Amanda Palmer’s Extraordinary BBC Open Letter on the Choice to Have a Child as a Working Artist
“We’re artists — not art factories.”
By Maria Popova
“Being an artist is not just about what happens when you are in the studio,” Teresita Fernández wrote in her devastatingly beautiful meditation on being an artist. “The way you live, the people you choose to love and the way you love them, the way you vote, the words that come out of your mouth … will also become the raw material for the art you make.” And yet we continue clinging to limiting ideas about what it means to be an artist. Our bipolar culture renders the choice not to have children a controversial act of courage while at the same time pitting parenthood against other aspects of personhood, including the identity of being a creative warrior, and insisting that there is an inescapable tradeoff.
In April of 2015, musician Amanda Palmer received a letter from a self-proclaimed “fan” affirming one of every artist’s worst nightmares — the “fan,” also a woman, argued that Palmer’s newly announced pregnancy would be to the grave detriment of her art; that, what’s more, it was a form of perpetrating fraud on her fanbase by accepting Patreon micro-patronage (I myself am a proud supporter) for art bound to devolve into motherly mediocrity. The “fan” seemed unaware that the history of creative culture is strewn with brilliant women who had children without compromising their genius — from Susan Sontag, who entered motherhood at the age of nineteen and went on to become one of the greatest intellectual titans of the twentieth century, to Patti Smith, who became a mother at forty-one and has continued to bestow her brilliant badassery upon the world in the decades since, often performing with her daughter.
At a live recording of BBC’s excellent Four Thought, Palmer addressed the “fan” in a vulnerable, courageous, and unflinchingly loving open letter that speaks to the mire of cultural complexities in reconciling one’s new identity as a parent with one’s lifelong identity as a working artist.
When you’re a crowdfunding artist, it shouldn’t matter what your choices are — as long as you’re delivering your side of the bargain: the art, the music. It shouldn’t matter whether you’re spending money on guitar picks, rent, printer paper, diapers, college loans, or the special brand of organic absinthe you use to find your late-night muse — as long as art is making it out the other side and making your patrons happy.
We’re artists — not art factories. The money we need to live is often indistinguishable from the money we need to make art.
I’m just about to jump into this net that I’m praying will appear to catch me, my art, and this baby — all at the same time.
For a complement and a counterpoint, see some equally courageous perspectives on the choice not to have children, then revisit Amanda’s suddenly triply poignant reading of Polish Nobel laureate Wislawa Szymborska’s poem “Life While-You-Wait” and her fierce performance art piece for the New York Public Library’s children’s book donation drive.
Published August 26, 2015