Book Summary · Mark Nepo · 2000

The Book of Awakening: Summary

Three hundred and sixty-five entries, one for each day, written by a poet who had a rib removed and a rare cancer survived and came out the other side unable to hurry. Each entry is a short quote, a shorter reflection, and one small thing to actually do. Its subtitle is the whole argument: having the life you want by being present to the life you have.

9 min read 8 key takeaways 10 ways to apply it
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Key takeaways from The Book of Awakening

The ideas readers on HourLife upvote the most, in order.

  1. 1

    Having the life you want by being present to the life you have. The subtitle is the entire argument, and it takes most people about a decade to stop hearing it as a consolation prize.

    Read it as a swap rather than a compromise. Nepo is not saying to want less. He is saying the wanting is aimed at a life that, examined at close enough range, is already partly here — and that presence is the instrument that brings it into range.

  2. 2

    There are 365 entries because waking up is not an event you can schedule. It is something you do again tomorrow.

    The form is the teaching. A book of days refuses to be finished, refuses to be summarised, and gives you nothing you can complete — which is exactly the objection people raise and exactly the point.

  3. 3

    We put on invisible gloves against the world and then cannot understand why so little of it reaches us.

    One of the most quoted passages in the book, and Nepo's own words are better than any paraphrase: the daily work is to unglove ourselves “so that the doorknob feels cold and the car handle feels wet and the kiss goodbye feels like the lips of another being, soft and unrepeatable.”

  4. 4

    Nothing coming toward you is sharp. Speed is what sharpens it.

    Nepo puts it as a physics problem: “Sometimes I move so fast it hurts. Though the things coming at me are not moving at all... Running into any point makes it a knife.” The things were soft and inviting. You arrived at them at velocity.

  5. 5

    He was wheeled toward surgery frightened out of his wits, and what he found at the edge was not courage but something closer to dancing.

    Written around the rib removal and the rare lymphoma that produced this book. His account — “Death pushed me to the edge. Nowhere to back off... I danced with abandon in his face. I never danced as free. And Death backed off, the way dark backs off a sudden burst of flame.” It is the least serene passage in the book and the one people carry.

  6. 6

    Every entry ends with something to do, and it is always small enough to do today.

    Sit with one object. Breathe and think of one person you have not forgiven. Say the sentence out loud. The practices are almost embarrassingly modest, which is the only reason anyone ever performs them.

  7. 7

    Most of what has to happen is removal. You are not being assembled into something better; you are being uncovered.

    Nepo's recurring image is erosion — water on stone, wind on rock. It reframes the whole self-improvement instinct: the work is not acquiring a practice, a discipline or a personality, it is wearing away what has been laid over what was already there.

  8. 8

    Presence is not a mood you achieve. It is the width of your attention, and it can only be widened one object at a time.

    Which is why the book never asks for an hour. It asks for one doorknob, one mouthful, one face — on the theory that width is built the way a path is worn, by going the same way repeatedly and not by deciding to.

How to apply The Book of Awakening

Turn the ideas into something you can do this week.

Read one entry a day and stop there

It is a very readable book and reading forty entries in an afternoon is the standard way to get nothing from it. The form is the dose. One page, then close it, even when you would rather not.

Start on today's date, not on January 1st

The entries are dated and people wait for the year to turn, which is nine months of not starting. Open it at today. The book was built to be entered in the middle, which is where every life is.

Put it where the day already pauses

Beside the kettle, on the bedside table, in the bag you carry to work. A daily book only survives if it is physically inside an existing gap. Willpower will not carry a habit that has nowhere to happen.

Do the practice, not only the reading

The italic paragraph at the bottom of each entry is the entry. The passage above it is a preamble. Nearly everybody reads the beautiful part, skips the instruction, and then finds the book pleasant and forgettable.

Write in the margins and date what you write

Three words is enough. A year later the margins are the more useful book, because they show you which entries you needed twice and what was happening the first time you needed them.

Unglove one ordinary object a day

The mug, the door handle, the shirt cuff, the steering wheel. Ten seconds of actually feeling its temperature and weight. It is a trivially small practice and it is the one Nepo would keep if he could only keep one.

Slow at the exact moment you speed up

The lurch that comes when you are late, behind, or being asked something difficult. That is the moment the soft thing becomes a knife. Learning to recognise the lurch is most of it; slowing down afterwards is comparatively easy.

Go back to the entry that irritated you

Some pages will read as sentimental or too easily won. Note them and return in a month. The ones that annoy you are reliably the ones about something you have not settled, which is a more efficient index than the table of contents.

Say the ungloved thing to one person a week

Not a confession and not a speech — one sentence you would ordinarily smooth over. Nepo's claim is that the numbness is bidirectional: the gloves that stop you feeling the world are the same ones that stop it feeling you.

Note one thing each day that did not need fixing

A deliberate counterweight to the reflex that scans every situation for the problem in it. Some days the light on the wall was just the light on the wall, and writing that down is a skill rather than a mood.

Now there's nothing left, but to keep dancing.