AGENDA
1. Vocabulary Quiz
2. Elements of a thesis and unity in writing
ANXIETY: CHALLENGE BY
ANOTHER NAME
by James Lincoln Collier
Between my sophomore and junior years at college, a
chance came up for me to spend the summer vacation
working on a ranch in Argentina. My roommate's father was in
the cattle business, and he wanted Ted to see something of it.
Ted said he would go if he could take a friend, and he chose me.
The idea of spending two months on the fabled Argentine
Pampas was exciting. Then I began having second thoughts. I
had never been very far from New England, and I had been
homesick my first few weeks at college. What would it be like
in a strange country? What about the language? And besides, I
had promised to teach my younger brother to sail that summer.
The more I thought about it, the more the prospect daunted me.
I began waking up nights in a sweat.
In the end I turned down the proposition. As soon as Ted
asked somebody else to go, I began kicking myself. A couple of
weeks later I went home to my old summer job, unpacking cartons
at the local supermarket, feeling very low. I had turned
down something I wanted to do because I was scared, and had
ended up feeling depressed. I stayed that way for a long time.
And it didn't help when I went back to college in the fall to discover
that Ted and his friend had had a terrific time.
In the long run that unhappy summer taught me a valuable
lesson out of which I developed a rule for myself: do what
makes you anxious; don't do what makes you depressed.
I am not, of course, talking about severe states of anxiety or s
depression, which require medical attention. What I mean is
that kind of anxiety we call stage fright, butterflies in the stomach,
a case of nerves—the feelings we have at a job interview,
when we're giving a big party, when we have to make an important
presentation at the office. And the kind of depression I am
referring to is that downhearted feeling of the blues, when we
don't seem to be interested in anything, when we can't get going
and seem to have no energy.
I was confronted by this sort of situation toward the end of
my senior year. As graduation approached, I began to think
about taking a crack at making my living as a writer. But one of
my professors was urging me to apply to graduate school and
aim at a teaching career.
I wavered. The idea of trying to live by writing was scary—a
lot more scary than spending a summer on the Pampas, I
thought. Back and forth I went,• making my decision, unmaking
it. Suddenly, I realized that every time I gave up the idea of
writing, that sinking feeling went through me; it gave me the
blues.
The thought of graduate school wasn't what depressed me. It
was giving up on what deep in my gut I really wanted to do.
Right then I learned another lesson. To avoid that kind of depression
meant, inevitably, having to endure a certain amount
of worry and concern.
The great Danish philosopher Soren Kierkegaard believed
that anxiety always arises when we confront the possibility of
our own development. It seems to be a rule of life that you can't
advance without getting that old, familiar, jittery feeling.
Even as children we discover this when we try to expand our- to
selves by, say, learning to ride a bike or going out for the school
play. Later in life we get butterflies when we think about having
that first child, or uprooting the family from the old home-town
to find a better opportunity halfway across the country.
Any time, it seems, that we set out aggressively to get
thing we want, we meet up with anxiety. And it's going to be
our traveling companion, at least part of the way, into any new
venture.
When I first began writing magazine articles, I was fre-
quently required to interview big names—people like Richard
Burton, Joan Rivers, sex authority William Masters, baseball-
great Dizzy Dean. Before each interview I would get butterflies
and my hands would shake.
At the time, I was doing some writing about music. And onee
person I particularly admired was the great composer Duke
Ellington. Onstage and on television, he seemed the very model
of the confident, sophisticated man of the world. Then I
learned that Ellington still got stage fright. If the highly hon-
ored Duke Ellington, who had appeared on the bandstand some
10,000 times over 30 years, had anxiety attacks, who was I to
think I could avoid them?
I went on doing those frightening interviews, and one day, as
I was getting onto a plane for Washington toastonishment that
I was looking forward to the meeting. What had happened to
those butterflies?
Well, in truth, they were still there, but there were fewer of
them. I had benefited, I discovered, from a process psycholo-
gists call "extinction." If you put an individual in an anxiety-
provoking situation often enough, he will eventually learn that
there isn't anything to be worried about.
Which brings us to a corollary to my basic rule:
you'll never eliminate anxiety by avoiding the things that caused it.
I remember how my son Jeff was when I first began to teach him to
swim at the lake cottage where we spent our summer vacations.
He resisted, and when I got him into the water he sank
and sputtered and wanted to quit. But I was insistent. And by
summer's end he was splashing around like a puppy. He had
"extinguished" his anxiety the only way he could—by
confronting it.
The problem, of course, is that it is one thing to urg
body else to take on those anxiety-producing challenges; it is
quite another to get ourselves to do it.
Some years ago I was offered a writing assignment that
would require three months of travel through Europe. I had
been abroad a couple of times on the usual "If it's Tuesday this
must be Belgium" trips, but I hardly could claim to know my
way around the continent. Moreover, my knowledge of foreign
languages was limited to a little college French.
I hesitated. How would I, unable to speak the language, to
tally unfamiliar with local geography or transportation systems,
set up interviews and do research? It seemed impossible,
and with considerable regret I sat down to write a letter begging
off. Halfway through, a thought—which I subsequently
made into another corollary to my basic rule—ran through my
mind: you can't learn if you don't try. So I accepted the assignment.
There were some bad moments. But by the time I had fin-
ished the trip I was an experienced traveler. And ever since, I
have never hesitated to head for even the most exotic of places,
without guides or even advanced bookings, confident that
somehow I will manage.
The point is that the new, the different, is almost by defini-
tion scary. But each time you try something, you learn, and as
the learning piles up, the world opens to you.
I've made parachute jumps, learned to ski at 40, flown up the
Rhine in a balloon. And I know I'm going to go on doing such
things. It's not because I'm braver or more daring than others.
I'm not. But I don't let the butterflies stop me from doing what
I want. Accept anxiety as another name for challenge and you
can accomplish wonders.
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