The Creative Life: True Tales of Inspiration

barbara — Wed, 24 Nov 2010 08:00:00 +0000

If you haven’t heard of Julia Cameron, you’re probably familiar with her best-selling book, The Artist’s Way: A Spiritual Path to Creativity. This seminal book has helped many recovering and blocked creatives find their way back to a place that is nourishing and healing while giving them the tools they need to unblock their creativity. As Cameron wrote in her introduction to the tenth anniversary edition of The Artist’s Way, “Art is an act of faith, and we practice practicing it. Sometimes we are called on pilgrimages on its behalf and, like many pilgrims, we doubt the call even as we answer it. But we do.”

The Artist’s Way grew out of classes that Cameron gave on creativity to blocked creatives. The “notes” that Cameron had created for these classes evolved into a book that eventually became a worldwide best seller. The book has been used in prisons, hospitals, universities, and human-potential centers as well as by therapists and doctors. One of the core teachings of the book is an emphasis on tapping into the spiritual creative energy that is accessible to all of us through daily journaling that Cameron calls “Morning Pages,” and “Artist Dates,” during which readers are encouraged to embark on spontaneous fun outings of discovery to spark the creative process. Cameron has written a number of best-selling books since The Artist’s Way, including Walking in the World and Finding Water, but it is probably safe to say that none of them have touched so many individuals or inspired so much change in people’s lives as The Artist’s Way.

Cameron’s latest book, The Creative Life: True Tales of Inspiration is described in the book jacket copy as showing readers how to create lives that “nourish and sustain their art.” I have to admit that I was somewhat disappointed in the book because it didn’t quite meet up to its advance billing. In this book/writing journal, Cameron invites the reader to be a fly on the wall in her Manhattan apartment and during her domestic and international forays. During this period, Cameron is finishing a book, collaborating with her creative partner on lyrics and music for an upcoming musical, coaching and mentoring artists, young and old, in the art of being creative, and traveling to London to hold workshops on creativity.

To be honest, I’m not sure if some of my disappointment in the book was related to the discovery that despite her successes as a published author, Cameron did not seem to be following her “true north” when it came to the writing of this book. Cameron continually questions whether she will be able to complete a book by deadline (presumably this book that is being reviewed). She writes at one point, “I feel like writing, but I feel like I have lost my voice.” While I understand that even famous and successful writers are insecure, I sensed as I read the book that Cameron was not entirely happy with the finished product, but felt pressured to meet her publisher’s deadline. As a result, The Creative Life: True Tales of Inspiration leaves the reader feeling somewhat let down and disappointed because it is, frankly, not in the same league as The Artist’s Way.

That being said, Cameron’s honesty and frankness about her doubts and insecurities about her writing and her ability to continue to create are refreshing and a testament to her willingness to continue to take risks for the sake of her art.

Written by: Gita Tewari, November 24th 2010

The Gloria Anzaldúa Reader

admin — Tue, 09 Feb 2010 17:01:00 +0000

Edited by AnaLouise Keating

Duke University Press

I should probably start by saying that I absolutely love Gloria Anzaldúa. She was a writer whose work focused mostly on her identities as a woman, Chicana, lesbian, feminist, etc.—identities she insisted could not be separated from one another. She is probably best known for co-editing This Bridge Called My Back: Writings by Radical Women of Color and for her book Borderlands/La Frontera, The New Mestiza.

Anzaldúa’s work engages me in a unique way, so I was equal parts ecstatic and apprehensive to start The Gloria Anzaldúa Reader. There are so many ways this could go—there could be too much new or obscure material, too much old material, too much academia, etc. Luckily for me, the book provides just the right balance and showcases Anzaldúa in a way that made me love her even more.

The book is divided into four sections: early writings, middle writings, images, and later writings. The divisions are based mostly on chronology, but there are also certain themes that are more prevalent in one section than another. Every section starts with a quote from Anzaldúa’s works and each piece has a short introduction. The introductions were very useful because they often provided the context of where it fit into Anzaldúa’s writing, listed some of the themes in the piece, and sometimes suggested what other works to read in order to explore the themes in that piece.

What I liked most about this book is that the editor, AnaLouise Keating, does a great job of including a bit of everything in almost every way. There are poems, fictional stories, autobiographical pieces, drawings, transcripts of talks and email exchanges, and so forth. In terms of content, there are at least a couple of pieces for all of the issues important to Anzaldúa: feminism, culture, queer studies, and disability. For example, the book contains an interview about spirituality and sexuality, a piece about her preference for the term “dyke” instead of “lesbian,” several pieces about culture and identity, a poem about the process of writing, an email exchange about disability, and the list goes on. It gives a great introduction to people who have never before read Anzaldúa’s work, but even die-hard fans will like the book because it includes a good amount of unpublished material.

I enjoyed almost everything included in this book, but I did earmark a few that stood out to me. There were a few pieces about how Anzaldúa started writing and the methods she uses for writing that I liked a lot. Similarly, a piece on creativity was one of my favorites, in which she explores the rational mind, imagination, her sensitivity to the world around her, and how all of that comes together when doing something like writing. There was also a very funny story about a woman so saddened by her husband’s death that he comes back as a ghost, at which point she realizes just how sick of him she really was.

One thing that I might have changed is the placement of the images. It was great to include them and a couple of the drawings make my list of favorite pieces in the book, but I think putting them all together in between other chapters seemed awkward. For me, it was reminiscent of a biography with photos in the middle. Perhaps spreading them throughout the chapters might have been better and more in tune with Anzaldúa’s own style of switching through mediums within the same work. But I have to admit that this is probably just nitpicking to find flaws in an otherwise incredible book.

Written by: frau sally benz, February 9th 2010