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By the middle of the nineteenth century most learned people thought the Earth was at least a few million years old, perhaps even some tens of millions of years old, but probably not more than that. So it came as a surprise when, in 1859 in On the Origin of Species, Charles Darwin announced that the geological processes that created the Weald, an area of southern England stretching across Kent, Surrey, and Sussex, had taken, by his calculations, 306,662,400 years to complete. The assertion was remarkable partly for being so arrestingly specific but even more for flying in the face of accepted wisdom about the age of the Earth.*10 It proved so contentious that Darwin withdrew it from the third edition of the book. The problem at its heart remained, however. Darwin and his geological friends needed the Earth to be old, but no one could figure out a way to make it so.
A Short History of Nearly Everything
Bill Bryson
In my first three years at Princeton High School, in the late nineteen-forties, my English teacher was Olive McKee, whose self-chosen ratio of writing assignments to reading assignments seems extraordinary in retrospect and certainly differed from the syllabus of the guy who taught us in senior year. Mrs. McKee made us do three pieces of writing a week. Not every single week. Some weeks had Thanksgiving in them. But we wrote three pieces a week most weeks for three years. We could write anything we wanted to, but each composition had to be accompanied by a structural outline, which she told us to do first. It could be anything from Roman numerals I, II, III to a looping doodle with guiding arrows and stick figures. The idea was to build some form of blueprint before working it out in sentences and paragraphs. Mrs. McKee liked theatrics (she was also the school’s drama coach), and she had us read our pieces in class to the other kids. She made no attempt to stop anybody from booing, hissing, or wadding paper and throwing it at the reader, all of which the kids did. In this crucible, I learned to duck while reading. I loved Mrs. McKee, and I loved that class. So—a dozen years later, when Mort Sahl was overwhelming me, and I was wallowing in all those notes and files—I thought of her and the structure sheets, and despite the approaching deadline I spent half the night slowly sorting, making little stacks of thematically or chronologically associated notes, and arranging them in an order that seemed to hang well from that lead sentence: “The citizen has certain misgivings.” Then, as I do now, I settled on an ending before going back to the beginning. In this instance, I let the comedian himself have the last word: “‘My considered opinion of Nixon versus Kennedy is that neither can win.’”
You are not your art. The greater the separation between your ego and the products of your creative efforts, the happier and more productive you’ll be. So let go of all your assumptions and think. Ask yourself what creative activities you might enjoy. Don’t worry about the product yet or where it will go. If you enjoy creating amazing dinner party experiences for others—at least some of the time—that’s the important thing. It doesn’t matter at this stage what you wish you had cooked or who you would like to have hosted. You don’t have to be good at anything yet. You can learn. In fact, you’ll begin to see the process of learning as a joy, not an obstacle. The only question that matters here is, what would you be excited to try?
Creative Calling
Chase Jarvis
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