no gas, flat battery, turns into a dangerous crisis at that temperature. God forbid your furnace or electricity go out at this temperature. Twenty-nine degrees below zero is nothing to fool with and it's a temperature that puts a huge stress on everything--buildings, heating, plumbing, electricity, travel, cars, trucks, people, children. If you have to be outside for any time at all, you must know what you are up against, or it could be fatal. Waiting outside for anything for any amount of time can chill you to the bone and puts a huge stress on fingers, toes, ears, noses, and feet. Usually people can keep their core warm with a good jacket or parka, but we always skimp on the footwear and the gloves. And let's not even talk about taking your gloves off for moment to do something barehanded at this temperature, which is extremely problematic. If the wind is blowing at all, you have a big problem if you are forced to walk any distance at all. At twenty-nine degrees below zero your breath freezes almost instantly, and the cold air will make your teeth hurt as your breathe. I've had a car battery die at minus twenty-four, which is almost just as bad. My super-cold weather gear consisted of long-johns, wool socks, various layers of cotton and wool t-shirts, thermal wear, down-filled gloves, packs (insulated boots), and a down-filled hat with ear-flaps. None of this clothing will win any fashion awards, but it will keep you from freezing to death when regular clothing just cannot do the job. Because that's what we're talking about--dying. When it's a hundred degrees in the shade, you pour yourself another glass of water, stay out of the sun, relax, take it easy, but at twenty-nine degrees below zero you have to face a few challenges if you have to go outside, go to work, to school. And just because it's cold does not mean that emergency services don't have to be functioning--police, fire, city, ambulances, garbage, snow removal. Curiously, we know that crime tends to dip a bit when the temperature gets this low, so criminals don't like to go out either when it's twenty-nine degrees below zero. If you don't like icy conditions, stay in Texas or Arizona or Florida or California because this is an either you like it or you hate it. And there's no sense in torturing yourself with cold weather if you can help it. Cold weather does not make you more honest, or a better person, or more moral, or more ethical, but what it will do for you is clear: you are certainly a more careful person when it comes to your daily routine because anyone who has ever suffered frostbite, certainly does not want to do it again. Bundle up out there--cold nose, warm heart.

On the Spanish fighting bulls

There is no figure more iconic in Spanish culture than the fighting bull, all 1,400 pounds of him. When students ask me about Spain, they inevitably also ask if we will be going to a bull fight, the ritual slaughter of one of these brutal animals. Even though the bull is highly recognized, highly iconic, he occupies a very small part of real Spanish culture. Yet bullfighting is such an odd and outrageous spectacle that it has become one of the most recognizable parts of Spain's image. The fighting bull, a rather savage and brutal species of cattle, are native to Spain and have been bred for centuries for this one purpose: to be killed by a "matador de toros" or torero, armed only with a very sharp sword and his cape. Given the ferocious nature of these animals, bullfighting is an extremely dangerous line of work, and many men have died because of it. The bulls are raised in the distant high pastures of the central, southern, and western mesas that cover most of Spain. Curiously, the cows of the same species are relatively tame in spite of their large fierce appearance. The ranchers that raise these animals begin to cull their herds to the "plaza" when the bulls reach about three years of age and weigh in at about 1,200 to 1,500 pounds. I will skip the exact details of the ritual killing of these animals, ritual slaughter because others have written about it before and done a much better job--Hemingway, for example, in Death in the Afternoon. One might make an argument for the art of bullfighting, the danger, the ballet, the pressure, but I'm not super-impressed. Raising a large animal in order to kill it with a sword seems like animal cruelty, I'm just saying. Others would disagree and say that this is tradition, culture, and passion, but I would suggest that not all traditions, not all bits of culture, are worth saving. I don't think that Spanish culture is better because of bullfighting, and I don't think Spanish culture would be missing a whole lot if bullfighting went the way of the Dodo bird. A few old cigar-smoking curmudgeons with raspy voices will be free at five o'clock on any given afternoon, ranchers will have to raise regular beef cattle, and a few skinny guys with good sword skills will have to get real jobs. Still others will argue that it is hypocritical to challenge or criticize bullfighting and then go eat a hamburger. Yes, we slaughter our beef cattle, but it takes but a moment, not the average fifteen minutes that a single bull might last.To idealize bullfighting seems disingenuous, if not outright reckless, turning the ritual slaughter of an animal into a spectacle and business. Since I am not really Spanish, (I hear the murmuring), I just don't understand either the ritual or the tradition. Perhaps I am just a bleeding-heart, tree-hugging, granola eating liberal that has no guts for a little pain and suffering, and I don't understand the beauty of the pageantry, the glory and art of the successful bullfighter who runs that sword into the bull's back. Perhaps I just don't understand the danger, the challenge, the pain, the athleticism of the entire dark scene--blood, sweat, sand, swords, pink socks, and guys with ponytails. The bull is at the center of an extremely bizarre happening that is almost impossible to describe to the uninitiated. The animals are huge, fast, and dangerous, and the guys trying to kill them are definitely risking their lives, but in the end, I might ask, what's the point? Prove they are more macho than the animal?

On cemeteries and graveyards

What could I possibly say about cemeteries that has not already been said? Seriously creepy, still, morbid, sad, pastoral, cold, lonely, desolate, the destination from which no one returns but the gravedigger and the clergy. You can call the local bone pile anything you want, but it never stops be exactly that: a bone pile, a pile of bones. That which is left when we die, the mortal combination of bone and flesh, unmoving, unfeeling, unseeing, is not but the leftovers of a life that burned brightly for a short amount of time before the soul took its leave, leaving only ash and emptiness behind. I am not convinced that there is any point in burying bodies in the ground. There are health issues for doing it, but the mortal remains of any person are only what remains after death. In spite of what Dr. Frankenstein might have alleged at some point in the past, bodies cannot be regenerated or reanimated once the end has come. There is a limit to what modern medicine and empirical sciences can do with the spark of life, but then again cemeteries are monuments to defeat and the inevitability of death, an inevitability that gives us all energy and passion, knowing that all mortal things are finite. Cemeteries are clearly about memory, creating memory, creating a monument, mourning, loss, the past, and leaving it behind. We build cemeteries because we fear death and need to put it inside an official area where we normally don't go. Yes, we go to cemeteries to leave flowers, mourn for the dead, and to leave the newly dead, but otherwise our legends and mythologies are designed to scare away the curious and the foolish. The living know only too well that death is only always too close, but that by isolating death in a special place, death is far away and removed. The tombstones are iconic of both death and memory, and although they carry the names of the dead, the stones are a reassurance to the living that they are, indeed, alive because no stone yet carries their particular name. The cemetery is then both attractive and repellant to the living, a normal by-product of a healthy society which cannot conceive or understand the true nature of life's final mystery. All will go to the cemetery in their time, and so in our sadness and loss, we erect monuments and stones to the memory of the departed. The stones do nothing to alleviate the sadness of loss, but the simulacrum of funerals, burial, and departure are traditions and rituals which distract us from the business at hand, saying goodbye to a loved one. For outsiders, the cemetery is a completely different kind of place: an inscribed history of a place, the people who lived there, and the people who still live there. Cemeteries, when cared for, are pleasant, quiet, pastoral scenes which are good for thinking and relaxing. What is sad, however, are the forgotten cemeteries which herald changing times and displaced civilizations, forgotten families, the abandoned dead. Perhaps cemeteries exist because the living fear being forgotten at all. Yet the brutal reality of time and memory is the cruel truth that at some point in the future, we will all be forgotten. The physical never endures. Poetry endures, words endure, stories endure. The details may fade, but the essence of art, poetry, words, will endure even when the faces are forgotten. So we dig the graves and plant the headstones.