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Consider this hypothetical. You’re standing in your kitchen, cutting slices of cheese with a razor-sharp carving knife. You realize there are such things as cheese knives, but you don’t have one. For those readers currently languishing in suburban opulence, who can’t imagine someone not owning a cheese knife, I’m here to tell you such people exist, and they are probably more numerous than you have imagined.
Anyway, you’re cutting some cheese. It’s not difficult because the knife is a diamond-sharp Japanese “Zebra” blade, perfectly weighted for carving your burned pot roast, which is otherwise as uncuttable as second base. Now let’s say you drop that knife in a moment of privileged carelessness and it goes point-down through the top of your foot. Stop screaming. You’re not going to die. But there is quite a bit of blood welling up in your slipper. Better attend to that. You limp to the bathroom, whimpering and cussing, and start looking for the antiseptic.
In spite of what you plan on telling your spouse (My hand was wet. It just slipped.), you really have no idea why or how this could have happened. All you know is that it hurts. Did you deserve it? Think about this. Did you deserve to have a skewered foot?
One argument says, yes, if you hadn’t been worrying about your Bitcoin investments at that moment and whether the new walnut end tables really express your essential joie de vivre, you might have paid closer attention to what you were doing. You might have taken better care. Now small ripples of dread and frustration will radiate through your life for the next few weeks the same way pain radiates through your foot.
Your mindset will be affected. Your spouse’s mindset will be affected. Maybe your acuity at your job will temporarily decrease. Your irritation levels with Ralph, your neighbor, when he decides to fire up the lawn mower at 5:40 AM next Sunday, may run considerably higher. You might even speak harshly to the cat—a small thing, like the cat himself, but surely not something he, as a fellow living being, deserves. You’re the one who dropped the knife, you careless dolt. There are consequences for everything. Close your mouth and own up to them. Be an adult for a change.
But another argument says, no, accidents will happen. No one wants to injure themselves and no one ever truly asks to be hurt. There are so many opportunities in modern life to harm yourself or others that it’s likely to happen, now and then, even if you aren’t naturally accident prone.
No matter how much care you take, there are acts of god; there are times you break your foot stepping off the train, even if you’re minding the gap; a tree hits your bedroom wall; a texting teenager rear-ends you 45 feet into an intersection and you almost get hit and have to wear a neck brace for a month; you drop your phone in the airport toilet; you forget your wallet at the register.
These sorts of things happen whether or not you look both ways, don’t inhale, read Consumer Reports, wear three condoms, and keep your windows triple-locked. Feeling ashamed and responsible for unforeseeable disasters is just adding insult to undeserved injury. Sit down. That’s right. Have a cookie. And tell me where it hurts.
Two good arguments: one about responsibility, the other about compassion. One is not better than the other, but here we stand on the diamond edge of that Zebra knife between them. Which one seems more persuasive on its face? Well, that depends on our emotions, doesn’t it? The argument that resonates more powerfully depends on who we are as emotional beings. The one we choose says volumes about us and very little about the event itself.
Hold that thought. Before we decide which argument style we prefer, let’s talk about how this distinction applies and let’s take it even further, foregrounding the discussion by characterizing the “baby boomers.” Because the boomers have been the deciders, standing on that diamond edge since 1946. And much of what terrifies us today was authored expressly and overtly by them choosing a flimsy kind of emotional “responsibility for the responsible” instead of the more compassionate feels—which tells us a lot about them, if not everything we need to know.
The boomers spent the precious freedoms their parents bought for them as traumatized adults in WWII and before that as traumatized children of the misunderstood, alcoholic, Silent Generation—and the boomers act like they earned it all themselves through true grit and moxie.
Actually, the boomers are the ones who economically fucked over Generation X. The boomers built the nuclear stockpiles, created the student debt crisis, lusted after Gordon Gekko and Ayn Rand, and are the ones who currently despise millennials more than any others. Well, we all despise the millennials. But still. We know who the boomers are. We’re still dealing with their fuckery.
There’s an internet catchphrase going around these days, “Ok Boomer,” which the dictionary tells us is used “often in a humorous or ironic manner, to call out or dismiss out-of-touch or close-minded opinions associated with the baby boomer generation and older people more generally.” Ah. That sounds about right for the generation that established our current ruinous, self-serving climate politics.
As Sorya Roberts puts it (quoting Michael Parenti) in “Happily Never After,” as the environment collapses, elite panic in “strong states with developed economies will succumb to a politics of xenophobia, racism, police repression, surveillance, and militarism and thus transform themselves into fortress societies while the rest of the world slips into collapse.” Isn’t that a lovely vision of the future? Most of the boomers won’t be around to see it. They’re going to die on the golf course well before that. But the rest of us might live to enjoy it. That is, if we’re the lucky ones.
In the art world, particularly in creative academia, worsening since about 1975, boomer narcissism has taken this form: there is always room for talented people. Oh, there are no jobs for you? You must not be one of the talented few (like me). Too bad. Even though, in the boomer generation, you could get a tenured position with an unpublished manuscript and no teaching experience.
“Always room for good people” is a veritable baby boomer mantra, the meritocratic fever dream of those steeped in imperial luxury, who turn beet-red when someone points out that the they got where they are because they were born into a fortunate time and place between global catastrophes; that the emperor is not a god; that the empire is not eternal; and that its luxuries were founded on a pylon of human skulls. Boomers comprise a large part of Donald Trump’s “base,” the leering retirees in the MAGA hats. And though academics generally despise 45, they conveniently overlook that he has more in common with them than any other generation.
So you’re a millennial or, hell forbid, a gen-Xer in your 40s and the socio-political-economic Zebra blade has now gone straight through your foot. Are you trying to stay interested in the impeachment? Are you crying “Why me?” when you realize that halving global greenhouse emissions by 2030 is neigh impossible at this point? Have you been taking solace in Oprah’s self-care philosophies and burning Gwyneth Paltrow’s special candle? Are you ready for what comes next? Are you one of the anointed few like dad was?
You’re not. You can’t be. But why not just pretend you are, just for a bit, after the Bactine and the Band-Aids, while the Parthenon burns?
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.
If I could tell you the number of stories and novels I’ve begun writing and not finished, we’d be here too long. But “not finished” doesn’t mean “discarded.” It means what it says.
The difficulty comes when I’ve convinced myself that I’m one sort of writer (the consistent, cheerfully productive kind) as opposed the other, less glamorous (or, at least, less visible) sort—a slave to the vicissitudes of the moon or some shit, the guy with 25 ongoing projects and an inability to stop working on any of them.
I know this about myself. I tell myself that it’s all part of the bigger creative process. I imagine all these incomplete pieces fermenting, cross-pollinating, mutating. Nothing lost. Everything in motion. And I take refuge in those ideas and metaphors so I can keep working. Being a writer, I tell myself a story. But it might be bullshit self-deceit.
The Romantics smoked opium to get closer to the moon and further from the Victorian head trauma of “productivity.” And when my genre writer pals do highly Victorian social media posts that go, “Sigh. Only 10 pages today,” I wonder whether they’re writing from inspiration or simply turning a lathe in some Dickensian word factory. Productivity equals commercial success, while moonbeams are their own reward. Still, I have word count envy no matter what I do.
The problems of productivity and self-deceit are at the center of trying to write the hard thing. They are the essential obstacles in making the fiction I came here to make instead of clocking in and lathing out a bunch of words to satisfy something or someone else. I don’t want to produce that which has been assigned to me by industry, necessity, or convention. I hate obeying. But am I achieving anything in my disobedience? For that matter, is achievement even the point?
When yet another publishing industry blog post comes out sounding like the vehement Alec Baldwin scene from Glengarry Glen Ross, I feel repulsed. I don’t want to spend time creating a fucking audience platform. Being an artist is not about “closing.” Just doing the actual writing takes up all my energy. I don’t want to frame pieces of my fiction as marketable units. I want to sit in a moonbeam and make something that arises from my own unique imperatives and disposition. I want the serendipity of inspiration. I live for it. And I resist the overtures of commercialism dedicated to consumption and to bullying artists into seeing themselves as part of a service industry.
Unfortunately, I also can’t avoid wanting the world to read my work and maybe give me some money so I can feed and clothe myself. It’s terrifying sometimes. Years ago, at an AWP conference, talking with a publisher after I put out Gravity, my first collection of stories, I felt like Nunez in “The Country of the Blind”—faced with the choice of getting what I loved if I voluntarily blinded myself or seeing clearly and climbing out of the hidden valley forever. In the end, I chose to keep my eyes.
“If you want to get a second book out using the momentum of your first,” he said, “you need to complete the manuscript in less than a year. More than that and people forget who you are. You won’t be able to position it. You’ll be starting over.” Six years later, my second book was done. And he was correct: from the marketing, word factory standpoint, I was starting over. From a creative-process standpoint, those six years were predicated on the six that came before. I wasn’t starting over. I was writing something hard that had emerged from my ongoing creative process, something I couldn’t have written in under a year.
Finishing writing in one’s own time instead of in service to the word factory is difficult. Discovering one’s limitations as an artist and then transcending them is very difficult. Putting in the years is difficult. Doing this up to and beyond age 30 is not only difficult but scary. Nevertheless, all can be accomplished if one is willing to believe in something greater than the word count. One says, it’s all part of my creative process and tries to calm down. One decides not to read (or write) certain self-aggrandising Facebook posts.
Of course, there might not be a bigger process. Maybe there is only Random House, Amazon, AWP conference ugliness, building a platform, positioning and branding, and Best American Monotony. Maybe. Maybe we exist in a world full of cynical anti-creative money-making ventures, cautious art, and nothing else. It’s always possible. The thought of it sometimes keeps me up at night, especially in those blocked periods of worrying and not writing.
It’s like reading about nuclear war or the earth dying from climate change: you have no agency, no option to mitigate the damage, soulless politicians are making horrible decisions, and there is only one way this can end. Apocalypse. Tragedy. No one at the wheel. Inhuman corporations controlling everything. And death, ignominious and unnoticed, unless you get with the program and start churning out formulaic units.
Capitalism wins. It usually does. But if there is a bigger process at work in your struggle to be an artist, it can’t have anything to do with metaphors of productivity on a factory timeline. That is a reality you must not accept.
How does a writer know what’s real? Is it moonbeam or production line? Is it both? Can it be both? Andy Warhol, Ernest Hemingway, and David Bowie say yes. For the rest of us, maybe not. For every Warhol, Hemingway, and Bowie, there are multitudes who weren’t lucky enough to have their unique artistry coincide with commercial demand.
Hugh Howey likes to write about Wool the way Elon Musk talks about launching a roadster into space: let me tell you about my unique genius and the origin of my success. But self-publishing fame and running a car company have one thing in common that never gets discussed: they exist because they are timely. So it is with any highly lucrative creative effort. And that intersection has to do with luck. Meanwhile, someone out there is no doubt making Peking opera, but they are unlikely to be buying villas on the Riviera anytime soon. Nobody cares. Their units don’t ship. And yet they also have the favor of the moon.
Writers are especially predisposed to misunderstand what is real—what is objective versus just a moonbeam. They spend a lot of time deliberately thinking in metaphors, some more useful than others. And if they’re not paying attention to their minds, they can mistake such metaphors for objective reality (which, incidentally, has nothing to do with capitalist realism). Over-absorption in a world of imaginative metaphors can become a source of anxiety when the non-make-believe world reaches out and reminds us that we can’t live totally in our imaginations. Make your Peking opera, sure, but also accept that the six years you put into it mean nothing in terms of branding and positioning.
A writer will see something and begin to imagine things about it—everyone does this, but writers seem to do it with particular intensity—and before long the writer starts to feel like he or she knows it or, even worse, is it. Then something from the world of physics and money communicates: no, you are not that. You can’t imagine yourself to fame and fortune if you’re doing original work. You might get lucky, yes, and I hope you (I hope I) do. But commerce and true creativity exist in different spaces.
So I look at my 25 open projects with a bit of trepidation as the days go by. I’m turning 46 this month. I’ve published a lot of stories in magazines and two books. These have been hard things. Are they enough? Will they ever be enough?
Don’t worry, I tell myself. There’s bigger process at work. There must be.
I don’t often reblog other writing here, but this one is worth the trouble. The author is Soraya Roberts. — M
If the most financially and critically successful artists don’t feel successful, maybe there’s something wrong with how we think about success.
Source: The Myth of Making It
