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If you’re a writer, you’ll live your life not knowing if you’re any good. And you’ll die not knowing. I think John Berryman said that.
After Phil Levine published his first book of poems, people said, yeah, but can you do it again? Then he did it again. Then they said, yeah, but have you been featured in the New York Times Review of Books? Then he got a review. So they said, yeah, but have you won any major awards? He won several. Then they said, yeah, but we remember you back when you were broke in Detroit. You’ll always be a bum.
There is no escape. Nobody from the old neighborhood wants to see you get ahead. It’s a law of nature, the Bumfuck Reflexive Property. You can ruin your life if you burn your emotional energy wondering whether they’re right. Every moment you spend doing that is a waste. But all writers do it.
Hang around with writers and artists and you realize they’ve got a particular tangible proficiency at their kind of art. Maybe they were born with it or, more likely, they worked hard at developing what little gift they had into something presentable. The gift, whatever it is, is real and observable. But whether they’re mediocre or brilliant, derivative or original, a flash in the pan or someone whose art is set to be preserved in the basement of Cheops, you will never know. More significantly, they will never know.
If you like their work, great. If you don’t, you can always recall the time they were broke and living in the projects across from Wayne State. HA. HA. HA. Let’s all laugh at the sad clown. Some people and their lousy choices. Am I right? If they were any good people would want to pay them for their work. I mean, that’s just common sense.
I suppose it’s sad when an artist hasn’t learned how to fail (or how to stubbornly and angrily reject failure), when she takes the Bumfuck to bed and makes love to it, when she’s covered in despair, when she finds herself thinking about her choices. The rest of us chose to avoid that humiliation early. We were smart and didn’t even try. Or if we did, we never let anyone see it and gave up shortly thereafter. And look at us today. We just got back from our annual trip to Florida. It’s a good life.
But she has to spend some nights staring at the wall, probing for answers that will never come. Because her friends and family don’t know what to tell her, even though they have many strongly held opinions on her work and direction in life. Her teachers didn’t know (even the ones who praised her back at clown school). And ultimately, she doesn’t know, can’t know, even if she wins a Golden Bozo next year and gets to put “Genius” on her resume. She might just be a lucky clown, a clown of the moment, a one clown wonder. How do you ever really, truly know if you’re any good?
Genius. Hell, she can barely afford lunch. And so the questions: am I actually a no-talent, deluded ass-clown? Was taking out a loan to go to clown school the worst decision of my life? Should I have listened to my old high-school friend who went straight into an apprenticeship as a waste management professional and who is now debt-free, pumping out the city’s shit everyday for a middle-five-figure salary? The dude owns his own house. He loves reminding me how debt-free he is. He loves it.
Can I say the same? Do I love being a clown? I thought I did. But now that I’m out of clown school, I feel so alone. At least back there I had a useful amount of social friction, mutually shared productive spite, the catty competitiveness of nervous art students to hold me up and distract me.
Now I only have these four walls and the dirty mirror over the sink and the constant message that if it doesn’t make money, it’s a hobby, not a calling. A life spent vacuuming out the municipal sewer, by that definition, would be the Grail Quest. But that tract house and the vacation package in Florida speaks for itself.
How good do I have to be to take clowning seriously, to argue that it is my reason for living and not just a lukewarm pastime that regularly torments me. Sometimes, I wonder what good is—if it is something metaphysical, some hidden imprimatur, some mysterious proof, like divine grace received only through predestination. Do we know it when we see it? Or do we see it because we only know what we’ve been told?
How much telling is good? How much showing? If I get the emotional effect I want by the last line of my story, does that justify anything I do along the way, any narrative impropriety—like Hemingway’s “Hills Like White Elephants,” one of the most structurally verfucked stories I have ever seen that nevertheless works? It works because it moves me. Me. Not necessarily you.
What’s more, when I get to the end, I know in the way that comes from having spent too much time with fellow ass-clowns, that “Hills Like White Elephants” would have never gotten a pass in clownshop. Poor sad clownbear. Put on your hardhat and gas mask. There’s shit pumping needs to be done.
I read the New Yorker and The Paris Review. For clowns, those are basically trade publications. Those clowns really know how to do it. They know what’s good, what’s right and wrong about art and culture, what should be published, what should be condemned. The people they feature—man, that is some serious clown shit. They really push the clownvelope. In fact, they are so serious at times that their work transcends everyday clowning and enters the Mime Plane. It’s a micro universe. All the mimes who ever existed and who ever will exist live there in an eternal limbo that can fit on the head of a pin. And yet it’s enormous. Space and time. You know. Like warm bubble-gum.
But I stay away from the mimes, like Alice Mimero and Jonathan Mimezen and Jeffrey Eumimedies and Mimeberto Eco. Their work is—I don’t even know how to describe it—it’s mysterious. Like pushing the wind or the transparent box or juggling the invisible chainsaws. Somehow, it’s supposed to seem dangerous or terrifying. Risky. But when an invisible chainsaw slips, there’s only invisible blood. Hard to see. You have to pretend it’s there. Mime stuff, you know. Everyone acts like they get it.
And yet they’re held up to us as the cultural elite. How does that work? Why are we still encouraged by the Big Six to think of these clowns as mysterious and compelling? I guess only those who put out effort to remain mysterious will continue to be seen that way. And perpetually wrapping yourself in a glamour of mystery is a lie. Because no one is actually that. But we lionize our artists. The publishing industry runs a lion circus. We want to believe they know something we don’t when they jump and roar.
Them lions is pathological. All they know is that gazelles are tasty. And us? We don’t even know that much.
I might know that shit stinks and pumping it for a living is a bummer. I know I’d give a hundred tract houses and a timeshare in Pensacola not to have that be the substance of my Grail Quest. I’d rather squander my life writing, even if I am a no-talent ass-clown.
But you? I’m not so sure about you. Maybe you’re not one of the Cheops Basement All-Stars yet. Maybe you’ll always be a bum somewhere in municipal Detroit, freezing in your bloodied clown suit. But I can tell you one thing. You’ll never really know if you’re any good. And you won’t be able to look at others for the answer. They’re all a bunch of ass-clowns, too.
All you can do is keep at it, day after day, hoping somebody somewhere sees what you see. All you can do is show up.
When I began teaching as a graduate student, publishing in magazines, and generally moving my life forward in visible ways, I learned a difficult lesson that accompanies progress: people don’t like it when you succeed.
They don’t want to see it. They don’t want to know about it. And if they become aware that you are bettering yourself, they will do whatever they can, exert whatever influence they have, to change that. They really would prefer that you sink back into a swamp of stuckness and frustration. And they find it highly offensive if you don’t accommodate them in this.
Somehow you moving forward makes them more aware of their own sense of inadequacy and stasis. And they will not stop trying to convince you, themselves, and anyone willing to listen that you’re really not so special. Your achievements, however modest, can cause friends, family, colleagues, and sometimes people you don’t even know, to behave defensively towards you as they attempt to safeguard their fragile egos. This is especially true if you’re doing something that they wish they could do.
Granted, nobody likes to feel bad about themselves. But it can be shocking when you notice who your detractors are. Uncle Bob? You heard he got drunk at the reunion and offered up a loud unkind opinion about your novel, citing various incidents from your childhood and early adolescence to prove you “aren’t such hot shit.” What did you ever do to him? Juniper, that girl in accounting who wears the big sweaters? You talked to her, what, twice? Why is she spreading rumors about you? You might expect it from a direct competitor (even if there is a modicum of professional courtesy that can dial it down in most cases), but Millie from high school, talking trash about you on Facebook? You haven’t interacted with her since at least 1990. Has she been ruminating about you for 30 years? Maybe so. Or maybe she just looked you up yesterday.
There’s a word for this sort of person: hater, and the first thing you need to know is that haters can be anyone, given that the hate is not really about you. It’s about them. You’re just a convenient projection screen for the hater’s unflattering (and probably distorted) self-image. Unfortunately, the more visible you are, the more you seem to be getting your life together and doing what you want to do, the higher resolution those lousy images will have in the hater’s mind. And it’s far easier to tear someone else down than it is to engage in determined self-work. Some people are born with the efficiency and drive of the domestic land slug.
As much as I agree with Tim Teeman—that “haters gonna hate” is a fundamentally stupid expression “born of our social media addiction, especially Twitter, where brouhahas and firestorms burst into existence, and everyone eventually leaves the arena feeling unfairly targeted and victimized”—there’s a reason it became a viral catchphrase, functioning as an updated version of the old “dog will hunt.” It’s simple. A thing behaves in accordance with its nature. And envy is ubiquitous.
Perform successfully—even in something as minuscule and transitory as getting your creative work published—and someone, somewhere, is bound to suffer as they compare themselves to you. That suffering breeds resentment. And, though it is inherently unwise, resentment often demands a soapbox. Publicly trashing someone can provide a moment of relief, a brief pause in the constant fecal downpour underway in the hater’s inner world. Who wouldn’t seek shelter from that storm, from a grinding sense of inferiority that never lets up?
Still, if you put yourself in front of the public in any way, you’d better be ready for this. Since at least 1880, with the rise of vaudeville, the cheap seats were situated in the top rear sections of theaters. If people up there didn’t like the performance, they heckled the actors and threw peanuts at the stage. It’s where we get the term, “peanut gallery.” And peanut throwing still takes place, only the gallery has now become synonymous with the broad scope of social media. So try not to take one in the eye if you can.
And because flying peanuts are inevitable, perhaps contemplate the enduring wisdom of Father Baltasar Gracián y Morales, Friedrich Nietzsche’s favorite Jesuit social philosopher: The envious man dies not only once but as many times as the person he envies lives to hear the voice of praise; the eternity of the latter’s fame is the measure of the former’s punishment: the one is immortal in his glory, the latter in his misery.
There are many different paths to greatness, not just the ones most commonly identified by conformist culture. As long as your basic needs are met, where you put your energy—how you pursue excellence—is completely your business. Realizing this can be difficult and gradual.
It seems true, even if we admit that discourses (value systems) will always compete with each other for dominance. And one of the most ruthless and rapacious, at least in the West, is that of “meritocracy.” A meritocracy is inherently based on an assumed set of cultural values. But you need to realize that you are free to opt out of those assumed values. What the masses consider to be good doesn’t have to define your life.
If you don’t accept meritocratic cultural values, merit-based judgments by those who do are irrelevant. In other words, it is a mistake to impose the rules of a game on someone who refuses to play; though, because discourses will compete with each other, people will usually try to impose their personal values-discourse on you. Often, they will do so because they’re not aware of alternatives. They may not even remember the moment they chose to buy in. And they may not understand that imposing values on someone else is an act of violence.
Remove the question of merit (and its various implications) and the locus of meaning in life shifts (possibly returns) from an external authority to the individual. One arrives squarely within Viktor Frankl’s “Will to Meaning“—not seeking meaning / value relative to others, but exploring what is already resonant / resident in the self. “Thy Will be Done” becomes “My Will be Done,” with all the freedoms and responsibilities arising from that shift.
It makes no difference if your private world is idiosyncratic to the point at which it would seem very strange to more common sensibilities. As long as you’re not behaving like a hypocrite by harming or otherwise curtailing the autonomy of others, your interiority (including the way you choose to perceive the world outside your self) is completely yours. And it doesn’t seem outrageous to conclude that this is how it should be. If you don’t own your thoughts, can you ever own anything else? In fact, it seems that the more you personalize your unique way of seeing and acting in the world, the stronger and more persuasive that uniqueness becomes.
Because discourse is grounded in conflict and competition, this self-originating, self-describing narrative you are spinning can have a destabilizing effect on others, who may accuse you of being a delusional, a dreamer, someone out of touch with (what the dominant culture considers) reality. But if it works for you, isn’t it the right thing? Isn’t that choosing inner freedom instead of pledging fealty to ideas and to a lifestyle that was designed (or emerged) without you particularly in mind?
Walking away from a meritocracy takes a lot of courage and effort. Because you are a social being, it can involve a certain amount of suffering, alienation, and lonesomeness. You risk being called a deviant, being labeled as a disaffected undesirable. Even if you don’t agree with those judgments, they will still hurt. Hopefully, your growing curiosity about your own sui generis greatness and freedom will mitigate that pain.
You might call this the “inward path,” the “artist’s way,” or “the path beyond the campfire” which leads into dark unmapped places, where all new things wait to be discovered.
I’m back in Oxford today, immanentizing the eschaton once again in the Social Sciences Library, where I must regularly do at least 67% of all my work. The other 33% is done either in pubs (sometimes quiet and wonderful places to sit, sometimes full of stinkin’ drunks, though what do you expect, eh?) or coffee shops (usually loud, packed with psychotic tourists, and unclean just an hour after opening). Unlike London, Oxford is not predominately a culture where people will sit in cafes working. I was surprised at that when I first arrived, having become very comfortable with the American and Central European styles of productive solitude-in-a-crowd encaffeination.
Cafe culture is slightly different wherever you go, but there are certain international standards one can expect (that is, everywhere but in Oxford). I think my top five favorite cafes of all time have to be:
(1) Cafe 976 in Pacific Beach, California, essentially a well-kept house from the 1920s with a big porch and a garden, where I used to while away the evenings of my misspent youth reading tarot;
(2) Cafe Josephine in Tallinn, Estonia, as much for the owner’s dog, Bari, a gregarious old retriever who functions as the unofficial greeter and maître d’hôtel, as for the coffee, which is also excellent;
(3) Cafe Indigo in Prague, which I think has gone the way of the dodo, but which used to serve an Algerian coffee that would knock you out of your shoes and realign your priorities in life. It was a great gathering place for students and literary types;
(4) Zeitgeist Coffee in Seattle for frankly being one of the coolest places you’d ever want to sit and think; and
(5) Osama’s in Columbia, Missouri, where I used to hold my office hour and drink Turkish coffee after Turkish coffee in order to cope with the sad realities of teaching freshman comp in the Midwest. It was run by Osama Yanni, the nicest guy you’d ever want to know but unlucky enough to have a name recognizable by the vast unwashed proletariat of the Show-Me State. It closed.
There have been many others (and more than a few in Tallinn and Paris), though these are the ones I think I’ve liked the most in my itinerant writing life. These are the places where I’ve written some of my best stories.
But today, today brothers and sisters, I am holding forth from the holy of holies, the inner chamber of the inner chamber of the great whited sepulcher of sepulchers, the ivoriest of the ivory towers. Actually, it’s not that grand. I’m in the steel-and-Formica lounge of the Social Sciences Library, over by the vending machines. It’s a spot where I can at least eat a sandwich and have my coffee without being psychically accosted by some miserable family on vacation from upper Spokaloo, pissed that they just paid £15 each for breakfast on the Tolkien Walking Tour. It happens. Now you’re all wearing identical Gandalf vs. the Balrog T-shirts. Balance your expectations relative to that choice, okay?
Naturally, this is a university, the university, and people don’t just come here for the amenities. They come to do the work (always the work, whatever it happens to be), to get recognized, and to generate sufficient cultural cachet for them to continue on in the style to which they are accustomed. The coffee can be bad. It’s for the service class anyway.
Enjoying what you’re eating often upsets people here for many reasons. You are expected to frown into your soup and sigh over your bagel. You might even go so far as to faintly shake your head at your Greek salad, implying thoughts of great consequence that probably have nothing to do with your packet of fattening and therefore off-limits croutons. The weight of the world is buried in your mashed potatoes. Your parfait is the parfait of melancholy. To enjoy any of it is to indulge in an unforgivable lapse of seriousness.
In such an environment, one tries to be as gentle and understanding as possible toward the highly refined sensibilities of the world’s future ministers, art patrons, and captains of industry—most of whom were born after Kurt Cobain died but who nevertheless seem to constantly reference his death as if that were some kind of magical touchstone for sincerity. This makes me kind of tired, but I try to get along.
For example, I will not smuggle lunch into a reading room. I signed a five-page agreement when I got my very special non-student library access card (speak friend and enter), stipulating that I would not bring food and drink into Moria no matter how lightheaded or hypoglycemic I might become. There are the vending machines outside. There are enough steel-and-Formica tables in the lounge to support an army. So I intend to honor that agreement. And I acknowledge that seeing me in the corner with a Cesar salad might drive some of my more delicate colleagues over the edge.
They might snap and order a pizza in the middle of the night, discipline punctured, starvation-vegan diet shot to hell, shame, existential angst, eventual career failure, disinheritance. There shall be no cheese and pepperoni. For many of these kids, life is a game of no-limit hold-em with the Devil, but as long as they do exactly what they’re told, they feel they’ll keep on winning the way they always have. The thing most of them don’t seem to understand is that if you build your life around a game, even if you never lose, that’s what your life will be about. Welcome to the casino of success. You are a VIP for life. When you die, we’ll bury you under the craps table.
So food. It’s problematic. Earlier, I was breaking about half of the rules, enjoying a deli sandwich and reading Michael Chabon’s Wonder Boys, which also meant I was smiling. So it was not surprising when I felt hot darts of psychic rage boring into the side of my face. They were coming from a very thin, aggravated girl at the table across from me. She had on a sweatshirt that looked a few sizes too big and what I assumed was her usual expression of dislike mixed with contempt. I thought what I always think: who, me? But then I realized: it wasn’t the standard-issue animosity most people display in this environment. It was a food thing. Next to her laptop was a plastic bag of carrot sticks and a bottle of mineral water. Lunch. I’d be in a bad mood, too.
I looked back down, pretending like I didn’t notice her staring, but I was also thinking, you know, there’s this golden retriever named Bari you really need to meet. If only. A clean, well-lighted place and a friendly dog can make all the difference in your life, in your work. I dug into my sandwich. It was good.
