The Writing Life

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By Annie Dillard

You climb a long ladder until you can see over the roof, or over the clouds. You are-writing a book. You watch your shod feet step on each round rung, one at a time; you do not hurry and do not rest. Your feet feel the steep ladder’s balance; the long muscles in your thighs check its sway. You climb steadily, doing your job in the dark. When you reach the end, there is nothing more to climb. The sun hits you. The bright wideness surprises you; you had forgotten there was an end. You look back at the ladder’s two feet on the distant grass, astonished.

The line of words fingers your own heart. It invades arteries, and enters the heart on a flood of breath; it presses the moving rims of thick valves; it palpates the dark muscle strong as horses, feeling for something, it knows not what. A queer picture beds in the muscle like a worm encysted—some film of feeling, some song forgotten, a scene in a dark bedroom, a corner of the woodlot, a terrible dining room, that exalting sidewalk; these fragments are heavy with meaning. The line of words peels them back, dissects them out. Will the bared tissue burn? Do you want to expose these scenes to the light? You may locate them and leave them, or poke the spot hard till the sore bleeds on your finger, and write with that blood. If the sore spot is not fatal, if it does not grow and block something, you can use its power for many years, until the heart resorbs it.

The line of words feels for cracks in the

The line of words is heading out past Jupiter this morning. Traveling 150 kilometers a second, it makes no sound. The big yellow planet and its white moons spin. The line of words speeds past Jupiter and its cumbrous, dizzying orbit; it looks neither to the right nor to the left. It will be leaving the solar system soon, single-minded, rapt, rushing heaven like a soul. You are in Houston, Texas, watching the monitor. You saw a simulation: the line of words waited still, hushed, pointed with longing. The big yellow planet spun toward it like a pitched ball and passed beside it, low and outside. Jupiter was so large, the arc of its edge at the screen’s bottom looked Hat. The probe twined on; its wild path passed between white suns small as dots; these stars fell away on either side, like the lights on a tunnel’s walls.

Now you watch symbols move on your monitor; you stare at the signals the probe sends back, transmits in your own tongue, numbers. Maybe later you can guess at what they mean—what they might mean about space at the edge of the solar system, or about your instruments. Right now, you are flying. Right now, your job is to hold your breath.

Photo by Miguel Tejada-Flores

Photo by Miguel Tejada-Flores

The sensation of writing a book is the sensation of spinning, blinded by love and daring. It is the sensation of rearing and peering from the bent tip of a grassblade, looking for a route. At its absurd worst, it feels like what mad Jacob Boehme, the German mystic, described in his first book. He was writing, incoherently as usual, about the source of evil. The passage will serve as well for the source of books. 

“The whole Deity has in its innermost or beginning Birth, in the Pith or Kernel, a very tart, terrible Sharpness, in which the astringent Quality is very horrible, tart, hard, dark and cold Attraction or Drawing together, like Winter, when there is a fierce, bitter cold Frost, when Water is frozen into Ice, and besides is very intolerable.”

If you can dissect out the very intolerable, tart, hard, terribly sharp Pith or Kernel, and begin writing the book compressed therein, the sensation changes. Now it feels like alligator wrestling, at the level of the sentence.

“Examine all things intensely and relentlessly.
Do not course over it, as if it were understood,
but instead follow it down until you see it
in the mystery of its own specificity and strength.”

This is your life. You are a Seminole alligator wrestler. Half naked, with your two bare hands, you hold and fight a sentence’s head while its tail tries to knock you over. Several years ago in Florida, an alligator wrestler lost. He was grappling with an alligator in a lagoon in front of a paying crowd. The crowd watched the young Indian and the alligator twist belly to belly in and out of the water; after one plunge, they failed to rise. A young writer named Lome Ladner described it. Bubbles came up on the water. Then blood came up, and the water stilled. As the minutes elapsed, the people in the crowd exchanged glances; silent, helpless, they quit the stands. It took the Indians a week to find the man’s remains.

At its best, the sensation of writing is that of any unmerited grace. It is handed to you, but only if you look for it. You search, you break your heart, your back, your brain, and then—and only then—it is handed to you. From the corner of your eye you see motion. Something is moving through the air and headed your way. It is a parcel bound in ribbons and bows; it has two white wings. It flies directly at you; you can read your name on it. If it were a baseball, you would hit it out of the park. It is that one pitch in a thousand you see in slow motion; its wings beat slowly as a hawk’s.

One line of a poem, the poet said—only one line, but thank God for that one line—drops from the ceiling. Thornton Wilder cited this unnamed writer of sonnets: one line of a sonnet falls from the ceiling, and you tap in the others around it with a jeweler’s hammer. Nobody whispers it in your ear. It is something you memorized once and forgot. Now it comes back and rips away your breath. You find and finger a phrase at a time; you lay it down cautiously as if with tongs, and wait suspended until the next one finds you: Ah yes, then this; and yes, praise be, then this.

Einstein likened the generation of a new idea to a chicken’s laying an egg: “Kieks—auf einmal ist es da.’’ Cheep—and all at once there it is. Of course, Einstein was not above playing to the crowd.

One January day, working alone in that freezing borrowed cabin I used for a study on Puget Sound—heated not at all by the alder I chopped every morning—I wrote one of the final passages of a short, difficult book. It was a wildish passage in which the narrator, I, came upon the baptism of Christ in the water of the bay in front of the house. There was a northeaster on—as I wrote. The stormy salt water I saw from the cabin window looked dark as ink. The parallel rows of breakers made lively, broken lines, closely spaced row on row, moving fast and pulling the eyes; they reproduced the sensation of reading exactly, but without reading’s sense. Mostly I shut my eyes. I have never been in so trancelike a state, and in fact I dislike, as romantic, the suggestion that any writer works in any peculiar state. I sat motionless with my eyes shut, like a Greek funerary marble.

The writing was simple yet graceless; it surprised me. It was arrhythmical, nonvisual, clunky. It was halting, as if there were no use trying to invoke beauty or power. It was plain and ugly, urgent, like child’s talk. “He led him into the water,” it said, without antecedents. It read like a translation from the Gallic Wars.

Once when I opened my eyes the page seemed bright. The windows were steamed and the sun had gone behind the firs on the bluff. I must have had my eyes closed long. I had been repeating to myself, for hours, like a song, “It is the grave of Jesus, where he lay.” From Wallace Stevens’ poem, “Sunday Morning.” It was three o’clock then; I heated some soup. By the time I left, I was scarcely alive. The way home was along the beach. The beach was bright and distinct. The storm still blew. I was light, dizzy, barely there. I remembered some legendary lamas, who wear chains to keep from floating away. Walking itself seemed to be a stunt; I could not tell whether I was walking fast or slowly. My thighs felt as if they had been reamed.

And I have remembered it often, later, waking up in that cabin to windows steamed blue and the sun gone around the island; remembered putting down those queer, stark sentences half blind on yellow paper; remembered walking ensorcerized, tethered, down the gray cobble beach like an aisle. Evelyn Underhill describes another life, and a better one, in words that recall to me that day, and many another day, at this queer task: “He goes because he must, as Galahad went towards the Grail: knowing that for those who can live it, this alone is life.”

Push it. Examine all things intensely and relentlessly. Probe and search each object in a piece of art. Do not leave it, do not course over it, as if it were understood, but instead follow it down until you see it in the mystery of its own specificity and strength. Giacometti’s drawings and paintings show his bewilderment and persistence. If he had not acknowledged his bewilderment, he would not have persisted, A twentieth-century master of drawing, Rico Lebrun, taught that “the draftsman must aggress; only by persistent assault will the live image capitulate and give up its secret to an unrelenting line.” Who but an artist fierce to know—not fierce to seem to know—would suppose that a live image possessed a secret? The artist is willing to give all his or her strength and life to probing with blunt instruments those same secrets no one can describe in any way but with those instruments’ faint tracks.

Admire the world for never ending on you—as you would admire an opponent, without taking your eyes from him, or walking away.

One of the few things I know about writing is this: spend it all, shoot it, play it, lose it, all, right away, every time. Do not hoard what seems good for a later place in the book, or for another book; give it, give it all, give it now. The impulse to save something good for a better place later is the signal to spend it now. Something more will arise for later, something better. These things fill from behind, from beneath, like well water. Similarly, the impulse to keep to yourself what you have learned is not only shameful, it is destructive. Anything you do not give freely and abundantly becomes lost to you. You open your safe and find ashes.

After Michelangelo died, someone found in his studio a piece of paper on which he had written a note to his apprentice, in the handwriting of his old age: “Draw, Antonio, draw, Antonio, draw and do not waste time.”

Annie Dillard is a Pulitzer Prize winning author of essays, poetry and prose, and 2015 recipient of the National Medal of the Arts and Humanities.

From The Writing Life. Copyright © 1989 by Annie Dillard.  Reprinted with permission of HarperCollins Publishers.

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