“The purpose of man’s speech was an address to the unknowable…. [His] hand traced the stick through the mud to make a line before he learned how to throw the stick as a javelin.”
In the woods. Walking. A wide, open path. Autumn. Time unknown. Origin story.
His movement was ceaseless, frenzied; its purpose in the scattered leaves. Unfurled at that very ground was the instrument of his breaking through, a master-skein, continuously unraveling. The sudden, frantic energy of a collector was taking hold of him. It put aside his hunger. To follow this trail, niagara! of leaves, to follow it as he would hunting food.
Such paradox: art of awareness in no awareness. Here in not here. Such was God that God was before we were aware of that Presence. A change was happening in our ancestor, and it grabbed his arm with the demand of a scolding, to pull him along.
It perhaps began when he lifted a leaf close to his face. A berry, which was resting on it, fell away. He looked closer at the leaf. Or it began here: when he looked back down, when he saw them—the leaves there together as a gestalt.
See how the problem rises in difficulty. How does one measure beginning, or true cause? It is not singular. How unfeasible to give an account of origin to recount later in a meeting with friends! Because I think I’ve seen so many beginnings, I wonder anew at them: How does the wind blow? How am I getting on? With beginnings? With ends? Am I, with you now, in a constant state of beginningless beginning? What can we with confidence say is meant by this confounded word? I hope it doesn’t seem gloomy, for all its impossible challenges, to try to locate the moment the artist was born. And was it the Other that became Artist, first, or was it our ancestor who was the first?
As he followed the trail of leaves on the ground, which seemed put there by someone on purpose, his vision was dramatically changed. He picked up a second leaf to his face and sensed a great force. He put it in his hide pouch, not really understanding why, and rushed on. What he saw were ever-blooming lines of them, which formed a distinct trail that seemed to grow out of itself (almost as though it was alive). Every step invigorated him, and slowly his Eyes felt like they were awaking from sleep. It gave him a feeling of having somewhere to go, somewhere he almost needed to be. But not like needing to find shelter during a storm. A new movement which he must follow, swift-paced; a stretching to get hold of something he could not see. Everything now seemed charged with the energy of speed and purpose. What posture the world had! It was as though his eyes had become hungry. He did not question his feeling that it was necessary to follow the trail. The fact fit perfectly around him; he was somehow native to it—the pattern and the intensity with which he followed it—and thereby simply fell into its sway, uninterrupted. We do not question them, these native facts, why they are around us, for we are of their world. We do not quite know that with that fall we are in a state of grace.
It reminded him of the river; and this point I propose might also be the crux of the story; the closest we may get to a moment we were born.
His attention did not break the line. It felt embalming, yet it was consuming; it was assuaging, yet felt gruesome. By and by, the path seemed so elegant; as pretty, suddenly, as the running river to look at. It must have been a strange realization for our first human—seeing the river while he was looking at those leaves and feeling captivation for the irretrievable mystery therein. It was implausible, its being, but now he intuited in himself an impression of the river. He took another leaf to his pouch and pursued into a state of agnosia. The unthinking flow of the river was his mounting vivacity. His feet hastened over the moving trail. To where was it leading? How could a trail such as it be? Hundreds of feet long. And at that moment he looked up at the trees and realized that all the leaves on the ground were not pointing him anywhere. The trees were the leaf-bearers; there was no foreseeable endpoint. Only pattern.
The nature of the will is one of the major problematics of life. Philosophers and artists have long labored to clarify the position we are in concerning the will. How much power does one person have? How much responsibility does one have in achieving for oneself the good life, and how can this be extended to others? How exactly are we situated in this world? To better understand the nature of will, artists, philosophers, and children open themselves up to opposition by treating it with a sense of play.
The child at play gives form to conflict, practicing “out in the open” in order to internalize what has been noticed in the external world, to gain understanding of self and situation. The forces driving conflicts between people are usually invisible, ideological, and unconscious, but once they are driving behavior, the child becomes aware yet lacks understanding. To develop a working model, or what Edith Cobb called a “world image,” the behavior is reproduced in experimental play.
Philosophers routinely reflect and do their thinking by surveying both sides of a problem. Socrates is the archetype for this. In his dialogues we often find Socrates asking questions normally thought to have obvious answers, questions like, “Do I want what is good?” As part of a chain of questions that bring the other’s inconsistencies of thought into higher resolution, he is surprisingly effective. Socrates often leaves his company in a state of shock from having lived so long under the aegis of certain beliefs and values without examining them.
Similarly, artists often present situations without explicitly taking a side. In crafting a story, an author takes all the time that’s required for viewers to believe and situate themselves in the whole driving conflict. In order to do this, they must give equal weight to opposing sides. Good is labored equally to evil. This cannot be understated. Evil is not run away from. The author must take a detached stance to good as well as evil, and the long process of crafting such a story is a redemptive process for the author, for in that time love has been taken to evil. The work is finished; now the conflict is felt by the reader, in all its natural complexity. And this is what the work offers that life tends not to: honor to the paradoxical complexity of living.
The feeling of conflict is not going to be novel for anyone. Life is difficult, long, a labyrinth. No map could ever be created that would give absolute lasting order to the world, whereby we could determine what to do or where to go next. What is unique to the arts is that they offer safe passage through experience, and thus to transformation. In other words, the arts offer the best simulacrum of such a map. Life is always giving us experience; too often we fail to travel through it. Whether from anxiety or what Kierkegaard called the “dizziness of freedom,” fear or sheer confusion, we seem resistant to understanding or processing what happens to us. Such resistance promotes undesirable thought and behavior loops. If we would travel though experience, our transformation would be the effect. In order to do this, we must sometimes come down from the clouds of our own cleverness and righteousness and ground ourselves in earthly silliness. There are many compatible modes of being. There is no going out of character. To quote Walt Whitman,
Do I contradict myself?
Very well then I contradict myself,
(I am large, I contain multitudes.)
“Do not depend on the hope of results. You may have to face the fact that your work will be apparently worthless and even achieve no result at all, if not perhaps results opposite to what you expect. As you get used to this idea, you start more and more to concentrate not on the results, but on the value, the rightness, the truth of the work itself.” – Thomas Merton
A thousand times a year students ask me, “Is this good enough?” Their eyes gaze up at me from over a work of art that, yes probably, has hit all of the required standards, seeking some respite from the challenge set before them. Good enough? Compared to what? — I send the ball back into their court. In that moment, either they fold, laughing, and label it “good enough” for now, presumably to be improved upon someday, some other day; or a light flashes within them, a neurological bridge sparks, and they begin the journey of passing through the center of their own potential.
An essential idea that I live by and share with my students often is that a work of art must pass through a stage of imperfection, even awkwardness, on its way to something better. (Take, for example, this old caricature sketch of Carl Sagan by Zack.)
Born into a system of norms set strategically before us, it’s always surprising to be reminded that we are still ultimately at the helm of this process of what we accomplish and what we choose to bring into being.
We make sure our jobs are good enough to pay the bills, our health is good enough to get us through our days, our relationships are good enough that we can all get by without killing each other. But isn’t it true that often we don’t take the opportunities to make these things more meaningful, more able to feed our spirits and raise that bar that has been set for us? Have we any idea what’s possible?
The poetically irreverent American novelist, Tom Robbins, once wrote: “we waste time looking for the perfect lover instead of creating the perfect love.” This is a reminder that our relationships, our jobs, our daily interactions are creative acts. We must create the world we seek or else settle for a world designed by someone else for someone else’s vision of what is possible. Our north star then is to find what moves us to raise our bars and push passed the point of “good enough” towards our definition of sublime. The brave and brilliant American writer Annie Dillard put it this way:
“There is always the temptation in life to diddle around making itsy-bitsy friends and meals and journeys for years on end. It is all so self conscious, so apparently moral…But I won’t have it. The world is wilder than that in all directions, more dangerous…more extravagant and bright. We are…raising tomatoes when we should be raising Cain, or Lazarus.”
At a certain point, we have to ask: Are we aiming to settle for what the world has asked us to achieve, or do we see the potential for something radically more meaningful? The first story has already been told. The second is the story that you may have been born to tell.
The challenge of refining a work of art — and that may be the art of painting or of teaching, of building relationships or being a better or more authentic communicator — is complex to say the least. Realist painter Jacob Collins said that this process “…is torture… There’s always some newly seen flaw. But the little glimpses of beauty between the anxiety make it worth it.” You can tell when your work is definitely not done, but by working on it, you also run the risk of overworking it. And in the back of your mind, you know there is the very real possibility that your work may fail or be noticed by none. On this Thomas Merton wrote:
“Do not depend on the hope of results. You may have to face the fact that your work will be apparently worthless and even achieve no result at all, if not perhaps results opposite to what you expect. As you get used to this idea, you start more and more to concentrate not on the results, but on the value, the rightness, the truth of the work itself.”
Annie Dillard and Thomas Merton are two twentieth century writers, working somewhere between spiritual pilgrims and fringe revolutionists, who spent their lives conjuring and stoking this devotional fire dedicated to telling a different story of being human in our modern world. They found quickly that to do this one must abandon the temporary comforts of seeking affirmation and instead follow with steadfastness the vision of human potential that haunts their hearts like a calling.
The act of pushing passed our inherited story of “good enough” is nothing short of a miracle. It’s the task of taking the antiquated, inherited definitions of “commitment” and “devotion” and “faith” and “beauty” and reclaiming them, covering them in graffiti, in your very blood, and letting them help you bring your vision of your great works passed product straight into the heart of the process. Annie Dillard put it this way:
“One of the things I know about writing is this: spend it all, shoot it, play it, lose it, all, right away, every time. Do not hoard what seems good for a later place in the book or for another book; give it, give it all, give it now. The impulse to save something good for a better place later is the signal to spend it now. Something more will arise for later, something better. These things fill from behind, from beneath, like well water. Similarly, the impulse to keep to yourself what you have learned is not only shameful, it is destructive. Anything you do not give freely and abundantly becomes lost to you. You open your safe and find ashes.”