“Immerse yourself in the common ground of the universe so that your true voice — not the egoistic voice that clamors vainly for power (for it will ruin you if you listen to it) — your authentic voice … may be heard.”
Why do we humans create — why do artists make art, why do writers write? Pablo Neruda gave a beautiful answer in his metaphor of the hand through the fence. For Joan Didion, the impulse is a vital gateway to her own mind. David Foster Wallace saw it as a mode of fun-having and truth-telling. For Italo Calvino, it was a matter of belonging to “a collective enterprise.” William Faulkner simply believed it to be “the most satisfying occupation man has discovered yet.” But even more important, perhaps, is the question of why — and how — artists continue to make art in the face of the rejection, ridicule, and indifference with which their society often meets them.
That immutable inquiry is what novelist, short story writer, and journalist Melissa Pritchard explores with unparalleled luminosity in an essay titled “Spirit and Vision” from her altogether magnificent first nonfiction collection, A Solemn Pleasure: To Imagine, Witness, and Write (public library). The piece — a sort of open letter to writers and, by extension, all artists — bears that cynicism-disarming quality of a commencement address and enchants the psyche like an incantation.
Great writers are witnesses to the spirit of their age. They need not be accepted by their times; they rarely are. Speaking the truth, they may go unheard, be misunderstood or criticized. Later, posthumously, it is said they were ahead of their time.
This she illustrates with a supreme example of the posthumously anointed literary genius: Walt Whitman, whose exquisite serenade to the soul, Leaves of Grass, fell on deaf ears — the same unfeeling audience that had been wholly nonplussed by Thoreau’s wholly plussing Walden and had snubbed Moby-Dick, leaving Melville to die in embittered poverty. Where the public was indifferent, reviewers were downright hostile — one famously advised Whitman to simply commit suicide. Middle-aged and penniless, the poet was friendless in an artless world — save for Emerson, who alone found Leaves of Grass to be full of “incomparable things said incomparably well” and declared it “the most extraordinary piece of wit and wisdom that America has yet contributed.”
And yet Whitman didn’t give up writing, buoyed by the same mysterious force that has kept countless artists from throwing in the brush or pen or lyre when met with mockery or, worse, indifference. Pritchard considers his plight:
Walt Whitman had violated all the polite norms of his age, and Leaves of Grass was on a collision course with conventional literature. He had assaulted the institution of literature, had torn apart language and invented his own. In fact, Whitman laid the groundwork for much modernist writing from Kafka and Beckett to Borges.
With this, Pritchard arrives at the central inquiry, addressing writers with grounding yet elevating directness:
Why write? Why add to the tumult of the world? Your competition is fierce … from television, film, video, all social media, from the books of other writers living and dead. There currently exists in America an insidious numbness to literature. It is increasingly difficult to publish what is called “literary fiction”; even the best-seller market is not what it was. Stacks of books are returned to warehouses every day, even those blockbuster books publishing houses rely upon to finance more serious, less lucrative books. And how have we, as writers of that literature, become increasingly alienated from the soul of our culture? How have we become so nearly unnecessary? In other parts of the world, to be a writer is to place yourself in physical peril; your words might invite your own death. In other parts of the world, to be a writer is a heroic vocation, for which you may be imprisoned, tortured, “disappeared.” On the other hand, thousands of people may assemble to listen to you; as a poet you may be elected to the highest political office. In parts of this world, the power of language is still deeply connected to the soul of the people. Whitman’s work was initially met with indifference. By the time of his death he was regarded as a genius and a saint or a derelict and degenerate, depending on your stand. He was in no way dismissible.
We are in danger, I believe, of becoming accustomed to indifference, of being kept within writing workshops, conferences, and seminars where we write and read to a dwindling, closed circle of admirers. Nearly resigned to this peripheral fate, we are then tempted to take ourselves too seriously as far as ego recognition goes, in terms of literary prizes, grants, and publications in journals, yet not seriously enough as essential witnesses to our time.
But make no mistake — Pritchard’s is not a complaint but a clarion call, issued from the depths of a chest that cages a heart emanating uncontainable love for art and its spiritual rewards:
All great literature has an uncreeded and luminous theology behind it… Art [is] a form of active prayer.
For writers, Pritchard argues — especially writers like Whitman, who stay true to their art in the face of repeated rejection — literature is a “sacred vocation”; there is no preciousness or pretense about its sanctity — only earnest and inexorable purposefulness. She exhorts writers to contact this invisible theology of their craft and elevate it to its height:
Many of the tenets of sainthood are also to be cultivated in the committed writer: selflessness, the death of the little self, purity of spirit leading to intensity of vision, a suspension of judgment in regard to your fellow human beings, an intimate acquaintance with ecstasy, sorrow, and revelation. Consider for a moment your work as analogous to intimate prayer in which you address God, and thereby divineness, in all matter.
We can begin with a metaphysic that recognizes a divine reality substantial to the world of things, lives, and minds, a psychology that finds in the soul something similar to, or even identical with, divine reality, an ethic placing humanity’s final end in the knowledge of the immanent and transcendent ground of all being. This is a universal, immemorial idea put forth by all religions, much folklore, and, uncounted times, by great artists. Whitman believed in the poet as agent of transcendent power; he was literal when he referred to his ecstasies, his illuminations.
This divine reality is of such a nature that it cannot be understood directly except by those who choose to fulfill certain conditions, making themselves loving, pure in heart, and rich in spirit. I am talking about mystics, saints, prophets, sages, enlightened ones, the Sufis of Islam, the gurus of India, the Catholic mystics, the Quakers’ tradition of inner light that so influenced Walt Whitman, the shamans, and medicine women and men of the Native American tribes. It is from these people and others that we learn of the detachment, charity, and humility essential to being immersed in the one divine reality. It is my assertion that as writers, we bring as many of these same qualities to bear in our work as we possibly can… This consciousness, supernatural consciousness, is what transformed Whitman from an ordinary hack writer to a composer of transcendent works.
The shining of this inner light onto the outer world, Pritchard asserts, is the task of the artist and the source of that mysterious force that carries the creative spirit forward, however glib the external reception of that art:
Enduring literature is suffused with compassion and love. And because we then act in the foolish, vain, mad, self-destructive, and sometimes criminal ways we do, all so characteristically human, this is much of what our stories and poems and novels concern themselves with. And just as the author labors in solitude but is never alone, so the artist, the author, is never poor.
Our one great Promethean labor is to reconcile humanity to itself and to reconnect, through language, humankind to the universe. If we begin with this ambition, then all the techniques, the seminars and workshops to promote confidence and craftsmanship make sense, are valid and valuable.
This, indeed, is Pritchard’s most piercing point — however radiant that source of inner light, it cannot exist in isolation from the rest of the universe and must be emanated outward, shone in the direction of universal Truth. With an eye to iconic champions of truth-telling like Nadine Gordimer and Grace Paley, Pritchard addresses the writers of our own time:
If your commitment isn’t to truth, then you are in the wrong line of work. The poetics of silence still exist in America, but as writers I feel we have a responsibility to engage in history, in painful history, to be responsible witnesses to our own time. We are not separate; we are not an indulgent elite. We are not blind to suffering. We are, in fact, aware of our intimate relation to all other beings, and are thus accountable, deeply responsible. We must connect the personal with the political, the political with the spiritual. And though we can only work from our particular place, our given spot in the world, the particular can be a place of great power — the cry of the human heart and the yearning of the human spirit are, after all, universal.
She ends the piece like one might a commencement address — and if this were one, it would certainly be among the greatest commencement addresses of all time — urging writers:
What you have chosen is a profound vocation of healing, and your stories and poems are as sacraments, as visible blessings. Be at the heart and soul of your time, not resigned to what is safe or peripheral. Try to free yourself from attachment to results, to awards, publications, praise, to indifference, rejection, and misunderstanding. Immerse yourself in the common ground of the universe so that your true voice — not the egoistic voice that clamors vainly for power (for it will ruin you if you listen to it) — your authentic voice, supported by sacred reality, may be heard. May your words illuminate your vision, find you compassionate, attuned to human suffering and committed to its alleviation.
Complement A Solemn Pleasure, seriously pleasurable in its entirety, with Susan Sontag’s advice to writers, Virginia Woolf on writing and self-doubt, and Cheryl Strayed’s no-nonsense wisdom on the craft, then revisit this evolving archive of great writers’ advice on writing.