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Adam Phillips On Giving Up

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To give up or not to give up?

Print Deadline

- 01/11/23

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- JAN 24

The question can feel inescapable, but the answer is never simple.

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DEMY HB

Giving up our supposed vices is one thing; giving up on life itself is quite another. One form of self-sacrifice feels positive, something to admire and aspire to, while the other is profoundly unsettling, if not actively undesirable.

There are always, it turns out, both good and bad sacrifices, but it is not always clear beforehand which is which. We give something up because we believe we can no longer go on as we are. In this sense, giving up is a critical moment – an attempt to make a different future.

In On Giving Up, acclaimed psychoanalyst Adam Phillips illuminates both the gaps and the connections between the many ways of giving up, and helps us to address the central question: what must we give up to feel more alive?

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JOHN BANVILLE

On Giving Up

Adam Phillips, formerly Principal Child Psychotherapist at Charing Cross Hospital, London, is a practising psychoanalyst and a visiting professor in the English department at the University of York. He is the author of numerous works of psychoanalysis and literary criticism, including, most recently, Attention Seeking, In Writing, Unforbidden Pleasures, Missing Out, On Wanting to Change and On Getting Better. He is General Editor of the Penguin Modern Classics Freud translations, and a Fellow of the Royal Society of Literature.

Adam Phillips

‘The best living essayist writing in English’

- Jon Gray/EP

ON GIVING UP

By the same author Winnicott On Kissing, Tickling and Being Bored On Flirtation Terror and Experts Monogamy The Beast in the Nursery Darwin’s Worms Promises, Promises Houdini’s Box Equals Going Sane Intimacies (with Leo Bersani) Side Effects On Kindness (with Barbara Taylor) The Concise Dictionary of Dress (with Judith Clark) On Balance Missing Out One Way and Another Unforbidden Pleasures Becoming Freud The Vulgar (with Judith Clark) On Wanting to Change Attention Seeking On Getting Better The Cure for Psychoanalysis EDITOR OF Charles Lamb: Selected Prose The Electrified Tightrope: Selected Psychoanalytic Papers of Michael Eigen Richard Howard: Selected Poems (with Hugh Haughton) John Clare in Context (with Hugh Haughton) The Book of Interruptions (with David Hillman) General Editor of the new Penguin Modern Classics Freud translations

ON G I V I N G U P Adam Phillips

HAMI SH HAMI LTON an imprint of

H AMI S H H AMI LTON UK | USA | Canada | Ireland | Australia India | New Zealand | South Africa Hamish Hamilton is part of the Penguin Random House group of companies whose addresses can be found at global.penguinrandomhouse.com.

First published 2024 001 Copyright © Adam Phillips, 2024 The moral right of the author has been asserted A Life of One’s Own, Marion Milner, copyright (2011) Routledge. Reproduced by permission of Taylor & Francis Group; Being a Character, Christopher Bollas, copyright (1993) Routledge. Reproduced by permission of Taylor & Francis Group; and ‘To Friends Behind a Frontier’ by Tomas Tranströmer, from New Collected Poems, trans.

Robin Fulton (Bloodaxe Books, 2011) Printed and bound in Great Britain by Clays Ltd, Elcograf S.p.A. The authorized representative in the EEA is Penguin Random House Ireland, Morrison Chambers, 32 Nassau Street, Dublin D02 YH68 A CIP catalogue record for this book is available from the British Library ISBN: 978–0–241–65659–4

www.greenpenguin.co.uk Penguin Random House is committed to a sustainable future for our business, our readers and our planet. This book is made from Forest Stewardship Council® certified paper.

In memory of Leo Bersani and John Forrester

Another way of saying this would be, what are the conditions of life that make possible the desire to live?

Judith Butler, What World is This?

As I realized the magnitude of the patient’s difficulties I became increasingly depressed. I mentioned this to Bion, who said, ‘What does it make you want to do?’ I said, ‘Give up?’

He said, ‘That is what the group with the part of themselves that has no intention of changing wants you to do . . .’

E. Trist, ‘Working with Bion in the 1940s: The group decade’ The Mind is at every stage a theatre of simultaneous possibilities.

William James, The Principles of Psychology But distinctions are there to be made.

Philippa Foot, Moral Dilemmas

Contents Prologue 1 On Giving Up

9

Dead or Alive

28

On Not Wanting

48

On Being Left Out

71

On Not Believing in Anything

90

The Pleasures of Censorship

113

On Loss

134

Epilogue 138 Acknowledgements 143

ix

Prologue When people say, in the ordinary way of things, that they are giving up, they are usually referring to something like smoking, or alcohol, or chocolate, or any of the other anaesthetic pleasures of everyday life; they are not, on the whole, talking about suicide (though people do tend to want to give up only their supposedly ​­self-​­harming habits). Giving up certain things may be good for us, and yet the idea of someone just giving up is never appealing. Like alcoholics who need everybody to drink, there tends to be a determined cultural consensus that life is, and has to be, worth living (if not, of course, actually sacred). There are, to put it as simply as possible, what turn out to be good and bad sacrifices (and sacrifice creates the illu­ sion – or reassures us – that we can choose our losses). There is the giving up that we can admire and aspire to, and the giving up that profoundly unsettles us. What, for example, does real hope or real despair require us to relinquish? What exactly do we imagine we are doing when we give something up? This book, then, is about the essential and ​­far-​­reaching ambiguity of a simple idea. We give things up when we believe we can change; we give up when we believe we can’t. And so this book is also about the assumption – or the presumption – that life is by definition always worth living.

All the new thinking, like all the old thinking, is about sacrifice,

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prologue

about what we should give up to get the lives we should want. For our health, for our planet, for our emotional and moral well-​ ​­ ­being – ​and, indeed, for the profits of the ​­rich – ​we are asked to give up a great deal now. But alongside this orgy of improving​ ­self-​­sacrifices – ​or perhaps underlying ​­it – ​there is a despair and terror of just wanting to give up. A need to keep at bay the sense that life may not be worth the struggle, the struggle that religions and therapies and education, and entertainment, and commodities, and the arts in general are there to help us with. For more and more people now it seems that it is their hatred and their prejudice and their scapegoating that actually keeps them going. As though we are tempted more than ever by what Nietzsche calls in On the Genealogy of Morals ‘a will to nothingness, a c​­ ounter-​­will to life, a rebellion against the most fundamental presuppositions of life’.

The abiding disillusionment with politics and personal relationships, the demand for and the fear of ​­so-​­called free speech, the dread and the longing for consensus and the coerced consensus of the various fundamentalisms has created a cultural climate of intimidation and righteous indignation. It is as if our ambivalence about our a​­ liveness – a​ bout the feeling alive that, however fleeting, sustains us ​­ – ​has become an unbearable tension and needs to be resolved. So even though we cannot, as yet, imagine or describe our lives without the idea of sacrifice, and its secret sharer, compromise, the whole notion of what we want and can get through sacrifice is less clear; both what we think we want and what we are as yet unaware of wanting. The formulating of personal and political ideals has become either too assured or too precarious. And the whole notion of sacrifice depends upon our knowing what we want.

Giving up is always sacrificing something in the service of something deemed to be better. The question, whenever we want to do anything, whenever we make a choice, is unavoidably: what will we

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prologue

have to give up? Choice is, by definition, exclusionary, and reveals preference. There is always, that is to say, some imaginary exchange at work; something is given up with a view to something being given back. Whether we are giving up on confidence, or on free speech, or on sociability, or on wanting, or on meaning, or on life i​­ tself – a​ s each of the chapters in this book addresses in different ways ​­ – ​it is, as it were, the return we have in mind, however unconscious we are of the deal being brokered. What we want from any given sacrifice is always worth discussing. Sacrifice and its discontents is what there is to talk about. Giving up, or giving up on, anything or anyone always exposes what it is we take it we want.

So giving up, in its myriad forms, we need to remember, whatever else it is, is a ​­gift-​­giving (and it is always up and never down, as though to some higher authority). To give something up is to seek one ’s own assumed advantage, one ’s apparently preferred pleasure, but in an economy that we mostly can’t comprehend, or, like all economies, predict. As though at certain moments in our lives we are given the order ‘Give up!’ or ‘Give it up!’ and so begins an obscure kind of wishing and hoping and bargaining. We calculate, in so far as we can, the effect of our sacrifice, the future we want from it (it is never clear, for example, whether a sacrifice is a plea or a coercion or both, a manipulation or a forlorn surrender or both). As though at certain points in our lives we are asking what we have to do to get through to certain people, or to get through to ourselves: to get through to the life we want. We are asking what we are going to have to lose to gain what we think we want. These are sometimes the moves, of course, of an omniscient animal who claims he can know what he wants, and for whom knowing his wants, and having good ideas about how he may gratify them, is the only thing he can imagine doing. Sacrifice, giving up, that is to say, is a form of prediction.

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prologue

Children are given up for adoption, armies give u​­ p – s​­ urrender – ​ in wars once they are defeated, and giving up the ghost is what some people do when they die. And in each of these disparate examples it is as if something is handed over, a necessary deal has been struck, a point has been reached, a crisis has occurred, an exchange has been entered into. As though giving up may be as much about transition and transformation as about success and failure (the whole idea of giving up is a magnet for moralization: we can never resist assessment, evaluation, when giving up becomes an option). We give up, or give something up, when we believe we can no longer go on as we are. And so a giving up is always some kind of critical moment, however tempted we are to minimize it.

But giving up as a prelude, a precondition for something else to happen, a form of anticipation, a kind of courage, is a sign of the death of a desire; and by the same token it can make room for other desires. Giving up, in other words, is an attempt to make a different future: but, of course, in the knowledge that the consequences of our actions can be incommensurate with our intentions (giving up is at once a risk and a prediction).

The pragmatist in us can only wonder whether any given​ ­sacrifice – o​ r whether sacrifice in ​­itself – w ​ ill get us the life we want, or don’t know that we want. And the pragmatist may also wonder why we put it like this, why ‘giving up’ is the phrase: what is the use of this particular description of something we find ourselves doing but seem unable to redescribe? Because if giving up is simply, say, changing our mind, or revision, or reconsideration, or having a second t​­ hought – o​ r even another phrase for redescription i​­ tself – ​ it is a way of getting things to look different. And by looking different to have different consequences. We may not, say, need to think of our lives in terms of losses and gains, or profit and loss, as the phrase ‘giving up’ induces us to do, thereby reinforcing a​

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prologue

­ uch-​­cherished cultural norm. We may not need to lose our lives m in order to find them; we may just be able to go on finding them (mourning may not be the thing we most want to do, or the only thing we can do, or the thing we must do). We may have under­ estimated our temptations. We may have been distracted by an analogy.

In her remarkable and orientating book A Life of One’s ​­Own – ​a book really about how we might sustain our aliveness: the aliveness, the being enlivened, that is the true antidote to giving u​­ p – t​ he artist and psychoanalyst Marion Milner describes her attempt to ‘decide what [her] aim in life was’: . . . I found that I had no idea about this. I decided to keep a diary and write down what I thought was the best thing that had happened during the day, in the hope that I might find out what it was that I really wanted. I had also been stimulated by reading Montaigne’s Essays and his insistence that what he calls the soul is totally different from all one expects it to be, often being the very opposite.

She begins, as a modern person, by trying to work out what she wants and then, by way of qualification, she refers to Montaigne, for whom ‘what he calls the soul is totally different from all one expects it to be, often being the very opposite’. She thought that her essence, her soul, was to do with what she really wanted, with what made her happy; she assumed that she must have an aim in life, even if she didn’t as yet know what it was. But then Montaigne reminds her that there is a part of herself ​­ – ​perhaps the most important ​­part – ​that is totally different and may even want the very opposite of what she assumes she wants (that every essence suggests another one). That would mean, in this context, that she also doesn’t want an aim in life; that what makes her happy and

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