“ It was only when I saw the word encouragement that I thought I could cheer myself on a little more. I could cheerlead, rather than criticise. I really needed that reminder!”
I just had that experience reading your share about this, Claire. I’m not in a great place right now, and I feel like there’s little bits of light reaching me through the darkness, and reminding me of things I can do that will help. This was one of them. Thank you.
So sorry to miss the call on Sun. I’d love to make the one in June. I completely forgot on Sun, promptly remembered about 11pm last night, and was sad I’d missed it!
The “gently” affirmation especially got to me as well, though several of them do.
I wonder also if the author’s approach to “lets use this feeling to orient” is a reflection of the times the book was written in, as nowadays, it’s more common to hear people promoting presence, being with, and feeling first, allowing ourselves to have our feelings, acceptance, compassion etc. That didn’t seem a thing back then, at least not where I grew up! Just now feeling grateful as I write this for being aware of these thing now, as my younger self needed this all so much and didn’t get it.
Unless it’s times of actual emergency or stress for me, I try to allow the orienting or “next step” to naturally reveal itself. Much of the time it seems t come out of the feeling, and the paradoxical transformation that seems to come from just allowing ourselves to feel and to be with ourselves, and let the emotions flow through us. I definitely don’t always manage this, though I wish I could somehow perfectly do so!
Sorry to hear that you're in a difficult moment, Sandi. I'm sending lots of love and solidarity your way 💕
Thanks for your kind words about this piece. I'm so glad it resonated with you.
It's interesting to reflect on what you said about The Artist's Way being reflective of the time it was published. I think there's a lot of truth in that. "Just being with your feelings" was absolutely not a thing when I was growing up in rural Ireland, either! I think I could benefit from more of that in my life too, though at this moment it feels like a very lofty goal. Something to aspire to, I suppose 😉
And yes, I'd love you to join our next virtual gathering in June. I'll share the meeting details with you closer to the time!
Take good care of yourself Sandi. I'm always grateful for your presence here 💕
Thank you, Clare! 💜 I’m very grateful for your presence and kindness too.
“Being with feelings” - Yes, I think I’m always grateful for spaces and people where I can be more fully myself in their presence, and can really feel however I’m feeling, where all of me feels welcome. And the ability to give this to myself when I can. One of my favorite things about my life now versus back in the 90s :)
I used to facilitate spaces where people could do this, deeper connection to self, other and to life, and I think we always need spaces like this in our lives, and community. And sometimes it’s just the invitation we need, the “permission,” to just be, and to allow whatever’s there to be felt too.
Hope you’re well! Looking forward to seeing you on the call.
Clare, such a rich and interesting and as always critical, sharp, honest unpacking of how this chapter did & didn’t work for you, I so appreciate that! I nodded in agreement with much of what you observed, first off that comparison of miscarriage or sexual trauma to an artistic disappointment—very insensitive. I did pause at the idea of grieving for our artistic losses. For every rejection received on the novel I’d been querying (67 and counting, that is, for those who responded at all), I’d push my disappointment down and say c’mon, the antidote is to send out yet another query. Now I am letting myself feel the pain of a novel I worked so hard on for 3 years and many drafts in limbo right now as I figure out what to do next (and those mantras put a lump in my throat too because it’s hard to believe ‘I’m a talented artist’ when gatekeepers keep the gates firmly locked). And yes, the scarcity of time around age, as I mentioned in the money chapter, this is a major block for me I have to keep setting aside. I am 65 (oh to be 37 again, my young friend😀). My life coach (for lack of a better word, she’s as much an emotional therapist) has talked to me of ‘divine timing,’ and to see myself as the ‘door,’ not the do-er. That pieces of writing, of creative work, are meant to come to me, come through me, out into the world and I don’t have control over the timing. Well I suppose I would if I self published and I have a novelist friend who is urging me to do that. But the allure (credibility I guess) of a publisher makes me hesitate. And of course that’s worth considering: if we truly believe in our work and ourselves as artists why do we need permission from someone else to put our work out in the world? I know all the business and marketing arguments but there’s a core question there about giving up my own agency. So this Chapter 8 is really a big wake up call for me. I will give some of the exercises a try. Like you Clare I can make elaborate schedules and lists to do my art rather than actually do it. My new novel has been neglected for months. Hoping this week is the turning point where I return to it with the same delight I felt last year when I began writing it.
Thanks for sharing this, Amy. I always find so much that resonates in your reflections on The Artist's Way.
It's difficult to know what's the best path forward with a creative work - does my novel require further revision or is it ready to live in the world? It's horrible to even think it, but perhaps it's the book I needed to write in order to be able to liberate myself, but it doesn't actually need to be published? It's impossible to know which is one of the trickiest things about creative work. I haven't yet started the rejection train for my novel, but I've a lot of experience with it for other writing projects. I usually push through the pain, but I think a small moment of grief might actually help me more. Maybe I just need to breathe into the rejection, rather than quickly archiving the email because I can't bear to face it? Perhaps that would be worth a try.
The time/age question is a really interesting one. It's probably little consolation but I do often look at older women with envy. I take long walks in a local park most days and often see older women walking their dogs. I envy what it must be like to have survived the child-bearing (& rearing) years and all that means for our bodies. I envy what it must be like to have those decades of life experience in your bones, and how it must change how you inhabit the world. I'm looking forward to that chapter in my own life, though I'm sure I can't yet see some of the challenges that come with it. My 37-year-old bones are nowhere near as resilient as my 20-year-old bones were, for example!
I'm hope you're enjoying working on your new novel.. I'd love to hear an update on how you're getting on, if you're willing to share? 💕
Hi Clare, thanks for this thoughtful comment and yes, there is wisdom in my sixties but still a fair amount of yearning left. Acceptance of one’s life even with all its many gifts is a work in progress. As for my novel, my comment to your latest essay answers that at length 😀
I agree with your comments Clare. The insensitivity and inappropriateness to comparing creative losses to miscarriage – oof. The absolutist language throughout the book makes me question her reliability – she seems unaware that not everyone would agree or experience things in the way she lays them out.
In terms of her discussion on academia, I don’t teach within ‘creative’ disciplines so can’t speak to how academia may thwart young creatives in those areas (although I could ask my daughter who went through a theatre performance program). However, in academia in general, on a systems level (not necessarily on an individual instructor level), I would agree there is pressure to meet certain normative expectations, and those expectations could lead to blocked creativity. If everyone does the same assignments and is graded with an inflexible rubric with the expectation that everyone meet certain criteria, that can be disheartening for students whose creative work doesn’t fit that mold, especially if the instructor is strict and punitive of difference (often students who are socially marginalized are most ostracized).
I would think though, in creative fields, rubrics are developed with flexibility, unless there are specific skills that must be learned. Usually, there would be a combination of assignments that would allow for creativity to flourish as well as foundational topics that feel more restrictive. I will say that I think she’s over-generalizing (as she does throughout). It depends on the teacher, some are skilled at encouragement and providing constructive, supportive feedback that pushes creativity rather than hampers it.
I know that I have high expectations of students (perfectionism can spill over into what you expect of others unfortunately) and I’ve had to work hard to find things to appreciate in students’ work when it doesn't show an understanding of concepts learned. Unless they did completely the wrong assignment or plagiarized, there’s always something worth encouraging and supporting. I teach within disability studies and health professions education and always include at least one creative assignment where students have the opportunity to represent concepts in a creative way of their choosing. I also include some aspect of disability justice in my teaching, which is rooted in disability activism and art of disabled people of colour and those within queer communities. I guess I’m trying to say there is opportunity for creativity of students to flourish even in disciplines that aren’t arts-based, but it’s not across the board.
Another thing I didn’t appreciate in this chapter is her use of disability metaphors, e.g., “For an artist, to become overly cerebral is to become crippled.” It’s problematic because it suggests someone who is literally physically disabled cannot be an artist, or at least would not be expected to be an artist, and perpetuates ideas that disabled people cannot function as a member of society. I have on my to-do writing list a post about the over-use of disability metaphors in writing, how they perpetuate the oppression and discrimination of disabled people, and ways to avoid them. Maybe I’ll get around to writing that one day soon!
Thanks Tracey. It's nice to know I wasn't the only one wincing through those insensitive lines 💕
Thanks for sharing a little from your experience of academia. It's so true that students who are considered "different" for whatever reason are often the ones who suffer most in rigid, inflexible institutions. It's part of what makes me sad about The Artist's Way. Lots of creative people turn to books like this because we've been let down by institutions that are supposed to support creative work, and it's such a shame that this book repeats some of the same mistakes.
I love how committed you are to finding something to encourage and support in every student's efforts, provided that they've demonstrated that they understand the core concepts. I wish were teachers shared that approach.
Thanks for calling out Cameron's use of disability metaphors too. There are so many examples of them throughout the text, and I find them both offensive and woefully inaccurate. Folks in all kinds of bodies create beautiful, meaningful art and they do so in a world that often ignores their talents. I would love to read your post on this topic whenever you get around to writing it, Tracey 💕
Thanks, Clare. I've just posted an essay about my experience with another self-help book and what I learned about myself from it, shifting from a critical analysis of the book to a critical analysis of myself. I was originally going to write about disability metaphors in that post, but I only briefly mention them. I also mention you in a paragraph about The Artist's Way. 😊
I'd still like to write a post about disability metaphors though. They're so common throughout much writing and I'd love to draw attention to this so writers can become aware of when these tired, ableist tropes are being used – there are so many more imaginative ways to describe things than relying on ideas of disabled people as weak or unaware.
Like you, Clare, I consider words like - always, never, and must - to be limiting and judgmental. When I was younger, I admit I used these finite adverbs liberally. For a long time, I believed they described reality accurately. As I gained experience, I also discovered that always and never, and other words like them, don’t allow space for the nuance of our reality that is more often sometimes, maybe, and likely.
I do think age is often an excuse. For the most part, I agree with Cameron about the things she alleges are excuses. I think that might be one of the reasons it stirs the desire in many of us to push back on it. That doesn’t mean our reason is completely false, but maybe it’s not quite as true as we make it out to be.
At my age, I’ve quite a few years to look back on. When I sincerely reflect, a very great many of my age-related, time-related, money-related, and every other-related reasons were mostly excuses. And they were based at least a little bit on fear; fear of the uncertainty, others’ opinions, and the effort required.
Maybe I can’t afford a block of marble and sculpting classes with renowned sculptors, but there are very likely steps I could take toward that goal or a version of it if I let go of perfection and control. YouTube videos and other materials are just the starting point. I find it helpful to turn my can’ts into maybes.
There are so many amazing success stories of individuals who just began. They took a step, a baby step, and then they kept taking steps, and they got places worth arriving at. Not with giant leaps, at least not at the beginning, but because they kept showing up and kept doing the thing. The main difference is, they actually started and kept going, even when it was boring, even when it looked dismal, even when they lost hope and certainty and support… they just kept going. Of course, that doesn’t mean that sometimes it’s best to stop, because you’ve tried long enough and hard enough. Figuring out which is which is the challenge.
Things I highlighted…
“If artistic creations are our brainchildren, artistic losses are our miscarriages.”
“We must be alert to flag and mourn our losses.” In the past, I have often fallen into the guilt of failure when I’ve experienced loss. Reframing this process into a familiar ritual of mourning loss is helpful for me.
“We are childlike, not childish.” A sense of relief arrived with this affirmative sentence. When words are aimed at us with pain intended, remembering these important nuances can be the difference between us allowing ourselves to take up more space or shrink.
“The criticism that damages an artist is the criticism-well intentioned or ill-that contains no saving kernel of truth yet has a certain damning plausibility or an unassailable blanket judgment that cannot be rationally refuted.” “…a sullying yet hard to quantify experience.” I’m still thinking about this. I also feel off-put by the comparisons of concepts to certain types of traumas like sexual harassment. Aside from that, I related to her description. I take exception with the idea that if there is a kernel of truth, the artist will gain something eventually. If an accurate critique is offered scathingly and destroys the runway, the damage to the artist may be the same because the truth has no place to land.
“Imagination is more important than knowledge.” Einstein
Cameron suggests an unfulfilled artist who winds up doing things parallel to their dreams may be, wittingly or unwittingly, “seeking to vicariously fulfill or justify his own position on the sidelines.” My high school gym teacher was an ex-pro football player who blew out his knee. As soon as I read this section, he came to mind. I was one of those who chose a safe, traditional path rather than following any of my passions or real interests. Regardless of the role I’ve held since then, at some point, I find myself tasked with creative components that arise. Often, when I think about it, my favourite part of many jobs is the opportunities to explore extra-curricular activities in my role.
“They neglected to supply that most rudimentary nutrient: encouragement.”
“Surround yourself with people who respect and treat you well.” Claudia Black
Those two quotes encapsulated how I feel. Yes, self-worth and validation come from within, but I can’t dismiss the importance of external encouragement that validates our potential and possibility. Without it, I admit that my tank runs dry as fast as a truck pushing a full-on headwind.
“To be blunt, most academics know how to take something apart, but not how to assemble it.”
“Whatever its genuine accomplishments, it [work] was viewed solely in terms of its shortfalls.”
I chuckled and appreciated that she used the word ‘most’ when referring to academics, but I tend to agree with her. This is certainly debatable, but I have run into those who fit that description aptly.
“For an artist, to become overly cerebral is to become crippled.” When I become too cerebral, the result is often paralysis, or a meandering down pointless paths that lead away from my true north.
“Artistic rigour is grounded differently than intellectual life usually admits.”
“As a teacher, it has been my sad experience that many talented creatives were daunted early and unfairly by their inability to conform to a norm that was not their own.” My mother, a teacher, was always supportive and for the most part, so was my dad, although he was slightly “more practical.” As I write this, I realize that maybe the main reason some of the exercises around childhood just did not resonate with me this week.
“Trust that still, small voice that says, 'This might work and I’ll try it.’” Diane Mariechild
In my experience, framing is important in getting to where I want to be. “This might work and I’ll try it,” is an extension of the maybe approach from a previous chapter.
“He had to make his peace with the lost years this wounding had cost him.” This is made more difficult because it also risks falling down the slippery slope of considering the wounding being justification to remain stuck in the limited belief he held.
“Give yourself the dignity of admitting your artistic wounds.” Again, that framing of receiving something personal and valuable – dignity, helps us accept permission to acknowledge, grieve and begin healing.
“Art is an act of structuring. I hadn’t thought about it that way, and I find it intriguing.
“Every loss must always be viewed as a potential gain; it’s all in the framing.” I know, I get it, and ‘always’ doesn’t feel right. But I also get the power of framing and hope. And as I acknowledge some losses, at least just feel forever after as losses, at least leaving some space for something to come out of it, regardless of how small, is at least a possibility that can be transformative. “How does this loss serve me?” can be a valuable question to ask, even if there is no immediate answer.
“Whenever I am willing to ask, “What is necessary next?” I have moved ahead. Whenever I have taken no for a final answer, I have stalled and gotten stuck. I have learned that the key to career resiliency is self-empowerment and choice.” I haven’t kept track scientifically, but I have had similar experiences. I figure even if it doesn’t help, it can’t hurt either.
“When faced with a loss, immediately take one small action to support your artist.” This can be hard yet therapeutic, and I don’t think it has to be immediate, but soon is probably better to avoid giving up entirely.
I like how Cameron refers to what she considers excuses as “more ego-saving nonsense.” Our excuses may hold a kernel of truth, but observation seems to bear out her thoughts.
“Creativity occurs in the moment, and in the moment we are timeless.” It feels that way.
“Instead of allowing ourselves a creative journey, we focus on the length of the trip.” Even a few years ago, I probably wouldn’t have felt this like I do now. As time ticks by I see the ridiculous futility of that narrow focus.
“…creativity lies not in the done but in doing.” I am vs I have.
I fall into the trap of fantasizing rather than pursuing, and my end goal of these weeks together is to create the habits that will get me doing. So far, I’m making progress. It’s easier with her reminder that “creative life is grounded on many, many small steps and very, very few large leaps.” I can do small steps.
As a reminder, I chose the affirmations “I am a talented person. I have a right to be an artist. I am a good person and a good artist.”
Thanks for this thoughtful update, Jewel 💕 As always, they really make me think.
I love the nuance you add around excuses/reasons for not pursuing our creative work: "That doesn’t mean our reason is completely false, but maybe it’s not quite as true as we make it out to be." This is exactly the kind of nuance I wish existed more in the book itself! One of the most useful things for me has been unpicking what exists underneath the reasons I think are true. That process takes time, space, reflection and a firm commitment to honesty, which I most often find through the Morning Pages.
Love the idea of turning "can'ts" into "maybes" too. "Maybe" doesn't mean it'll happen of course, but it's useful to leave the door slightly open to possibility..
I hope you found it useful to work with those mantras, Jewel. They haven't really landed in the way I think they're "supposed to" for me, but I'm still playing around with them and it does feel like they're having an impact even if it is small and difficult to define. 💕
Me too, Celina. It hurt my heart too. 💕 Here's to trying to see things a little differently. I know I won't get it right all the time, but I really want to try.
“ It was only when I saw the word encouragement that I thought I could cheer myself on a little more. I could cheerlead, rather than criticise. I really needed that reminder!”
I just had that experience reading your share about this, Claire. I’m not in a great place right now, and I feel like there’s little bits of light reaching me through the darkness, and reminding me of things I can do that will help. This was one of them. Thank you.
So sorry to miss the call on Sun. I’d love to make the one in June. I completely forgot on Sun, promptly remembered about 11pm last night, and was sad I’d missed it!
The “gently” affirmation especially got to me as well, though several of them do.
I wonder also if the author’s approach to “lets use this feeling to orient” is a reflection of the times the book was written in, as nowadays, it’s more common to hear people promoting presence, being with, and feeling first, allowing ourselves to have our feelings, acceptance, compassion etc. That didn’t seem a thing back then, at least not where I grew up! Just now feeling grateful as I write this for being aware of these thing now, as my younger self needed this all so much and didn’t get it.
Unless it’s times of actual emergency or stress for me, I try to allow the orienting or “next step” to naturally reveal itself. Much of the time it seems t come out of the feeling, and the paradoxical transformation that seems to come from just allowing ourselves to feel and to be with ourselves, and let the emotions flow through us. I definitely don’t always manage this, though I wish I could somehow perfectly do so!
Sorry to hear that you're in a difficult moment, Sandi. I'm sending lots of love and solidarity your way 💕
Thanks for your kind words about this piece. I'm so glad it resonated with you.
It's interesting to reflect on what you said about The Artist's Way being reflective of the time it was published. I think there's a lot of truth in that. "Just being with your feelings" was absolutely not a thing when I was growing up in rural Ireland, either! I think I could benefit from more of that in my life too, though at this moment it feels like a very lofty goal. Something to aspire to, I suppose 😉
And yes, I'd love you to join our next virtual gathering in June. I'll share the meeting details with you closer to the time!
Take good care of yourself Sandi. I'm always grateful for your presence here 💕
Thank you, Clare! 💜 I’m very grateful for your presence and kindness too.
“Being with feelings” - Yes, I think I’m always grateful for spaces and people where I can be more fully myself in their presence, and can really feel however I’m feeling, where all of me feels welcome. And the ability to give this to myself when I can. One of my favorite things about my life now versus back in the 90s :)
I used to facilitate spaces where people could do this, deeper connection to self, other and to life, and I think we always need spaces like this in our lives, and community. And sometimes it’s just the invitation we need, the “permission,” to just be, and to allow whatever’s there to be felt too.
Hope you’re well! Looking forward to seeing you on the call.
Those spaces are so precious, Sandi. They can sustain us in ways that aren't always easy to articulate, but are invaluble nonetheless. 💕
Oh, I loved this too: “Art is the act of structuring time.” It feels like a good exploration or invitation to inquiry to me as well when I read it.
Same! I needed to explore this more in my Morning Pages. It's one of those phrases that I think has more to teach me, the deeper I dig.. 💕
Clare, such a rich and interesting and as always critical, sharp, honest unpacking of how this chapter did & didn’t work for you, I so appreciate that! I nodded in agreement with much of what you observed, first off that comparison of miscarriage or sexual trauma to an artistic disappointment—very insensitive. I did pause at the idea of grieving for our artistic losses. For every rejection received on the novel I’d been querying (67 and counting, that is, for those who responded at all), I’d push my disappointment down and say c’mon, the antidote is to send out yet another query. Now I am letting myself feel the pain of a novel I worked so hard on for 3 years and many drafts in limbo right now as I figure out what to do next (and those mantras put a lump in my throat too because it’s hard to believe ‘I’m a talented artist’ when gatekeepers keep the gates firmly locked). And yes, the scarcity of time around age, as I mentioned in the money chapter, this is a major block for me I have to keep setting aside. I am 65 (oh to be 37 again, my young friend😀). My life coach (for lack of a better word, she’s as much an emotional therapist) has talked to me of ‘divine timing,’ and to see myself as the ‘door,’ not the do-er. That pieces of writing, of creative work, are meant to come to me, come through me, out into the world and I don’t have control over the timing. Well I suppose I would if I self published and I have a novelist friend who is urging me to do that. But the allure (credibility I guess) of a publisher makes me hesitate. And of course that’s worth considering: if we truly believe in our work and ourselves as artists why do we need permission from someone else to put our work out in the world? I know all the business and marketing arguments but there’s a core question there about giving up my own agency. So this Chapter 8 is really a big wake up call for me. I will give some of the exercises a try. Like you Clare I can make elaborate schedules and lists to do my art rather than actually do it. My new novel has been neglected for months. Hoping this week is the turning point where I return to it with the same delight I felt last year when I began writing it.
Thanks for sharing this, Amy. I always find so much that resonates in your reflections on The Artist's Way.
It's difficult to know what's the best path forward with a creative work - does my novel require further revision or is it ready to live in the world? It's horrible to even think it, but perhaps it's the book I needed to write in order to be able to liberate myself, but it doesn't actually need to be published? It's impossible to know which is one of the trickiest things about creative work. I haven't yet started the rejection train for my novel, but I've a lot of experience with it for other writing projects. I usually push through the pain, but I think a small moment of grief might actually help me more. Maybe I just need to breathe into the rejection, rather than quickly archiving the email because I can't bear to face it? Perhaps that would be worth a try.
The time/age question is a really interesting one. It's probably little consolation but I do often look at older women with envy. I take long walks in a local park most days and often see older women walking their dogs. I envy what it must be like to have survived the child-bearing (& rearing) years and all that means for our bodies. I envy what it must be like to have those decades of life experience in your bones, and how it must change how you inhabit the world. I'm looking forward to that chapter in my own life, though I'm sure I can't yet see some of the challenges that come with it. My 37-year-old bones are nowhere near as resilient as my 20-year-old bones were, for example!
I'm hope you're enjoying working on your new novel.. I'd love to hear an update on how you're getting on, if you're willing to share? 💕
Hi Clare, thanks for this thoughtful comment and yes, there is wisdom in my sixties but still a fair amount of yearning left. Acceptance of one’s life even with all its many gifts is a work in progress. As for my novel, my comment to your latest essay answers that at length 😀
*trots off to read & respond to that comment* Thanks Amy 💕
I agree with your comments Clare. The insensitivity and inappropriateness to comparing creative losses to miscarriage – oof. The absolutist language throughout the book makes me question her reliability – she seems unaware that not everyone would agree or experience things in the way she lays them out.
In terms of her discussion on academia, I don’t teach within ‘creative’ disciplines so can’t speak to how academia may thwart young creatives in those areas (although I could ask my daughter who went through a theatre performance program). However, in academia in general, on a systems level (not necessarily on an individual instructor level), I would agree there is pressure to meet certain normative expectations, and those expectations could lead to blocked creativity. If everyone does the same assignments and is graded with an inflexible rubric with the expectation that everyone meet certain criteria, that can be disheartening for students whose creative work doesn’t fit that mold, especially if the instructor is strict and punitive of difference (often students who are socially marginalized are most ostracized).
I would think though, in creative fields, rubrics are developed with flexibility, unless there are specific skills that must be learned. Usually, there would be a combination of assignments that would allow for creativity to flourish as well as foundational topics that feel more restrictive. I will say that I think she’s over-generalizing (as she does throughout). It depends on the teacher, some are skilled at encouragement and providing constructive, supportive feedback that pushes creativity rather than hampers it.
I know that I have high expectations of students (perfectionism can spill over into what you expect of others unfortunately) and I’ve had to work hard to find things to appreciate in students’ work when it doesn't show an understanding of concepts learned. Unless they did completely the wrong assignment or plagiarized, there’s always something worth encouraging and supporting. I teach within disability studies and health professions education and always include at least one creative assignment where students have the opportunity to represent concepts in a creative way of their choosing. I also include some aspect of disability justice in my teaching, which is rooted in disability activism and art of disabled people of colour and those within queer communities. I guess I’m trying to say there is opportunity for creativity of students to flourish even in disciplines that aren’t arts-based, but it’s not across the board.
Another thing I didn’t appreciate in this chapter is her use of disability metaphors, e.g., “For an artist, to become overly cerebral is to become crippled.” It’s problematic because it suggests someone who is literally physically disabled cannot be an artist, or at least would not be expected to be an artist, and perpetuates ideas that disabled people cannot function as a member of society. I have on my to-do writing list a post about the over-use of disability metaphors in writing, how they perpetuate the oppression and discrimination of disabled people, and ways to avoid them. Maybe I’ll get around to writing that one day soon!
Thanks Tracey. It's nice to know I wasn't the only one wincing through those insensitive lines 💕
Thanks for sharing a little from your experience of academia. It's so true that students who are considered "different" for whatever reason are often the ones who suffer most in rigid, inflexible institutions. It's part of what makes me sad about The Artist's Way. Lots of creative people turn to books like this because we've been let down by institutions that are supposed to support creative work, and it's such a shame that this book repeats some of the same mistakes.
I love how committed you are to finding something to encourage and support in every student's efforts, provided that they've demonstrated that they understand the core concepts. I wish were teachers shared that approach.
Thanks for calling out Cameron's use of disability metaphors too. There are so many examples of them throughout the text, and I find them both offensive and woefully inaccurate. Folks in all kinds of bodies create beautiful, meaningful art and they do so in a world that often ignores their talents. I would love to read your post on this topic whenever you get around to writing it, Tracey 💕
Thanks, Clare. I've just posted an essay about my experience with another self-help book and what I learned about myself from it, shifting from a critical analysis of the book to a critical analysis of myself. I was originally going to write about disability metaphors in that post, but I only briefly mention them. I also mention you in a paragraph about The Artist's Way. 😊
I'd still like to write a post about disability metaphors though. They're so common throughout much writing and I'd love to draw attention to this so writers can become aware of when these tired, ableist tropes are being used – there are so many more imaginative ways to describe things than relying on ideas of disabled people as weak or unaware.
Looking forward to reading post posts, Tracey. Thanks for sharing them 💕
Like you, Clare, I consider words like - always, never, and must - to be limiting and judgmental. When I was younger, I admit I used these finite adverbs liberally. For a long time, I believed they described reality accurately. As I gained experience, I also discovered that always and never, and other words like them, don’t allow space for the nuance of our reality that is more often sometimes, maybe, and likely.
I do think age is often an excuse. For the most part, I agree with Cameron about the things she alleges are excuses. I think that might be one of the reasons it stirs the desire in many of us to push back on it. That doesn’t mean our reason is completely false, but maybe it’s not quite as true as we make it out to be.
At my age, I’ve quite a few years to look back on. When I sincerely reflect, a very great many of my age-related, time-related, money-related, and every other-related reasons were mostly excuses. And they were based at least a little bit on fear; fear of the uncertainty, others’ opinions, and the effort required.
Maybe I can’t afford a block of marble and sculpting classes with renowned sculptors, but there are very likely steps I could take toward that goal or a version of it if I let go of perfection and control. YouTube videos and other materials are just the starting point. I find it helpful to turn my can’ts into maybes.
There are so many amazing success stories of individuals who just began. They took a step, a baby step, and then they kept taking steps, and they got places worth arriving at. Not with giant leaps, at least not at the beginning, but because they kept showing up and kept doing the thing. The main difference is, they actually started and kept going, even when it was boring, even when it looked dismal, even when they lost hope and certainty and support… they just kept going. Of course, that doesn’t mean that sometimes it’s best to stop, because you’ve tried long enough and hard enough. Figuring out which is which is the challenge.
Things I highlighted…
“If artistic creations are our brainchildren, artistic losses are our miscarriages.”
“We must be alert to flag and mourn our losses.” In the past, I have often fallen into the guilt of failure when I’ve experienced loss. Reframing this process into a familiar ritual of mourning loss is helpful for me.
“We are childlike, not childish.” A sense of relief arrived with this affirmative sentence. When words are aimed at us with pain intended, remembering these important nuances can be the difference between us allowing ourselves to take up more space or shrink.
“The criticism that damages an artist is the criticism-well intentioned or ill-that contains no saving kernel of truth yet has a certain damning plausibility or an unassailable blanket judgment that cannot be rationally refuted.” “…a sullying yet hard to quantify experience.” I’m still thinking about this. I also feel off-put by the comparisons of concepts to certain types of traumas like sexual harassment. Aside from that, I related to her description. I take exception with the idea that if there is a kernel of truth, the artist will gain something eventually. If an accurate critique is offered scathingly and destroys the runway, the damage to the artist may be the same because the truth has no place to land.
“Imagination is more important than knowledge.” Einstein
Cameron suggests an unfulfilled artist who winds up doing things parallel to their dreams may be, wittingly or unwittingly, “seeking to vicariously fulfill or justify his own position on the sidelines.” My high school gym teacher was an ex-pro football player who blew out his knee. As soon as I read this section, he came to mind. I was one of those who chose a safe, traditional path rather than following any of my passions or real interests. Regardless of the role I’ve held since then, at some point, I find myself tasked with creative components that arise. Often, when I think about it, my favourite part of many jobs is the opportunities to explore extra-curricular activities in my role.
“They neglected to supply that most rudimentary nutrient: encouragement.”
“Surround yourself with people who respect and treat you well.” Claudia Black
Those two quotes encapsulated how I feel. Yes, self-worth and validation come from within, but I can’t dismiss the importance of external encouragement that validates our potential and possibility. Without it, I admit that my tank runs dry as fast as a truck pushing a full-on headwind.
“To be blunt, most academics know how to take something apart, but not how to assemble it.”
“Whatever its genuine accomplishments, it [work] was viewed solely in terms of its shortfalls.”
I chuckled and appreciated that she used the word ‘most’ when referring to academics, but I tend to agree with her. This is certainly debatable, but I have run into those who fit that description aptly.
“For an artist, to become overly cerebral is to become crippled.” When I become too cerebral, the result is often paralysis, or a meandering down pointless paths that lead away from my true north.
“Artistic rigour is grounded differently than intellectual life usually admits.”
“As a teacher, it has been my sad experience that many talented creatives were daunted early and unfairly by their inability to conform to a norm that was not their own.” My mother, a teacher, was always supportive and for the most part, so was my dad, although he was slightly “more practical.” As I write this, I realize that maybe the main reason some of the exercises around childhood just did not resonate with me this week.
“Trust that still, small voice that says, 'This might work and I’ll try it.’” Diane Mariechild
In my experience, framing is important in getting to where I want to be. “This might work and I’ll try it,” is an extension of the maybe approach from a previous chapter.
“He had to make his peace with the lost years this wounding had cost him.” This is made more difficult because it also risks falling down the slippery slope of considering the wounding being justification to remain stuck in the limited belief he held.
“Give yourself the dignity of admitting your artistic wounds.” Again, that framing of receiving something personal and valuable – dignity, helps us accept permission to acknowledge, grieve and begin healing.
“Art is an act of structuring. I hadn’t thought about it that way, and I find it intriguing.
“Every loss must always be viewed as a potential gain; it’s all in the framing.” I know, I get it, and ‘always’ doesn’t feel right. But I also get the power of framing and hope. And as I acknowledge some losses, at least just feel forever after as losses, at least leaving some space for something to come out of it, regardless of how small, is at least a possibility that can be transformative. “How does this loss serve me?” can be a valuable question to ask, even if there is no immediate answer.
“Whenever I am willing to ask, “What is necessary next?” I have moved ahead. Whenever I have taken no for a final answer, I have stalled and gotten stuck. I have learned that the key to career resiliency is self-empowerment and choice.” I haven’t kept track scientifically, but I have had similar experiences. I figure even if it doesn’t help, it can’t hurt either.
“When faced with a loss, immediately take one small action to support your artist.” This can be hard yet therapeutic, and I don’t think it has to be immediate, but soon is probably better to avoid giving up entirely.
I like how Cameron refers to what she considers excuses as “more ego-saving nonsense.” Our excuses may hold a kernel of truth, but observation seems to bear out her thoughts.
“Creativity occurs in the moment, and in the moment we are timeless.” It feels that way.
“Instead of allowing ourselves a creative journey, we focus on the length of the trip.” Even a few years ago, I probably wouldn’t have felt this like I do now. As time ticks by I see the ridiculous futility of that narrow focus.
“…creativity lies not in the done but in doing.” I am vs I have.
I fall into the trap of fantasizing rather than pursuing, and my end goal of these weeks together is to create the habits that will get me doing. So far, I’m making progress. It’s easier with her reminder that “creative life is grounded on many, many small steps and very, very few large leaps.” I can do small steps.
As a reminder, I chose the affirmations “I am a talented person. I have a right to be an artist. I am a good person and a good artist.”
Have a great weekend
Thanks for this thoughtful update, Jewel 💕 As always, they really make me think.
I love the nuance you add around excuses/reasons for not pursuing our creative work: "That doesn’t mean our reason is completely false, but maybe it’s not quite as true as we make it out to be." This is exactly the kind of nuance I wish existed more in the book itself! One of the most useful things for me has been unpicking what exists underneath the reasons I think are true. That process takes time, space, reflection and a firm commitment to honesty, which I most often find through the Morning Pages.
Love the idea of turning "can'ts" into "maybes" too. "Maybe" doesn't mean it'll happen of course, but it's useful to leave the door slightly open to possibility..
I hope you found it useful to work with those mantras, Jewel. They haven't really landed in the way I think they're "supposed to" for me, but I'm still playing around with them and it does feel like they're having an impact even if it is small and difficult to define. 💕
I admit the mantra hasn’t stuck and I’m ok with that 💐
Good for you! We try things. Sometimes they stick. Sometimes they don't. What matters is that we tried 💕
Me too, Celina. It hurt my heart too. 💕 Here's to trying to see things a little differently. I know I won't get it right all the time, but I really want to try.