“No One Can Advise Or Help You — No One”

A friend recently sent along some wondering for submission to GIANT discussion. Their question (skip down to the blue if you want to avoid me getting off topic with brain science) maybe intersects Lily’s post yesterday about the definition (and neurobiology) of creativity. Is there “hardwiring” involved in our expression/communication motivations? Is that expression/communication goal-based or process-based? Do we need intense pompadours? I’m getting farther afield with each question I add to the question I haven’t even shown you yet, but I’ve been reading Antonio Damasio’s The Feeling of What Happens: Body and Emotion in the Making of Consciousness, which proposes (among many things) that emotions and feelings are different (emotions are in the body, feelings are the mind’s awareness of emotions), and that we evolved consciousness in order to be aware of our having feelings. Not just feelings, but our having of them. In other words, we have a mind in order to know how we feel. I can’t help but make lazy/lyrical connections between my anonymous friend’s question and those ideas, but I’m feeling too lazy/lyrical to do much besides wonder. I invite you, kind people, to do more. Here is my friend’s question:

In 1903, a nineteen-year old poet by the name of Franz Xaver Kappus wrote to Rainer Maria Rilke to ask for that illustrious writer’s opinions on his poetry. To which Rilke famously replied, in part, to the now misremembered enquirer:

“No one can advise or help you – no one. There is only one thing you should do. Go into yourself. Find out the reason that commands you to write; see whether it has spread its roots into the very depths of your heart; confess to yourself whether you would have to die if you were forbidden to write. This most of all: ask yourself in the most silent hour of your night: must I write?”

Say, today, you weren’t forbidden but were encouraged. Say your writing was very aesthetically impressive, quite observably good. Say you wrote for yourself and no other. Say you had your reasons to write, including the reason that there were no inherent reasons to write, and you felt these very deeply, all the way to the heart. What if the question remained. Must you write?

Craft Notes & Random / 44 Comments
May 8th, 2010 / 5:07 pm

Behind the Scenes & Reviews

From the Archives: An Old Evaluation (of me)

58 Comments
May 8th, 2010 / 3:48 pm

The “Novelty” of Creativity

Here‘s an article at NYTimes about a dude mapping creativity in the brain. It’s a moderately interesting read. What caught my eye, however, was his working definition of creativity, which is noted as the “common definition of creativity”: the ability to combine novelty and usefulness in a particular social context.

The OED defines creativity as: Creative power or faculty; ability to create.

So, is creativity “novel”? I have some difficulty balancing the concept of creativity with “novelty,” which the OED defines as: “1a. Something new, not previously experienced, unusual, or unfamiliar; a novel thing.” BUT, but, then, later, “1e.  An often useless or trivial but decorative or amusing object, esp. one relying for its appeal on the newness of its design.” This definition is much more pejorative. There’s something extremely problematic about thinking of creativity as a combination of “novelty” and “usefulness,” which the OED defines as: “Having the ability or qualities to bring about good, advantage, benefit, etc.; helpful for any purpose; serviceable.”

To say that creativity is a balancing of novelty and usefulness implies that what is novel (here, insert “new” rather than “trivial”) is inherently useless. How is newness or innovation useless? Furthermore, if this definition the NYT uses is in fact the “accepted” definition, what does this say about creativity as a whole?

Random / 14 Comments
May 8th, 2010 / 12:50 pm

Dickinson the Lover

It’s Saturday, and it’s beautiful here in Florida. By beautiful I mean fucking hot. The point being, I want to go outside and ride my bike. The other point being, I think we should all ponder this poem by Emily Dickinson because it’s HOT too:

249

Wild Nights—Wild Nights!
Were I with thee
Wild Nights should be
Our luxury!

Futile—the Winds—
To a Heart in port—
Done with the Compass—
Done with the Chart!

Rowing in Eden—
Ah, the Sea!
Might I but moor—Tonight—
in Thee!

Author Spotlight / 9 Comments
May 8th, 2010 / 12:10 pm

What’s the one story you keep writing over and over? I don’t mean revising. I mean the aesthetic or emotional or dream-fugue house that all of your stuff keeps trying to break into. What does it look like? What is its essence?

Friday Fuck Books, Let’s Let Our Contemporary Indie Musician Friends Discover the Joys of Melodrama.

httpv://www.youtube.com/watch?v=5BXr_4g0o9M

httpv://www.youtube.com/watch?v=Puph1hejMQE

Adding more as they occur to me. Adding a jump for to not take so much of the blog spaces.
READ MORE >

Random / 16 Comments
May 7th, 2010 / 5:48 pm

48 Hr Mag is live. I just contributed.

Friday, No? Go Right Ahead.

Nail your whiskey sweat over the fireplace.

If you’re going to write, for God in heaven’s sake, try to get naked.

Part drunk, part bee-stung dog.

Holding a bottle and a leashed alligator.

You ever lived out of a lake?

A snake will bite when dead.

I’d much rather sit here and look at trees.

You smell sweeter than soap.

I don’t drink liquor!

I fall into…

I dip my tongue.

Random / Comments Off on Friday, No? Go Right Ahead.
May 7th, 2010 / 3:29 pm

Pier Paolo Pasolini on Writing

“One should never hope for anything.”

“If you know that I am an unbeliever, then you know me better than I do myself. I may be an unbeliever, but I am an unbeliever who has a nostalgia for a belief.”

“But I do not believe in a metaphysical god. I am religious because I have a natural identification between reality and God. Reality is divine. That is why my films are never naturalistic. The motivation that unites all of my films is to give back to reality its original sacred significance.”

“When I make a film, I shift into a state of fascination with an object, a thing, a fact, a look, a landscape, as though it were an engine where the holy is about to explode.”

“I am a murderer but I am a good person.”

“Don’t talk to me of the sea while we are in the mountains.”

“If I have access to an administrative council or a Stock Market maneuver, that’s what I use. Otherwise I use a crowbar. And when I use a crowbar, I’ll use whatever means to get what I want.”

“I say let’s not waste time placing nametags here and there. Let’s see then how we can unplug this tub before we all drown.”

READ MORE >

Craft Notes / 39 Comments
May 7th, 2010 / 1:33 pm

What scenes or lines in books genuinely offended you?