Monday, August 31, 2015
Oliver Sacks on Storytelling, the Curious Psychology of Writing, and What His Friendship with the Poet Thom Gunn Taught Him About Creativity and Originalityby Maria Popova
“The act of writing is an integral part of my mental life; ideas emerge, are shaped, in the act of writing… a special, indispensable form of talking to myself.”
Who we are and who we become is in large part the combinatorial product of the people and ideas we surround ourselves with — what William Gibson so memorably termed our“personal micro-culture” and Brian Eno called“scenius.” The more different those people are from us, the more they expand the echo chamber of our own mind, the more layered and beautiful the symphony of the spirit becomes. Nowhere is this self-expansion via relationship more evident than in the friendships between great artists and great scientists, one of the most heartening examples of which is the friendship between legendary neurologist Oliver Sacks and the poet Thom Gunn.
In On the Move: A Life (public library) — the immeasurable and incompressible rewards of which I have previously extolled at great length and with great love— Dr. Sacks, a Thoreau of the mind, recounts how his relationship with Gunn shaped his own evolution as a writer. In fact, his very autobiography is titled after Gunn’s poem “On the Move” from his 1959 collection Sense of Movement.
To be sure, Sacks’s love affair with writing predates his meeting Gunn and even his foray into science. Nicknamed Inky as a boy for his voracious appetite for pen and paper, which covered everything in ink, he began journaling at an early age — a formative practice of learning to think on paper and converse with himself. Joining the extensive roster of celebrated writers who championed the creative benefits of keeping a diary and speaking to the potency of journaling as an antidote to Tom Waits’s complaint about the inopportune timing of the muse, Sacks writes:
I started keeping journals when I was fourteen and at last count had nearly a thousand. They come in all shapes and sizes, from little pocket ones which I carry around with me to enormous tomes. I always keep a notebook by my bedside, for dreams as well as nighttime thoughts, and I try to have one by the swimming pool or the lakeside or the seashore; swimming too is very productive of thoughts which I must write, especially if they present themselves, as they sometimes do, in the form of whole sentences or paragraphs…But for the most part, I rarely look at the journals I have kept for the greater part of a lifetime. The act of writing is itself enough; it serves to clarify my thoughts and feelings. The act of writing is an integral part of my mental life; ideas emerge, are shaped, in the act of writing.My journals are not written for others, nor do I usually look at them myself, but they are a special, indispensable form of talking to myself.
The need to think on paper is not confined to notebooks. It spreads onto the backs of envelopes, menus, whatever scraps of paper are at hand. And I often transcribe quotations I like, writing or typing them on pieces of brightly colored paper and pinning them to a bulletin board.
What Sacks is describing is akin to a commonplace book — that Medieval Tumblr in which thinkers recorded quotations and ideas from whatever they were reading, assembling a personal archive of the ideas that shaped their own minds. (Brain Pickings is essentially one giant commonplace book, and this very piece a sort of bulletin board pinned to which is my discourse with Sacks’s extraordinary text.)
By the time he was in graduate school, Sacks began externalizing these inner conversations, doing for others what he had been doing for himself on the pages of his journals — clarifying the complexities of mental life at the intersection of science and storytelling, honing the singular gift for which he is so beloved today.
He was so electrified by working with patients at a migraine clinic in the mid-1960s that he felt compelled to transmute these insights into a book. But when he finally finished the manuscript and showed it to his boss at the clinic — a prominent but petty and egomaniacal neurologist by the name of Arnold P. Friedman — he was curtly told that the manuscript was garbage, that he had to destroy it, and that he dare not think about turning it into a book ever again; or else, Friedman threatened, Sacks would be promptly fired and barred from getting another job anywhere in America. Friedman confiscated the manuscript and locked it away.
Still, Sacks trusted that he had written something substantive and important — something that might forever change our understanding of how the mind works. He suppressed his feelings for months but, finally, the resentment exploded into action: One night, with the help of the clinic’s janitor, he sneaked in and, between midnight and 3 A.M., arduously copied his own notes by hand. The next day, he told Friedman he was taking a long leave to London and when his boss demanded a reason, Sacks responded that he had no choice but to write the forbidden book.
He was fired via telegram a week later. And yet a strange sense of liberation set in, which he poured into the writing.
But if this wasn’t courageous enough an act, he soon performed what is perhaps the greatest act of creative courage — the same one John Steinbeck had performed three decades earlier in destroying a manuscript he didn’t feel was good enough and rewriting it from scratch into what would become his Pulitzer-winning novel The Grapes of Wrath, the cornerstone of his Nobel Prize. Sacks recounts:
I was dissatisfied with my 1967 manuscript and decided to rewrite the book. It was the first of September, and I said to myself, “If I do not have the finished manuscript in Faber’s hands by September 10, I shall have to kill myself.” And under this threat, I started writing. Within a day or so, the feeling of threat had disappeared, and the joy of writing took over. I was no longer using drugs, but it was a time of extraordinary elation and energy. It seemed to me almost as though the book were being dictated, everything organizing itself swiftly and automatically. I would sleep for just a couple of hours a night. And a day ahead of schedule, on September 9, I took the book to Faber & Faber. Their offices were in Great Russell Street, near the British Museum, and after dropping off the manuscript, I walked over to the museum. Looking at artifacts there — pottery, sculptures, tools, and especially books and manuscripts, which had long outlived their creators — I had the feeling that I, too, had produced something. Something modest, perhaps, but with a reality and existence of its own, something that might live on after I was gone.I have never had such a strong feeling, a feeling of having made something real and of some value, as I did with that first book, which was written in the face of such threats from Friedman and, for that matter, from myself. Returning to New York, I felt a sense of joyousness and almost blessedness. I wanted to shout, “Hallelujah!” but I was too shy. Instead, I went to concerts every night — Mozart operas and Fischer-Dieskau singing Schubert — feeling exuberant and alive.
Sacks’s jubilant intuition wasn’t misplaced — that manuscript became his 1970 debut Migraine, which was welcomed with wholehearted critical acclaim and catapulted him into the status of masterful science storyteller. When the book came out, he found out that Friedman had adapted the original manuscript and attempted to publish it under his own name — a tragicomic testament to the fact that it is Sacks’s singular gift as a writer and storyteller, not his scientific genius alone, that make him the cultural icon he is today.
Sacks had befriended Thom Gunn in the early 1960s, but it wasn’t until after the publication of Migraine that he was able to engage with the poet in conversations about writing more confidently — a confidence further nurtured by Gunn’s encouraging feedback which, alongside the staunch support of Sacks’s beloved aunt Lennie, was instrumental in emboldening the budding writer to embark upon this far from easy path.
He talked with Gunn about “the process of writing, the rushes and stoppages, the illuminations and darknesses, which seemed to be part and parcel of the creative process.” Long before cognitive scientists came to study the psychology of writing, Gunn captured the mysterious psychological messiness of the process in one of his letters to Sacks:
I am a bit slothful at the moment. My pattern seems to be: a long cessation of any coherent writing after I have completed a MS, then a tentative start followed by, during the next few years, various separate bursts of activity, ending with a sense of the new book as a whole, in which I make discoveries about my subject(s) that I have never anticipated. It’s strange, the psychology of being a writer. But I suppose it’s better not to be merely facile — the blocks, the feelings of paralysis, the time when language itself seems dead, these all help me in the end, I think, because when the “quickenings” do come they are all the more energetic by contrast.
Sacks reflects on the sincerity of his friend’s values:
It was crucial for Thom that his time be his own; his poetry could not be hurried but had to emerge in its own way… “My income,” [he] wrote, “averages about half that of a local bus-driver or street sweeper, but it is of my own choosing, since I prefer leisure to working at a full-time job.” But I do not think Thom felt too constrained by his slender means; he had no extravagances (though he was generous with others) and seemed naturally frugal. (Things eased up in 1992, when he received a MacArthur Award, and after this he was able to travel more and enjoy some financial ease, to indulge himself a bit.)
I was particularly taken, and felt a deep kinship, with Sacks’s parenthetical note about Gunn’s ethos regarding writing about the writing of others:
Thom rarely reviewed what he did not like, and in general his reviews were written in the mode of appreciation.
Despite knowing his friend’s disposition toward criticism, Sacks recounts:
I sometimes felt terrified of his directness — terrified, in particular, that he would find my writings, such as they were, muzzy, dishonest, talentless, or worse.
But their relationship lived up to Emerson’s assertion that “a friend is a person with whom [one] may be sincere” — Gunn’s feedback, always in the spirit ofSamuel Beckett’s masterwork of constructive criticism, was monumentally beneficial to Sacks’s development as a writer, who was “eager for [Gunn’s] reactions, depended on them, and gave them more weight than those of anyone else.”
But the feedback that most touched him was about his 1973 book Awakenings — a cultural classic that was eventually made into a film starring Robin Williams as Sacks. Gunn wrote:
Awakenings is, anyway, extraordinary. I remember when, some time in the late Sixties, you described the kind of book you wanted to write, simultaneously a good scientific book and worth reading as a well-written book, and you have certainly done it here… I have also been thinking of the Great Diary you used to show me. I found you so talented, but so deficient in one quality — just the most important quality — call it humanity, or sympathy, or something like that. And, frankly, I despaired of your ever becoming a good writer, because I didn’t see how one could be taught such a quality… Your deficiency of sympathy made for a limitation of your observation… What I didn’t know was that the growth of sympathies is something frequently delayed till one’s thirties. What was deficient in these writings is now the supreme organizer of Awakenings, and wonderfully so. It is literally the organizer of your style, too, and is what enables it to be so inclusive, so receptive, and so varied… I wonder if you know what happened. Simply working with the patients over so long, or the opening-up helped by acid, or really falling in love with someone (as opposed to being infatuated). Or all three…
I was thrilled by this letter, a bit obsessed, too. I did not know how to answer Thom’s question. I had fallen in love — and out of love — and, in a sense, was in love with my patients (the sort of love, or sympathy, which makes one clear-eyed).
But it was in Gunn’s poetry that Sacks found something else — something tremendously important to our understanding of how creativity works and the constant, necessary dialogue between influence and so-called originalitymediated by our imperfect memory, of which Sacks has written beautifully. Reflecting on Gunn’s intricate tapestry of influences — his creative lineage of what Margaret Mead termed our “spiritual and mental ancestors” — Sacks writes:
I loved the sense of history, of predecessors, in many of Thom’s poems. Sometimes this was explicit, as in his “Poem After Chaucer” (which he sent me as a New Year’s card in 1971); more often it was implicit. It made me feel at times that Thom was a Chaucer, a Donne, a Lord Herbert, who now found himself in the America, the San Francisco, of the late twentieth century. This sense of ancestors, of predecessors, was an essential part of his work, and he often alluded to, or borrowed from, other poets and other sources. There was no tiresome insistence on “originality,” and yet, of course, everything he used was transmuted in the process.
Gunn himself, echoing Montaigne’s sentiments about originality, addressed this in an autobiographical essay:
I must count my writing as an essential part of the way in which I deal with life. I am however a rather derivative poet. I learn what I can from whom I can. I borrow heavily from my reading, because I take my reading seriously. It is part of my total experience and I base most of my poetry on my experience. I do not apologize for being derivative… It has not been of primary interest to develop a unique poetic personality, and I rejoice in Eliot’s lovely remark that art is the escape from personality.
And yet art requires undisturbed personal space for the “quickenings” of the creative process to unfold slowly — something Sacks protected with great discipline as he blossomed into a prolific writer himself. In his house on City Island, he tacked a sign to the wall above his desk that simply read “NO!” — “reminding myself to say no to invitations so I could preserve writing time,” he explains. It is no accident that Sacks dedicates the final sentences in his autobiography to this great love of writing and, in a sentiment that calls to mindthe psychology of flow, fuses it with his great gift for science:
I am a storyteller, for better and for worse.I suspect that a feeling for stories, for narrative, is a universal human disposition, going with our powers of language, consciousness of self, and autobiographical memory.The act of writing, when it goes well, gives me a pleasure, a joy, unlike any other. It takes me to another place — irrespective of my subject — where I am totally absorbed and oblivious to distracting thoughts, worries, preoccupations, or indeed the passage of time. In those rare, heavenly states of mind, I may write nonstop until I can no longer see the paper. Only then do I realize that evening has come and that I have been writing all day.Over a lifetime, I have written millions of words, but the act of writing seems as fresh, and as much fun, as when I started it nearly seventy years ago.
Every page of the altogether magnificent On the Move emanates this contagious delight in writing and furnishes an equivalent delight in reading — a sense of being invited, in the most generous way possible, into a lifetime of Sacks’s conversations with his own luminous, incessantly quickening mind. Take another step inside.
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Sunday, August 30, 2015
Friday, August 28, 2015
|Jessie Arms Botke|
|Jessie Arms Botke|
|Jessie Arms Botke|
|Jessie Arms Botke|
|Jessie Arms Botke|
|Jessie Arms Botke|
Jessie Arms Botke (1883-1971) was a decorative painter and California Impressionist, noted for her bird images and use of gold leaf highlights.
Botke was born in Chicago, and attended the Chicago Art Institute, studying with Charles Woodbury and Albert Herter. She started exhibiting in 1916. She moved to Carmel, California in 1919, and later to Santa Paula, where she ran her family's ranch while continuing to paint and exhibit.
Inspired by early work as a designer of woven tapestries, Botke's art often featured birds, particularly white peacocks, geese, and cockatoos. Later in her career, she shifted from oils to watercolors, and also focused on still lives.
Botke exhibited regularly throughout the US during her lifetime. Her work has also been exhibited posthumously at the Irvine Museum and the Museum of Ventura County.
Thursday, August 27, 2015
The 50 Stone Lithographs of Fred Machetanz (ISBN 0941728005)
Fred Machetanz made 50 stone lithographs between 1946 and 1980, each in editions of 100. Many of those same prints now sell for well over $5,000 each. In 1982, all 50 of these beautiful designs were compiled into this 101-page book, which was published in a limited edition of only 950 copies.
Each lithographic image is accompanied by a written description which was written by the artist's wife, Sarah. Each book is also hand-signed by artist Fred Machetanz and is individually numbered. It is extremely rare for a book of such high quality to be published in such a small limited edition-- just like his limited edition prints, it was intended to become valuable.
Originally published by Mill Pond Press of Venice, Florida in 1982.
To collect all 50 of the original full-size prints (of which only 100 were made and sold from 1946 to 1980) it would likely cost six figures.
Fred Machetanz (1905-2002)
The dramatic colors of Alaska are the colors of Machetanz's palette: the pinks
and golds of the northern sunlight, the blues and greens of snow and ice, the grays and creams of polar bear fur. Machetanz credited his classic transparent oil technique with capturing Alaska's kaleidoscope of color.
Fred Machetanz painted portraits of an Alaska in what he called its romantic period, between the gold rush and the oil boom. He chronicled the traditional Eskimo lifestyle- now rapidly changing but not as yet vanished -- and the constantly changing resplendency of the Alaskan landscape.
One of Alaska's preeminent artists, during his lifetime Machetanz traveled a long trail from his first one-man show in 1961. His paintings and stone lithographs have been exhibited around the world, including in numerous permanent collections and have been published in several books. His awards ranged from 1977 Alaskan of the Year and a seat in the Alaska Press Club Hall of Fame to three honorary doctorates, including one in humane letters from Ohio State University, his alma mater.
Machetanz pictured the Alaska he first encountered in the village of Unalakleet; it was here that he first established a bond with the land and its people that lasted nearly 50 years. As the patterns of light and dark and the luminous effects of his glazing techniques are the trademarks of a Machetanz oil painting, the spirit of Machetanz is the trademark of Alaska. He once said, "If anyone viewing my work has felt the beauty, the thrill and the fascination I have known in Alaska, then I have succeeded in what I set out to do."