Elizabeth Gilbert begins by sharing her experience as a writer and how her relationship with writing has shifted following the massive success of her memoir Eat, Pray, Love. The book’s international acclaim left her feeling like she might never again achieve that level of success. People constantly ask her whether she fears she will never top it, leading her to question whether fear and anxiety are inevitable parts of creative work. Drawing on her own journey, Gilbert explores the relationship between creativity, success, and mental health—an issue that has haunted not only her but countless other artists.
The Myth of the Tormented Artist
One key point Gilbert addresses is the pervasive belief that creativity and suffering go hand in hand. Writers, musicians, and other creative minds have long been thought to be mentally unstable or prone to anguish, with many historically succumbing to their demons. Gilbert challenges this idea, arguing that it’s not only dangerous but also damaging to perpetuate the notion that great art must come from great suffering.
Gilbert highlights a fundamental cultural assumption: if someone creates something extraordinary, they must somehow pay for it through personal torment. She refers to historical figures, like Norman Mailer, who spoke of how each book “killed” him a little. This narrative has led many artists to believe their creative pursuits might destroy them, and Gilbert isn’t comfortable with that.
The Ancient Approach to Creativity
Gilbert proposes a radical shift in perspective, drawing inspiration from ancient Greece and Rome. In these societies, creativity was not seen as something that originated solely from the individual. Instead, it was believed that creativity came from external divine forces. The Greeks called these spirits daemons, while the Romans referred to them as genius. These beings were considered guiding spirits, collaborating with artists rather than burdening them with the full weight of their creative output.
This ancient mindset protected artists from both the pressures of success and the depths of failure. If a work of art succeeded, it was due in part to the genius or daemon, not solely the individual. If the work failed, the blame did not fall squarely on the artist’s shoulders. This separation between the creator and their creation helped maintain mental stability and reduced the risk of narcissism or depression.
The Renaissance Shift: Individual Genius
During the Renaissance, the Western world moved away from the idea of external creative forces and embraced a new vision of human potential. Artists were no longer believed to have a genius but be geniuses themselves. This shift placed immense pressure on individuals to be the sole source of their creativity, leading to inflated egos and, often, crippling self-doubt.
Gilbert argues that this paradigm shift—elevating artists to godlike status—has been detrimental to creatives for the last 500 years. She believes that putting such immense responsibility on fragile human psyches leads to unnecessary suffering and burnout.
A New Way Forward
Acknowledging that we can’t simply erase 500 years of humanistic thinking, Gilbert calls for a reconsideration of how we view creativity. While she doesn’t expect everyone to believe in mystical beings, she asks why we shouldn’t return to some of the ancient ideas of collaboration between artists and external forces. This shift in thinking could offer a healthier way for artists to engage with their work, allowing them to continue creating without being consumed by the pressure to produce greatness.
She shares a story of Ruth Stone, a poet who described her creative process as feeling a poem approaching her, almost like a storm, and having to “run like hell” to capture it before it passed her by. This metaphor beautifully encapsulates the idea that creativity can feel like an external force—something beyond the artist’s control, but something they must seize when it appears.
Key Takeaways for Creatives
- Separate Yourself from Your Work: Gilbert suggests adopting a mindset where your work is not entirely your own. Recognize that external forces—whether divine, environmental, or circumstantial—can influence the outcome. This reduces personal pressure and allows for a healthier relationship with creativity.
- Dispel the Myth of the Tormented Artist: The idea that suffering is a prerequisite for creative genius is harmful. It’s time to abandon this narrative and allow artists to create without the expectation that their work must come at great personal cost.
- Embrace Imperfection and External Influence: Accept that some projects will be more successful than others and that external factors (a “genius” or “daemon”) contribute to the outcome. This mindset frees you from being overly attached to the results of your efforts, making the creative process more sustainable.
- Create with Humility: By thinking of your creativity as something shared with or borrowed from an external source, you can remain humble in success and resilient in failure. It’s not all on you, and that’s a good thing.
- Find a Balance Between Rationality and Mystery: While we live in a rational, humanistic world, embracing a bit of the mystery and unpredictability of the creative process can bring relief. Not everything has to make sense or be within your control.
Conclusion
Gilbert concludes by encouraging creatives to adopt a mindset where they see themselves as partners in the creative process, rather than its sole proprietor. This perspective allows for a more sustainable, less emotionally taxing way to engage with creative work. By understanding that creativity can come from both internal and external sources, we can protect ourselves from the mental strain that has historically plagued great artists.
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