Full Offense Meant.

(Warning: this blog is upsettingly, egregiously offensive. I got very exercised by what happened here, particularly because it concerns my wife. The language here is not safe for work, and not appropriate for innocent eyes. But I will not lighten up.)

My wife had a thought.

“I would like to put out a thought that I had today.
Our economy as a country, as a world is going to suffer from this pandemic. Hopefully the government will come through on some kind of relief for business but we all know that most of us small businesses will not be offered the same kind of relief, if any, that the larger companies will get so I propose this: let’s start a movement of sorts.
Let’s as a country, hopefully as a world, make a pact to buy gifts only from small businesses this year, birthdays Christmas, anniversaries, weddings, etc. Buy in person from a local small business or online from one farther away. Let’s not forget the entrepreneurs who create everyday without the safety net of a regular paycheck in this time of crisis.

We’re all in this together.

Thank you.”

It’s a good thought. There are pretty clearly two stages to this whole crisis: the first stage, the one we are in now, is when we focus on mitigating the pandemic, limiting the spread of the disease, flattening the curve. Here is where we sacrifice for the greater good: we stay home, we distance ourselves from one another and limit contact with other humans. We do what we can.

We lose our jobs. We can’t pay our bills, and we have to borrow money or beg for help. We might lose our homes, and our businesses.

All of us are at risk. (Of course the very wealthy are not at risk as they are never at risk; I don’t include them in “us.”) All of us are feeling some of the same fears, and the same pressures: we feel the need to do something, anything; but we also know that the best thing we can do is  — nothing. Stay home. Stay away.

It’s terrible. I want to go to school, if you can believe that. I actually want to teach. I want to talk to my students, reassure them that everything will be fine. I’m good at that; they like and respect me, and they listen to me, at least partly because I listen to them, and partly because I am honest with them. And that is the honest truth: everything will be fine. In the grand scheme of things, that is, because of course some people will suffer mightily as a direct result of this disease, some people will lose their lives, others will lose their loves. But that is inevitable, and even in the face of the greatest loss, everything will, so much as it can, be fine. I feel comfortable saying that, and I wish I could say it to my students. I wish I could give them some normalcy.

There’s an old regret of mine: I was teaching on 9/11, in 2001. It was my second year as a teacher, only a few weeks in; the students barely knew me, most of them, but they already generally liked me and trusted me. The planes had already hit both towers and the Pentagon by the time I got to school, 7:15 California time; I was watching in the office, open-mouthed, as the first tower collapsed. The next four classes I spent watching news updates on the classroom TV, talking to students, telling them what we knew (not much) and reassuring them as much as I could (even less). They kept asking me if we were going to be sent home, if the district would close schools; the news kept showing other school districts doing just that, and I was waiting for the same thing, without any answer as to why they didn’t; I had no idea what the district was expecting us to do, other than watch news updates and talk about what little we knew.

My last class, though, as soon as they came in, they asked me if we could turn off the TV, and not talk about what had happened; I said, “No problem,” and turned it off. “”What do you want to talk about?” I asked. The same student, speaking for the class, said, “Can we just do English?”

So I taught English. I taught Antigone, Sophocles’s third play in the Oedipus cycle, about family and death and respect and the law. It was awkward and terrible, and I hated it. I hated that I did that: it felt disrespectful to those who had died, and those who were dying, right then, the first responders in New York who were being buried in rubble and dying in fires.

But now I’m realizing that teaching Antigone was the best thing I could have done. I showed at least one class of students that things could still be, if not normal, at least nodding towards normal. It didn’t change the situation, but it did show them that the situation would change: that no tragedy, no crisis, howsoever devastating and all-encompassing, could last forever or take over every  part of their lives.

I wish I could do that now, for my students first, but also for everyone else.

But I can’t. I can’t fix this problem, and I can’t make it seem less than it is: because here I am at home, instead of at work, and instead of talking to my classes, I’m writing this blog. And the worst part about this is that we don’t know how long it will go on– and we don’t know how much it will help. I hope we all know by now that we’re doing the right thing, but we don’t have any idea how much of a difference it will make. Especially for those who are harming themselves through staying at home — losing income, losing business, suffering the emotional effects of the crisis and of the quarantine — not knowing how much good it’s doing and not knowing how long it will last is absolutely devastating. Because we can’t do the usual calculation necessary with altruism: how much good can I do with this sacrifice, and how much will it cost me? We just don’t know. Because the disease is new and unknown, and also because our government is still scrambling to figure out its response, we just don’t know.

And that’s just the first stage of the crisis.

The second stage is the aftermath.

There’s some indication that things may be improving: China, after instituting serious quarantine measures, has reported no new cases in the last 24 hours. (Yeah, yeah, I know — if we believe them. And they should not have covered up the beginnings of the epidemic. But if you for one second think that our government, that any government, wouldn’t have done precisely the same thing for precisely the same reason, you weren’t paying attention when our government did precisely the same thing for precisely the same reason. Or that other time our government did precisely the same thing for precisely the same reason. Or that other time our government — you get the point.) People are, in fact, making this sacrifice for the greater good (Most of us. For the people who are ignoring the greater good because they still want to get drunk for Spring Break, or because they don’t want to miss out on the father-daughter dance, and especially this douchebag, may I tip my hat with a hearty Fuck You.) despite the pain and uncertainty I’ve been talking about. And though this hurts, and though the benefits are uncertain, it is absolutely true that as a group, we are making a difference, we are doing the right thing. We are saving lives.

But what happens once that ends? Once the disease slows down or stops (It’ll never go away, I know, but it will hopefully join the ranks of SARS and MERS once this pandemic spread stops and we have successful treatments and reliable tests and, especially, a vaccine), and people can go out again — then what?

Our president says that the economy will come roaring back, and be quickly stronger than ever; but our president is a lying fucking idiot, so that prediction can safely be ignored. The truth is that some people may still be generating income, and will have built up plenty of money and be desperate to consume; but for the most part, people are going to be either more cautious, or broke. Many of us will be looking for jobs, and will have accrued pretty serious debt while having been out of work. And since many of those jobs existed because of the demand created by the booming economy and the low unemployment and the high consumer spending that resulted, it’s going to be slow to recover — and the federal government having completely shot their wad in emergency measures to stanch the bleeding during this quarantine (It was the right thing to do and I’m glad they did it, but still) will be unable to do much of anything to make it better after we all get to go out again.

Which is where we come back to my wife’s good idea. Because as she says, the small businesses, the ones without large cash reserves or the potential to create savings by cutting costs without closing the company down entirely, are the ones that will suffer most during this. They are the businesses that will be slowest to recover because their profit margins are smaller. And they are the ones that are most critical, because somewhere around 50% of Americans work for small businesses. Even more difficult in terms of survival through the quarantine and then recovery afterward, 16 million Americans are self-employed, and self-employed workers and those working for them account for 30% of the workforce. At the same time, of course, the rest of us (mostly) will not have a lot of money or a whole lot of confidence about spending everything we’ve got in supporting small businesses once we get to the second stage of this, the long, difficult economic recovery period.

So this is why this is a great idea. Not “SPEND EVERYTHING YOU HAVE AT SMALL BUSINESSES!” Not, “GIVE ALL OF YOUR MONEY TO SELF-EMPLOYED ARTISANS!” Just — gifts. Occasional, special purchases, when you generally want to get something more unique, better made, more thoughtful and meaningful. When you might be willing to spend a little more money to show you care. Not every time, not every gift, of course not; but when you are looking to spend a little bit more, be conscious of where you spend it: make an effort — not “FEEL A MORAL OBLIGATION” — to give something nice to two people, both the person receiving the gift, the small business or individual creator who would love to sell you the gift. Do what we can, when we can; not the primary focus, not our personal responsibility — just a little more thoughtfulness, that’s all. And not, of course, right now (Though honestly, if you are one of those people who has some extra money right now, even though most of us are not in that situation, if you could send a little of that extra  money an artist’s way, help them pay their bills and eat while they are giving up the markets and sales opportunities currently cut off by quarantine, that would be wonderful), but mainly going forward, once we are into the second stage of the crisis.

Which is why it pisses me off so much that someone out there  felt the need to send my wife this message on Facebook:

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This was actually the middling-worst of the three negative responses she got: one dude that I know commented, on my post sharing my wife’s thought, that he saw no reason to spend more money at small businesses when he can get everything cheaper at Walmart. Okay, sure, fine; that’s your choice, even if I don’t agree, but I’m not sure why you need to share that, so I just pointed out that gifts often cost a little more and we are willing to spend a little more, but if individuals are happy with the cheap shit they get at Walmart, go off, king. And there was another guy who was much more accusatory and insulting to my wife in a separate message, calling her selfish for asking that people spend money at small businesses instead of large businesses that employ more people and (in his view) do more for the economy.

To both of those anonymous commenters accusing my wife of being selfish, I have this to say:

(Warning: this is going to get profane. And considering how much I swear casually, please take that warning seriously.)

Fuck you. FUCK you. Fuck you for being as stupid as a shit-stuffed carcass of a dead fucking tapeworm, and fuck you for being so fucking callous and devoid of human feeling that you somehow fucking think that an artist asking for people to buy art is fucking selfish. Fucking what? Motherfucking selfish, to advertise one’s craft? Even apart from the effort — no, fucking wait, I will not put that aside: you shit-stupid fuckbrain, do you have any fucking concept of how hard it is to make art, how much of a person’s (That’s a human fucking being I’m speaking of, not the syphilitic wart on a baboon’s dick, like you) soul has to be put just into generating the work? How much time and effort and confidence an actual fucking artist needs to put in to make actual fucking art? Not only in the crafting of a single piece, but in the years, the DECADES, the MOTHERFUCKING LIFETIMES that go into the training of the mind and eye and hand and heart, the sensitivity and altered perception required to conceive of art  in this bleak, heartless world — made even more bleak and heartless by diarrheal hemmorhoids like you, you fucking twat — and then the discipline needed to turn that concept into an actual piece of craft? Of course you don’t: your skull is too full of that bullshit you’ve been lapping out of your own ass. But even though you couldn’t ever understand what it takes to be an artist, you dick-shitting fuckbucket, maybe, considering how appallingly, grotesquely self-centered and insensitive you are, you could potentially grasp how vital it is in a capitalist, individualistic society, for everyone to promote their work, their company, their source of income? Did you somehow miss that advertising and public relations are the heart of our society, in every single aspect? Are you so fucking blind (Must be the fucking syphilis — or else the shit in your head is leaking out of your eyesockets) that you didn’t see that literally the only way the free market could ever function is if people are aware of the products for sale? That our entire goddamn society, our way of life, is reliant on people holding up signs that say “BUY THIS HERE?”

And then, because this is a free society, a free market economy, allowing people — people, not you, you pus-blooded vomit-eating whoremonkey — to make their own free choice of what to buy and what not to buy?

Apparently you also missed that this was a GODDAMN MOTHERFUCKING POST ON FUCKING FACEBOOK AND IF YOU DON’T FUCKING LIKE IT YOU FUCKING KEEP FUCKING SCROLLING, YOU GANGRENOUS YAK-SCROTUM!Dory

Just fucking move on. You can fucking smile when you do it, too.

Kermit

If the fucking message doesn’t speak to you, how fucking manically arrogant do you have to be to think that you need to respond to it? Fucking walk, you fucking mook.

Thinker

I expect you not to think, but that you would take extra time and effort to hurt someone who clearly wasn’t speaking to you, clearly wasn’t someone you care about or agree with — who the fuck are you?

Noharmdone

I mean it. Fuck off. The bunny hates you too.

Deniro

 

Because not only am I an artist who will defend other artists, I am a human being who understands the need to both support our fellow human beings and also the vital necessity of allowing other humans to be humans themselves, to allow them to put forward their ideas, their opinions, and their art, AND their business, without being criticized for simply speaking out — especially when they, like my wife

*DEEP BREATH*

ARE NOT EVEN FUCKING ADVERTISING THEIR OWN FUCKING ART BUT ARE JUST BRINGING UP A THOUGHT THAT PEOPLE SHOULD CONSIDER AS A WAY TO SUPPORT AN INCREDIBLY IMPORTANT PART OF OUR ECONOMY AND OUR CULTURE IN ADDITION TO JUST BEING PEOPLE, SMALL BUSINESSES AND INDIVIDUAL CREATORS ARE FUCKING PEOPLE AND IF YOU’RE TRYING TO BE KIND TO PEOPLE YOU SHOULD FUCKING BE KIND TO THEM, AND MY WIFE, WHO IS THE BEST AND MOST KIND-HEARTED PERSON I KNOW, WAS JUST TRYING TO SUPPORT OTHER PEOPLE DIDN’T EVEN MENTION HER OWN ART EVEN THOUGH SHE IS A BRILLIANT ARTIST AND SHE IS SUFFERING IN THIS QUARANTINE JUST LIKE EVERYONE ELSE BUT SHE DIDN’T FUCKING MENTION THAT DID SHE, NO, SHE DIDN’T EVEN DO WHAT I WOULD HAVE DONE AND THROWN IN A LITTLE “LIKE MY ART, MAYBE” SOMEWHERE IN THAT REQUEST, THERE’S LITERALLY NOTHING HERE THAT COULD EVEN BE CONSTRUED AS FUCKING SELFISH BUT THEN YOU HAVE TO COME ALONG AND SHIT ALL OVER IT AND HER AND FUUUUUUUUUCCCKKKKKK YYOOOOOUUUUUUUUUUUUUUU.

 

So. Like my wife said. We are all in this together. I want to thank everyone who is sacrificing for the sake of others’ health and survival, and express my sympathy and my support for people who are being hurt by that sacrifice. I will do whatever I can to help you, both now and in the second stage of this crisis — and even after that.

But if you are the kind of person who would say this shit to my wife, get the fuck off of my world.

Book Review: The War of Art

Image result for the war of art

The War of Art

by Steven Pressfield

In retrospect, I should have known from the foreword that this was the wrong book for me: Robert McKee talks about art like it’s a war that Pressfield will help me to win; and while I think art is a struggle, I really don’t think it’s a war; indeed, as I am a pacifist, couching things in warrior’s terms is just going to push me away. He also references golf as evidence that Pressfield is a consummate professional (Pressfield wrote The Legend of Bagger Vance, which I have neither read nor seen; I guess it’s about golf? I guess Pressfield likes the game? But he writes anyway instead of playing, which – I guess is impressive?), and there’s the second best way to alienate me. He talks about tearing up over the Spartans’ death at Thermopylae, which was the subject of Pressfield’s other big book, Gates of Fire, which I did read, and did like quite a lot – but it didn’t make me weepy, and I don’t know what it has to do with inspiration to make art. So I’m really having trouble relating to this foreword author – and then he ends his intro with this:

“When inspiration touches talent, she gives birth to truth and beauty. And when Steven Pressfield was writing The War of Art, she had her hands all over him.”

Creepy sexual metaphors, especially about things that are not remotely sexual – like the act of putting words on a page – that is the number one way to make me say “Nope.” So I should have known.

Let me say this, though: this is a book intended to inspire artists, to help people break through creative blocks and create art they can be proud of. I can’t think of many more noble things to try to do, and I appreciate Pressfield’s earnest and genuine attempt to give people tools to do what they should be doing. So: if you do appreciate sports metaphors, and war metaphors, and you like a good, strong pep talk – or as the cover blurb calls it “A vital gem… a kick in the ass,” (which also should have been a warning sign for me) – then please ignore this review, and go get this book. I hope it helps.

It didn’t help me.

There are moments when I agree with Pressfield. He talks about questioning his writing, and feeling hopeless, and the strength and stamina it requires to push through all that and just keep working. He calls it work, and talks about how important it is to just keep putting in the hours, to keep trying, to keep seeking to hone your craft and do the best you can – but first and foremost, to just put the goddamn letters on the goddamn page, and to never give up. And I agree with that entirely. He talks about how he was in his 40’s before he found success, and how it came from an entirely unlikely source, which was, logical or not, simply the book he had to write at the time; and as a 44-year-old writer who is working on his second novel about a time-traveling Irish pirate, I appreciate everything about that.

But then there are the places where he talks about being a Marine, and how other servicemen in other branches are weaker than Marines because Marines love being miserable (This is a metaphor for how artists should be: willing to suffer and be miserable. I kind of see that. This whole Marines-have-bigger-dicks-than-other-soldiers? Nah.) and the other services are soft. Where he talks about writing and art like it is a war to be fought and won; or an animal to be hunted and then eaten; or a football game where you have to “leave everything on the field.” And I hate all of that. He talks about the urges and habits that get in the way of art as Resistance, and that’s pretty good, but he also talks about how like not cleaning your room is a way to lose to Resistance, and – what? And how golf is an art, and Tiger Woods is the greatest artist of all because he can be interrupted mid-swing, stop his swing, and then refocus and hit a golf ball really hard and – I fail to see the art in that. And he says that mental illness, depression and anxiety, are not real, but only a failure to combat resistance, which can be overcome by determination and the earnest pursuit of one’s true calling, and hey, fuck you, Pressfield.

He’s got a strange (And contradictory) section where he tries to talk about thinking territorially instead of hierarchically, and basically he means you should do what you think is right rather than worry about what other people think is right, and okay, sure – but first, he says elsewhere in the book that he knows he’s written well when his family is pleased and proud of him, which is hierarchical thinking by his own definition and explanation, so either he’s a REALLY bad editor who missed that continuity break, or he’s full of crap in one of these places; and second, his example of someone thinking territorially is Arnold Schwarzenegger going to the gym. Which is both weird and not at all artistically inspiring. It gets really weird in the third section, where the devout Christian Pressfield (Though he also admires the ancient Greeks so damn much that he seems to kinda want to worship Zeus and Apollo. I can’t really disagree with that, though I wouldn’t pick the same gods.) talks about angels who help inspire artists to work, because God wants us to create beautiful things for Him to admire, and how everything an artist is comes from God and we should understand that we contribute nothing, that we are only the vessel through which the divine will is worked. I mean, when we’re not being hardcore fucking Marines. Or hitting 310 yards off the tee. Otherwise, though, we should be all humble before God. It is not quite this Christian – he really does admire and know a lot about the Greeks – but it does read that way, as a repudiation of human accomplishment and a glorification of the eternal Whatever. And as an atheist and a part-time humanist, I am not at all down with that.

This thing reads exactly like what it is: a privileged Baby Boomer looking down on everyone else who doesn’t have all of his privileges; and by the way, he says some interesting and intelligent things that show me he really is an artist like me. Just way more of a shmuck. Hoo rah.

This Morning

This morning I am thinking about the work of art.

I have often questioned whether or not I’m an artist, a writer. And whether or not I should be an artist. I think that I don’t take it seriously enough, because art doesn’t always come first for me; I do all sorts of things other than art. The most obvious is work: as a teacher, I put in fifty or so hours a week on my job, and since I’m an English teacher, a lot of that time is spent reading and writing and talking about reading and writing. I took the job because I thought it would be both fun and beneficial for me to be surrounded by language and literature,  and to some extent it has been both; but I don’t understand why I didn’t think about how much effort it would take to do the job well. I question all the time whether I should have stayed a janitor, some kind of nice, essentially mindless work that would allow me to go home at the end of the day and write, for hours on end. I ask myself: are you really an artist if you spend all of this time and energy on your job? Shouldn’t all of that effort go into writing? Shouldn’t you quit your job and find a mindless one? Or at the least do your job poorly, with the minimum expenditure of effort?

Maybe so.

I also took this job because of summers off, and the several week(s)-long vacations; I figured I could use that time to write more seriously. And I have; summer has always been my primary writing time, along with spring break and winter break, and fall break, now that I have that. But even in those times, I only spend a couple of hours a day, at most, on actual writing. I’ve read about authors who work for eight hours a day, or who lock themselves away for a month, two months, six months at a time, and do nothing but write, all day every day. And here I am with two or three months off, and I write for — an hour a day? Clearly I can’t be much of a writer if that’s all I can stand to do.

But that’s not fair. Because the truth is that writing is fucking hard. It takes an enormous effort to focus on every single word, every single punctuation mark, every sentence, every paragraph, and make exactly the right choices in exactly the right places; and to do that at the same time that I am trying to keep a larger story in mind? Especially when the story is a novel, and so I have both the complete scene I am writing and the overall story to keep in mind while I am selecting each and every word? Jesus Christ, it’s amazing I can do this at all, if you don’t mind my bragging a little. Of course I don’t make all of the right choices, I probably make wrong choices most of the time; but I’m good enough at this that even my wrong choices are generally not terrible, not unforgivable. And just as a doctor’s first rule is “Do no harm,” meaning make sure you don’t do the wrong thing even before you try to do the right thing, I think my first rule as a writer is, “Don’t write shit. Or at least if you write shit, don’t let anybody else see it.”

But even that is hard, because shit is enormously easy to write. Just ask James Patterson. BOOM! No, I’m kidding, he’s not a bad writer. He’s a whore who made a name for himself and then let his publisher pimp that name out in “collaborations” that Patterson likely has almost no hand in, but his name is prominent on the front cover in order to boost sales — but he’s not a bad writer. I don’t want to actually name any bad writers; I’m not going to throw any writers under the bus quite that hard, because all of us struggle with this. All of us have to put in this colossal effort, and then take this terrible soul-searing step of letting other people read what we write.

It’s brutal. It is laborious and effortful and wearing and taxing and just hard.

And I keep doing it. And I keep doing it well enough that I am pleased with what I produce. And I do it sincerely enough that I feel better emotionally after I’ve done it, after I’ve written honestly and as well as I can; even though I’m generally mentally exhausted after I do it. I will also say that I don’t write much more than an hour most days, but I can always put in that hour: these morning blogs have been quite good for that, it turns out; I’ve also worked on my book every day for the last few days, and I’ll do it today, too. I am also capable of some serious marathon sessions of writing: I wrote the final chapter of my most recent book over one weekend, two days of solid writing for more than eight hours each day; I produced something like fifty pages.

Huh. Maybe that’s why I haven’t written that much in the months since.

But even when I hit these dry patches, I still come back to it. Even though it’s hard — and it is hard, though I sometimes fool even myself into thinking that it’s easy because sometimes the words just come and are perfect; but that is the end result of a whoooooooooole lot of hours spent slogging, and writing and rewriting and discarding the whole thing and then starting over again. Still I put in the time. I put in the work. Because I love it, and I believe in it, and I like myself better when I do it than when I don’t.

I guess I am an artist, after all.