We have a false picture about how success happens. We often only see the results and almost never the process of things, so we tend to think that the finished product—a book, being in shape, being wise—is impressive, and therefore the process by which that event was created must have been equally brilliant.

In fact, it’s not.

All success happens the same way: “action by action,” as Marcus said. Just after the release of Metallica’s eleventh album, Metallica’s Lars Ulrich explained the simple secret to their high output:

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Amazon tells us that’s one of the most highlighted passages in the digital version of Stillness is the Key. It’s an idea that’s impossible to disentangle from Stoicism. Epictetus said there were things that were up to us and some things were not. Ok, but then what? Remind yourself, Marcus Aurelius writes in Meditations, that the past and the future are not in our power, only the present is.

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In today’s audiobook reading, Ryan presents an excerpt from one of the seminal texts of Stoicism, the Discourses of Epictetus, read by Michael Reid. As a series of lectures given by Epictetus that were written down by his pupil Arrian in 108 A.D., these discourses provide practical advice to think on and practice in order to move oneself closer toward the ultimate goal of living free and happy. In this third section, Epictetus discusses how we should see ourselves in comparison with the gods.

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Ryan speaks with assistant professor and MFA program at George Mason University, Timothy Denevi on mastery in learning the entire playbook so that you can throw it away, How the information makes us blind to the facts, Fundamentally journalism is a form of lying and an act of aggression and his book Freak Kingdom · Hunter S. Thompson's Manic Ten-Year Crusade Against American Fascism

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Oscar Wilde was the victim of a terrible tragedy and a terrible injustice. At the height of his artistic powers, he was thrown in jail–an awful prison which contained the germs that later killed him. It was intolerance and tyranny, plain and simple. Everything he cared about was taken from him.

His family. His freedom. His work.

As he sat in that dark cell, rotting, festering, angry, he had a kind of slow but life-changing spiritual awakening. Coming out of his resentments and fear and despair, gifted with some paper by a sympathetic politician, he decided that his position would, “force on me the necessity of again asserting myself as an artist, and as soon as I possibly can. If I can produce even one more beautiful work of art I shall be able to rob malice of its venom and cowardice of its sneer and to pluck out the tongue of scorn by the roots.”

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A man walks through a field of flowing grain, the grass bending low under its own weight. The wind blows softly on a cold day. He looks and sees a small bird sitting on a branch, the steam rising off the ground behind it. The bird takes flight and he follows it with his eyes, smiling at the beauty of nature’s inadvertence.

But when the man turns, you see that he is surrounded by darkness–uprooted trees and thick mud. An army marches to get behind thick, sharp palisades. Weapons of war are being prepared to do terrible damage. Within seconds, ferocious, ceaseless, primal violence will erupt.

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Marcus Aurelius spent 14 years at war with the Marcomanni. It was a brutal, grinding campaign which he eventually won at great cost and risk. His victory was celebrated as a triumph, immortalized in a 97 foot tall marble tower which winds upward, showing in brilliant detail, "the heroic emotion and despair of Roman soldiers along with the unwavering leadership of Marcus Aurelius."

And some 19 centuries later, this monument to his accomplishments still stands, disproving, you might say, Marcus Aurelius’s reminders to himself in Meditations that posthumous fame doesn’t last, that no one would remember him.

Except it’s more complicated than that.

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Ryan speaks with book athour & screenwriter Steven Pressfield on fewer possessions, superstition in memorabilia, the impact of working without any attachments to the outcome, and his new books The Daily Pressfield. Steven is an American author of historical fiction, non-fiction, and screenplays. He’s most known for The War of Art, Do The Work, Turning Pro, Gates of Fire, and Government Cheese. 

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Seneca thought he knew Nero. He was confident in his ability to teach or contain or even control him. Other Stoics knew better. Thrasea (whose story we tell in Lives of the Stoics) opposed him from the start. Agrippinus (another fascinating Stoic in Lives) wouldn’t even attend Nero’s parties, because it was clear to him that the man was a tyrant.

Surely these men (and women) communicated their concerns to Seneca. Surely people raised questions. But Seneca thought he knew better. He was also paid so handsomely by Nero, was so powerful as a result of his position as Nero’s teacher and advisor, that it became hard for him to see what was there. It was a classic case of that problem outlined by Upton Sinclair many centuries later: It’s very hard to get someone to see something that their salary (or status or identity) depends on them not seeing.

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