musings on tenderness
of all the ways of love, tenderness is one i hold closest to my heart. it’s the lesson learned and practiced as a little girl, when my mother taught me to run for a shoebox, or little glass jar. to punch its lid with air holes. and to line it with grass and leaves, to bring the outdoors in for this space that would become an infirmary, whether the patient be a baby bird fallen from the nest, or one with a broken wing, or simply a ladybug or firefly who happened to straggle behind.
i don’t remember signing up for the advanced class, but i do very much recall the village i (a kindergartener at the time) made for my singular ladybug, each edifice constructed of paper and cardboard, care and attention devoted to every adornment (a flower box under the paned window, a wiggly “flagstone” path to the house’s front door). the steeple for the ladybug church i recall being a particular construction challenge. (and i remember depositing said spotted-back bug into the church come sunday morning at 9, per clockwork familial custom.)
tenderness is love on its gentlest setting. tenderness is the heart pierced through with empathies, with quiet, with the barest wisp of touch. a touch so silken it breaks you out in chills down your spine, might make you audibly sigh. to be tendered is, well, to be buttered in love. it is a butterfly kiss of kindness. a heart petaled open, and dusted with golden-grained succors.
tenderness, maria popova tells us, “is the best adaptation we have to our existential inheritance as ‘the fragile species.’”
lewis thomas, the poet and physicist (the lives of a cell: notes of a biology watcher) who first named us “the fragile species,” gives context for why in a 1996 essay from his last such collection, published under the same title, in which he positions us in the context of the universe’s timeline:
“This is a very big place,” lewis begins, “and I do not know how it works, or how I fit in. I am a member of a fragile species, still new to the earth, the youngest creatures of any scale, here only a few moments as evolutionary time is measured, a juvenile species, a child of a species. We are only tentatively set in place, error-prone, at risk of fumbling, in real danger at the moment of leaving behind only a thin layer of our fossils, radioactive at that.”
when olga tokarczuk, the polish psychologist turned poet and novelist, won the 2018 nobel prize in literature, she mused on the art of tenderness in her nobel banquet lecture, a lecture titled “the tender narrator,” and one widely regarded as nothing short of “magnificent.”
tokarczuk began by telling the story of a black-and-white photo of her mother that’s always haunted her, in a blessed way. it was a photo taken before olga was born, and i’ll let her words take it from here (emphasis mine throughout):
“There’s nothing really happening in the picture—it’s a photograph of a state, not a process. The woman is sad, seemingly lost in thought—seemingly lost.
“When I later asked her about that sadness—which I did on numerous occasions, always prompting the same response—my mother would say that she was sad because I hadn’t been born yet, yet she already missed me.
“‘How can you miss me when I’m not there yet?’ I would ask.
“I knew that you miss someone you’ve lost, that longing is an effect of loss.
“‘But it can also work the other way around,’ she answered. ‘Missing a person means they’re there.’”
stopped by the tenderness of a mother telling her small daughter that she missed her even before she was born, popova comments, is “an astonishing gesture of love so total that it bends the arrow of time.”
ponder that string of words, and the meaning behind it, before reading on. “an astonishing gesture of love so total that it bends the arrow of time.” may we all know such love…
tokarczuk picks up her telling from there:
“This brief exchange, someplace in the countryside in western Poland in the late sixties, an exchange between my mother and me, her small child, has always remained in my memory and given me a store of strength that has lasted me my whole life. For it elevated my existence beyond the ordinary materiality of the world, beyond chance, beyond cause and effect and the laws of probability. She placed my existence out of time, in the sweet vicinity of eternity. In my child’s mind, I understood then that there was more to me than I had ever imagined before. And that even if I were to say, ‘I’m lost,’ then I’d still be starting out with the words ‘I am’—the most important and the strangest set of words in the world.
“And so a young woman who was never religious—my mother—gave me something once known as a soul, thereby furnishing me with the world’s greatest tender narrator.”
a good bit later in the speech, tokarczuk raises this next question, more than worth considering:
“….Have you ever wondered who the marvelous storyteller is in the Bible who calls out in a loud voice: ‘In the beginning was the word’? Who is the narrator who describes the creation of the world, its first day, when chaos was separated from order, who follows the serial about the origin of the universe, who knows the thoughts of God, is aware of his doubts, and with a steady hand sets down on paper the incredible sentence: ‘And God saw that it was good’? Who is this, who knows what God thought?
“Leaving aside all theological doubts, we can regard this figure of a mysterious, tender narrator as miraculous and significant. This is a point of view, a perspective from where everything can be seen. Seeing everything means recognizing the ultimate fact that all things that exist are mutually connected into a single whole, even if the connections between them are not yet known to us. Seeing everything also means a completely different kind of responsibility for the world, because it becomes obvious that every gesture ‘here’ is connected to a gesture ‘there,’ that a decision taken in one part of the world will have an effect in another part of it, and that differentiating between ‘mine’ and ‘yours’ starts to be debatable.”
and then toward the very end of her speech, tokarczuk turns to a literature of tenderness:
“Tenderness is the art of personifying, of sharing feelings, and thus endlessly discovering similarities. Creating stories means constantly bringing things to life, giving an existence to all the tiny pieces of the world that are represented by human experiences, the situations people have endured and their memories. Tenderness personalizes everything to which it relates, making it possible to give it a voice, to give it the space and the time to come into existence, and to be expressed.
“Tenderness is the most modest form of love. It is the kind of love that does not appear in the scriptures or the gospels, no one swears by it, no one cites it. It has no special emblems or symbols, nor does it lead to crime, or prompt envy.
“It appears wherever we take a close and careful look at another being, at something that is not our ‘self.’
“Tenderness is spontaneous and disinterested; it goes far beyond empathetic fellow feeling. Instead it is the conscious, though perhaps slightly melancholy, common sharing of fate. Tenderness is deep emotional concern about another being, its fragility, its unique nature, and its lack of immunity to suffering and the effects of time. Tenderness perceives the bonds that connect us, the similarities and sameness between us. It is a way of looking that shows the world as being alive, living, interconnected, cooperating with, and codependent on itself.
“Literature is built on tenderness toward any being other than ourselves.”
and a short bit later, she closes her remarks with this:
“That is why I believe I must tell stories as if the world were a living, single entity, constantly forming before our eyes, and as if we were a small and at the same time powerful part of it.”
in a world emblazoned with harshness and cruelties for the sake of cruelty, i will joyfully devote my days to making a living case for tenderness as a way of being. those who have touched me most indelibly in my life are those who wove their way in through that very rare and breathtaking capacity, the one that comes on with a whisper not a bang, the one that quietly says i’ve been keeping close watch on your finest-grained threads, and i see where those threads are tattered or thinned, and i am here to tenderly, yet certainly, place my palm against the small of your back, to let you know you are not alone, you are not unloved, you are seen and beheld.
a modest selection of olga readings:
the whole of her 2019 Nobel Prize acceptance speech here…
and an excerpt from one of the works that won her the 2018 Nobel Prize in Literature, and for which the judges cited: “for a narrative imagination that with encyclopedic passion represents the crossing of boundaries as a form of life”
this one from Flights, her 2007 novel that twines fiction and non-fiction, and which james wood, the new yorker critic and harvard english professor, in 2018 described as tokarczuk’s “omnium-gatherum, a big book full of many peculiar parts: there are mini-essays on airports, hotel lobbies, the psychology of travel, guidebooks, the atavistic pleasures of a single Polish word, the aphorisms of E. M. Cioran. Some of these riffs, which themselves tend toward the aphoristic, are as short as a couple of sentences.”
HERE I AM
I’m а few years old. I’m sitting on the window sill, surrounded by strewn toys and toppled-over block towers and dolls with bulging eyes. It’s dark in the house, and the air in the rooms slowly cools, dims. There’s no one else here; they’ve left, they’re gone, though you can still hear their voices dying down, that shuffling, the echoes of their footsteps, some distant laughter. Out the window the courtyard is empty. Darkness spreads softly from the sky, settling on everything like black dew.
The worst part is the stillness, visible, dense – а chilly dusk and the sodium-vapour lamps’ frail light already mired in darkness just а few feet from its source.
Nothing happens – the march of darkness halts at the door to the house, and all the clamour of fading falls silent, makes а thick skin like on hot milk cooling. The contours of the buildings against the backdrop of the sky stretch out into infinity, slowly lose their sharp angles, corners, edges. The dimming light takes the air with it – there’s nothing left to breathe. Now the dark soaks into my skin. Sounds have curled up inside themselves, withdrawn their snail’s eyes; the orchestra of the world has departed, vanishing into the park.
That evening is the limit of the world, and I’ve just happened upon it, by accident, while playing, not in search of anything. I’ve discovered it because I was left unsupervised for а bit. I’ve clearly found myself in а trap now, and I can’t get out. I’m а few years old, I’m sitting on the windowsill, and I’m looking out onto the chilled courtyard. The lights in the school’s kitchen are extinguished; everyone has left. All the doors are closed, hatches down, blinds lowered. I’d like to leave, but there’s nowhere to go. My own presence is the only thing with а distinct outline now, an outline that quivers and undulates, and in so doing, hurts. And all of а sudden I know there’s nothing anyone can do now, here I am.
—Olga Tokarczuk
maybe you’ll want to add olga to your summer reading list. if you’ve a favorite passage that holds tenderness to the light for you, we’d love to read along here at the table….
who taught you tenderness or, rather, how did you learn of its ways?
blessed birthday today to becca who i love, and who is as wise and strong as woman as i am blessed to know….













