Tag Archives: James Agee

The Authentic Voice of Creative People

Creatives’ On-Going Quest for an Authentic Presence

Painting of a tree with birds

Inspiration by Regina Valluzzi

We homo sapiens are marvels, aren’t we? Since the dawn of our species, through every era, among us have been extraordinarily artistically gifted people. They are blessed or burdened with an unquenchable need to express, to grow, to explore, to create, and to embellish their existence by communicating in their own voice–which is not precisely like any other voice–a presence they wish, rather urgently, to share.

The first subject our artistic forebears chose to leave behind for us to see are impressions of their hands on the walls of caves. There at that site thirty thousand years ago, a man or woman–much shorter than us, with faces different than ours, working alone as artists do–put aside chores, squatted down in darkness, and blew colored pigment through a rod onto their hand, leaving no other trace of their days and nights but that hand. Yet through that hand–that painter’s medium, that subject–we feel their presence, and with it a bond, a caring for them, a love. We hear their voice.

Blue waves with pink and blue sky

Rose Dusk Beach by Regina Valluzzi

The late composer Marvin Hamlisch–a three-time Academy Award winner, and Pulitzer Prize winner for the composition for the play A Chorus Line–was a friend. Once I told him I’d been watching a movie and a few bars into the music, I knew he had written it.  He said, “Is that true?” I said yes, every distinctive piece of music, writing, art, acting, and composing is marked by the recognizable voice of the person who created it.

Pink and white thread-like flowers on a branch

Alive by Regina Valluzzi

It is often because of that clear voice that we go on reading the poem, or viewing the painting, or listening to the actor or to the music, and are attentive and respectful. It’s only inferior work that doesn’t take us back to an interesting, stimulating, flexible, and complex mind of the person behind the work.  Who a creative is intellectually, emotionally, and spiritually radiates from the creative’s presence in the work and cannot be hidden. Many creatives have recognizable voices because they return again and again to painting or writing about a particular subject matter.  Some creatives, such as Welsh poet Dylan Thomas, discovered their authentic voice when they were young; others, such as self-taught American poet Walt Whitman, not until later in life.

So if we’re looking for prescriptions to the creative for finding or authentic voice and presence, the first would be: “Reveal yourself. Let your true identity permeate the work—your sincerity, your honesty, your mind in action, your originality, abilities, and uniqueness, the ‘I’ who you are–for it’s that, above and beyond the other content that your audience will be attracted  to. Be interesting, be clever, be skilled, be alive, be true, and be authentic.

 

Learning to Write In a More Satisfying Voice

Painting of plue water with brown sand

Rhapsody on the Sea by Regina Valluzzi

American novelist John Hersey said, “The voice is the element over which you have no control.”

Contrary to Hersey’s belief that writers have no control over their voice, they definitely do. Yet many writers have searched their texts for their authentic voice and can’t find it. So they sometimes conclude that while there may be such a thing as a voice, they do not have one, or they might have one but they don’t know what it is, and couldn’t describe it if they were asked to. But their voice is right there in the text, or the right voice can be added to the text. Always be thinking of the voice you want your work to project.

Misty pastel hills

Hills and Fog by Regina Valluzzi

A writer was dissatisfied with the voices she found in her writing. They didn’t seem to be “her.” They were different from what she felt should be the voice of a mature, thirty-five year old mother of two, an assertive, experienced writer of essays and short stories. A few of her stories had been published in a local literary magazine. She hoped to continue writing and seeing her work appear in better magazines. She didn’t like the syntax in her writing. She thought the writing was too formal and stilted, too cold, humorless, bland, business-like, academic, dull, lifeless, and not inviting for readers.

If you have a similar problem, here is an approach you might find helpful: ask experienced writer friends to look through a piece you’ve written. Ask them to identify sentences or passages that sound most like you. Then analyze what they think sounds most like you and identify the salient elements that gave them that impression-when they say, “Right there you were doing something very good. You should get more of that into your writing, you may be onto something.”

Then write a piece in that voice. Then show a draft of the piece to a supportive writer. Ask them what they think. Does it work? If it doesn’t work, write the piece again. If it does sound like you, you’ll be encouraged.

Twisted brown trees with aqua sky

Undulating Wood by Regina Valluzzi

If in your craft you are trying to communicate a particular voice or to avoid communicating another one, you might tell your friends what you would like them to look for as they look at your work. Once when I was working on a book, I left some pages on my desk and went to bed. The next day I noticed my teenage daughter had circled a couple of sentences and written, “Write more like this, Dad. Sounds like you,” and it was my voice loud and clear.

Avoid steering their perceptions in a particular direction, as saying to them, for example, “Is my writing dull?” “Is it too complicated and unclear?” Leave them alone to make their own observations. Be sure to tell them that you want their opinions and that you are giving them your permission to be honest and open.

A competent writer should be able to write in more than one voice, as required by the work at hand, a competent painter to paint in more than one. Who could paint in as many voices as Picasso? But in the creatives’ way of producing works there is one voice that is the most powerful, natural, and suitable to what creatives are trying to accomplish, what author Peter Elbow calls the “juice.” When the quest for an authentic voice is successful, creatives come into their own and do their art better than ever before.

I can’t think of better teachers of voice than writers who have the kind of voice that appeals to you and you would like to learn from.  I find the voices of James Agee’s A Death in the Family, Joseph Conrad’s Heart of Darkness, some passages of Thomas Wolfe, Ernest Hemingway’s The Sun Also Rises, and Anton Chekhov’s “The Lady With a Dog,”  full of instruction for me as I look for the voice I want, thinking, “I’d like my writing to sound that way consistently.” To better understand how Hemingway created the effects he did, I analyzed his work and read what critics and teachers had to say about it, then wrote an essay on techniques he employed to create his voice. It is a voice that in the 1920s marked the start of the “Hemingway Voice” that revolutionized how, ever since, Americans have written and spoken. Whose voices do you admire most?

Branches with blossoms and birds leaning toward each other

The Sentries by Regina Valluzzi

The lovely art featured in this post is by Regina Valluzzi, a trained scientist and researcher in the Chemical , Physical, and Biological Sciences. The influence of her scientific experience permeates her approach to painting as both an art and a science, and gives her a unique voice. The pieces she has kindly allowed me to display here, she has informed me, “feature mixed media and a combination of “classic” painting techniques, controlled fluid pouring techniques and acrylic extrusion using cake decorating tools to control the three dimensional line shape and forms.  In most cases [she has] developed [her] own techniques or versions of techniques through a variety of controlled experiments.”

 

© 2018 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

http://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

 

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

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Order Waging Business Warfare: Lessons From the Military Masters in Achieving Competitive Superiority

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The Perfect Creative Personality

The Perfect Creator Is Bold

What have you been working for these years and developing your talents for if not to set your creative potential free? And you will not do that without being bolder.

I know a painter. The best teacher she ever had gave her the best advice she ever received. He looked at her as she painted and said, “You’re being too careful. Make bolder strokes.” He went away. She followed his advice. The teacher came back and studied her work. He raised his voice and said, “Bolder.” Later he came back again and said, even louder, “Bolder! What are you afraid of?” It’s worthwhile to say to ourselves from time to time in our creative lives, “Bolder! What are you afraid of?”

The argument easily can be made that boldness in and of itself is what brings success in life. It’s a quality of excellence, of greatness, in every discipline, paint-33883_1280every field, especially in the arts where courage isn’t a luxury but a necessity. The great creative personalities couldn’t have attained success had they not taken bold risks. Even becoming creative at all carries risks. Creating seriously isn’t a typical life. Most careers are much less risky.

For almost all people—creative men and women among them–the problem isn’t being too audacious, but not being audacious enough. Boldness is the power to let go of the familiar and the secure. It isn’t something you save for when your life and your creativity are going well. It’s precisely when things are going badly that you should be boldest. When things look grim and you’re most discouraged, increase your determination and go forward boldly. Boldness brings a new intensity and sets you apart. When the situation is unclear but the outcome is important, be bold.

I’m interested in the samurai way of life and wrote a book about it. I find in it many analogies to creative peoples’ lives. In kendo—samurai swordsmanship—there’s a move that requires the swordsman to pass very close under the arms fighter-155746_150of his opponent. It’s not a difficult move, but taking the chance of coming so close to the opponent frightens the swordsman. It’s only the fear of taking the risk that prevents victory. But accepting the fear and edging in close anyway can bring easy victory. The great swordsman is bold and knows that the greatest rewards lie one inch from the foe’s blade. Your greatest future success in your creative life may lie close to the blade.

 

The Perfect Creator Is Sincere and Has Integrity

The true center of our experience with any kind of creation is the sense that someone with a mind, a personality, and a range of experiences is trying to communicate with us. That sense accounts—if it’s favorable–for much of the pleasure we get from the work or performance.  What a creative person is water-lilly-1227948_640intellectually, spiritually, and emotionally radiates in the work and can’t be hidden. Herman Melville said, “No man can read a fine author, and relish him to his very bones, while he reads, without subsequently“ forming “some ideal image of the man and his mind. And if you look…you’ll find the author has furnished you with his own picture.”

The  most loved creator is the one who’s able to develop a relationship with the audience that goes beyond liking and beyond friendship to intimacy, and that comes from above all else the sincerity we find in the work or the performance. Sincerity is what I sense all through the works of Pulitzer Prize winning author James Agee. Anyone who can write so beautifully and so sensitively, honestly, and intensely must be trying to pass on to me something that he cares deeply about.  (See especially Agee’s Let Us Now Praise Famous Men.) The sincere, intimate creator invites us in to her inner life and says “Here I am.” The sincere creative man or woman is trying hard to convey something directly to me as well as he or she is able. And I respond.

Good creators have integrity. They are whole and authentic. When we have integrity we guarantee we aren’t faking, or deceiving, or compromising. It’s futile to think we can hide ourselves from the audience for very long or fool them into believing we’re something we’re not. The person we are—with our history and our points of view and perspectives and opinions–comes through clearly.

A creative person’s authentic voice isn’t achieved by adding something, but by the opposite process—by subtracting what’s pretentious or phony. Every creative person is different from every other. There are no duplicates. But whatever he is like, we’re trying to locate him, understand, and admire him.

 

The Perfect Creator Is Fearless

All athletes, business executives, adventurers–and cab drivers, accountants, homemakers—and all creative people of any kind know that the single emotion that most often holds them back is fear. Hardly a single day goes by without most people being afraid of something.

Every early morning I go to my work room upstairs and settle down to write. I’ve been writing so long and have produced so many words that generating work-space-232985_640text is second nature to me—easy, effortless, without strain. Yet, there is another emotion that is there with me some days, and certain days it’s powerful and tries to keep me from work. On those days I pause, fold my hands in my lap, gaze at the screen and ask myself, “What are you feeling now? Why are you hesitating?” And I answer, “What I’m feeling right now is fear.”

Author Joan Didion wrote, “I don’t want to go in there at all. It’s low dread every morning.. I keep saying ‘in there’ as if it is some kind of chamber, a different atmosphere. It is, in a way. There’s almost a psychic wall. The air changes. I mean you don’t want to go through that door.”

I ask myself, “What am I afraid of?”

Bear in mind that I’ve had many successes in writing. I’ve proven myself. Also, I am no coward who’s easily intimidated. I once rescued a woman from a would-be rapist–chased him, caught him, fought with him, wrestled him to the ground, and held him till the police came. I was heroic. Yet, when I sit at the computer to do the thing I do better than I do anything else, sometimes I’m scared.

Each time I visited a painter friend I saw the same unfinished painting on the easel. Nothing about it changed month after month. Not a single new brush stroke touched the canvas. Then she moved away and I didn’t see her for a number of years.  When we got together again I asked, “Whatever happened to that green pastel that was on your easel so long?”

She said, “I never finished it.”

I said, “You were afraid.”

She said, “I was terrified of it.”

The goal is to be fearless when facing your creative responsibilities and tasks and obstacles, as many creative people are. Or to learn to be unafraid, or being afraid, to face up to fears and conquer them. There are creative people who are totally fearless. They don’t experience any fear whatsoever, the way some soldiers are fearless—and happiest–when under fire in combat.  Such creative people have a high threshold of fear, just as some people have a high threshold of pain.

janet self protrait3

Janet Weight Reed, self-portrait http://janetweightreed.co.uk/

There are creative people who experience fear and are stopped by it. They may be superb creatively but that doesn’t matter. They’re at fear’s mercy. When you’re stopped by fear, you have only the slightest chance of being successful. That’s why the top is such an exclusive place—because fear stops so many people from reaching it. Thousands upon thousands of wonderfully talented creative people fall by the way and simply quit–hundreds or thousands every day– because fear paralyzes them and they aren’t able to recover. There’s no premium on gifted creators. Gifted creators with indefatigable courage are a rarer breed.

Then there are other creative people who feel afraid but conquer their fear by nevertheless doing what must be done. They feel as afraid as anyone else, but they react differently. They have a lower threshold of fear than the fearless person. But they don’t permit their fear to stop them. You look at them and you can hardly believe your eyes. You know they’re afraid, and yet are unstoppable. They know that the best way to conquer fear is to do what you fear to do no matter how afraid you are. And that you can do.

sea-gull-939474_640In Ernest Hemingway’s The Old Man and the Sea, the old man Santiago is in his skiff out on the sea when a small bird lands on the boat to rest. The old man talks to it, saying that the bird can stay for a while but then must fly away, taking his chances like every other bird And so must we creative people take our chances, afraid or unafraid.

 

Paintings by Janet Weight Reed, one of my favorite artists and bloggers, are featured in this post. When I told her I was writing a post on boldness, fearlessness and sincerity and would like to use a piece of her artwork, she sent me three paintings, saying:

If ever a painting of mine symbolises boldness and fearlessness, it is the attached (large oil on canvas) self-portrait.   It was painted in 1989 during one of the biggest turning points in my life and career.     I keep the painting with me as a reminder of what it is to persevere through seemingly impossible obstacles.

The hummingbird  (watercolour) also symbolises for me the same traits.     They have been significant in my paintings, large and small over the past 35 years, symbolising the ‘unseen magic’ of our world….a source to be tapped into during times of great duress.

When I observe the life of cats (small and large) – I see the same traits…..

Loving all Janet’s work, it was very difficult for me to choose one of the paintings, so I have included all three she sent me.

 

© 2016 David J. Rogers

For my interview from the international teleconference with Ben Dean about Fighting to Win, click on the following link:

www.mentorcoach.com/rogershttp://www.mentorcoach.com/positive-psychology-coaching/interviews/interview-david-j-rogers/

Order Fighting to Win: Samurai Techniques for Your Work and Life eBook by David J. Rogers

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or

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Order Waging Business Warfare: Lessons From the Military Masters in Achieving Competitive Superiority

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Filed under Artistic Integrity, Artistic Perfection, Artists, Boldness, Courage, Developing Talent, Human Potential and Achievement, Fearlessness, Inner Skills, Samurai Techniques