Working in isolation and without an ordinary outlet seems to be uncomfortable to lots of people, but might be more familiar for artists and writers. Why have we been doing that kind of thing for so long? The question reminded me of an essay from some years back that took the form of a conversation among people waiting for an art class to begin, as told by a first-person narrator. It was the only piece accepted for this anthology that was told in a creative form.
Here are some lines from the ending of my essay “Reveyesed I’s,” written for the publication Creativity:
Just as Roger and Rose Ellen are leaving together, Roger turns back and looks at Marie. “Why did they persist? Why do you?” he asks.
“What?” asks Marie.
“Why do artists insist on making art, without pay or recognition?” Roger asks.
“Why is art made, when the artist is no longer employed to fill the needs of church or king? Why, when there are no animals to be entranced, no hunting spells to weave by firelight deep beneath the earth? When images can more quickly be made by other means?” the model chants.
“When there is no clear use for what they do?” Roger asks.
“The artist needs to get the intuitions of the mind outside, and see what they look like. Or hear what they sound like,” Marie answers.
“Thoughts grow and change as they emerge. The process of getting the images down is a process of knowing them better. It’s a way of coming to terms with the shifting and expanding nature of reality,” the model says.
“What does creativity have to do with reality?” Kay asks.
“I think that the relationship of art to reality lies in the creative act itself. It’s not in the images or other results produced. The creation of images is part of the learning process, not something carried out after it,” says Marie.
“Just for themselves, then?” asks Roger.
“Oh, no. The response of others adds to the meaning. When readers and viewers make their own meanings, they are also involved in the process,” says Marie. …
“But what does all of that have to do with living in the real world?” Kay asks.
“It is by focusing on the process of creating works of art, and by drawing the viewer into that process, that our arts represent the real world. They reflect the way that we function in that world,” says the model. She returns to her place among the still-life items.
The model sits still for a long moment, then shifts her position. She speaks slowly, “‘No longer to receive ready-made a world completed, full, closed upon itself, but on the contrary to participate in a creation, to invent in his turn the work and the world, and thus to learn to invent his own life.’” She says nothing more. But that last, I am sure, was a quote from Robbe-Grillet. I shall have to look it up.
Marie nods. She gets slowly to her feet and gathers up her belongings. “My grandson is coming for me after class. But that’s still a long time off.”
“I’ll give you a ride home,” says Karen.
“Are there artists now, discovering?” asks Olivia.
“I hope so. I trust there must be,” says Marie. Once more, we glimpse through her glasses the multiple lights reflecting off her eyes.
Karen and Marie go out together. Kay and Olivia remain for a short time, talking quietly. Am I mistaken, or do I see there a slight glitter, a hint of a change in the eyes?
Then they, too, go out into the dark.