Walter Isaacson, Steve Jobs and the Wrong Question

You have no fucking idea what it’s like to be me.
— Steve Jobs

While I have deliberately avoided reading most of the critical reaction to Walter Isaacson’s biography of Steve Jobs, the broad consensus seems to be that Isaacson had the biographer’s opportunity of a lifetime, and blew it. Despite having unprecedented access to one of the most relentlessly private of public figures, Isaacson’s is a book without insight: his Steve Jobs is the same collection of contradictory impulses he has always been, a self-centered, unlikeable man who somehow created products that people adored, changing whole industries in his wake. In a world full of assholes, critics complain, what set Jobs apart? What made it possible for him to do the extraordinary things he did?

Let me say first that I agree in principle with the critics: Steve Jobs is a lousy book. I believe I arrived at the conclusion via a different route from a lot of other people, and I’ll get into that soon. First, let’s consider the argument, articulated well by Thomas Q. Brady, quoted on Daring Fireball:

I know lots of people that could be described [as “self-absorbed, immature, emotionally unstable control-freaks”], and none of them started a company in their garage that became one of the most valued corporations in the world. What made Jobs different? This isn’t really answered.

Actually it is, at least to a point. There is the asshole half of the Jobs equation, and then there is the other half, which Isaacson documents and which everyone already knows about: his fanatical obsession with spare, minimalist design; his belief that he was destined for greatness and his determination to achieve it; his tremendous persuasiveness; and his knack for infusing technology products with an underlying human friendliness. Unlike Jobs’s more unsavory characteristics, these are not common traits. Combine them with the ones above, and the story of Steve Jobs begins to seem, if not inevitable, then at least somewhat plausible.

Our civilization has spent centuries debating the origins of genius — even the definition of genius — and yet with each new transformational figure that comes along, we start the debate all over again. The truth is that genius has no formula. It cannot be predicted, reconstructed, feigned (for very long) or dissected, at least not in any way that is remotely edifying. You can quantify the factors that make it possible for people to be successful; for instance, Jobs acknowledged how lucky he was to grow up in Silicon Valley, surrounded by people who could nurture his talents and fire his ambitions. Had his parents opted to raise him in the suburbs of Wisconsin, we’d likely never have heard of Steve Jobs. But creativity — or inventiveness if you prefer, since we don’t tend to associate creativity with non-artistic pursuits — is a process that ultimately operates beneath the threshold of awareness. Indeed, it can operate in no other way; inspiration is not an algorithm.

Many people seem to have expected Isaacson’s book to provide the missing piece of the puzzle — the key that would finally unlock the secret of his genius and forever solve the enigma of Steve Jobs. They were never going to get what they wanted, because it didn’t exist. There was no “one more thing.” The enigma is its own solution.

I don’t want to give the impression that any inquiry into the inner workings of a genius is futile, or that Isaacson should be let off the hook for writing a superficial book about a man who was anything but. I merely suspect that no one could have written an entirely satisfying book on Steve Jobs, because the things people want to understand about him aren’t really explicable. What made Jobs different? How did he look at a Rio MP3 player and conceive what would become the iPod, where everyone else just saw a clunky, half-assed music player? You can posit various intermediary reasons — because he was driven to achieve perfection, because poor design caused in him something akin to physical pain — but what do those explain? What are the reasons for the reasons? The truth is that Steve Jobs did what he did because his unique blend of innate qualities, combined with the people and places that helped to shape his worldview, allowed him to. His career was the result of a confluence of circumstances so unlikely as to appear impossible. “What made Steve Jobs different?” is more a rhetorical question than an actual one. It is a way for our mathematically hampered brains to acknowledge the  baffling unlikelihood of his achievement — the incredible fact that in this world, a man like him could exist at all.

So having put that issue in perspective, what is my primary objection to the book? I will put it in straightforwardly Jobsian terms:

The writing sucks. Continue reading

In Memory of a Dozen Friends

Like millions of other people, I lost a dozen of my best friends over the weekend. I had known they were going, of course; long years of declining health showed on their features. They were tired and had been with me a long time and I’d begun to feel that maybe it was time to let them go. Yet the ending came as a shock all the same.

A scant few months after announcing he would no longer write and draw “Peanuts,” Charles Schulz died of a heart attack Saturday, just as his final comic strip was rolling of the presses of the more than 2,000 newspapers that carried it. We’d been prepared to see the characters leave, but there was always hope — Schulz was confident that the cancer that had forced his retirement would subside, allowing him to work on the screenplays he’d been planning, and by which he hoped to bring Charlie Brown and the rest back to the screen.

Now that last hope is gone. We’re left with what we began with: the dozens of “Peanuts” books that have remained in print for nearly five decades, and the best way to introduce any reader to Charlie Brown’s sad yet optimistic world. These were among the first books I remember reading, certainly the first books I ever came to love. The boys’ fiction I grew up with was giddy, preposterous fun, adventure tales of children in space or traveling through time or saving their towns from bank robbers. “Peanuts” was the first time I and many others of my generation recognized ourselves in print. I was the bespectacled Linus, naive and insecure and tormented by an older sister, and I was Snoopy, a backyard adventurer with an imagination powerful enough to make reality an irrelevant detail. I was bossy, arrogant Lucy — to be that confident, even for a day! — and simple, sedate Marcy, as loyal and steadfast a friend as you could hope for.

And I was Charlie Brown, but then, we all were Charlie Brown. Anyone who doesn’t know exactly how Charlie Brown feels when, walking home after another walloping on the baseball field, he wonders “How can we lose when we’re so sincere?” has been living a coddled, spoiled life. Bad things happen to people who don’t deserve them in the slightest, and most of us have felt like we’ve received far more than our share of bad luck from time to time. Too bad. Though Charlie Brown’s team suffered the most humiliating defeats in baseball history, he kept going; he never forfeited a game. You can either complain about it and give up, or get back on the mound and keep pitching.

If there’s a heaven for cartoon characters, I hope Schroeder loosens up and gives Lucy a big wet kiss; I hope Linus gets to enjoy a quiet moment with his blanket, without fear of reprisal by older sisters, hyperactive beagles, or vengeful blanket-hating grandmothers; I hope Peppermint Patty gets an A on a term paper she spent fifteen minutes writing. And like everyone else, I hope Charlie Brown finally gets to kick the football.

We’ll never see it happen now, but maybe that’s OK. Deep down, Charlie Brown knows winning isn’t everything. When he asked Linus why he bothered playing day after day, dragging himself and his frail hopes to the mound despite the full certainty of getting his ass kicked, he replied, “Probably because it makes you happy.” It’s a theme that applied to all of these terminally frustrated characters, whether it was Lucy and her unrequited crush on Schroeder or Snoopy’s unending failure to shoot down the Red Baron. Maybe that’s why the strip, despite its sadness, always made us smile; maybe that’s why I always thought of the “Peanuts” gang as kids I would want to know. And maybe that’s why saying goodbye to them is so sad.

February 14, 2000