advice/living
Patricia Highsmith,
Ursula K. Le Guin,
Alyssa Battistoni,
Jonathan Franzen,
Richard Seymour,
Brandy Jensen,
n+1,
Natasha Lennard,
Jedediah Purdy,
Apoorva Tadepalli
just like life advice. ideally philosophical rather than pragmatic
A postcard. Neat handwriting fills the rectangle.
Half my days I cannot bear not to touch you. The rest of the time I feel it doesn’t matter if I ever see you again. It isn’t the morality, it is how much you can bear.
No date, no name attached.
12/11/42
Sometimes I have the strange belief that there is a remedy for every sensation of discomfort, physical or mental. When I drink water after long thirst, eat food after hungering, or once every five years take bicarbonate of soda for a digestive ailment (nervous indigestion) and when the pain passes in two or three minutes, the dull ache inside of me lifting and disappearing, keep on at my books with the fathomless ingratitude of a young person who has always been healthy, when such things occur then I think one may always make arrangements to stay comfortable all one’s life. And yet this is the very opposite of what I have always believed (since I began believing anything, around the age of fourteen) and what is in my blood to believe. I believe in constant discomfort, varied equally like the ups and downs of a business chart about its line of normalcy, as the natural state of mankind. Therefore these happy, blind, animallike “insights” disturb me.
1/8/45
To live one’s life in the best way possible, one must live and move always with a sense of unreality, of drama in the smallest things, as though one lived a poem or a novel, attaching the greatest importance to the route one takes to a favorite restaurant, believing oneself while browsing in a bookshop, capable of being unmade or made, destroyed or reborn, by the choice of literature one makes. In one’s room alone, one should be Dante, Robinson Crusoe, Luther, Jesus Christ, Baudelaire, and in short should be a poet at all times, regarding oneself objectively and the outer world subjectively, compared to which state of mind the reality of the sorrow of a lost love is destructively real and brutal.
4/30/55
The irking dissatisfaction of living with someone whom one is not thoroughly in love with, does not love thoroughly and unquestioningly. Ah, that nagging inner question, that defiant exclamation: “Surely I am not fated to live with her the rest of my life! I can’t believe I am fated to live this!” What irks the honest man and the honest artist (a redundant term!) is that inevitably, if he is human and kind, the world—for him will be seen through the eyes of the person whom he does not entirely trust, and whose imperfections (nothing but dishonesties) he has already tried hundreds of times to correct and explain away, without success. To be bound to a warped and dishonest person, to be emotionally bound, is like being compelled to wear distorting glasses the rest of one’s life. An unbearable fate for an artist! The world is difficult enough to bring into perspective, even seen purely!
7/13/56
Life—existence—getting along with people—or even getting along totally with oneself—is a matter of compromise. A platitude. But the wisdom (or the stupidity) depends on the things one compromises with, and also one’s sense of humor, or detachment, or earnestness, in compromising. It is the most important and the most difficult art in the world. But it is for people who have chosen happiness, alone. It is not really for artists, though they have to compromise, too (e.g. when they greet their cranky landladies; or do they always? No). One must either know instinctively when and how much to compromise, or one must have an intellectual system worked out about it. One must compromise the whole way, with a sense of humor and an absolute, beautiful conviction that one is not compromising oneself in doing so; or else one must be grim and equally well defined, saying basically I shall not compromise any more than is necessary for me to keep myself out of jail. But there are times when one should go to jail, prefers to go to jail. This is really the Endless Circle, the rat-race of Twentieth Century America.
Anabel only gave me the job because, she said, I was naturally maternal. It had come up after I asked Anabel how she had gotten married in the first place. Anabel said, “Well, darling, it was simple. I had not been in touch with many men at that age, or at least any good men. Anyone who was sweet was surprising. It seemed unbelievable to me. One day he looked at me and said, ‘Anabel, I will never look up or down at you. Let’s get married.’ And we did of course. Things didn’t turn out how either of us thought they would, but we have a beautiful child together, and that’s enough to celebrate from that union. A piece of advice: You’ll come across many people who will want to be with you. People’s imaginations aren’t entirely idle; they can slot you into their futures easily. You have qualities that people wouldn’t mind spending time with, at least for a while. You could be the perfect girl for Anybody. We are conditioned to be obsessed with people falling in love with us. Reaching that point is seen as a success. We’re always asking, ‘Why do they act this way?’ and then morphing, cooing, comforting. By the time you win them over, you don’t know how to really love them in return because we never ask ourselves enough about what we want. Don’t ever forget you have the ability to choose. Never wait to be chosen by someone who came ready to treat you right. I know it may not seem this way in art and literature, but we are not mere vessels for love and admiration. If I said yes to every proposition I was given just because I was flattered by it, well!” What she means is have an idea of what you want and never get talked out of it. I am slowly learning to never accept less than I deserve. Deciding how much I deserve is another matter. I wish someone would say to me, “I will never look up or down at you.”
honestly not bad advice
But he stopped in that doorway, reaching a hand inside he snapped on the bright light which flung a heavier shadow across the floor to her. —Listen, this guilt, this secrecy, he burst out, —it has nothing to do with this . . . this passion for wanting to meet the latest poet, shake hands with the latest novelist, get hold of the latest painter, devour . . . what is it? What is it they want from a man that they didn’t get from his work? What do they expect? What is there left of him when he’s done his work? What’s any artist, but the dregs of his work? the human shambles that follows it around. What’s left of the man when the work’s done but a shambles of apology.
Negative aspects of travel? Everyone will say that it distracts you from that horizon of set objects that constitute your own poetic world, it disperses that absorbed concentration which is a condition (one of the conditions) conducive to literary creation. But in the end, even if it is a dispersal, what does it matter? In human terms, it is better to travel than to stay at home. First of all live, and then philosophize and write. Writers above all should live with an attitude towards the world which effects a greater acquisition of truth. That small something which will reflect this on the page, anything, will be the literature of our time, nothing else.