Tag Archives: art

Rara Avis

All libraries contain secrets, even the most sterile and unwelcoming collections.  One thinks this must be why conservative politicians despise public libraries and continuously go after their funding.  It can be frightening to imagine that the public has access to knowledge that those in power have neither the time nor the inclination to discover. 

A library represents free information and therefore runs contrary to the ethos of authoritarian capitalism and consumerism: if something is free, it’s suspect because nothing of value can be free.  So when corporate culture and its politicians aren’t creating more poverty to criminalize, they devote a certain amount of their free time to portraying libraries as cesspools of homelessness.  People can’t be going there to learn.  The knowledge marketplace demands that information be endowed with a certain market value.

Libraries are all too often described as places where bad-smelling, mentally ill, bearded men spend their afternoon snoring with titles like Les arts de l’Asie centrale or A Catalogue of Turkish Manuscripts and Miniatures, volume III as dusty pillows.  No one sleeps in Amazon.com or on the stack of Reader’s digests and Wall Street Journals in front of the local newsstand.  And that’s how conservative America likes it: if you’re not going to buy anything, please go away and die somewhere discreet.  And maybe take The History and Development of Ancient Chinese Architecture with you.  No one wants to buy that.

But I, for one, find unwashed old men in libraries reassuring if not a little endearing.  Just as when it rains, I take solace in the regularity of storm clouds, when I hear that tell-tale snoring, I enjoy the thought that some vet named Burt will be sitting around the corner in the Dewey 930s, pretending to read a text in Arcadocypriot Greek when the librarian passes by.  If you look closely, you might notice that the book is upside-down.  But you won’t look that closely.

At the end of the day, when one of the librarians picks up the book to reshelve it, she’ll no doubt experience a sense of wonder: someone finally came in search of that obscure Peloponnesian dialect—and casually to the extent that the person didn’t even feel the need to check the book out!  The possibility that it was merely being used as a sad old man’s headrest would be too cynical for a true librarian to entertain, at least straight away.  Instead, she’d prefer to believe that someone walked in determined to learn more about the world of pre-Dorian Cyprus.  And that is why true librarians are wonderful people (people filled with wonder).  But, as with anything else in this late age of revenge politics, throwback Enlightenment scientism, and YA fiction for adults, true anything is rare.

Still, libraries, like museums, are meant to preserve such rarities.  So it makes sense that a library might contain hidden practitioners of true arts the same way it secrets knowledge away from the broadcloth-and-pearl-wearing delinquents currently ruining the United States and demeaning the arts and sciences of the West.  Maybe Burt was (is) a sculptor.  Maybe the gentleman with the Fu Manchu and the Army surplus jacket at that table in the corner has a masters in historical musicology.  Maybe the toothless wonder currently snoring into a puddle of drool once wrote a dissertation on the rejection of evidentialism in religious epistemology.  You never know. 

Maybe a star seen through a library window at midnight is actually a symmetrical angel—too distant to be clearly perceived in its full geometry.  Yet, if viewed from within a dark library with one’s feet in the proper position while speaking the right Arcadocypriotic line from Pausanias’ Description of Greece, one might have a rare insight into stars and angels.  One might even begin to comprehend the range of symmetrical possibilities that converge on a functioning library card: that a library is a city of doors, that it gratefully accepts the snores of sleeping homeless men the way the hills accept the rain, and that it is, above all else, an infinite palace of vaults and ritual chambers in which one finds all the angels, devils, and true adepts resident in the human imagination.

How many people will come along with the necessary Arcadocypriotic, having read the Pausanias’ prescribed ancient manuscript (even right-side-up in translation), and capable of accessing the library at midnight in order to stand by the dark window on the appropriate night and have this mysterious realization?  Very few.  This is how libraries veil their secrets.  The information is available, but you have to do the work of discovering it.  And then you have to engage with it beyond merely using the book as a headrest.  The librarian believes in you.

If you succeed in this, unlike Betsy DeVos, you may attain a level of knowledge and conversation with the deeper mysteries of the library and what it represents; though, you may not reacquire your teeth or find a place to sleep after closing hours.  But you will grasp the golden chain of true insight that has come down, unbroken, through the hands of countless artists, scholars, monks, philosophers, scientists, and mystics—the other end of which may be held by Venus or may disappear in the source of all books, a cloud of unknowing silence which nothing but silence can express.

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You Don’t Need Product Placement to be an Artist

This is what I often try to communicate on this blog. Here’s Dave Grohl saying it from a musical perspective.


Political Art | Kurt Cole Eidsvig

Peril Jack is political art. But what does political art mean? Come find out.

Source: Political Art | Kurt Cole Eidsvig


The Voice in the Fire

As I have said many times and in many different ways, graduate study in literature and creative writing is not easy for anyone, even in the most favorable circumstances. There is an inner, emotional, psychological, processual effort that no one talks about and an outer, technical, rhetorical, production effort that everyone takes for granted. Both of these “efforts” are difficult. They must run concurrently and consistently for satisfactory completion of your program. And no one—not advisors or fellow

"Philosopher with an Open Book" by Salomon Coninck (c. 1645)

Philosopher with an Open Book by Salomon Coninck (1645)

students—will have the wherewithal to set aside their own problems in order to help you with yours. You are alone. You are responsible for expressing a universe of ideas in your own voice. You will accept this or fail.

If you pay attention, you will soon come to realize that your path is more or less unique—that you’re following a largely self-determined trajectory through the work. It may be partly modeled on someone else’s (such as that of a mentor with a strong personality telling you what you should be reading, writing, and thinking), but ultimately you’re making your own intellectual path by walking it. This is one of the signature characteristics of higher study in the humanities. It may be a strength.

A large part of this blog is dedicated to exploring these things, to making the implicit explicit for the good of those who feel drawn to the discipline of English studies and / or creative writing. It’s clear that I’m critical here of what I often see as hypocrisy and self-serving prevarication in greater academia. But I also disagree with the Libertarian voices currently developing the Don’t Go to Graduate School in the Humanities genre of business-oriented success advice. I think, in spite of very practical arguments to the contrary, if you feel called to study, write, and teach, by all means do it. Just don’t do it ignorantly and learn how to survive afterward so that you can keep doing it. How this unfolds in your life will be a mystery specific to your becoming.

With this in mind, I expose my own values here, my own work, which continues the inner-outer efforts I mention above. The Writing Expedition represents part of my disciplinary “production effort,” dedicated to expressing insights on what I have experienced in this field. Moreover, I think “expressing” is the right word because it implies a dichotomy. In order to ex-press something (or “squeeze out” if we want to look at the origin of the word), there must be an interior area where it already exists. An inner world. Often, a hidden world that can make the dominant scientistic discourse of reductive materialism very nervous. Like it or not, the Academy is subject to the dominant political, economic, and aesthetic tropes and discourses of the day; though, academics often find this distasteful and prefer to ignore it.

The ivory tower covered in camouflage.

It is safe to say that the Academy is an ancient type of institution that has survived to the present by appearing to be what society needs it to be in any era. Study the history of higher education in the West and it is easy to notice that the great universities have not existed in spite of what they imagine to be the barbarism and ignorance of the profane, but as a mode of cultural expression, 9th gatea conglomeration of beliefs and rituals, a matrix of ideas given a particular form in the material world. In other words, the Academy is an extension of culture. It offers a product that society wants and survives by making that product seem relevant. It has always been that way; though the outer wrapper of the product is redesigned again and again to reinforce existing narratives of power and faith. In the rare times it fails to do this: Kent State, May 4, 1970.

As Martin Petersen writes of CIA tradecraft standards (intelligence agencies being very similar to universities), “We have to establish our credibility and usefulness individual by individual, administration by administration. There is no down time when it comes to quality” (“What I Learned in 40 Years of Doing Intelligence Analysis for US Foreign Policymakers,” Studies in Intelligence, Vol. 55, No. 1). Without being too cynical, we could easily convince ourselves that establishing credibility and usefulness is one of the ongoing directives of the Academy: we want to matter.

Enter: John, who also wanted to matter.

When I was in graduate school, studying creative writing and rhetoric, John, a friend of mine there who happened to be a gifted poet, went through a kind of nervous breakdown. Since no one knows what a “nervous breakdown” actually is, we can call it that or we can say he went through a season of harsh depression, anxiety, purposelessness, and emotional pain. His wife described it as a “slow-motion train wreck” and they both tried to laugh about it. But it was real and the pain he went through changed his life.

Before you even think it, I should note that this person is not me. Things may have changed for John since then, but what hasn’t changed is the high-schoolish competitiveness in our colleagues that has lingered for a long time. Since many of them read this blog, I will only tell the part of his story that everyone already knows. And I will do it for a particular reason. Nevertheless, I hope he forgives me for this and understands what I am trying to say. Knowing him, I think he will.

It started with the birth of his daughter in our second year. John had come to the PhD from a high-paying career in industry, such that he didn’t have to take out student loans and could rent a fairly large house (as opposed to the holes most of us were living in). His wife didn’t work and they were living off their considerable savings. Still, the pressure was on, partly because John now had a child to think about, but also because had an immense work ethic and he was no fool. He knew, as did we all, that there were very few full-time teaching positions available and that trying to get one (even getting an interview at AWP or MLA) was like playing the Irish sweepstakes.

Nevertheless, John applied himself, wrote good poems, said smart things, and generally did well. He was older, married, and didn’t waste his time like the rest of us at the sad graduate school parties or looking for love in all the wrong places. He had a particular energy around him that said, I know the truth and, if I don’t know, I’m sure we can discover it together. In short, he seemed like the type who should win the career sweepstakes and become an assistant professor. There should be more people like John in teaching positions. When I think of what it takes to be a great graduate student, I think of him.

But he reached a breaking point, something in his “inner process” that no longer worked the way he thought it should. The reality of being a father had become far more real and compelling than the realities he was creating as a student of English and a poet. His hair turned stark white over the course of a month and he went through a kind of existential fugue, which according to him involved a lot of crying, regret, and hopelessness. Eventually, he dropped out of the program. He moved with his wife and daughter to Arizona to live with his in-laws. And two or three years later re-entered a PhD program at a different university, this time to study British modernism. As far as I know, he’s now a professor somewhere in the Midwest and I am sure he is great.

I tell his story here because although it had an ostensibly happy ending, his dark night of the soul is one that most of us experienced on some level at some time in our work. The difference may have been that he suffered from pressures we didn’t have, destroying the credibility and usefulness of the Academy for him. I believe this as much as I believe that he also lacked certain essential qualities necessary for running those inner and outer efforts concurrently and consistently, at least the first time around.

The voice in the fire: one hears it or one does not.

A teacher of mine once made an interesting observation about “mystery.” The more one seeks out the lacunae in one’s life—the numinous moments, the noetic leaps of high strangeness that result in extraordinary creations, realizations, and states of consciousness—the more mystery seems to increase, not decrease. Seek the mysteries and you will find there are more mysterious things in this world than you ever imagined. Or maybe you will find yourself imagining more such things as you learn to accept new ways of knowing.

Conversely, if you let existing modes of expression, accepted narratives, the exoteric rituals of consensus culture (especially those of the Academy) crowd your senses, ways of knowing will become narrower; meaning will become increasingly delimited and rigid; and the dominant cultural discourses (for us, scientism and reductive materialism) will come to seem all-encompassing. This is what I believe happened to John in his first PhD program. His outer effort was strong, but his inner work was obstructed by the anxiety of feeling responsible for his family. I do not fault him for this. However, I think his experience offers us an interesting lesson.

Recall that the “inner effort” is an emotional, psychological process. It therefore partakes of mystery because interiority cannot be completely mapped. This is where the muse, the creative genius, lives. This is where we dream, where we hear that voice speaking to us about who we truly are and how we must express ourselves. It is the place artists go when they produce authentic and original work.

Funny thing about the muse. She gives and she takes. Dedicate your life to a particular mode of expression and you must always try to hear her. Your sense of the numinous will increase exponentially, but you will also have to make sacrifices. As your outer effort must concern itself with “credibility and usefulness,” your inner effort must be like a love affair with the mystery inside you, which is what we’re talking about when we refer to the inner life of an artist.

Hakim Bey discusses this in The Temporary Autonomous Zone and calls it “sorcery”:

The dullard finds even wine tasteless but the sorcerer can be intoxicated by the mere sight of water. Quality of perception defines the world of intoxication–but to sustain it & expand it to include others demands activity of a certain kind—sorcery. Sorcery breaks no law of nature because there is no Natural Law, only the spontaneity of natura naturans, the tao. Sorcery violates laws which seek to chain this flow—priests, kings, hierophants, mystics, scientists & shopkeepers all brand the sorcerer enemy for threatening the power of their charade, the tensile strength of their illusory web.

A poem can act as a spell & vice versa—but sorcery refuses to be a metaphor for mere literature–it insists that symbols must cause events as well as private epiphanies. It is not a critique but a re-making. It rejects all eschatology & metaphysics of removal, all bleary nostalgia & strident futurismo, in favor of a paroxysm or seizure of presence.

Incense & crystal, dagger & sword, wand, robes, rum, cigars, candles, herbs like dried dreams–the virgin boy staring into a bowl of ink—wine & ganja, meat, yantras & gestures—rituals of pleasure, the garden of houris & sakis—the sorcerer climbs these snakes & ladders to a moment which is fully saturated with its own color, where mountains are mountains & trees are trees, where the body becomes all time, the beloved all space.

We can just as easily speak of it in terms of embracing a wider spectrum of expression. Viktor Frankl puts it this way: “Ultimately, man should not ask what the meaning of his life is, but rather he must recognize that it is he who is asked. In a word, each man is questioned by life; and he can only answer to life by answering for his own life; to life he can only respond by being responsible” (Man’s Search for Meaning).

The Green Muse by Albert Maignan (1895)

What, then, is the voice in the fire? It’s not a degree from Yale, tenure, and a tactless sense of entitlement. It’s that unmappable, ineffable interior effort, that numinous guidance system which instructs and inspires us to continue our work. It sustains us through years of advanced study, reveals the mystery inherent in the world (even in something as outwardly mundane as the sight of water), and helps us answer for our lives. If we are responsible practitioners of our art, we will listen to this voice just as carefully as we may express our work-products. If we stop listening and forget the internal process, focusing only on the external product, we will enter the dark night of the soul, which entails a lot of suffering.

This is the meaning of that famous line from the Gnostic Gospel of Thomas: “If you bring forth what is within you, what you bring forth will save you. If you do not bring forth what is within you, what you do not bring forth will destroy you.” If this is the life you choose (realizing that you have been chosen to answer for your life this way), I continue to wish the best for you.

Listen. And seek the mysteries.


Nine Thoughts on Making Art

  1. You don’t need to be famous to be an artist. You just need to make art.
  2. You don’t need to make art in any particular style or volume or at any particular rate. These considerations come from industries interested in art as a product that can be sold, irrespective and ignorant of the creative process. Such considerations can often be destructive and should be understood by the artist, then carefully set aside.
  3. You do need to share your art with others because doing so magnifies it. Having an audience, no matter how limited, transforms your work in the minds of others. The art you make should grow beyond you, transcending the boundaries of your personal subjectivity. People are good for art. By offering your art to people, they become part of it and it becomes part of them. 
  4. You do need to have a day job. Engage with the world around you and do not allow yourself to stagnate. It’s good to have mundane concerns like employment, stability, friends, and family. What you do when you’re not making art is less important than the fact that you are out there, living, doing it. So find something you like and try getting good at it for a while. An artist needs to live a human life in order to understand human experience. You are human.  Come down from the attic.
  5. You do need to control time and space.  You are also divine.  Time could be as short as an hour a day as long as it is consistently available. Space could be a small as a closet as long as it is consistently available. Go back to the attic.
  6. You do need to keep learning and changing. Inspiration depends on it. Eschew formulaic thinking and comfortable templates. Give yourself increasingly ambitious assignments. Integrate everything you learn into new projects. This is how you develop.  Stagnation is death.
  7. You don’t need to make a living on your art in order to feel like you’re really an artist. Every artist has an identity problem and there will always be someone telling you to quit. People with the fortitude to develop themselves creatively often aggravate those too scared to take the first step. And there are always more of the latter than the former.
  8. You don’t need to talk about your ongoing project with friends and family. Doing so can make otherwise good people into passive-aggressive antagonists. Better to let them read the finished product and criticize you behind your back. Your life will be simpler and you will still be able to attend the family reunion without getting drunk first.
  9. You do need to realize that art is more than just cleverness and craftsmanship. Consider this statement and see how you feel about it: the creative process is the act of recognizing the limitlessness of the psyche in the sense that all is mind and that a work of art is an embodiment of that totality in space and time.

Etiquette When Working with Creative People

No matter how dreadful their work may seem, keep these things in mind before you dismiss them as artists:

  1. You may not understand their creative project. (You may not be the best audience member / reader / consumer of their work.)

  2. They may be developing in a way that isn’t obvious.

  3. Their work may be in response to something you don’t know about / don’t understand.

  4. Their work may take some time to appreciate. (Not a bad thing at all.)

  5. They may have deliberately violated artistic conventions and you can’t see it yet.

  6. They may be about to produce something else that you will like. Or maybe they already did.

  7. The piece / performance in question might be functioning as a stepping stone or a link in a much longer series of pieces. How deeply have you studied this person’s work?

  8. The context of the work may be interfering with how you receive the work.

  9. Your emotional / aesthetic background may be interfering with how you receive the work.

  10. You may see the work differently if you come back to it later (after a sandwich and a nap).

We can’t know what waits to be born from the hearts and minds of our fellow humans. All we can do is try to understand what we experience with our senses, keeping in mind that to respond to creative work is to participate in its existence (and, by extension, its creation). This carries a lot of responsibility above and beyond casual momentary consumption. As such, it is best to withhold judgment until we have thought about the work for a while—because we are neither infallible nor prescient. And if we are positioned to pass judgment on perceived flaws in the work, let us instead talk sincerely about what the work is doing right, about what it inspires in us, and about what we would like to see happen next.


Art is Your Right

Don’t buy into the romantic assumption that being a creative artist is easy for those who are truly talented and meant to do it.  This is a materialistic commercial lie.  Something I believe: art is part of being human and must therefore be available to everyone.  And those who do it right never find it easy; though, the publishing industry, for example, may find it easier to sell certain books if readers believe that the writers being published are like idiot savants.

Everyone has an aptitude for some kind of creative process.  Finding out what it is means finding out more of what it means to be human and alive.  Not investigating this firsthand means voluntarily accepting an impersonal, commercially interested assumption about one’s creative potential—some external story about you imagined and written by someone who doesn’t even know you.  It’s an affront to everything unique and valuable in the individual self.

Moreover, it elevates money over art, which is fundamentally disconnected from the reasons we make art in the first place.  This is essentially stupid.  Therefore, we need to appreciate art.  We should create it and consume it, but we should not assume that it is something  mysterious, selective, elite, or random.  It is better to think of artistic ability as an attainment, a product of self-cultivation that uses materials we already have.  And our job is to understand it, interact with it, develop it, and teach this praxis to others.  Our job is not to worship those being held up to us as a select, anointed group.  Our job is to understand how commerce reacts with art and then to set all that aside so we can do our own work.