William Shakespeare: "To be, or not to be: that is the question."We all want to exist, and we dread the alternative. But when we explore the meaning of the word “exist,” we find that it derives from the Latin existere, combining ex (“out of”) and sistere (“to stand” or “to place”). To exist, then, most literally means to stand out from.
But the obvious question follows: out from what? The answer is the void: nothingness itself. Existence is only possible through distinction. Something can appear only against the backdrop of what withdraws. That which allows you to stand out cannot itself stand out in the same way; it must recede. The most life-giving force, then, would not be the one that asserts itself most aggressively, but the one capable of standing back completely into nothingness so that existence itself may emerge. If you enjoyed this new meditation on the deeper meaning of the game, you’ll love THE ART OF WAR AND BASEBALL!! Check it out here: www.theartofwarandbaseball.com
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Søren Kierkegaard: "A crowd in its very concept is the untruth"We all want to be authentic. We all want to show our true self to the world. Plus, maybe more importantly, we all know that it’s required for freedom; for any free choice must first be authentic. But from the existentialist view, the path towards authenticity isn’t an easy or enjoyable one. The journey of seeking who one truly is does not mirror the fantasy of the monk, who we all imagine inching towards enlightenment, gaining more and more inner peace and equanimity as they grow. That road to serenity is a well groomed façade, like the duck calmly gliding on the water, masterfully concealing the mayhem and commotion beneath the surface. No, for the existentialist, the path to know oneself requires a willingness to undergo discomfort, pain, and struggle, with no promise of anything positive. From this view, the one who knows themselves least is, in many cases, the happiest.
In an effort to name the various stages of existential enlightenment, I’ll call the person in this first level The Follower. This person’s acts are influenced mostly by the crowd, what others are saying and doing. At this level, the person looks for others to tell them the answers to the inconsistencies of the world, they parrot these and they strongly oppose the natural antagonisms that arise, staying, at all costs, within their bubble of certainty. More power to those who can stay and live well in this space of repression. It is a happy and satisfyingly ignorant space. One may be able to live their entire life here, a blissful puppet to the world. Yet this group can suffer from the unconscious pushing down of the uncertainties of life, becoming like an over-pressurized tire, exploding violently without warning in body or mind. The next stage of selfhood is the Hero. This is the one who breaks from the crowd into individuality driven by a purpose to achieve some objective. This is the level that Hollywood pumps up as who we should be striving to become. It’s the poor house keeper’s son who rises up and leads the rebellion, overcoming the controlling forces of society, or the millionaire who escapes the rat race to live peacefully in the wilderness, or the ill-fated laborer who marries the millionaire and escapes their destitution. The Hero believes that achieving some end state will solve all their problems and put them in control of their life. Conveniently, these heroic stories always stop short of living with the reality of freedom they’ve seemed to gain. They don’t show you the broken society after the rebellion, they don’t show you the millionaire cowboy, lonely, being mauled by a bear outside his wilderness cabin, they don’t show you the couple in marriage counseling from not being able to stand each other. Although the Hero was able to recognize the antagonism of the crowd and attempt to escape its control they, in a sense, are just as controlled by the crowd, because they are unaware of how the crowd defined the object of their desire. It was the crowd who told the destitute that the answers were in money, and who told the millionaire that the answers were in the wilderness. The hero is so focused on the answer that they are blind to its embeddedness in the system they seek to escape. This is why every person who survives their traverse into the Hero role, if they are willing to continue, is ultimately led to the next level of enlightenment, the Tragic Hero. The Tragic Hero is the one who comes to realize that the antagonism that drove their desire to escape to wholeness outside of the system cannot be fulfilled; there is nothing that can ultimately satisfy their desire fully. They become disillusioned, and realize that achieving what they have propped up as the solution will not ultimately satisfy them and understand that chasing this endpoint will keep them controlled in a spiral of desire. This is why we find so many successful people, like celebrities, falling into depression. They achieved their paradise, and it’s hell. When one first comes into contact with this void left by the absence of what they thought was certain, they can progress to a type of sad acceptance of this fact in the next stage as the Knight of Infinite Resignation. The Knight of Infinite Resignation is a Kierkegaardian term and ties with Freud’s insight that the goal of life is to move from the “misery” of neurosis that comes with living in a crowd that pushes you around with its fantasies to an “everyday unhappiness” that can see how the cracks in society tell us something more true about reality than mainstream conventions. This stage is a somewhat stoic stance in the face of a lack that we can never overcome, yet the knowledge of this complexity paralyzes this knight into a type of living coma. Like the man of war who’s “seen things” and has trouble coming back to live in “normal” society, he sees the contradictions of reality not as something to suppress, but as evidence of the “dizziness of freedom” that we possess. Others who live blindly to this freedom are exposed as fake, and the knight is unwilling to participate. But if the knight pursues, and the conviction to stay in the authenticity of this tension grows, their refusal to lie to themselves becomes ever stronger, no matter the societal pressure to return to the in-crowd, no matter how tempting the crowd’s promises. In this case, the Absurd Hero, a Camusian term, emerges when a glimmer of meaning arises again in the void itself; the characteristic of unknowing begins to hold more truth than knowing. Every lived experience brings with it a deep personal presence in the absence of something purposeful. A comfort builds, not to relax and stay still, but to continue on and participate just as strongly in a universe without inherent meaning, but with only the meaning you bring to it. A love of life grows for it to be exactly how it is, driving us to pursue goals with unmatched passion, free from the need to achieve them. If you enjoyed this new meditation on the deeper meaning of the game, you’ll love THE ART OF WAR AND BASEBALL!! Check it out here: www.theartofwarandbaseball.com Paul Tillich: "Every step into the depth of the thought is a breaking away from the surface of former thoughts."This is the third year in a row now that I’ve given up God for Lent as part of Theologian Peter Rollin’s Atheism for Lent de-centering practice: a seven week course traversing through the impossibility of theism without atheism. The course uses the idea of dialectics, starting with an affirmation of God, only to negate that position, and continue to negate what remains each week. This process descends into the minds of some of the greatest thinkers to ever live, attempting to understand their perspective rather than dismiss it. I have yet to find a spiritual activity that is more fulfilling of the true intent of religion. Below is the journey as I experienced it.
The first week starts with the traditional theistic arguments for the existence of God. In this first position, existence is seen as obviously better than non-existence, and as one steps back, this supreme Superbeing very quickly resembles something like One God prevailing from a long list of deities: someone larger than us who made the world and exists beyond it, and watches us, listens to our prayers but has a plan for us, and is good, and is all powerful and happens to be so much like us that He even has a gender. He becomes the answer that bridges the deep contradictions of the world, the points at which science has yet to discover (like the mysteries of the beginning of the universe). Now, this is where traditional atheism comes in the second week, denying the existence of God as first naively described. This week pulls back the curtain and exposes that God as a Deus Ex Machina / Elilim, described through finite words that are organized in a book which religion uses to provide the answers to the universe through belief. An invisible being, suppressing questioning. A supernatural entity that allows evil, calling into question His goodness and power. A God that must be continuously qualified to justify things like the extermination of those who don’t believe in the same definition of this God. Beyond evil, a God who seemingly allows the senseless death of millions of children under the age of five each year through famine and sickness, yet answers prayers to win football games, or bends the laws of physics to save you from slipping on ice. It is important to note that this type of atheism always requires a shape of God to deny. This leads us to the next week. The third week follows the Christian mystics (Dionysis, Eckhart, Maimonides, and others) who ignite the apophatic tradition, which doesn’t simply disregard atheists but recognizes the theological importance of the atheistic turn. They claim that any of the conceptual framings of a Superbeing God are always less than God, and are therefore surely idolatrous. Resultingly, they honor atheism as a type of spiritual purification process, to rid one of their fetishistic perceptions. They claim that true interaction with God happens only as part of a saturating, numinous, sensory experience which we are lucky to encounter. It is an experience that comes to us the more we’re able to rid ourselves of finite images of God. Religion, in this sense, is an emptying process. It is this group that says that one can’t deny that if God exists, He certainly exists as a Hyperbeing; something that is otherwise than existence as we know it, and greater than we can conceive. The fourth week takes a functional turn and involves studying theologians and philosophers like Feuerbach who claim that if God is, in fact, greater than we can conceive, then the material religious dogmas and doctrines and words we use to describe this indescribable entity don’t actually tell us about God, but are what tell us the most about ourselves as human beings in the current epoch. In short, theology is anthropology, and in struggling to describe the indescribable divine perfection, we learn the basis of the ideologies of our current systems. God, in this shift, is revealed as a Projection; a greater version of our own beliefs which reflects the “oldest, strongest, and most urgent wishes of mankind,” as Freud claimed, and not the characteristics of a deity. If, for example, the powerful people in the current system happen to be oppressive, then campaigns of death become God’s will, the fear of God is used to repress revolt, and religion is built to justify that sanctified order rather than critique it. In Marx’s view, it’s the opium of the people. If the fourth week anchored the mystical experience of God to a projection screen where we place our own ideas, then the fifth week lowers the idea of God further, into the earth. It is in this week that Paul TIllich shines by describing God as the Ground of Being. God becomes what everything arises from and shifts from the object of a question to the basis of it, preceding the subject/object relation. This God connects to the prior week in the agreement that our understanding of God is intimately tied to us and what we do, but describes God as the depth dimension of our acts. We know, against societal and instinctual common sense, that there are things more important than our own self interest or pleasure, and by engaging in the work of selfless things like justice, love, mercy, and care for the other we are affirming something that’s not reducible to the material world. Art, for example, is inspired by beauty, but the point of the artist isn’t to ever capture beauty, but in a sense to continue to fail to capture beauty, and the act of continuing to pursue amidst this failure, they testify to it as something ultimate. In this role, doubt and failure aren’t something to avoid but become our most important attributes. When we doubt we most fully affirm truth, because doubting presupposes that there is an underlying truth that is unconditional. In this interpretation, God is not found in the privileged mystical experience that only happens to a few lucky individuals, but indirectly witnessed by anyone who is grasped by something unconditionally: in the act of being ultimately concerned. If the fifth week grounded the mystical experience back to the earth, then the sixth week pulls the floor out from under us to reveal God as a Groundless Ground of Being. In comes my subtle fascination with Simone Weil (and the initial inspiration of my book Klobberland). Through this dialectic deep dive we can begin to understand the ultimate power of Nothingness. Not nothingness interpreted as insignificant or worthless, but as the most influential and true aspect of reality. Nothingness doesn’t exist, it insists, and it is foundational to every human being. At this stage we start interpreting the unconditional ground from the prior stage as something more like a primordial lack. We are all driven by that which we don’t have. We all became subjects from a fundamental separation with our primary care giver. We all learned about life through mirroring. We were all initially intrigued by the same questions: What does my primary care giver desire? What do they want from me? But this was the one thing that we couldn’t mirror: the unknown desire of the other. So we create fantasies and beliefs to fill this gap of unknowing and live by them to protect ourselves from experiencing this unknowing. In this week we start to see how the Unknown dimension of the world is the only thing that’s “real,” as it is the only thing uninfluenced by others, but that it’s also the one thing that we can never know. In that sense, everything we experience and do is true to the degree in which we attempt to descend into the unknown. Religion then becomes an invitation to encounter something unknowable. Belief is eradicated and unnecessary and replaced with love, for love is the ultimate openness to the unknowability of the other. Religion also begins, at this stage, to lose its distance from science, biology, philosophy, politics, and such. My next book explores this concept of the unknown in the business / program management world. In summary, if we are all determined by our fantasies of what the other wants, then the sum total of these fantasies shapes society, placing all of us in a social play of control. Freedom is in the ability to see the system for what it is, and to understand the paradoxical / kenotic directionality required for health. Understanding this is a step to enlightenment. If we stopped at the sixth week we could still subtly hold belief that there is an endstate of wholeness and complete nothingness which is the answer to achive. This can turn to nihilism quickly. So this last week helps clarify that the Absolute (true enlightenment) is actually a Hegelian claim: that Absolute isn’t that which bridges the contradictions, but the Contradiction itself between Nothingness and Somethingness. Contradiction binds us all. This is the deepest meaning of Yin/Yang. This is the deepest meaning of Tat Tvam Asi. This is the deepest meaning of Christ Crucified - the human/god atheistically/theistically crying out on the cross; the immortal God that dies. This week reinforces that there is something that we do know, and our faith is the degree to which we embrace it, and it is that we don’t know. The more we live in that space, the fuller our life becomes. If you enjoyed this new meditation on the deeper meaning of the game, you’ll love THE ART OF WAR AND BASEBALL!! Check it out here: www.theartofwarandbaseball.com Ludwig van Beethoven: "Music is the one incorporeal entrance into the world of knowledge which comprehends mankind but which mankind cannot comprehend."I've been driving some major initiatives and having to do a bunch of organizational convincing at work lately. It reminds me of marketing and selling my books. It’s a struggle. And if I’m being honest, I don’t enjoy it. People want something. I’m passionate about something else. And we have to navigate that terrain together. The work of persuasion is full of subtleties. But before going further, let me clarify something: this would all be easier if I was selling something with an obvious benefit, like pleasure or escape or comfort or Coca-Cola. But what I’m selling is convoluted. So convoluted, in fact, that simple descriptions typically create more confusion. For sure it cannot be reduced to crafty conventional pieties, catchy slogans, inspirational quotes, fifteen-second TikTok videos, or a thirty-second elevator pitch, at least not without slipping into sheer and utter bullshit.
So my first problem is this initial perceived value. What I’m offering requires a significant investment of time before its benefits can even be understood, let alone felt. This isn’t “believe in me for eternal salvation.” It’s closer to: “Are you ready to put in the work for your freedom?” And not the superficial “freedom to choose” we like to celebrate and all understand. And not even the David Goggins, “get up you bitch and work out and take control of your life” kind of freedom. These kinds of freedom are often illusory, shaped by history, by culture, by invisible social pressures and subliminal propaganda. What we call choice or control is frequently curated and determined for us. True freedom lies somewhere else. And to be honest, achieving it can be more like a powerless unraveling experience of surrender, than a strong and confident enforcement of will. We’ll come back to that. Because I’m not simply finding some creative way of telling people what they want to hear, every conversation enters “negotiation” territory. I dislike this territory because every negotiation, at its most basic level, carries a built-in tension, an us-against-them antagonism. I’m selling something unifying yet it feels like someone has to lose. If, for example, the other person concedes, they feel a sense of loss. If they resist and hold their ground, I feel I’ve failed. If we compromise, we both walk away with less than we hoped for. With negotiation we’re always stuck in a game where at least one party leaves feeling a degree of dissatisfaction. As if that weren’t enough, there’s also the natural emotional resistance to change itself. The Kübler-Ross Change Curve maps the familiar path from denial to acceptance. It was adapted from models of grief, which makes perfect sense. Change requires the death of something; an old belief, a habit, a self-image. And encountering death, even metaphorical death, is painful. We are built from many parts. Together, they form what we call an identity. Identities are strange things. I know I have one. But I’ve spent much of my adult life trying, in some sense, to loosen my grip on it. Identity can become our greatest obstacle. It can prevent us from truly hearing someone else’s point of view. When we defend who we are, we stop listening. Yet we feel like we’ve lost who we are if we don’t fight for it; a conundrum that must be overcome in a negotiation. And this brings me to music. Good music contains everything I’m trying to offer the world. But it offers it through a secret back door, without the need for negotiation. Think of the Greek myth of Orpheus. He did not argue, he played. And his music could move rocks and trees. It could soften the underworld, convincing Hades to release his love, Eurydice, not through argument, pleading, or manipulation, but simply by playing. Music doesn’t argue. It doesn’t negotiate. It doesn’t coerce. It doesn’t require a pitch deck. It just enters. It bypasses resistance. It dissolves identity. It moves us without asking permission. And when the music is good enough, there is no internal bargaining. We don’t debate whether to feel it. We simply do. In this quality it provides us a glimpse into pure freedom. Music doesn’t try to move us. It just does. And in that movement, there’s no illusion of choice, no curated options, no compromise. There is only willing participation, somehow void of will. Moonlight Graham: "We just don't recognize life's most significant moments while they're happening. Back then I thought, 'Well, there'll be other days.' I didn't realize that that was the only day."There’s a great story about a person who is given the power to dream an entire 100 year lifetime every night when he'd fall asleep. Let’s call this person “the dreamer.” And the dreamer was also given the power to completely control what was dreamt. Well, this person, as he began on his adventure of dreams, fulfilled all his deepest wishes, desires, and fantasies. He woke up after a few nights and said, “well, that was pretty great!” But the dreamer became tormented and depressed, and he, at first, didn't understand why. So he did some soul searching and realized it was the result of melancholy and boredom. Melancholy from getting everything he could ever dream while still feeling unsatisfied, and boredom from having so much control that he always knew what was going to happen next.
So he said, “let’s have a surprise. Let’s dream a dream where something is going to happen to me that I don’t know what it’s going to be.” So he did that in a small amount, and he enjoyed it. And each night he slowly increased his lack of control of what happened in his dream worlds, and he became more and more adventurous and he made further and further out-gambles as to what he would dream. Until finally he relinquished so much control that he dreamt … this world. He looked around and saw so many others driven to make fantasies a reality, fantasies that were very similar to those that he had once dreamed. Having lived many lifetimes he knew the dissatisfaction from achieving these dreams, and the dreamer felt deeply for the people. After all this time he realized something that those in this dream world had yet to see: that their fantasies were not their own. He knew that they were constructed by the prevailing myths of their society. They were, in essence, living out the fantasies of the circle of reality that they happened to occupy in order to avoid searching the scariest thing in the universe, themselves. Because of this fear, the “control” they thought they had was really a playing out of what they imagined others wanted of them. It was actually just social and societal convention controlling their every move. It was the farthest thing from freedom. By this time, the dreamer knew that freedom wasn’t what he thought it was - some right to choose - as long as the chooser was consumed by belief in this imaginary world. He knew the actual “chooser” was a great mystery, and only when the great mystery acted on its own was his decision his own. The only way to achieve this was through a willful reduction of who he thought he was, as he had done throughout his many dream lifetimes. He realized that by increasing his lack of control he was, in fact, giving control to the great mystery, allowing it to flow rather than be managed. In this way, true decisions no longer appeared as acts of will but arrived as surprises, like laughter at a joke or recognition before understanding. Action became a response to necessity rather than preference. What we commonly call choice diminished, yet life grew fuller. Enjoyment deepened as certainty loosened. Freedom, he came to see, was not mastery or selection, but a faith in unknowing—in the emptying of the egoic self so that something truer could act through it. In this world, he was finally able to live his dream freely, as the dreamer. Clayton Kershaw: "A line drive to the warning track on one pitch, I'll take that over a strikeout any day."I recently went through my ten-year ritual of buying a car. The anticipation was exciting; the search was stressful but enjoyable. Like most large purchases, we decided on a reasonable price range, browsed within it, and inevitably fell in love with something at the upper limit. We sat with the salesman, negotiated, and shook hands. You would think that spending so much money on something I genuinely wanted would make me the happiest guy in Rhode Island. But, if I’m honest, I didn’t feel much different.
Someone might say it just wasn’t the right car—that the right object would have changed everything. But most of us know that’s not true. We may feel a brief spark of pleasure, but not any sustained joy. Why? Because the fantasy surrounding the object disappears the moment we possess it. What can sustain real contentment, however, is understanding the structure of desire—learning how it deceives us. Once we grasp this structure deeply, we gain the ability to enjoy the present rather than being manipulated by promises of future satisfaction. The one who inherently understands this structure can ever-sustain their enjoyment. So I begin with a warning: satisfaction does not come from gaining things. Everyone knows this. And yet we all behave as if buying the house, the car, or the jewelry will finally fulfill us. Every time. Why? Because we misunderstand how enjoyment works. We don’t see the structure of Desire, and we confuse it with something far simpler: Demand. Some things we “desire” are actually Demands—needs tied to survival, like food and drink. Demand can be satisfied by obtaining an object. A hungry baby gulps, burps, and smiles—that’s Demand fulfilled. But the moment a need moves beyond necessity, it enters the realm of Desire, and if we don’t understand Desire’s structure, dissatisfaction sets in, even when it appears we get what we want. This is the moment where others—especially those who understand Desire—gain power over us. Because some objects satisfy Demand, we imagine an object must also exist that can satisfy Desire. We are promised this everywhere. But Desire is more complicated: it points not to a real object, but to an imaginary, idealized object shaped by what we imagine others desire. A useful name for this is the Sacred Object. The Sacred Object is built by what we imagine other’s wanting—cars, houses, jewelry, status, beauty, youth, success. The greater the sacrifice required to obtain it, the more valuable it seems. And our culture exploits this structure relentlessly. Advertising is one of its most sophisticated tools. It is no coincidence that the father of public relations, Edward Bernays—Sigmund Freud’s nephew—used psychology to engineer mass desire. As he famously said: “If we understand the mechanism and motives of the group mind, is it not possible to control and regiment the masses according to our will without their knowing about it?” The Sacred Object promises to fill an inner lack that began when we first became separate subjects—when the “oceanic oneness” with the mother ended. That lack stays with us for life, taking the shape of frustration, alienation, brokenness, or incompleteness. We seek to heal it. The Sacred Object promises to heal it. It never does. This is because in order to be a subject, in order to participate in the world, a gap is required, we must be a part and apart from it. And, therefore, the Sacred Object does not exist. To understand how Desire traps us, in the non-existence of and inability to obtain the Sacred Object, we must explore how its two main components– Object of Desire (OoD) and the Object Cause of Desire (OCoD) – work together. Desire requires something we want (OoD) and a barrier that keeps it out of reach (OCoD). The barrier can be money, distance, wrapping paper—anything that maintains the “gap” between us and the object. Once the object is obtained, that gap collapses, and Desire collapses with it—leaving eventual boredom or melancholy. This is why the “cures” for this alienation like commodities, self-help, drugs, and endless novelty fail us. They exploit the structure of Desire without revealing it. Two other “solutions” have been created which seem to escape the Desire trap, but they are tricks as well – my book Klobberland talks of a third option: Option 1: Openly Position the Object of Desire as Unreachable. This creates an infinite gap and an eternal Desire. Hedonistic Western religions often rely on this strategy—promising heaven, utopia, or salvation always “later,” always out of reach. This sustains Desire but hides its structure. It creates dependence on doctrine, priests, rituals, and “enemies” that must be defeated to preserve the promised future. It is a structure that has fueled everything from proselytization to genocides. Option 2: Eliminate Desire Altogether. This is the nihilistic approach associated with many Eastern traditions. It seeks to extinguish Desire by extinguishing the OoD. But Desire is essential to human life—it drives passion, purpose, and meaning. And the pursuit of “no desire” is its own Desire: Desiring not to desire. The OoD and OCoD remain intact. This path often turns violence inward through asceticism, bodily domination, or ego-annihilation; in some cases, it spills outward, as in those who use spiritual belief to justify self-destruction or harm to others. Option 3: A third way — the path that Klobberland explores. This approach teaches the structure of Desire openly. It refuses superstition and rejects fantasies of heaven or nirvana. Instead, it makes an object of desire out of the lack itself. It shows how “Nothing” can be desirable—not as nihilism, but as liberation from being controlled by illusions of completeness. This is not defeatism. It is the only stance that dissolves external control and restores genuine freedom. It accepts brokenness rather than fleeing from it. Its byproduct is kindness: to ourselves, to others, and even to our own anxiety. In this third option, the OoD and OCoD collapse into one another. We no longer chase a final “Something” as though it will fill some hole within us, because we understand that once the object is obtained, the obstacle disappears and Desire evaporates. Instead, we set our sights on the gap itself—on the “not having”—and discover enjoyment there. Love is a perfect illustration: In love, the other is an object of desire whose endless mystery always maintains a distance. That distance sustains Desire. In lust, the person is reduced to a simple object; Desire ends the moment they are “gotten.” The process of meditation also exposes this entire structure. We often assume that suffering belongs only to those who fail to get what they want. But even in the best of times—when I do get what I want—I immediately feel the impulse to gorge on it, and in that very indulgence discover that this isn’t what I wanted after all. Satisfaction folds quickly into dissatisfaction, and it is the belief that we can escape this cycle that produces suffering. Meditation reveals this truth directly. The moment we attempt to sit still—even for five minutes—discomfort rushes in. With no distractions, we become acutely aware of the restless dissatisfaction built into us. This is the point: not to flee the frustration, but to encounter it. Meditation’s purpose is to expose the contradiction rather than to dissolve it. And in that exposure lies a quiet liberation. This is enlightenment—not escape, but finding joy in the very contradiction that makes us who we are. This is why meditation aligns naturally with the third option that Klobberland explores: embracing the structure of desire rather than masking it, fighting it, or elevating it into fantasy. Klobberland does not say we cannot passionately pursue objects; only that achieving them will not complete us. It teaches that not-fully-getting – that getting Nothingness – is essential to Desire and the true path to enjoyment. If you enjoyed this new meditation on the deeper meaning of the game, you’ll love THE ART OF WAR AND BASEBALL!! Check it out here: www.theartofwarandbaseball.com Ross Perot: "Life is never more fun than when you're the underdog competing against the giants."I would be remiss if I didn’t write about the Dodgers second World Series win in as many years. With the highest payroll in baseball ($95M/year more than the Blue Jays) much of the buzz leading up to the World Series was on the topic of the underdog, and so in this blog post I wanted to take the opportunity to explore this concept in greater detail. The idea of the underdog is complex. When we think about famous underdog stories like David and Goliath, it’s natural for most of us—aside from those with a personal stake in the outcome, like Goliath’s friends or family—to sympathize with the one who’s clearly outmatched. Especially if, in a match of intended fair play, one side appears to be equipped to a greater degree than another. Why is this?
Well, my take is that it comes down to the idea of justice. Justice is what is called a “master signifier.” This means that although you can look up the word in the dictionary, it has no definite meaning. It is a purely visionary concept which one always strives to achieve but can never grasp. You can think of it as something that brings meaning to the world rather than has its own definite meaning. Other examples of master signifiers are truth and love. Poets will forever seek to describe their elusive nature, but luckily, never will. The law is the current distillation of the rules of justice, but this is exactly why the law changes, because, over time, we come to realize where the law, although seeming just, was not just. And so, we arrive at the underdog. The underdog appears when the Libra scale of justice has clearly become unbalanced - when one side has the upper hand in some way. Using this image, justice always appears on the lower side of the scale - the side of the oppressed. And the oppressor can never be just unless the scales swing and they become the oppressed. This is why Simone Weil claimed that “justice flees from the camp of conquerors,” because if the oppressed happened to overtake the oppressor, they would become the oppressor, and the scale would shift the other way. This is precisely why everyone prefers to think of themselves as the underdog (I mean, I watched the Patriots claim to be the underdog for 20 years while they won 6 super bowls) because, as Camus said, “the king is always evil.” The king lacks a just purpose. The underdog is the only one with the valiant task of removing the boot from their neck, but the master only seeks to hold it there. This gives the underdog a strong purpose, and why the master, although appearing to be happy, or releasing an ecstatic burst upon winning, is typically, in their moment of triumph, more lost of purpose than the underdog. We see this in action during Freddy Freeman's interview after winning the greatest prize in baseball. He was asked how it felt to win back-to-back championships. He immediately reframed the answer in the guise of the underdog and referenced the Yankees as three-peat champions, maintaining his status as lower than the Evil Empire. So, what does the Blue Jays manager, John Schneider, still have on his side after the World Series loss? My claim. Justice. And that's not a bad side to be on. For as MLK said, the universe "bends towards justice." If you enjoyed this new meditation on the deeper meaning of the game, you’ll love THE ART OF WAR AND BASEBALL!! Check it out here: www.theartofwarandbaseball.com Joe Castiglione: "Machado pinwheels the bat, nobody on base, two men out, bottom of the ninth, 5-1 Red Sox ... "In baseball, each inning is a downward traverse, from the top of the inning to the bottom. This parallels the direction of enlightenment. Our prevailing myths talk about ascension as the direction of success. But when we give something our all, we commonly refer to it as “emptying the tank.” What remains, down there, once everything is given? What’s left when there’s nothing left to give? Meditation and mindfulness practices tell us that it is precisely you that is found there in that emptiness, freed from control, awakened to the universe. This descent can be scary but is life-giving. My new book, KLOBBERLAND, now out for sale on Amazon, explores the terrain of this emptiness through a reimagined decreation story. A story which provides a mythology for the structures upon which mindfulness practices sit. This structure is hidden, but once you find it, it cannot be unseen. You see it everywhere. Walking through the city streets I snapped a picture of the following image and, upon reflection, this poem emerged from the Bottom. Until There’s Nothing Left I love your Emptiness, the dark part of you I do not know The secret part of you that you don’t know, but which radiates from you like the sun Who you are is hidden there Shielded from words At times blazing like a dragon’s fire From fear of this Source unknown I’m a knight Aspiring to eternally find you, tending to your fear through embrace Adoring your appearance when your brokenness feels loved When it knows its gift allows Your Emptiness to be seen A glimpse of You consumes me Into your well I jump, forever falling I combust towards Emptiness Until there’s nothing left If you enjoyed this new meditation on the deeper meaning of the game, you’ll love THE ART OF WAR AND BASEBALL!! Check it out here: www.theartofwarandbaseball.com A. Bartlett Giamatti (7th MLB commissioner): "Baseball breaks your heart. It's designed to break your heart."With a new book, Klobberland, coming out in October, I describe the trajectory of my work.
Book 1: A book of meditations on baseball, a game that says something deep about the fundamental nature of reality. Book 2: The story of one man’s uncensored encounter with that fundamental reality, and the suffering that can result from a lack of awareness of one’s relationship to it. Book 3: An attempt to describe that fundamental reality directly through a creation myth. What it turned into was a critique of the prevailing myths and stories of our culture, which do everything they can to hide this fundamental reality from the world. Book 1: The Art of War and Baseball – in the words of the commissioner A. Bartlet Giamatti (late 80s) “baseball breaks your heart. It’s designed to break your heart.” – And so is life. This can discourage the best of us. We believe we find no pleasure in the all-too-frequent valleys of the game. We become easily disinterested in the vicissitudes of sport. We can’t buy-in to the struggle, the habitual failure of a .250 batting average. But this brokenness of heart can also have the opposite effect, keeping us in an endless illusion of belief, that tomorrow will finally bring the win that will make one a champion, and end the need to continue the game at all. Both of these responses betray the game. One runs while another wishes its end. And then there are others who were born with the wisdom to know that nothing lasts. And it’s only when we live well with that “nothing” that we find the eternal, we see “nothing,” not as worthless, but like the Rubin’s Vase, coming into focus before our eyes. Although this nothingness is the ungraspable component of the universe, when we have the courage to reduce ourselves towards it, we can see it uniquely cloaked in the state of being a game. Not in endless wins or losses, not in belief or disbelief, but in that joy of suspended disbelief, the state where we know it’s all a game, and we know it’s here to break our heart, but we choose to participate anyway. Through cold or intense heat, and sometimes, in a warm green field, in the sun. Book 2: Hologram Heroes – Johnny is affected by a physical brokenness. The most prominent actor in the play of Johnny’s life is his amputated hand, a phantom, a present absence that can fulfill or destroy. “Hologram heroes” is his reference to hologram baseball cards – reflecting the power that the stories we tell ourselves have to create the prevailing myths and heroes which outline the enjoyment or despair of our current state. Book 3: Klobberland, is a mythic journey beyond belief and identity that reveals what emerges when the stories fall away and the brokenness that remains paves the way for the mystery of the self to break through. Tony LaRusa: "I heard he said something like, 'I play my game.' No he doesn't. He plays the game of Major League Baseball."I’ve talked a great deal on the detrimental effects of the theist concept of belief. How it is typically used as a way of limiting the great wonders of the world to a level of hedonistic understanding in order to free us from the existential angst of the Unknown. How it is used to enslave people in a type of impulsive participation, feeding off the hidden structures of desire. But I also don’t claim to be an atheist, a non-believer, because this opposing position is just as controlled, except this group has reduced the entire thing to the control of a lifeless machine. A true atheist could only enter nihilism and despair, but most atheists don’t. They typically just replace the sacred object of desire with something secular; most commonly, commodity satisfaction. But there is a third position, which is the position I take up when I am asked about belief. If asked, for example, "do you believe in Jesus?" I’d say "I believe in the story of Jesus like I believe in the story of Rocky," through the lens of the third position of belief, and that is suspended disbelief. This doesn’t satisfy the listener and at first seems like a flippant or deflecting response, or a less committed position than belief or non-belief. But I assure you it is not. The third position is a commitment, but it’s a commitment to the Ineffable Mystery, rather than to some finite description. It’s where the power of a story doesn’t depend on its literal facticity, but on the willingness to let it move you. I don’t need to believe Rocky existed when I watch the movie, I also don’t sit there and say “this guy doesn’t exist,” for I would have no chance to enjoy the movie. So what do I do? Knowing that “belief” and “disbelief” sedate my life in some way, I instead suspend my disbelief and I cry with joy. I am able to experience the message, hear the call, and allow the Real to speak. Life is the same. At the point of being asked to “believe” anything you have three choices, (1) belief: literally trick yourself into thinking it’s true (this eliminates faith) (2) disbelief: literally trick yourself into thinking it’s false (this eliminates meaning) or (3) suspended disbelief: let go of the need to grasp it as true or false all together but choose to participate nonetheless (the faith position). Jean-Paul Sartre uses the term “bad faith” for the first two positions, in which we are willing to so quickly engage in self-deception about the world. We forget, in a sense, that we’re all just playing a game of contradiction, it’s just whether you're an unwitting (belief), unwilling (non-belief) or willing (suspended disbelief) participant.
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AuthorI will be posting more baseball meditations here over time. Archives
September 2025
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