Meditations on Time
Here I am, at age 78, seemingly surrounded by stories about time. These stories naturally have a way of turning my thoughts toward how short my own time may be.
I just reread a novel in which every adult on the planet receives a box containing a string that reveals exactly how long they will live. And I’m recalling the television comedy about a moral accounting system that tracks a person’s life here on Earth. Finally, there’s the recent film that imagines we get to choose the precise form our eternity will take.
I did not set out to braid these snippets of our popular culture together. They braided themselves. At this age, time insists on being the subject.
The reminders are constant. Obituary columns, for one. My personal calendar, for another, which now includes far more medical appointments than it once did. Routine blood work. MRI, CT and DEXA scans. Follow-ups, with each visit carrying the distinct possibility that this will be the one where the doctor pauses too long before speaking. Most of the time the news is ordinary. “See you in six months.” But the suspense never quite disappears.
In Nikki Erlick’s 2022 novel The Measure, a mid-life character suggests that a string long enough to reach age eighty would count as good news. When I read that passage, I felt a small jolt. Eighty no longer feels like a distant horizon. It is a number that is uncomfortably close.
If I opened my box today, I would automatically have a long string. The real question would be: how much longer? A year? Five years? Ten? More? Though If I died today, surely no one would lament that I was gone before my time.
All of which leads to other concerns. How many more years would I want if they are shadowed by increasing pain — or other physical or mental decline? Longevity, at this stage, is not automatically the goal. There are conditions.
The Good Place, the four-season television series originally airing on NBC (and now available on Peacock), begins with a moral scoring system; every human action or interaction earns positive or negative points. An endless array of cosmic accountants supposedly keeps track of these tallies someplace up there in the sky, and when you die your final count decides your destiny. It is morality, and judgment day, rendered as a dispassionate spreadsheet.
At 78, that premise feels less like satire and more like a quiet audit. I find myself reviewing my own ledger. Have I been good? Not necessarily accomplished. Nor productive. But good?
My entries must be mixed. I have lived and loved imperfectly. I have hurt people I did not intend to hurt. There are relationships that did not endure. Some ended gently. Others did not. Even now there is sadness attached to those chapters, a sense that certain conversations might have gone differently if I had been wiser, braver or simply more skilled.
I sometimes wonder whether those endings count against me, or whether they merely show that I kept trying to connect and sometimes failed.
The show ultimately dismantles its point system, though. Life, it suggests, is far too entangled for simple math. Growth matters more than totals; it matters more than being flawless.
What lingers for me now is the series’ ending. Even paradise becomes hollow if it stretches on forever. In the final season, the characters are offered an exit. They step through one last door when they feel complete. Eternity with no ending, the show suggests, flattens meaning.
So, I wonder: How, ultimately, will I measure my existence? Will there ever be a time when will I feel complete?
Those questions followed me into the 2025 film Eternity, now on Apple TV, where humanity is invited to choose the form one’s forever will take. The idea sounds appealing at first. Pick your paradise. A tropical beach, for example. Perfect weather. Endless calm.
But what would that mean after a thousand years? Ten thousand? How could any single scene, no matter how beautiful, sustain significance without limit? Without scarcity?
Part of what makes a late-life conversation more vivid is precisely that it may not be repeated endlessly. Scarcity is what gives weight to life’s ordinary moments.
If I knew the precise length of my string, maybe I would live differently. I might rush to repair what remains frayed. Or I might grow cautious, conserving energy. Uncertainty leaves me in between. Aware of the limit, but not of its measure. Isn’t it that uncertainty that keeps life from becoming either frantic or complacent?
If there is a ledger somewhere, I hope it records effort. That it shows I kept revising myself. That I tried to mend what I could. That I did not stop growing simply because the horizon drew closer.
I am not eager to open the box. And I am not certain I want a tropical eternity with no horizon. I only know that the ticking is audible now. Doctor visits. Quiet evenings. Old relationships to ponder. Meditations on time.
Age 78. Still adding to the ledger.
Poetry Selection: The Summer Day
Who made the world?
Who made the swan, and the black bear?
Who made the grasshopper?
This grasshopper, I mean —
the one who has flung herself out of the grass,
the one who is eating sugar out of my hand,
who is moving her jaws back and forth instead of up and down —
who is gazing around with her enormous and complicated eyes.
Now she lifts her pale forearms and thoroughly washes her face.
Now she snaps her wings open, and floats away.
I don't know exactly what a prayer is.
I do know how to pay attention, how to fall down
into the grass, how to kneel down in the grass,
how to be idle and blessed, how to stroll through the fields,
which is what I have been doing all day.
Tell me, what else should I have done?
Doesn't everything die at last, and too soon?
Tell me, what is it you plan to do
with your one wild and precious life?
-Mary Oliver
A Big Bold Beautiful Journey
I went into A Big Bold Beautiful Journey (2025), recently made available on Netflix, with absolutely no sense of the storyline. Sometimes that’s the best way to encounter a film. With no expectations to manage and no trailer logic to undo, you’re free to simply watch and see what happens. What I found was a fantasy-based romantic comedy that takes itself rather seriously at times, moves at its own pace, and ends up having more to say than I expected. I recommend it.
The film opens at a generically named “Car Rental Agency,” where David (Colin Farrell) encounters two unusually quirky employees, Kevin Kline as the Mechanic and Phoebe Waller-Bridge as the Cashier. David is on his way to a friend’s wedding. The car he rents, a 1994 Saturn SL, comes equipped with a GPS unit that quickly establishes itself as a character in the story.
At the wedding, David locks eyes with Sarah (Margot Robbie), and the two engage in flirtatious, slightly offbeat banter at the reception. At one point, Sarah semi-seriously asks David to marry her, a moment that clearly unsettles him. What is he to make of this unconventional woman? When Sarah then asks him to dance, he declines. Later, she leaves with another man.
Driving home, the GPS asks David if he’d like to go on a big, bold, beautiful journey. He agrees, and with that, the film’s fantasy premise is underway. David is soon instructed to take the next exit and order a fast-food cheeseburger. Inside the restaurant, he discovers Sarah, also eating a cheeseburger. When they leave, Sarah’s car, another Saturn from the same rental company, refuses to start, and David’s GPS instructs him to offer her a ride. She accepts, and the two begin sharing the rest of the drive home.
From there, the film settles into its central rhythm. The GPS directs David and Sarah to a series of roadside stops that turn out to be doors, both literal and metaphorical. Behind each door lies not so much a place as a moment in time. These episodes are drawn from the characters’ pasts, and what’s striking is how matter-of-factly they accept what’s happening. There is only a modicum of astonishment. David and Sarah step into these moments as if the past were still physically present, waiting to be revisited.
One door, for example, takes them to David’s high school on the night he is starring in the class musical, How to Succeed in Business Without Really Trying. He plays the lead role of J. Pierrepont Finch, with Sarah and his parents watching from the audience. During the show, David relives a painful romantic rejection, confessing his feelings to a costar offstage and then, in an impulsive moment, temporarily derailing the production by confronting her onstage with blunt observations about the life she will go on to lead.
In a later scene, they stop at a decaying roadside billboard with an opening that leads into a café. Inside, two conversations unfold at once. David’s former fiancée presses him for an explanation about the end of their engagement, while Sarah revisits the collapse of a relationship with a former boyfriend. Eventually, the two conversations merge, with all four characters seated at the same table. David and Sarah are given an unusually revealing view of how each has behaved in earlier relationships, and both are forced to acknowledge their own intimacy issues.
By this point, it’s very clear that this big, bold, beautiful journey is less about time travel than about self-examination. As David and Sarah move through these episodes together, the focus remains on how they respond to what they learn about one another. They watch. They ask important questions. They engage in remarkable amounts of self-disclosure. The film allows these moments to unfold slowly. The pace worked for me, though I can see why others might find it trying. This is not a movie in a hurry.
What the film seems most interested in is not whether David and Sarah will end up together, but what it means for two people to really see one another. By the time you’ve lived a while, introductions are never clean. Everyone arrives with baggage, earlier versions of themselves still visible around the edges. A Big Bold Beautiful Journey makes that idea concrete, and in doing so, captures something emotionally recognizable.
I was willing to go along with the unlikely premise and the deliberate pacing largely because the performances are so grounded. The connection between Farrell and Robbie builds through pauses, glances, shared silences and, often, moments of unusually deep honesty. That connection feels earned, not manufactured.
What stayed with me afterward was not a particular scene or line of dialogue, but the film’s underlying suggestion that not every meaningful encounter has to resolve into something permanent. Some meetings matter because they clarify where you are, or because they briefly align two lives that have been moving along separate tracks. That idea resonated with me more than any conventional romantic payoff might have.
Not everyone will be taken with this film. It asks for patience and a tolerance for ambiguity. It treats human connection as something provisional and fragile, shaped by timing and circumstance, and often understood only in retrospect.
By the end, A Big Bold Beautiful Journey felt less like a romance than a meditation on how lives intersect, diverge, and occasionally overlap just long enough to matter. For me, that made the journey worth taking.
Generosity and Free Will
“I was trying to figure out what I should have already told you, but I never have. Something important, something every father should impart to his daughter. I finally got it: generosity. Be generous, with your time, with your love, with your life.” [From a terminally-ill, near death, Dr. Mark Greene, to daughter Rachel, during “On the Beach,” an episode of “ER,” May 9, 2002; emphasis mine.]
I wrote last time about my fall on the ice during the recent storm. As reported, I did not break any bones; however, the residual effects of the mishap continue to linger on. The trauma of the tumble seems to have taken up residence in my lower and upper back – as well as in my psyche. My spirits are quite low.
In the first two weeks after the storm, I had massage, physical-therapy, and Zero-balancing sessions – in addition to my regularly-scheduled therapy appointment. At this point, though, my recovery still has a way to go. I need significantly more time – andhelp- to facilitate my healing.
In questioning my life’s choices during this period of blueness, I reviewed an essay from February 2006 here on Musings entitled “Generosity.” I have had reason to reflect again on the meaning of this term and specifically its place in the context of friendship.
What am I talking about? Well, I now have reason to believe that what I had experienced as acts of generosity from a friend were, perhaps, deeds that had been misinterpreted by me. I now suspect that perhaps some kind of relational score-keeping had been in play. This has sent me even more into an emotional tailspin, leading me into a deeper examination of my own behavior; to wit: Who am I as a friend? Am I in search of some kind of reciprocity rather than act from a generous spirit? Am I generous enough with my love? My time? My energy? My life? Who am I, really? And, in this context, how am I perceived by others?
I have always believed that each of our lives are comprised of our own individual choices – a sum of the good and/or bad. This long-held belief has, recently, however, come to be challenged. During the last few weeks I have been trying to make my way through Determined by Robert Sapolsky, a dense academic treatise on the topic of free will. Sapolsky makes the compelling argument that, essentially, free will is a myth -- that our livesare really the sum of our biology, our environment, our experiences, of human evolution. The theory is that whatever we choose to do in any moment is dictated by the sum of our life up until the previous moment, that that moment is the result of the previous moment, on and on and on. From Sapolsky’s viewpoint “…all we are is the history of our biology, over which we have no control, and of its interaction with environments, over which we also have no control, creating who we are in the moment” (Sapolsky, 2023, p. 85).
So, in this particular paradigm of human existence, none of us can really be held accountable for our actions – they have all been pre-determined. In fact, every act of mine (ours), lets say in the matters of charity or generosity, are built into us and that we don’t really choose to behave in one way or the other.
I admit that I find myself being quite depressed at the concept that my (and your) existence has already been determined in advance, that my (our) choices are not really choices. Thinking about this interpretation of being human has not done anything positive for my spirits.
So, in sum, right now my body and my soul are in pain. I am seeking help from various sources to manage life right now. But I am in a state of confusion about the meaning of the human experience and what actions I (we) may (or may not) have control over. I am wondering what “choice” is --and whether or not I have the ability to actually choose the right way to work my way out of this painful period.
Reference
Sapolsky, R. (2023). Determined. New York: Penguin Press.
Ten Before Thirty
I just finished reading Ten Before Thirty, the debut novel by Yana Kazan, a work that was recommended to me recently by friends. I was informed that Kazan is the pen name of a former professional colleague and that the novel is autobiographical in nature; of course I was intrigued.
Ten Before Thirty can most appropriately be described as a coming-of-age story. The protagonist is Annie Zechman who we first meet at the age of ten as she mystically encounters her long-dead great-grandmother Flora. Flora warns her that there are ten “really bad” things coming at her and that Annie has the choice of experiencing them early in life - or later. Annie chooses “early,” namely before the age of thirty. Hence the title of the book.
One of the earliest, really bad things to happen is the sudden death of her father at the age of 52. As the narrative unfolds, we learn, in quite some detail, about several of the other traumatic events she encounters; when tallied up they are undoubtedly more than ten in number. We find out, for example, that as a young child, Annie was molested by her grandfather. And early on, Annie’s single-parent mother finds a man, marries, and moves the family to Dallas, Texas. It is the early Sixties and as Annie is finishing high school, President Kennedy is assassinated nearby during her senior year.
We then follow Annie through her undergraduate years at a women’s college in Missouri and to grad school in Wisconsin. And yes, the “really bad” things keep coming. Annie has very few friends during these early years, and her choice of emotionally-unavailable men along the way almost certainly works against her best interest. The list of traumas includes (but is not limited to): the loss of a love; date and stranger rape; being hit by a car; nearly being kidnapped; and being strip-searched in jail. It is an eye-opening account of a somewhat naïve and vulnerable female as she attempts to navigate the rather hostile world of the turbulent Sixties and Seventies.
By the time the book ends, we know that Annie has had a number of therapists to help her along the way, that she has successfully completed her bachelor’s and master’s degrees, and has embarked on the path to a Ph.D. program in educational administration. Of course, life goes on, and nothing protects any of us from the natural and inevitable traumas of being human, but perhaps we can trust that Annie has the tools and life experience to successfully navigate future “really bad” things.
Given the historical references in the text, it is not difficult to discern the actual timeline. The period in which this story takes place corresponds almost precisely with my life. If I’ve calculated correctly, I am one year younger than Annie; I was a junior in high school when JFK was assassinated, for example. To the extent that the story is autobiographical, I now know much more about “Annie’s” early years than she knows of mine. I found the book wonderfully-written, skillfully-edited and highly-compelling. My vote: an enthusiastic thumbs up.
Soundtrack Suggestion
Tin soldiers and Nixon coming
We’re finally on our own
This summer I hear the drumming
Four dead in Ohio
Gotta get down to it, soldiers are cutting us down
Should have been gone long ago
What if you knew her and found her dead on the ground
How can you run when you know?
(“Ohio” – Neil Young – Crosby, Stills, Nash & Young)
On Loneliness
“Loneliness is far more than just a bad feeling… It is associated with a greater risk of cardiovascular disease, dementia, stroke, depression, anxiety, and premature death. The mortality impact of being socially disconnected is similar to that caused by smoking up to 15 cigarettes a day, and even greater than that associated with obesity and physical inactivity.” – Dr. Vivek Murthy (U.S. Surgeon General)
I retired from full-time employment in 2014, at age 67. It wasn’t that I thought it was really my time to move on – rather my employer believed it was. I was working as an academic dean, at a community college in the Bay Area, and the administration that had hired me, well, those folks were long gone. The new president didn’t take any time to get to know me and was more interested in putting in his own administrative team. Therefore, I was toast.
So, after receiving official notice that my contract was not being renewed, hastily evaluating my financial situation, and determining that retirement was at least theoretically possible, I packed up and moved back here to Oregon. After all, I had spent a considerable portion of my life in Corvallis and Eugene and my thinking was that there were folks here that would constitute some kind of community for me: that I wouldn’t be totally devoid of a support system.
Flash forward to present day: I’m now 76, and while it’s true that I’m not entirely without a support network, it’s turned out to be a pretty meager one. I have lunch once a month with an old friend from my photography days and about once a year with former Oregon University System colleagues. I made new friends when I spent three years as a part-time faculty member here recently (2019-2022), but now that that position has ended, I now rarely see those folks. I have kept in contact with Katrina (mentioned previously in my writings here; she is the person named in my Advance Directive), but she has her own very busy life and we communicate primarily, and fairly infrequently, by text. I have a Zoom session with an old high-school friend from Wisconsin once every couple months or so. And finally, I admit I had high hopes for real and sustained human connection when I was in a relationship for about three years, but that ended last year and left me alone and grieving.
Given that the pandemic is largely in our rearview mirror, I have once again started spending time here at my neighborhood Starbucks. It’s not really community, per se, but as I sit here writing this, there are the sounds of work, conversation and occasional laughter. There are college students at the next table studying for, what I assume, their final exams. It’s true that I don’t actually meet people here, but it provides some sense of comfort: probably for the same reason that, when at home, I keep the TV or radio on most of the time; the NPR hosts and the news anchors at MSNBC keep me company. Fortunately, right now I have part-time work, in a tech-support role, at the college, that physically puts me in the classroom and in contact with instructors and students, for a few hours a week. That tends to keep me going.
