“I do not believe that I have ever written a children’s book,” the great Maurice Sendak once said in an interview. “I don’t write for children,” he told Colbert. “I write — and somebody says, ‘That’s for children!’” This sentiment — the idea that designating certain types of literature as “children’s” is a choice entirely arbitrary and entirely made by adults — has since been eloquently echoed by Neil Gaiman, but isn’t, in fact, a new idea.

On March 8, 1939, J.R.R. Tolkien (January 3, 1892–September 2, 1973), celebrated as one of the greatest fantasy writers in history, gave a lecture titled “Fairy Stories,” eventually adapted into an essay retitled “On Fairy-Stories” and included in the appendix to Tales from the Perilous Realm (public library). At the crux of his argument, which explores the nature of fantasy and the cultural role of fairy tales, is the same profound conviction that there is no such thing as writing “for children.”

J. R. R. Tolkien’s original illustrations for the first edition of The Hobbit, 1936
Tolkien begins at the beginning, by defining what a fairy tale is:

A “fairy-story” is one which touches on or uses Faerie, whatever its own main purpose may be: satire, adventure, morality, fantasy. Faerie itself may perhaps most nearly be translated by Magic — but it is magic of a peculiar mood and power, at the furthest pole from the vulgar devices of the laborious, scientific, magician. There is one proviso: if there is any satire present in the tale, one thing must not be made fun of, the magic itself. That must in that story be taken seriously, neither laughed at nor explained away.

Illustration for Hans Christian Andersen’s ‘The Snow Queen’ by Katharine Beverley and Elizabeth Ellender, 1929. Click image for details.
He then explores the relationship between fairy tales and language, denouncing Max Müller’s view of mythology as a “disease of language”:

Mythology is not a disease at all, though it may like all human things become diseased. You might as well say that thinking is a disease of the mind. It would be more near the truth to say that languages, especially modern European languages, are a disease of mythology. But Language cannot, all the same, be dismissed. The incarnate mind, the tongue, and the tale are in our world coeval. The human mind, endowed with the powers of generalization and abstraction, sees not only green-grass, discriminating it from other things (and finding it fair to look upon), but sees that it is green as well as being grass. But how powerful, how stimulating to the very faculty that produced it, was the invention of the adjective: no spell or incantation in Faerie is more potent. And that is not surprising: such incantations might indeed be said to be only another view of adjectives, a part of speech in a mythical grammar. The mind that thought of light, heavy, grey, yellow, still, swift, also conceived of magic that would make heavy things light and able to fly, turn grey lead into yellow gold, and the still rock into a swift water. If it could do the one, it could do the other; it inevitably did both. When we can take green from grass, blue from heaven, and red from blood, we have already an enchanter’s power — upon one plane; and the desire to wield that power in the world external to our minds awakes. It does not follow that we shall use that power well upon any plane. We may put a deadly green upon a man’s face and produce a horror; we may make the rare and terrible blue moon to shine; or we may cause woods to spring with silver leaves and rams to wear fleeces of gold, and put hot fire into the belly of the cold worm. But in such “fantasy,” as it is called, new form is made; Faerie begins; Man becomes a sub-creator.

Illustration for Hans Christian Andersen’s ‘The Darning Needle’ by Maurice Sendak, 1959. Click image for details.
Like Sendak and Gaiman, Tolkien insists that fairy tales aren’t inherently “for” children but that we, as adults, simply decide that they are, based on a series of misconceptions about both the nature of this literature and the nature of children:

It is usually assumed that children are the natural or the specially appropriate audience for fairy-stories. In describing a fairy-story which they think adults might possibly read for their own entertainment, reviewers frequently indulge in such waggeries as: “this book is for children from the ages of six to sixty.” But I have never yet seen the puff of a new motor-model that began thus: “this toy will amuse infants from seventeen to seventy”; though that to my mind would be much more appropriate. Is there any essential connexion between children and fairy-stories? Is there any call for comment, if an adult reads them for himself? Reads them as tales, that is, not studies them as curios. Adults are allowed to collect and study anything, even old theatre programmes or paper bags.

[…]

Among those who still have enough wisdom not to think fairy-stories pernicious, the common opinion seems to be that there is a natural connexion between the minds of children and fairy-stories, of the same order as the connexion between children’s bodies and milk. I think this is an error; at best an error of false sentiment, and one that is therefore most often made by those who, for whatever private reason (such as childlessness), tend to think of children as a special kind of creature, almost a different race, rather than as normal, if immature, members of a particular family, and of the human family at large.

Illustration for Howard Pyle’s ‘The Swan Maiden’ by Alice and Martin Provensen, 1971. Click image for details.
He argues, instead, that the stereotype of fairy tales being associated with children and native to their world is “an accident of our domestic history”:

Fairy-stories have in the modern lettered world been relegated to the “nursery,” as shabby or old-fashioned furniture is relegated to the play-room, primarily because the adults do not want it, and do not mind if it is misused. It is not the choice of the children which decides this. Children as a class—except in a common lack of experience they are not one—neither like fairy-stories more, nor understand them better than adults do; and no more than they like many other things. They are young and growing, and normally have keen appetites, so the fairy-stories as a rule go down well enough. But in fact only some children, and some adults, have any special taste for them; and when they have it, it is not exclusive, nor even necessarily dominant. It is a taste, too, that would not appear, I think, very early in childhood without artificial stimulus; it is certainly one that does not decrease but increases with age, if it is innate.

[…]

The nursery and schoolroom are merely given such tastes and glimpses of the adult thing as seem fit for them in adult opinion (often much mistaken). Any one of these things would, if left altogether in the nursery, become gravely impaired. So would a beautiful table, a good picture, or a useful machine (such as a microscope), be defaced or broken, if it were left long unregarded in a schoolroom. Fairy-stories banished in this way, cut off from a full adult art, would in the end be ruined; indeed in so far as they have been so banished, they have been ruined.

Tolkien then moves on to the subject of fantasy, a frequently misunderstood faculty of the imagination.

The mental power of image-making is one thing, or aspect; and it should appropriately be called Imagination. The perception of the image, the grasp of its implications, and the control, which are necessary to a successful expression, may vary in vividness and strength: but this is a difference of degree in Imagination, not a difference in kind. The achievement of the expression, which gives (or seems to give) “the inner consistency of reality,” is indeed another thing, or aspect, needing another name: Art, the operative link between Imagination and the final result, Sub-creation. For my present purpose I require a word which shall embrace both the Sub- creative Art in itself and a quality of strangeness and wonder in the Expression, derived from the Image: a quality essential to fairy-story. I propose, therefore, to arrogate to myself the powers of Humpty-Dumpty, and to use Fantasy for this purpose: in a sense, that is, which combines with its older and higher use as an equivalent of Imagination the derived notions of “unreality” (that is, of unlikeness to the Primary World), of freedom from the domination of observed “fact,” in short of the fantastic. I am thus not only aware but glad of the etymological and semantic connexions of fantasy with fantastic: with images of things that are not only “not actually present,” but which are indeed not to be found in our primary world at all, or are generally believed not to be found there. But while admitting that, I do not assent to the depreciative tone. That the images are of things not in the primary world (if that indeed is possible) is a virtue, not a vice. Fantasy (in this sense) is, I think, not a lower but a higher form of Art, indeed the most nearly pure form, and so (when achieved) the most potent.

Illustration for the fairy tales of Hans Christian Andersen by Japanese artist Takeo Takei, 1928. Click image for details.
He goes on to argue that, despite the many misconceptions that envelop it, fantasy is far more challenging an art than nonfiction, for it necessitates the creation of an elaborate, immersive world from scratch, without the crutch of reality:

Fantasy … is difficult to achieve. Fantasy may be, as I think, not less but more sub-creative; but at any rate it is found in practice that “the inner consistency of reality” is more difficult to produce, the more unlike are the images and the rearrangements of primary material to the actual arrangements of the Primary World. It is easier to produce this kind of “reality” with more “sober” material. Fantasy thus, too often, remains undeveloped; it is and has been used frivolously, or only half-seriously, or merely for decoration: it remains merely “fanciful.” Anyone inheriting the fantastic device of human language can say the green sun. Many can then imagine or picture it. But that is not enough — though it may already be a more potent thing than many a “thumbnail sketch” or “transcript of life” that receives literary praise.

To make a Secondary World inside which the green sun will be credible, commanding Secondary Belief, will probably require labour and thought, and will certainly demand a special skill, a kind of elvish craft. Few attempt such difficult tasks. But when they are attempted and in any degree accomplished then we have a rare achievement of Art: indeed narrative art, story-making in its primary and most potent mode.

Scandinavian fairy tale illustration by Kay Nielsen, 1914. Click image for details.
Tolkien makes a curious argument about the oil-and-water relationship between fantasy and drama, managing to slip in a subtle dig at none other than The Bard:

In human art Fantasy is a thing best left to words, to true literature. … It is a misfortune that Drama, an art fundamentally distinct from Literature, should so commonly be considered together with it, or as a branch of it. Among these misfortunes we may reckon the depreciation of Fantasy. For in part at least this depreciation is due to the natural desire of critics to cry up the forms of literature or “imagination” that they themselves, innately or by training, prefer. And criticism in a country that has produced so great a Drama, and possesses the works of William Shakespeare, tends to be far too dramatic. But Drama is naturally hostile to Fantasy. Fantasy, even of the simplest kind, hardly ever succeeds in Drama, when that is presented as it should be, visibly and audibly acted. Fantastic forms are not to be counterfeited. Men dressed up as talking animals may achieve buffoonery or mimicry, but they do not achieve Fantasy. . . .

In Macbeth, when it is read, I find the witches tolerable: they have a narrative function and some hint of dark significance; though they are vulgarized, poor things of their kind. They are almost intolerable in the play. They would be quite intolerable, if I were not fortified by some memory of them as they are in the story as read. I am told that I should feel differently if I had the mind of the period, with its witch-hunts and witch-trials. But that is to say: if I regarded the witches as possible, indeed likely, in the Primary World; in other words, if they ceased to be “Fantasy.” That argument concedes the point. To be dissolved, or to be degraded, is the likely fate of Fantasy when a dramatist tries to use it, even such a dramatist as Shakespeare. Macbeth is indeed a work by a playwright who ought, at least on this occasion, to have written a story, if he had the skill or patience for that art.

Illustration for The Fairy Tales of E. E. Cummings by John Eaton, 1965. Click image for details.
Another misconception Tolkien debunks — speaking to Susan Sontag’s conviction that polarities only rob life of dimension — is the notion that the fantastical is somehow diametrically opposed to the rational:

Fantasy is a natural human activity. It certainly does not destroy or even insult Reason; and it does not either blunt the appetite for, nor obscure the perception of, scientific verity. On the contrary. The keener and the clearer is the reason, the better fantasy will it make. If men were ever in a state in which they did not want to know or could not perceive truth (facts or evidence), then Fantasy would languish until they were cured. If they ever get into that state (it would not seem at all impossible), Fantasy will perish, and become Morbid Delusion.

For creative Fantasy is founded upon the hard recognition that things are so in the world as it appears under the sun; on a recognition of fact, but not a slavery to it. So upon logic was founded the nonsense that displays itself in the tales and rhymes of Lewis Carroll. If men really could not distinguish between frogs and men, fairy-stories about frog-kings would not have arisen.

Returning to his notion of the Secondary World driven by Secondary Belief, Tolkien contributes to history’s greatest definitions of art:

Art is the human process that produces by the way (it is not its only or ultimate object) Secondary Belief.

Illustration for Seamus MacManus’s ‘Feather O’ My Wing’ by Alice and Martin Provensen, 1971. Click image for details.
He then adds to the psychological functions of art by exploring the psychological functions of fairy tales, chief among which is their capacity for rebooting our chronically blunted attention:

Recovery (which includes return and renewal of health) is a re-gaining—regaining of a clear view. I do not say “seeing things as they are” and involve myself with the philosophers, though I might venture to say “seeing things as we are (or were) meant to see them”—as things apart from ourselves. We need, in any case, to clean our windows; so that the things seen clearly may be freed from the drab blur of triteness or familiarity—from possessiveness. Of all faces those of our familiares are the ones both most difficult to play fantastic tricks with, and most difficult really to see with fresh attention, perceiving their likeness and unlikeness: that they are faces, and yet unique faces. This triteness is really the penalty of “appropriation”: the things that are trite, or (in a bad sense) familiar, are the things that we have appropriated, legally or mentally. We say we know them. They have become like the things which once attracted us by their glitter, or their colour, or their shape, and we laid hands on them, and then locked them in our hoard, acquired them, and acquiring ceased to look at them.

[…]

Creative fantasy, because it is mainly trying to do something else (make something new), may open your hoard and let all the locked things fly away like cage-birds.

Illustration for The Fairy Tales of E. E. Cummings by John Eaton, 1965. Click image for details.
The full fifteen-page essay, as well as the rest of Tales from the Perilous Realm, is well worth a read. Complement it with Tolkien’s little-known illustrations for the first edition of The Hobbit

Let's get one thing out of the way. There are gradations of rich. I see four major breaking points:

Worth $10mm-$30mm liquid (exclusive of value of primary residence).

At this level, your needs are met. You can live very comfortably at a 4-star/5-star level. You can book a $2000 suite for a special occasion. You can fly first class internationally (sometimes). You have a very nice house, you can afford any healthcare you need, no emergency financial situation can destroy your life. But you are not "rich" in the way that money doesn't matter. You still have to be prudent and careful with most decisions unless you are on the upper end of this scale, where you truly are becoming insulated from personal financial stress. (Business stress exists at all levels). The banking world still doesn't classify you as 'ultra-high net worth'

Net worth of $30mm-$100mm

At this point, you start playing with the big boys. You can fly private (though you normally charter a flight or own a jet fractionally through Net Jets or the like), You stay at 5 star hotels, you have multiple residences, you vacation in prime time (you rent a ski-in, ski-out villa in Aspen for Christmas week or go to Monaco for the grand Prix, or Canne for the Film Festival--for what its worth, rent on these places can run $5k-20k+ per NIGHT.), you run or have a controlling interest in a big company, you socialize with Congressmen, Senators and community leaders, and you are an extremely well respected member in any community outside the world's great cities. (In Beverly Hills, you are a minor player at $80 million. Unless you really throw your weight around and pay out the nose, you might not get a table at the city's hottest restaurant). You can buy any car you want. You have personal assistants and are starting to have 'people' that others have to talk to to get to you. You can travel ANYWHERE in any style. You can buy pretty much anything that normal people think of as 'rich people stuff'

$100mm-$1billion

I know its a wide range, but life doesn't change much when you go from being worth $200mm-$900mm. At this point, you have a private jet, multiple residences with staff, elite cars at each residence, ownership or significant control over a business/entity that most of the public has heard of, if its your thing, you can socialize with movie stars/politicians/rock stars/corporate elite/aristocracy. You might not get invite to every party, but you can go pretty much everywhere you want. You definitely have 'people' and staff. The world is full of 'yes men'. Your ability to buy things becomes an art. One of your vacation home may be a 5 bedroom villa on acreage in Cabo, but that's not impressive. You own a private island? Starting to be cool, but it depends on the island. You just had dinner with Senator X and Governor Y at your home? Cool. But your billionaire friend just had dinner with the President. You have a new Ferrari? Your friend thinks their handling sucks and has a classic, only-five-exist-in-the-world-type of car. Did I mention women? Because at this level, they are all over the place. Every event, most parties. The polo club. Ultra-hot, world class, smart women. Power and money are an aphrodisiac and you have it in spades. Anything thing you want from women at this point you will find a willing and beautiful partner. You might not emotionally connect, but damn, she's hot. One thing that gets rare at this level? friends and family that love you for who you are. They exist, but it is pretty damn hard to know which ones they are.

$1billion

I am going to exclude the $10b+ crowd, because they live a head-of-state life. But at $1b, life changes. You can buy anything. ANYTHING. In broad terms, this is what you can buy: Access. You now can just ask your staff to contact anyone and you will get a call back. I have seen this first hand and it is mind-blowing the level of access and respect $1 billion+ gets you. In this case, I wanted to speak with a very well-known billionaire businessman (call him billionaire #1 for a project that interested billionaire #2. I mentioned that it would be good to talk to billionaire #1 and B2 told me that he didn't know him. But he called his assistant in. "Get me the xxxgolf club directory. Call B1 at home and tell him I want to talk to him." Within 60 minutes, we had a call back. I was in B1's home talking to him the next day. B2's opinion commanded that kind of respect from a peer. Mind blowing. The same is true with access to almost any Senator/Governor of a billionaires party (because in most cases, he is a significant donor). You meet on an occasional basis with heads-of-state and have real conversations with them. Which leads to

Influence. Yes, you can buy influence. As a billionaire, you have many ways to shape public policy and the public debate, and you use them. This is not in any evil way. the ones I know are passionate about ideas and are trying to do what they feel is best (just like you would). But they just had an hour with the Governor privately, or with the Secretary of Health, or the buy ads or lobbyists. The amount of influence you have can be heady.

Time. Yes, you can buy time. You literally never wait for anything. Travel? you fly private. Show up at the airport, sit down in the plane and the door closes and you take off in 2 minutes, and fly directly to where you are going. The plane waits for you. If you decide you want to leave at anytime, you drive (or take a helicopter to the airport and you leave. The pilots and stewardess are your employees. They do what you tell them to do. Dinner? Your driver drops you off at the front door and waits a few blocks away for however long you need. The best table is waiting for you. The celebrity chef has prepared a meal for you (because you give him so much catering business he wants you VERY happy) and he ensures service is impeccable. Golf? Your club is so exclusive there is always a tee time and no wait. Going to the Super bowl or Grammy's? You are whisked behind velvet ropes and escorted past any/all lines to the best seats in the house.

Experiences. Dream of it and you can have it. Want to play tennis with Pete Sampras (not him in particular, but that type of star)? Call his people. For a donation of $100k+ to his charity, you could probably play a match with him. Like Blink182? There is a price where they would simply come play at your private party. Love art? Your people could arrange for the curator of the Louvre to show you around and even show you masterpieces that have not been exhibited in years. Love Nascar? How about racing the top driver on a closed track? Love science? Have a dinner with Bill Nye and Neil dGT. Love politics? have Hillary Clinton come speak at a dinner for you and your friends, just pay her speaking fee. Your mind is the only limit to what is available. Because donations/fees get you anyone. The same is true with stuff. You like pianos? How about owning one Mozart used to compose music on? This is the type of stuff you can do.

IMPACT. Your money can literally change the world and change lives. It is almost too much of a burden to think about. Clean water for a whole village forever? chump change. A dying child need a transplant? Hell...you could just build and fund a hospital and do it for a region.

RESPECT. The respect you get at this level is just over-the-top. You are THE MAN in almost every circle. Governors look up to you. Fortune 500 CEOs look up to you. Presidents and Kings look at you as a peer.

PERSPECTIVE. The wealthiest person I have spent time with makes about $400mm/year. i couldn't get my mind around that until I did this: OK--let's compare it with someone who makes $40,000/year. It is 10,000x more. Now let's look at prices the way he might. A new Lambo--$235,000 became $23.50. First class ticket internationally? $10,000 becomes $1. A full time executive level helper? $8,000/month becomes $0.80/month. A $10mm piece of art you love? $1000. Expensive, so you have to plan a bit. A suite at the best hotel in NYC $10,000/night is $1/night. A $50million home in the Hamptons? $5,000. There is literally nothing you can't buy except.

Love. Sorry to sound so trite, but it is nearly impossible to have a normal emotional relationship at this level. It is hard to sacrifice for another person when you are never asked to sacrifice ANYTHING. Money can solve all problems for someone, so you offer it, because there is so much else to do. Your time is SOOOO valuable that you ration it. And that makes you lose connections with people.

Anyway, that is a really long answer, but I have a very unique perspective because I have seen behind the curtain of the great and mighty OZ. Just wanted to share.

Absolute certainty is the foundational component of totalitarianism: if one is sure that one’s political philosophy will lead to the best possible future for humankind, all manner of terrible acts become justifiable in service of the greater good.

We used to consider writing an indication of time and effort spent on a task. That isn't true anymore.

Buen ensayo acerca del rol del estado y su relación con el individuo y la familia en Suecia. Para dar contexto también comenta el rol del estado en Estados Unidos y Alemania, pero el foco es Suecia.

Curso de prompt engineering

Herramienta tipo yahoo! Pipes

Por supuesto, no vimos un móvil en todo el tiempo en el cual estuvimos en el centro. Michaela tiene una política de control de los móviles muy exigente, por la cual aquellos que lo saquen se exponen a sanciones importantes y a su retirada. Pero no solo eso, sino que para ayudar a alumnos y familias, les ofrecen que puedan dejar los móviles en un espacio protegido del centro cuando vean que necesitan desconectar de él: por exámenes, por adicción... mientras en España algunos apuestan todavía por el uso del móvil como 'herramienta educativa', en Michaela tienen claros los efectos perjudiciales que estos tienen.

...

el modelo que plantea Michaela Community School es rompedor, y va a contracorriente. Es posible como ya he comentado que no todo lo que hacen sea replicable en un contexto social y cultural diferente, pero ver un colegio con un Ethos tan diferente y potente, que cree decididamente en el conocimiento, en que con expectativas altas todos los alumnos pueden llegar más lejos me dio mucho que pensar