Dreams come from the Self. Ideas come from the Self. When we meditate we access the Self. When we fast, when we pray, when we go on a vision quest, it’s the Self we’re seeking. When the dervish whirls, when the yogi chants, when the sadhu mutilates his flesh; when penitents crawl a hundred miles on their knees, when Native Americans pierce themselves in the Sun Dance, when suburban kids take Ecstasy and dance all night at a rave, they’re seeking the Self. When we deliberately alter our consciousness in any way, we’re trying to find the Self. When the alcoholic collapses in the gutter, that voice that tells him, “I’ll save you,” comes from the Self.
The Self is our deepest being.
The Self is united to God.
The Self is incapable of falsehood.
The Self, like the Divine Ground that permeates it, is ever-growing and ever-evolving.
The Self speaks for the future.
That’s why the Ego hates it.
The Ego hates the Self because when we seat our consciousness in the Self, we put the ego out of business.
The Ego doesn’t want us to evolve. The Ego runs the show right now. It likes things just the way they are.
The instinct that pulls us toward art is the impulse to evolve, to learn, to heighten and elevate our consciousness. The Ego hates this. Because the more awake we become, the less we need the Ego.
The Ego hates it when the awakening writer sits down at the typewriter.
The Ego hates it when the aspiring painter steps up before the easel.
The Ego hates it because it knows that these souls are awakening to a call, and that that call comes from a plane nobler than the material one and from a source deeper and more powerful than the physical.
The Ego hates the prophet and the visionary because they propel the race upward. The Ego hated Socrates and Jesus, Luther and Galileo, Lincoln and JFK and Martin Luther King.
The Ego hates artists because they are the pathfinders and bearers of the future, because each one dares, in James Joyce’s phrase, to “forge in the smithy of my soul the uncreated conscience of my race.”
Such evolution is life-threatening to the Ego. It reacts accordingly. It summons its cunning, marshals its troops.
The Ego produces Resistance and attacks the awakening artist.
FEAR
* * *
Resistance feeds on fear. We experience Resistance as fear. But fear of what?
Fear of the consequences of following our heart. Fear of bankruptcy, fear of poverty, fear of insolvency. Fear of groveling when we try to make it on our own, and of groveling when we give up and come crawling back to where we started. Fear of being selfish, of being rotten wives or disloyal husbands; fear of failing to support our families, of sacrificing their dreams for ours. Fear of betraying our race, our ’hood, our homies. Fear of failure. Fear of being ridiculous. Fear of throwing away the education, the training, the preparation that those we love have sacrificed so much for, that we ourselves have worked our butts off for. Fear of launching into the void, of hurtling too far out there; fear of passing some point of no return, beyond which we cannot recant, cannot reverse, cannot rescind, but must live with this cocked-up choice for the rest of our lives. Fear of madness. Fear of insanity. Fear of death.
These are serious fears. But they’re not the real fear. Not the Master Fear, the Mother of all Fears that’s so close to us that even when we verbalize it we don’t believe it.
Fear That We Will Succeed.
That we can access the powers we secretly know we possess.
That we can become the person we sense in our hearts we truly are.
This is the most terrifying prospect a human being can face, because it ejects him at one go (he imagines) from all the tribal inclusions his psyche is wired for and has been for fifty million years.
We fear discovering that we are more than we think we are. More than our parents/children/teachers think we are. We fear that we actually possess the talent that our still, small voice tells us. That we actually have the guts, the perseverance, the capacity. We fear that we truly can steer our ship, plant our flag, reach our Promised Land. We fear this because, if it’s true, then we become estranged from all we know. We pass through a membrane. We become monsters and monstrous.
We know that if we embrace our ideals, we must prove worthy of them. And that scares the hell out of us. What will become of us? We will lose our friends and family, who will no longer recognize us. We will wind up alone, in the cold void of starry space, with nothing and no one to hold on to.
Of course this is exactly what happens. But here’s the trick. We wind up in space, but not alone. Instead we are tapped into an unquenchable, undepletable, inexhaustible source of wisdom, consciousness, companionship. Yeah, we lose friends. But we find friends too, in places we never thought to look. And they’re better friends, truer friends. And we’re better and truer to them.
Do you believe me?
THE AUTHENTIC SELF
* * *
Do you have kids?
Then you know that not one of them popped out as tabula rasa, a blank slate. Each came into this world with a distinct and unique personality, an identity so set that you can fling stardust and great balls of fire at it and not morph it by one micro-dot. Each kid was who he was. Even identical twins, constituted of the exact same genetic material, were radically different from Day One and always would be.
Personally I’m with Wordsworth:
Our birth is but a sleep and a forgetting:
The soul that rises with us, our life’s star,
Hath had elsewhere its setting,
And cometh from afar:
Not in entire forgetfulness,
And not in utter nakedness,
But trailing clouds of glory do we come,
From God who is our home.
In other words, none of us are born as passive generic blobs waiting for the world to stamp its imprint on us. Instead we show up possessing already a highly refined and individuated soul.
Another way of thinking of it is this: We’re not born with unlimited choices.
We can’t be anything we want to be.
We come into this world with a specific, personal destiny. We have a job to do, a calling to enact, a self to become. We are who we are from the cradle, and we’re stuck with it.
Our job in this lifetime is not to shape ourselves into some ideal we imagine we ought to be, but to find out who we already are and become it.
If we were born to paint, it’s our job to become a painter.
If we were born to raise and nurture children, it’s our job to become a mother.
If we were born to overthrow the order of ignorance and injustice of the world, it’s our job to realize it and get down to business.
TERRITORY VERSUS HIERARCHY
* * *
In the animal kingdom, individuals define themselves in one of two ways—by their rank within a hierarchy (a hen in a pecking order, a wolf in a pack) or by their connection to a territory (a home base, a hunting ground, a turf).
This is how individuals—humans as well as animals— achieve psychological security. They know where they stand. The world makes sense.
Of the two orientations, the hierarchical seems to be the default setting. It’s the one that kicks in automatically when we’re kids. We run naturally in packs and cliques; without thinking about it, we know who’s the top dog and who’s the underdog. And we know our own place. We define ourselves, instinctively it seems, by our position within the schoolyard, the gang, the club.
It’s only later in life, usually after a stern education in the university of hard knocks, that we begin to explore the territorial alternative.
For some of us, this saves our lives.
THE HIERARCHICAL ORIENTATION
* * *
Most of us define ourselves hierarchically and don’t even know it. It’s hard not to. School, advertising, the entire materialist culture drills us from birth to define ourselves by others
’ opinions. Drink this beer, get this job, look this way and everyone will love you.
What is a hierarchy, anyway?
Hollywood is a hierarchy. So are Washington, Wall Street, and the Daughters of the American Revolution.
High school is the ultimate hierarchy. And it works; in a pond that small, the hierarchical orientation succeeds. The cheerleader knows where she fits, as does the dweeb in the Chess Club. Each has found a niche. The system works.
There’s a problem with the hierarchical orientation, though. When the numbers get too big, the thing breaks down. A pecking order can hold only so many chickens. In Massapequa High, you can find your place. Move to Manhattan and the trick no longer works. New York City is too big to function as a hierarchy. So is IBM. So is Michigan State. The individual in multitudes this vast feels overwhelmed, anonymous. He is submerged in the mass. He’s lost.
We humans seem to have been wired by our evolutionary past to function most comfortably in a tribe of twenty to, say, eight hundred. We can push it maybe to a few thousand, even to five figures. But at some point it maxes out. Our brains can’t file that many faces. We thrash around, flashing our badges of status (Hey, how do you like my Lincoln Navigator?) and wondering why nobody gives a shit.
We have entered Mass Society. The hierarchy is too big. It doesn’t work anymore.
THE ARTIST AND THE HIERARCHY
* * *
For the artist to define himself hierarchically is fatal.
Let’s examine why. First, let’s look at what happens in a hierarchical orientation.
An individual who defines himself by his place in a pecking order will:
1) Compete against all others in the order, seeking to elevate his station by advancing against those above him, while defending his place against those beneath.
2) Evaluate his happiness/success/achievement by his rank within the hierarchy, feeling most satisfied when he’s high and most miserable when he’s low.
3) Act toward others based upon their rank in the hierarchy, to the exclusion of all other factors.
4) Evaluate his every move solely by the effect it produces on others. He will act for others, dress for others, speak for others, think for others.
But the artist cannot look to others to validate his efforts or his calling. If you don’t believe me, ask Van Gogh, who produced masterpiece after masterpiece and never found a buyer in his whole life.
The artist must operate territorially. He must do his work for its own sake.
To labor in the arts for any reason other than love is prostitution. Recall the fate of Odysseus’ men who slew the cattle of the sun.
Their own witlessness cast them away.
The fools! To destroy for meat the oxen
of the most exalted Sun, wherefore the sun-god
blotted out the day of their return.
In the hierarchy, the artist faces outward. Meeting someone new he asks himself, What can this person do for me? How can this person advance my standing?
In the hierarchy, the artist looks up and looks down. The one place he can’t look is that place he must: within.
THE DEFINITION OF A HACK
* * *
I learned this from Robert McKee. A hack, he says, is a writer who second-guesses his audience. When the hack sits down to work, he doesn’t ask himself what’s in his own heart. He asks what the market is looking for.
The hack condescends to his audience. He thinks he’s superior to them. The truth is, he’s scared to death of them or, more accurately, scared of being authentic in front of them, scared of writing what he really feels or believes, what he himself thinks is interesting. He’s afraid it won’t sell. So he tries to anticipate what the market (a telling word) wants, then gives it to them.
In other words, the hack writes hierarchically. He writes what he imagines will play well in the eyes of others. He does not ask himself, What do I myself want to write? What do I think is important? Instead he asks, What’s hot, what can I make a deal for?
The hack is like the politician who consults the polls before he takes a position. He’s a demagogue. He panders.
It can pay off, being a hack. Given the depraved state of American culture, a slick dude can make millions being a hack. But even if you succeed, you lose, because you’ve sold out your Muse, and your Muse is you, the best part of yourself, where your finest and only true work comes from.
I was starving as a screenwriter when the idea for The Legend of Bagger Vance came to me. It came as a book, not a movie. I met with my agent to give him the bad news. We both knew that first novels take forever and sell for nothing. Worse, a novel about golf, even if we could find a publisher, is a straight shot to the remainder bin.
But the Muse had me. I had to do it. To my amazement, the book succeeded critically and commercially better than anything I’d ever done, and others since have been lucky too. Why? My best guess is this: I trusted what I wanted, not what I thought would work. I did what I myself thought was interesting, and left its reception to the gods.
The artist can’t do his work hierarchically. He has to work territorially.
THE TERRITORIAL ORIENTATION
* * *
There’s a three-legged coyote who lives up the hill from me. All the garbage cans in the neighborhood belong to him. It’s his territory. Every now and then some four-legged intruder tries to take over. They can’t do it. On his home turf, even a peg-leg critter is invincible.
We humans have territories too. Ours are psychological. Stevie Wonder’s territory is the piano. Arnold Schwarzenegger’s is the gym. When Bill Gates pulls into the parking lot at Microsoft, he’s on his territory. When I sit down to write, I’m on mine.
What are the qualities of a territory?
1) A territory provides sustenance. Runners know what a territory is. So do rock climbers and kayakers and yogis. Artists and entrepreneurs know what a territory is. The swimmer who towels off after finishing her laps feels a helluva lot better than the tired, cranky person who dove into the pool thirty minutes earlier.
2) A territory sustains us without any external input. A territory is a closed feedback loop. Our role is to put in effort and love; the territory absorbs this and gives it back to us in the form of well-being.
When experts tell us that exercise (or any other effort-requiring activity) banishes depression, this is what they mean.
3) A territory can only be claimed alone. You can team with a partner, you can work out with a friend, but you only need yourself to soak up your territory’s juice.
4) A territory can only be claimed by work. When Arnold Schwarzenegger hits the gym, he’s on his own turf. But what made it his own are the hours and years of sweat he put in to claim it. A territory doesn’t give, it gives back.
5) A territory returns exactly what you put in. Territories are fair. Every erg of energy you put in goes infallibly into your account. A territory never devalues. A territory never crashes. What you deposited, you get back, dollar-for-dollar.
What’s your territory?
THE ARTIST AND THE TERRITORY
* * *
The act of creation is by definition territorial. As the mother-to-be bears her child within her, so the artist or innovator contains her new life. No one can help her give it birth. But neither does she need any help.
The mother and the artist are watched over by heaven. Nature’s wisdom knows when it’s time for the life within to switch from gills to lungs. It knows down to the nanosecond when the first tiny fingernails may appear.
When the artist acts hierarchically, she short-circuits the Muse. She insults her and pisses her off.
The artist and the mother are vehicles, not originators. They don’t create the new life, they only bear it. This is why birth is such a humbling experience. The new mom weeps in awe at the little miracle in her arms. She knows it came out of her but not from her, through her but not of her.
When the artist works territorially, she reveres heaven. She
aligns herself with the mysterious forces that power the universe and that seek, through her, to bring forth new life. By doing her work for its own sake, she sets herself at the service of these forces.
Remember, as artists we don’t know diddly. We’re winging it every day. For us to try to second-guess our Muse the way a hack second-guesses his audience is condescension to heaven. It’s blasphemy and sacrilege.
Instead let’s ask ourselves like that new mother: What do I feel growing inside me? Let me bring that forth, if I can, for its own sake and not for what it can do for me or how it can advance my standing.
The War of Art Page 8
