The Poetry of Family | Duncan Keegan | TED

10,921 views ・ 2025-05-30

TED


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The American poet Robert Frost
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once observed that although both scholars and poets work from knowledge,
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they differ in the way they come by it.
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Scholars get theirs along projected lines of logic.
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And poets theirs, you know, cavalierly,
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and as it happens, in and out of books,
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they stick to nothing deliberately, but let what will stick to them,
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like burrs where they walk in the fields.
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Now I know I'm in a hall filled with scholars,
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and I'm no poet.
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But I am from Ireland.
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(Laughter)
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(Applause)
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A place where even now a poet, a maker of a poem,
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is seen as someone who has come by an uncommon kind of knowledge.
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I mean, truly, there's so little left of that older Ireland,
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but in the little that remains,
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and in those little truths that only loss can teach,
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we find small felicities.
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Like how the word for art and that for science
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were once one and the same, ealaín.
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Or a word like dawn,
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which in our older tongue can mean a poem,
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a gift or fate.
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Or an ear for silence,
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the high relief that lets a word perfect its progress into intimacy.
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My wife Sarah has that.
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A feel for how ambiance, presence,
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the quality of a moment
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can all shape the meaning and weight of a word.
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I've heard it when she's with her friends,
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and I've even seen it with our children.
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Every week, Sarah used to drive our son Ruairí
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to a song and dance class in north Dublin.
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And one evening, as I was watching them arrive back home,
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I realized that I could see Ruairí in the front seat,
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his face pale in the glow of the headlights.
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And I could see his hands clasped to the seat belt,
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the motion of his head just tilting and turning to look,
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and his bare arm raised just to point at something.
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And then he pulled back, and he was reaching for his mom
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just to tell her, tell her just something,
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I don't even know what it was because I couldn't hear anything.
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But in that moment,
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I knew everything about that conversation.
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Everything about Ruairí and his mom that truly mattered.
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You know, we're told that the advent of AI
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marks a new era
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when science becomes art,
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when technology no longer merely invents,
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but creates.
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Machine intelligences that will soon form an intimate part of family life.
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AI companions who will never abandon a child,
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never belittle them,
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never maltreat them, who will never sicken,
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never ache, never long to sleep.
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Who will comfort our children at night,
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counsel them in the day.
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Care for them when we cannot.
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Be there for them when we no longer are.
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For they will never die.
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Now but they're here to help you, not replace you.
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That's what they say.
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But if you ...
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If you speak of someone counseling my child, caring for my child,
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you're speaking of a rival for my child's affections.
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A rival no parent, no mother,
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however capable, however strong,
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can ever hope to match.
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But here’s the thing, I actually believe them.
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We have nothing to fear.
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Just not for the reasons they think.
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For
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behind their promises and beneath our unease
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I feel lies a misapprehension
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that artificial intelligence might become,
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or perhaps already is,
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artificial consciousness.
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And in turn, this rests on an assumption
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that consciousness is a mere product of matter,
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an emerging secondary effect
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of just a particular arrangement of atoms in the brain.
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And even though we found no way, even in principle,
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to divine from matter how it is we love,
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we grieve,
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we entertain this notion
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that processing cores and algorithms
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will somehow serve as proxy for a living soul.
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Well, they won't.
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I mean, they will be useful,
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but not as the empathetic synthetics
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or the paper-folding replicants of sci-fi lore, which I love.
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But more as the board game from “Jumanji”
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or Wilson from "Castaway."
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Or Bianca from "Lars and the Real Girl."
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These devices of distraction for the living heart in all its --
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in all its loneliness and loss.
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But what of us?
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What are we for?
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That's not a question that I can easily answer.
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So, instead, shall I tell you a story?
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On a Wednesday in February 2023,
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our Ruairí, our Ruairí died.
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He was five.
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And we brought his body home,
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and we held his wake and we said goodbye.
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And yet that's not the story.
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The story I wish to tell
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is actually about our then-11-year-old daughter, Niamh,
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and how she came to say goodbye to her brother.
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To her Ruairí.
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When they came,
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the men wore black,
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but they were kind
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and spoke quietly and asked where it would go.
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The casket.
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The living room, we said.
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We helped them clear a path and make a place for it beside the couch.
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They touched the lid to lift it, and then they left.
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And as we looked at him,
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at how still he was,
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how pale,
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we cried.
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“Niamh,” I said, “Come in.
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Come in, it's OK."
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And from the doorway she turned, and she looked right through me.
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And then she left.
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She went round the corner and just someway up the stairs.
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I had the sense to stay.
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But Sarah went.
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And I could hear a little.
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But I heard no argument,
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no promises,
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no words.
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Just the settle of a child's weight against her mother.
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A catch of air and tears.
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And then she was there.
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We watched her foot the threshold
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to a living room where her dead brother lay.
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We saw her eyes trace every line.
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She saw the gift of him.
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The curving verse of all he was and ever would be.
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She saw his fate.
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We saw her read the poem of his short life.
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And you know our story is yours.
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Yeah?
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You know that one day you will stand before a door
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you do not wish to open.
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A room you do not wish to enter.
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And when that day comes, when every word,
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every line of logic fails,
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what then?
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Will you turn towards your devices of distraction?
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I hope not.
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I hope instead you feel the press of a kind hand taking yours.
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The steady press that says, “I will take this step with you.”
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I hope you hear the silence that holds a friend's words in place
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that says they hear it too.
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You and the poem of your own life.
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I hope you have a Sarah.
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For then, then you'll see what a mother is for.
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And you'll learn what a friend is for,
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and then you'll know,
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you'll know,
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you'll know at last what we are for.
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Thank you.
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(Applause)
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