Own it: Authenticity

Rain clouds loomed outside as I sat across from my spiritual advisor, Br. Robert, in the simple room. “You have to own it,” he said. “You’re an artist. Own it.”

He talked about his early years as a friar. The other friars didn’t think much of his penchant for painting, forcing Br. Robert to sacrifice his own time, money, and space for it. At one point, he even tried to suppress the urge because it interfered so much with his religious duties. Just as Thomas Merton complained about his “double” as a writer pestering him during his early years with the Trappists, Br. Robert struggled with the artist fighting for expression from within.

When he left the friars–and the Catholic Church for a time–Brother Robert lived on Skid Row, trying to make his work as an artist. He found a deep, resonant calling. Surviving on rice and beans–tuna fish, when he could afford it–he scraped by, but his art taught him his vows better than his stint with the friars. Poverty. Obedience. Chastity. The words clarified as the years wore on.

For Br. Robert, devotion to art proved a devotion to God.

“Own it,” he had said. The words made sense as he said them, but didn’t resonate. As the years has pass, the words Br. Robert and I shared deepen and clarify, like his vows. Tempered and stretched by experience, his wisdom grows. I understand him now.

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The Ticking is the Bomb Review

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The Ticking is the Bomb, as seen on Amazon.com

I propped open The Ticking is the Bomb by Nick Flynn while sitting on my bed in a Zen Monastery, day two of a spiritual pilgrimage. It’s an older book, coming out in 2012, but a teacher recommended it.

The day started just before 5 a.m., when some monk jangled a handful of bells outside the door. At the time, I imagined he took a sadistic joy in it.

“Hey, here’s a crammed group of exhausted travelers—how can I give a good start to the day?” he probably thought. “Loud bells!”

Rubbing my head, I greeted the others with a nod.

Night still drenched the windowpanes in reflection as we entered the meditation hall. I crossed my legs into a half-lotus and a bell pitched the space into silence, broken occasionally by the rattling radiator or the rasp of a stuffy nose.

I wrestled with my thoughts for the next hour or so. The rest of the day blurred as we moved from one lecture to another and a silent work call. I stayed in the kitchen, cracking 160 eggs for a massive casserole.

Thirteen hours after waking up, I was choking on Zen. Flynn’s tense prose challenged the backdrop of silence that permeated the day. But I needed it.

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Words

Some days all I can do is cling to my art. I feel my world withdrawing, but my fingers rib red lines along words as Imagethey grasp and hold and strain. It’s more feeling than reality, but it keeps me moving past my insecurities. The past few days, a quote by Albert Camus has lingered on edge of my thoughts, flashing now and then into focus:

Life continues, and some mornings, weary of the noise, discouraged by the prospect of the interminable work to keep after, sickened also by the madness of the world that leaps at you from the newspaper, finally convinced that I will not be equal to it and that I will disappoint everyone—all I want to do is sit down and wait for evening. This is what I feel like, and sometimes I yield to it.

I feel heavy.

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Travel

I just got back from a few days on the road. I spent some time with friends and canoed for a bit, then stayed with an old friend (from fourth grade) in Cornell since Sunday. He’s an RA there and is spending the week looking after the seniors before the graduate. Really, he just wants to see his girlfriend, I think.  

It gave me time to break my stagnation at home and sketch a few ideas for another essay. I hope to start it soon–ideally tomorrow. I finished some major edits on a short story today and hope to send that out as well. Writing, reading, traveling, writing. It seems like there should be formula somewhere. 

As I sketch out my essay and review the notes I made during my trip, I hope to write more about travel, but in the mean time, here’s a sketch since I haven’t posted in a few days. 

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Novel

I started on my novel again Monday. I began it during my winter break from mid-December to mid-January, then Imagetook a hiatus during school. I’ve been home for summer for about a week, but spent most of last week finishing final essays and creative writing assignments for classes and proofreading a literature magazine.

It felt great to hit the page again.

I’m going back to the beginning, editing to where I left off and resuming with all the threads in mind. It’s about 50,000 words now, which is about the length of The Great Gatsby. I aim to make it about 100,000, the typical soft-cover length.

So far, working on the novel has been hard but rewarding, especially since I’m neither a professional writer nor do I know what I’m going to do with it. But it begs completion. That’s enough.

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Non-economic labels

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from “Stealth of Nations,” a blog by Robert Neuwirth

I just finished Monoculture: How One Story is Changing Everything, a recent book by writer and researcher F.S. Michaels. She details how an economic view of the world shapes our lives at the expense of other views. The “economic story,” as she calls it, is a way of viewing the world that takes specific biases for reality: mainly that we’re rational individuals with selfish needs behaving in an indifferent market system.

Our world expects us to conform to this monoculture and we hardly notice its pervasive dominance.

It was a fascinating book, and I hope to have a review up this week, but I read it thinking of my own self-proscribed label as a “writer.”

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Magic

I just finished writing a short story that I started last Thanksgiving. I’ve been picking at it the last few days over my spring break, trying to clinch it. I wrote a novel over my winter break and worked on some essays for scholarships, preventing it then, and thus far, my semester has been too packed to do anything but proofread.

So, finishing it leaves a perfect time to talk about “magic.”

Over winter break, I developed a schedule: wake up early, finish my routine, make a pot of tea, light a candle, open a window and write from 8 to 12 and break for lunch. Nonstop. If I had to use the bathroom, I made it quick. My parents didn’t really get it. They thought I was being asocial or avoiding them out of anger, or that my time up there  was lonesome.

I loved it. I enjoy people, but that four-hour time alone facing the page was something far better. That’s the magic of writing: that healing, redemptive, almost mystic struggle to draw words into the world. To me, nothing else comes close.

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A word on writing: Craft

Before shifting to philosophy, I was a journalism major. My passion was and remains writing and reading, although my topics have shifted over the years. I read grammar books for fun now and then, and get excited over a well-placed comma or a finite distinction, the difference between farther and further or prophesy and prophecy, for example. I think in words and try to pin down everything I can into coherent syntax. I recognize this has limits, but it’s how I process the world. Besides, language has immense expressiveness.

I have no other credentials than an ongoing college education; a passion for the page; a computer weighted down with essays, poems, short stories, and half-finished novels; and an exhaustive reading list. But I hope my opinion has some depth to it, and can entertain–or interest–a reader.

I think writing is a craft and a type of magic, a dichotomy made by Carl Sessions Stepp in his book Writing as Craft and Magic. Today, I’d like to talk about the first part: craft.

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