By GARY SHTEYNGART
Published: July 9, 2010
nyt.com

Since fiscal year 2008, I have been permanently attached to my iTelephone. As of two weeks ago, I am a Facebooking twit. With each post, each tap of the screen, each drag and click, I am becoming a different person — solitary where I was once gregarious; a content provider where I at least once imagined myself an artist; nervous and constantly updated where I once knew the world through sleepy, half-shut eyes; detail-oriented and productive where I once saw life float by like a gorgeously made documentary film. And, increasingly, irrevocably, I am a stranger to books, to the long-form text, to the pleasures of leaving myself and inhabiting the free-floating consciousness of another. With each passing year, scientists estimate that I lose between 6 and 8 percent of my humanity, so that by the close of this decade you will be able to quantify my personality. By the first quarter of 2020 you will be able to understand who I am through a set of metrics as simple as those used to measure the torque of the latest-model Audi or the spring of some brave new toaster.

“This right here,” said the curly-haired, 20-something Apple Store glam-nerd who sold me my latest iPhone, “is the most important purchase you will ever make in your life.” He looked at me, trying to gauge whether the holiness of this moment had registered as he passed me the Eucharist with two firm, unblemished hands. “For real?” I said, trying to sound like a teenager, trying to mimic what all these devices and social media are trying to do, which is to restore in us the feelings of youth and control.

“For real,” he said. And he was right. The device came out of the box and my world was transformed. I walked outside my book-ridden apartment. The first thing that happened was that New York fell away around me. It disappeared. Poof. The city I had tried to set to the page in three novels and counting, the hideously outmoded boulevardier aspect of noticing societal change in the gray asphalt prism of Manhattan’s eye, noticing how the clothes are draping the leg this season, how backsides are getting smaller above 59th Street and larger east of the Bowery, how the singsong of the city is turning slightly less Albanian on this corner and slightly more Fujianese on this one — all of it, finished. Now, an arrow threads its way up my colorful screen. The taco I hunger for is 1.3 miles away, 32 minutes of walking or 14 minutes if I manage to catch the F train. I follow the arrow taco-ward, staring at my iPhone the way I once glanced at humanity, with interest and anticipation. In my techno-fugue state I nearly knock down toddlers and the elderly, even as the strange fiction and even stranger reality of New York, from the world of Bartleby forward, tries to reassert itself in the form of an old man in a soiled guayabera proudly, openly defecating on Grand Street. But sorry, viejo, you’re not global enough to hold my attention. “Thousands of Uzbeks Flee Violence in Kyrgyzstan.” “Gary, what do we want to do about Turkish rights?” “G did u see the articl about M.I.A. + truffle fries = totes messed up.” I still have to eat, and when I finally get to my destination that taco tastes as good as my iPhone said it would. But I am not dining alone. The smartphone, my secret sharer, is in my other hand. Even as the pico de gallo is dribbling down my chin I am lost to the restaurant, the people, the commerce around me, my thumb pressing down the correct quadrants of the screen to tell the world just how awesome this taco is, even as “Kyrgyz Authorities Order Uzbeks to Remove Barriers,” while “A Third Filipino Journalist Is Killed,” and, over “In Eritrea, the Young Dream of Leaving.”

I dream of leaving, too. Heading upstate in the summer­time with a trunk full of books, watching Roose­velt Island sweep by in a rainstorm, I wake up from the techno-fugue state and remember who I am, the 37 analog years that went into creating this particular human being. Upstate I will train for my vocation, ­novel-writing, by tearing through the Russian classics that gave me my start, reading up on those frigid lovelorn Moscow and Petersburg winters while summer ants crawl up my shins. In the meantime, I will start conjuring my next book, one that with any luck may still be read on paper by live human beings five years from now. In my quest for calm, I have a surprising ally. As far as I’m concerned, American Telephone & Telegraph has done more for the art of reading and introspection than all the Kindles and Nooks ever invented. Because up in the exalted summer greenery of the mid-Hudson Valley, completing an AT&T call is like driving a Trabant from New York to Los Angeles: technically feasible but not really going to happen.

I am sitting underneath a tree beside a sturdy summer cottage rebuilt by an ingenious Swedish woman. The birds are twittering, but in a slightly different way than my New York friends. I open a novel, “A Short History of Women,” by Kate Walbert, a book I will grow to love over the coming week, but at first my data-addled brain is puzzled by the density and length of it (256 pages? how many screens will that fill?), the onrush of feeling and fact, the surprise that someone has let me not into her Facebook account but into the way other minds work. I read and reread the first two pages understanding nothing. Big things are happening. World War I. The suffragist movement. Out of instinct I almost try to press the text of the deckle-edged pages, hoping something will pop up, a link to something trivial and fast. But nothing does. Slowly, and surely, just as the sun begins to swoon over the Hudson River and another Amtrak honks its way past Rhinebeck, delivering its digital refugees upstream, I begin to sense the world between the covers, much as I sense the world around me, a world corporeal and complete, a world that doesn’t need the press of my thumb, because here beneath the weeping willow tree my input is meaningless.

Soon my friends will get off that Amtrak, they will help me roast an animal and some veggies, even as they point their iTelephones at the sky, praying for rain. Their prayers will not be answered. Connecting. . . . will flash impotently on the screen, but they will not connect. In the meantime, something “white nights” will be happening out there; the sun has set and yet it has not. With the animal safely in our stomachs, with single malts and beers before us, we can read or talk softly about what we’re reading, about the glory and sadness of finding ourselves this close to the middle of our existence (cue the Chekhov, cue the Roth) and as we do so the most important purchases we have ever made in our lives are snugly holstered in the pockets of our shorts, useless, as we commune in some ancient way, laughing and groaning, passing around lighted objects and containers of booze while thoroughly facebooking one another for real in the fading summer light.

Gary Shteyngart’s latest novel, “Super Sad True Love Story,” will be published later this month.

It’s not goodbye, and what magic in those dim things to which it will be time enough, when next they pass, to say goodbye. For you must say goodbye, it would be madness not to say goodbye, when the time comes. If you think of the form and light of other days it is without regret.

— Samuel Beckett, Molloy

Nature, and the things we live with and use, precede us and come after us. But they are, so long as we are here, our possession and our friendship. They know with us our needs and our pleasures, as they did those of our ancestors, whose trusted companions they were.

So it follows that all that is here is not to be despised and put down, but, precisely because it did precede us, to be taken by us with the innermost understanding that these appearances and things must be seen and transformed.

Transformed? Yes. For our task is to take this earth so deeply and wholly into ourselves that it will resurrect within our being. We are bees of the invisible. Passionately we plunder the honey of the visible in order to gather it in the great golden hive of the invisible.

— Rilke, Letter to Witold Hulewicz
November 13, 1925

And once again I am, I will not say alone, no, that’s not like me, but, how shall I say, I don’t know, restored to myself, no, I never left myself, free, yes, I don’t know what that means, but it’s the word I mean to use, free to do what, to do nothing, to know, but what, the laws of the mind perhaps, of my mind, that for example water rises in proportion as it drowns you and that you would do better, at least no worse, to obliterate texts than to blacken margins, to fill in the holes of words till all is blank and flat and the whole ghastly business looks like what it is, senseless, speechless, issueless misery.

— Samuel Beckett, Molloy

It takes a lot of time to be a genius, you have to sit around so much doing nothing, really doing nothing.

— Gertrude Stein

You know the formula: m over nought equals infinity, m being any positive number? Well, why not reduce the equation to a simpler form by multiplying both sides by nought? In which case you have m equals infinity times nought. That is to say that a positive number is the product of zero and infinity. Doesn’t that demonstrate the creation of the universe by an infinite power out of nothing?

— Aldous Huxley

Up from the bronze, I saw
Water without a flaw
Rush to its rest in air,
Reach to its rest, and fall.

Bronze of the blackest shade,
An element man-made,
Shaping upright the bare
Clear gouts of water in air.

O, as with arm and hammer,
Still it is good to strive
To beat out the image whole,
To echo the shout and stammer
When full-gushed waters, alive,
Strike on the fountain’s bowl
After the air of summer.

— Louise Bogan

I went over to Roz’s apartment with Smacko, because she was going to be taking care of him while I was in Switzerland. She was getting out of her car in the shade of a maple tree. She’d just come back from Red Leaf, a vegetable store out near Exeter. She lowered her head to the grocery bag she held and she breathed in. She said, “Don’t you love the smell of brown paper bags filled with raw vegetables?”

I leaned and smelled inside the bag. “Yes, I like it very much,” I said. Trying to stay on an even keel but feeling a lot of love for her and wanting to lie down on the sidewalk as a result.

She stood, smiling, waiting for me to say something more. I handed her the beads, wrapped droopily in tissue. “Just something I strung for you, don’t open it now.”

She thanked me, and then she tilted her face up and I kissed her quickly, pretend-perfunctorily. “Good luck in Switzerland,” she said.

— Nicholson Baker, The Anthologist

I do not understand the world, Father.
By the millpond at the end of the garden
There is a man who slouches listening
To the wheel revolving in the stream, only
There is no wheel there to revolve.

He sits in the end of March, but he sits also
In the end of the garden; his hands are in
His pockets. It is not expectation
On which he is intent, nor yesterday
To which he listens. It is a wheel turning.

When I speak, Father, it is the world
That I must mention. He does not move
His feet nor so much as raise his head
For fear he should disturb the sound he hears
Like a pain without a cry, where he listens.

I do not think I am fond, Father,
Of the way in which always before he listens
He prepares himself by listening. It is
Unequal, Father, like the reason
For which the wheel turns, though there is no wheel.

I speak of him, Father, because he is
There with his hands in his pockets, in the end
Of the garden listening to the turning
Wheel that is not there, but it is the world,
Father, that I do not understand.

— W. S. Merwin

Sing we for love and idleness,
Naught else is worth the having.

Though I have been in many a land,
There is naught else in living.

And I would rather have my sweet,
Though rose-leaves die in grieving,

Than do high deeds in Hungary
To pass all men’s believing.

— Ezra Pound

Let not young souls be smothered out before
They do quaint deeds and fully flaunt their pride.
It is the world’s one crime its babes grow dull,
It’s poor are ox-like, limp and leaden-eyed.
Not that they starve, but starve so dreamlessly;
Not that they sow, but that they seldom reap;
Not that they serve, but have no gods to serve;
Not that they die, but that they die like sheep.

— Vachel Lindsay

Who shows a child his true world?
Who sets him among the stars, and places
in his hand the true measure of space?
Death can do this, the hugeness of death,
even before life has begun —
to hold it gently and feel no resentment,
that is enough.

— Rilke, From the Fourth Duino Elegy

If only people could perceive the mystery in all life, down to the smallest thing, and open themselves to it instead of taking it for granted. If only they could revere its abundance which is undividedly both material and spiritual. For the mind’s creation springs from the physical, is of one nature with it and only a lighter, more enraptured and enduring recapturing of bodily delight.

— Rilke, Worpswede, July 16, 1903
Letters to a Young Poet

One time, I remember, I was in a laundromat. It was a laundromat in Marseilles, France. “Marseilles.” Do you hear that? It’s a mattress of a word, with a lot of spring to it. “Marseilles.” I was in there, doing my laundry, and I look over, and there’s this guy there, this little guy. He was kind of pale, pasty looking. But moving with a methodical grace. And I said, Ed? And he looked up slowly. He nodded, cavernously. I said, Ed Poe? And he said, Mm-hm. And then he peered closely at me. He said, Paul? Paul Chowder? And I said, Yes, Ed! How are you doing? Been a long time. He nodded. I said, I see you’re folding some underpants there.

He said, Yes, I am. Doing my laundry. You?

I said I’m doing my laundry, too. And I mean, if you’re going to do your laundry, this place is probably as good as or better than any place I can think of. Marseilles, France. Or “Fronce,” as we say.

And I said, Can I venture to ask how the poetry’s going?

He said, It’s going pretty well, pretty well. I wrote a poem, and I got paid for it, and it was in the newspaper.

And I said, That’s fantastic. What’s it called?

And he said, It’s called “The Raven.”

I said, Holy shit, Ed. “The Raven.” Great title. What’s it about?

And he said, It’s about a man who has a visit from a raven.

And I said, That sounds really promising. What does the raven stand for? Death and fate and horror and government wiretapping and stuff like that? And he just looked at me. He wasn’t about to explicate his poem to me. Which I understand. And I said, Well, listen, take care. I grabbed my bag of laundry. I said, It’s been great seeing you. Stay happy. And he said, You too, it’s good seeing you. We waved again. Take care, bye-bye. Watch out for the big swinging blade. And I walked out the door of the laundromat. Off down the street. And that was the time that I ran into Edgar Allen Poe.

— Nicholson Baker, The Anthologist

How many million Aprils came
…..Before I ever knew
How white a cherry bough could be,
…..A bed of squills, how blue.

And many a dancing April
…..When life is done with me,
Will lift the blue flame of the flower
…..And the white flame of the tree.

Oh, burn me with your beauty, then,
…..Oh, hurt me, tree and flower,
Lest in the end death try to take
…..Even this glistening hour.

O shaken flowers, O shimmering trees,
…..O sunlit white and blue,
Wound me, that I, through endless sleep,
…..May bear the scar of you.

— Sara Teasdale