My crazy creative acts don’t add up
Dear Cary –
My creative doubts have been simmering like a mild poison in my heart and mind for years and I’m starting to hate myself. I need to do something about it.
Nine years ago I was living on the Lower East Side of Manhattan. By age 31 I had accidentally become a loudmouth, performance-arty, punk-rocky type person. I say accidentally because as a dull-witted, privileged, Southern Californian white girl, I wouldn’t have chosen that life. I wouldn’t have believed myself capable of thriving on the grungy, diversified, kaleidoscopic roller coaster that is (was?) New York City.
I was a quiet adolescent with vague aspirations of becoming a marine biologist, though I had no aptitude for science and was a poor student; I just liked Sea World and wanted to ride around on the whales. Then in high school I found the drama kids, in college I majored in theater and went on to get an MFA in acting; even though acting is an impractical profession, the path was well defined. I went on auditions, tried to land an agent, took head shots and even started a theatre company of my own. But I wanted to run wild and so I did.
I raced around New York on my bicycle doing naked performance art in dive bars, having sex with random creatives and cursing loudly into microphones. I would do anything as long as I considered it to be “arty.” I wasn’t accomplishing anything real, though — nothing I could point to and say, “If only I’d kept doing ‘xyz’ I could have made it.”
I wrote short stories, sang and played guitar, acted in plays and did standup comedy and I am not being overly critical of my abilities when I say that unless something unusual happened like it did for some of the lesser bands that hung out at CBGB’s, my antics weren’t going to get me what I really wanted which was to be a part of the professional rather than amateur conversation by making the art that only I can make. I prayed that the group of misfits I was surrounded by would achieve a Studio 54 level of significance, if only in retrospect, so that my showboating would turn out to be meaningful. I can see now that artists like Amanda Palmer, Taylor Mac or Kathleen Hanna are actually doing what I thought I was doing, but wasn’t. Anyway.
I was also lonely and I yearned for romantic love so when I met my husband — the true love of my life, also a standup comic, musician and actor — it felt like hitting the jackpot. I became shy and lost my taste for exhibitionism and decided to drop out of my punk rock band and focus on writing. I grew quieter and I liked it.
I worked as a secretary and eventually became a flight attendant. We got married and both started to feel chewed up by the New York grind. We bought a house in the desert where my parents live and we love it out here. Neither of us misses big-city life.
I quit flying and became a secretary again, wrote five incomprehensible novels and created a silly/offensive cartoon and blog.
But then I started to feel hidden in a bad way. It seemed none of the people around me understood that I had more to offer than the ability to arrive on time and fill out expense reports. I felt sad and droopy, like a bird with wild, colorful feathers wearing a drab, slouchy grey sweatsuit with stains on it.
I didn’t know how to handle this feeling, but I wanted to take action so I swore that I was going to work as hard as I could on my latest novel. I was going to write my way out of the ugly, grey sweats and let the world see my feathers again. I quit my job and for a year I’ve been living off of my savings trying to do whatever it takes to finish the fucking thing.
But I hate it. The novel — writing it has been just … bad. Not bad like “Keep at it and you’ll get better!” bad, but bad like “Why do this when every single day writing feels like a dead, empty, cold, fishy void?” Right now I’m working now on my third rewrite (rewrite as in I’m rewriting the whole thing from scratch) and I just don’t care. My feathers are as droopy as ever. They’re wilting and I think they might be starting to fall out. The novel is meaningless. I am disgusted with myself, but I swore I’d finish it.
I feel like I’ve wasted all of my energy and enthusiasm and now I’m going to be 40 and I have absolutely nothing to show for my artistic ambitions. I’m not a marine biologist, I’m not a punk-rock theatre skank, I’m not a novelist, I’m not a secretary or a flight attendant.
Today I spent the afternoon contemplating getting a degree in digital media arts at the local community college. It seems like a practical thing to do, but is it? Is it just more of the same? Who’s to say I won’t hate that too?
I’ve tried teaching yoga for a year and I really, really hate teaching yoga. I hate secretarial work. I hate writing novels. I’ve tried and failed at a crafty Etsy endeavor. I enjoy painting and drawing but can’t fathom what makes the visual art world tick and while I can pursue it as a hobby, I feel that a hobby doesn’t achieve my goal of exposing my feathers. I want to dig deep, get serious and contribute something artistic in the next (knock wood) forty years. I don’t know what I want to do only that I don’t want to be a nurse or an actress or anything that I can point to in a college catalogue. I don’t have or want children. All I’ve ever cared about was art but I can’t seem to make any.
I want more out of life, but it seems that I am an asshole who doesn’t like anything and can’t do anything well. I should also say that I am very fortunate to have a great husband and great parents who love me and I know how lucky I am.
Can you please tell me if I sound like an asshole? I’m so tone deaf that I don’t even know if these concerns are meaningful or just the dissatisfied whining of someone who’s been given way too much, encouraged way too much and should just find a way to stop complaining and be a secretary. Help.
With much love and appreciation for what you do,
Like a bird in a sweatsuit
Hey there Bird,
It’s OK for you to move from one thing to another. It’s natural for you. That’s where your energy is.
You are a wanderer. You are gathering wisdom from experience.
The problem is that when you look at what you have accomplished it seems like an incoherent mess. So you feel like a failure. You are not a failure. You are at the beginning of something. You are an artist in the early stages of accomplishment. There is a large, life-defining project awaiting you but you don’t know for sure what it is yet. That’s OK. You are working toward it.
What you need is a pattern of working for the next few years that will allow you to keep doing these seemingly disparate activities while also finishing pieces, and all the while keeping an eye on the unifying whole. I suggest using a loop as a pattern.
Envision a circuit. Picture a studio with several projects in various stages of completion. Or maybe it is not a studio but an open field. Maybe it is the desert. Whatever comes to mind. Line up your various pieces and ideas out there: Your performance-art work, your writing, your punk band, your painting, your jobs. Make a path that links them and walk that path. Go to the project that speaks to you at the time, but water them all. Attend to them all. At times, you may simply go and contemplate a project. That is OK. Your attention is like water. It is like love. It keeps the project breathing while it awaits your hands.
You don’t have to stay with one project until it’s entirely finished. You can move from thing to thing. But line the things up so that as you are moving around, you are moving in a circuit of your creations. Each time you come back to the next thing, it’s at a stage where you can work on it and move it forward. In that way, you can finish things and keep them moving forward. You will eventually finish certain things. Others may languish for years. That is OK. Finish what you can finish. Just don’t turn away from anything in despair. It all has meaning.
At the same time, while you do this, in your spare time, study form.
Concentrate on mastering the basics of any form you work in. The novel, for instance: Master the elemental truths of the novel as a form. Go back to basics. Take a look at what the novelist Jane Smiley did when she got stuck. She read 100 novels and asked herself, what are these things? How do they work? What defines them? She wrote 100 Ways of Looking at the Novel. She got down to basics and defined what a novel is at its most elemental. It is “a lengthy written prose narrative with a protagonist.” That’s all. But that’s a lot. The implications of that small statement are immense.
So learn as much as you can about form. Use what you learn to make your pieces cohere.
I sense that you are an extravert, a courageous and in-your-face kind of person, probably an ESFP with an unusually strong intuitive side. It’s vitally important for you to be alive in the moment and impassioned, and you want to share this passion with others. Also, you are physical, tactile. That is your sensing preference. So you need to be doing the stuff. You do your thinking by doing. That’s OK. Because you have a strong intuitive sense (you are probably on the cusp of sensing/intuitive) you can envision and take in nonmaterial ideas.
Creative people are often unbalanced in our talents. We can take steps to moderate our tendency not to finish things. That is one main reason why I created Finishing School — to help those of us who are impassioned and live in the moment but also want to make lasting work. By creating a structure in which we can be just as crazy as we like, we get things finished.
For some people, often those of the “J” persuasion, finishing is the driving motive. For others, the “P’s” among us, the process is the driving motive. For folks like you and me, in the moment of working, it doesn’t matter to us that much whether we finish. Later it does, though. And it matters a great deal to the world, to our audience. So we come upon the dividing point where the creative person must choose between selfishness and service. If we just want to fuck around then we can fuck around and we enjoy it but we are of no use to anyone else. They can’t understand what we are saying because we are not finishing our statements. So we have to supplement our weaker, anarchic, process-oriented, in-the-moment-and-fuck-the-results side. We have to consciously build a structure that ensures we end up finishing things in spite of our tendencies to wander off mid-song.
This requires both finesse and faith.
Since your strong side is the inspiration side, concentrate on building up your conceptual side. This may take a little bit of make-believe; that is, you may have to conjure up a story about each work that is not perhaps entirely literally true. It is a hypothesis that can guide you in making decisions. Ask, What is this piece? What is its thesis? If you are racing around New York on a bicycle doing naked performance art in dive bars, what is the thesis statement of this activity? What might it be? What is the conceptual framework? Might it be a critique of bourgeoise society? Might it be a celebration of the Dionysian? Might it be about being a woman, or unleashing the power of the body? Try to think in terms of a thesis so that you can make decisions about what goes in and what stays out, and so you can decide when the piece is finished. If you know what the thesis is, then you can say the work is finished when it adequately states the thesis.
You may say, well, people should understand the work anyway, in all its inscrutability. Well, maybe they should. But they won’t. Not unless you give them some framework in which to “understand” it. Now, of course, “understand” is in quotes because it is only a rough equivalent of what actually happens when people apperceive a work; it is the cognitive, expressible side. The other, ineffable side is there too. The mystery doesn’t disappear just because we conceive the work within a hypothesis.
Creating a thesis for a work also provides a basis for deciding various crucial elements. For instance: Do I want to smear bicycle chain grease on my nipples or not? Would that add to the meaning or detract? Would it create a richer pattern or would it seem random? Would it be sexually exploitive of yourself as a woman? And speaking of being sexually exploitive, why nipples? Why not on your face, as a warrior? Or on your biceps?
Another way to deal with these apparently incommensurate forays into various art forms is to conceive of your life as the actual project, or canvas. In that sense, what unifies these various activities? They spring from one unique consciousness; together, they define a person. So ask what are the major themes of your life and how do these activities express those themes? Wandering? Seeking? Rebellion? Break down those themes into their constituents and find correspondences. For instance, where has wandering been synonymous with rebellion? When has rebellion provided answers to what you were seeking? See if you can draw lines — it may help to do this visually — between these themes; look for equivalences and synonymous relationships, and also for the contradictions: Where has rebellion led to confinement? Where has seeking led to emptiness and wandering to stasis? These dualities constitute another ordering principle by which you can bring these various artistic endeavors into a conceptual whole.
That whole is your life.