THE WRITING LIFE
ANNIE DILLARD
Dedication
For
BOB
Epigraph
No one suspects the days to be gods.
—EMERSON
Contents
Dedication
Epigraph
Chapter One
WHEN YOU WRITE, you lay out a line of words.
Chapter Two
I WRITE THIS in the most recent of my many…
Chapter Three
ONCE, in order to finish a book I was writing…
Chapter Four
WHAT IS THIS WRITING LIFE? I was living alone in…
Chapter Five
PEOPLE LOVE PRETTY MUCH the same things best. A writer…
Chapter Six
THAT ISLAND on Haro Strait haunts me. The few people…
Chapter Seven
DAVE RAHM lived in Bellingham, Washington, north of Seattle. Bellingham,…
About the Author
Other Books by Annie Dillard
Copyright
About the Publisher
Chapter One
Do not hurry; do not rest.
—GOETHE
WHEN YOU WRITE, you lay out a line of words. The line of words is a miner’s pick, a woodcarver’s gouge, a surgeon’s probe. You wield it, and it digs a path you follow. Soon you find yourself deep in new territory. Is it a dead end, or have you located the real subject? You will know tomorrow, or this time next year.
You make the path boldly and follow it fearfully. You go where the path leads. At the end of the path, you find a box canyon. You hammer out reports, dispatch bulletins.
The writing has changed, in your hands, and in a twinkling, from an expression of your notions to an epistemological tool. The new place interests you because it is not clear. You attend. In your humility, you lay down the words carefully, watching all the angles. Now the earlier writing looks soft and careless. Process is nothing; erase your tracks. The path is not the work. I hope your tracks have grown over; I hope birds ate the crumbs; I hope you will toss it all and not look back.
The line of words is a hammer. You hammer against the walls of your house. You tap the walls, lightly, everywhere. After giving many years’ attention to these things, you know what to listen for. Some of the walls are bearing walls; they have to stay, or everything will fall down. Other walls can go with impunity; you can hear the difference. Unfortunately, it is often a bearing wall that has to go. It cannot be helped. There is only one solution, which appalls you, but there it is. Knock it out. Duck.
Courage utterly opposes the bold hope that this is such fine stuff the work needs it, or the world. Courage, exhausted, stands on bare reality: this writing weakens the work. You must demolish the work and start over. You can save some of the sentences, like bricks. It will be a miracle if you can save some of the paragraphs, no matter how excellent in themselves or hard-won. You can waste a year worrying about it, or you can get it over with now. (Are you a woman, or a mouse?)
The part you must jettison is not only the best-written part; it is also, oddly, that part which was to have been the very point. It is the original key passage, the passage on which the rest was to hang, and from which you yourself drew the courage to begin. Henry James knew it well, and said it best. In his preface to The Spoils of Poynton, he pities the writer, in a comical pair of sentences that rises to a howl: “Which is the work in which he hasn’t surrendered, under dire difficulty, the best thing he meant to have kept? In which indeed, before the dreadful done, doesn’t he ask himself what has become of the thing all for the sweet sake of which it was to proceed to that extremity?”
So it is that a writer writes many books. In each book, he intended several urgent and vivid points, many of which he sacrificed as the book’s form hardened. “The youth gets together his materials to build a bridge to the moon,” Thoreau noted mournfully, “or perchance a palace or temple on the earth, and at length the middle-aged man concludes to build a wood-shed with them.” The writer returns to these materials, these passionate subjects, as to unfinished business, for they are his life’s work.
It is the beginning of a work that the writer throws away.
A painting covers its tracks. Painters work from the ground up. The latest version of a painting overlays earlier versions, and obliterates them. Writers, on the other hand, work from left to right. The discardable chapters are on the left. The latest version of a literary work begins somewhere in the work’s middle, and hardens toward the end. The earlier version remains lumpishly on the left; the work’s beginning greets the reader with the wrong hand. In those early pages and chapters anyone may find bold leaps to nowhere, read the brave beginnings of dropped themes, hear a tone since abandoned, discover blind alleys, track red herrings, and laboriously learn a setting now false.
Several delusions weaken the writer’s resolve to throw away work. If he has read his pages too often, those pages will have a necessary quality, the ring of the inevitable, like poetry known by heart; they will perfectly answer their own familiar rhythms. He will retain them. He may retain those pages if they possess some virtues, such as power in themselves, though they lack the cardinal virtue, which is pertinence to, and unity with, the book’s thrust. Sometimes the writer leaves his early chapters in place from gratitude; he cannot contemplate them or read them without feeling again the blessed relief that exalted him when the words first appeared—relief that he was writing anything at all. That beginning served to get him where he was going, after all; surely the reader needs it, too, as groundwork. But no.
Every year the aspiring photographer brought a stack of his best prints to an old, honored photographer, seeking his judgment. Every year the old man studied the prints and painstakingly ordered them into two piles, bad and good. Every year the old man moved a certain landscape print into the bad stack. At length he turned to the young man: “You submit this same landscape every year, and every year I put it on the bad stack. Why do you like it so much?” The young photographer said, “Because I had to climb a mountain to get it.”
A cabdriver sang his songs to me, in New York. Some we sang together. He had turned the meter off; he drove around midtown, singing. One long song he sang twice; it was the only dull one. I said, You already sang that one; let’s sing something else. And he said, “You don’t know how long it took me to get that one together.”
How many books do we read from which the writer lacked courage to tie off the umbilical cord? How many gifts do we open from which the writer neglected to remove the price tag? Is it pertinent, is it courteous, for us to learn what it cost the writer personally?
You write it all, discovering it at the end of the line of words. The line of words is a fiber optic, flexible as wire; it illumines the path just before its fragile tip. You probe with it, delicate as a worm.
Few sights are so absurd as that of an inchworm leading its dimwit life. Inchworms are the caterpillar larvae of several moths or butterflies. The cabbage looper, for example, is an inchworm. I often see an inchworm: it is a skinny bright green thing, pale and thin as a vein, an inch long, and apparently totally unfit for life in this world. It wears out its days in constant panic.
Every inchworm I have seen was stuck in long grasses. The wretched inchworm hangs from the side of a grassblade and throws its head around from side to side, seeming to wail. What! No further? Its back pair of nubby feet clasps the grass stem; its front three pairs of nubs rear back and flail in the air, apparently in search of a footing. What! No further? What? It searches everywhere in the wide world for the rest of the grass, which is right under its nose. By dumb luck it touches the grass. Its front legs hang on; it lifts and buckles its green inch, and places its hind leg
s just behind its front legs. Its body makes a loop, a bight. All it has to do now is slide its front legs up the grass stem. Instead it gets lost. It throws up its head and front legs, flings its upper body out into the void, and panics again. What! No further? End of world? And so forth, until it actually reaches the grasshead’s tip. By then its wee weight may be bending the grass toward some other grass plant. Its davening, apocalyptic prayers sway the grasshead and bump it into something. I have seen it many times. The blind and frantic numbskull makes it off one grassblade and onto another one, which it will climb in virtual hysteria for several hours. Every step brings it to the universe’s rim. And now—What! No further? End of world? Ah, here’s ground. What! No further? Yike!
“Why don’t you just jump?” I tell it, disgusted. “Put yourself out of your misery.”
I admire those eighteenth-century Hasids who understood the risk of prayer. Rabbi Uri of Strelisk took sorrowful leave of his household every morning because he was setting off to his prayers. He told his family how to dispose of his manuscripts if praying should kill him. A ritual slaughterer, similarly, every morning bade goodbye to his wife and children and wept as if he would never see them again. His friend asked him why. Because, he answered, when I begin I call out to the Lord. Then I pray, “Have mercy on us.” Who knows what the Lord’s power will do to me in that moment after I have invoked it and before I beg for mercy?
When you are stuck in a book; when you are well into writing it, and know what comes next, and yet cannot go on; when every morning for a week or a month you enter its room and turn your back on it; then the trouble is either of two things. Either the structure has forked, so the narrative, or the logic, has developed a hairline fracture that will shortly split it up the middle—or you are approaching a fatal mistake. What you had planned will not do. If you pursue your present course, the book will explode or collapse, and you do not know about it yet, quite.
In Bridgeport, Connecticut, one morning in April 1987, a six-story concrete-slab building under construction collapsed, and killed twenty-eight men. Just before it collapsed, a woman across the street leaned from her window and said to a passerby, “That building is starting to shake.” “Lady,” he said, according to the Hartford Courant, “you got rocks in your head.”
You notice only this: your worker—your one and only, your prized, coddled, and driven worker—is not going out on that job. Will not budge, not even for you, boss. Has been at it long enough to know when the air smells wrong; can sense a tremor through boot soles. Nonsense, you say; it is perfectly safe. But the worker will not go. Will not even look at the site. Just developed heart trouble. Would rather starve. Sorry.
What do you do? Acknowledge, first, that you cannot do nothing. Lay out the structure you already have, x-ray it for a hairline fracture, find it, and think about it for a week or a year; solve the insoluble problem. Or subject the next part, the part at which the worker balks, to harsh tests. It harbors an unexamined and wrong premise. Something completely necessary is false or fatal. Once you find it, and if you can accept the finding, of course it will mean starting again. This is why many experienced writers urge young men and women to learn a useful trade.
Every morning you climb several flights of stairs, enter your study, open the French doors, and slide your desk and chair out into the middle of the air. The desk and chair float thirty feet from the ground, between the crowns of maple trees. The furniture is in place; you go back for your thermos of coffee. Then, wincing, you step out again through the French doors and sit down on the chair and look over the desktop. You can see clear to the river from here in winter. You pour yourself a cup of coffee.
Birds fly under your chair. In spring, when the leaves open in the maples’ crowns, your view stops in the treetops just beyond the desk; yellow warblers hiss and whisper on the high twigs, and catch flies. Get to work. Your work is to keep cranking the flywheel that turns the gears that spin the belt in the engine of belief that keeps you and your desk in midair.
Putting a book together is interesting and exhilarating. It is sufficiently difficult and complex that it engages all your intelligence. It is life at its most free. Your freedom as a writer is not freedom of expression in the sense of wild blurting; you may not let rip. It is life at its most free, if you are fortunate enough to be able to try it, because you select your materials, invent your task, and pace yourself. In the democracies, you may even write and publish anything you please about any governments or institutions, even if what you write is demonstrably false.
The obverse of this freedom, of course, is that your work is so meaningless, so fully for yourself alone, and so worthless to the world, that no one except you cares whether you do it well, or ever. You are free to make several thousand close judgment calls a day. Your freedom is a by-product of your days’ triviality. A shoe salesman—who is doing others’ tasks, who must answer to two or three bosses, who must do his job their way, and must put himself in their hands, at their place, during their hours—is nevertheless working usefully. Further, if the shoe salesman fails to appear one morning, someone will notice and miss him. Your manuscript, on which you lavish such care, has no needs or wishes; it knows you not. Nor does anyone need your manuscript; everyone needs shoes more. There are many manuscripts already—worthy ones, most edifying and moving ones, intelligent and powerful ones. If you believed Paradise Lost to be excellent, would you buy it? Why not shoot yourself, actually, rather than finish one more excellent manuscript on which to gag the world?
To find a honey tree, first catch a bee. Catch a bee when its legs are heavy with pollen; then it is ready for home. It is simple enough to catch a bee on a flower: hold a cup or glass above the bee, and when it flies up, cap the cup with a piece of cardboard. Carry the bee to a nearby open spot—best an elevated one—release it, and watch where it goes. Keep your eyes on it as long as you can see it, and hie you to that last known place. Wait there until you see another bee; catch it, release it, and watch. Bee after bee will lead toward the honey tree, until you see the final bee enter the tree. Thoreau describes this process in his journals. So a book leads its writer.
You may wonder how you start, how you catch the first one. What do you use for bait?
You have no choice. One bad winter in the Arctic, and not too long ago, an Algonquin woman and her baby were left alone after everyone else in their winter camp had starved. Ernest Thompson Seton tells it. The woman walked from the camp where everyone had died, and found at a lake a cache. The cache contained one small fishhook. It was simple to rig a line, but she had no bait, and no hope of bait. The baby cried. She took a knife and cut a strip from her own thigh. She fished with the worm of her own flesh and caught a jackfish; she fed the child and herself. Of course she saved the fish gut for bait. She lived alone at the lake, on fish, until spring, when she walked out again and found people. Seton’s informant had seen the scar on her thigh.
To comfort friends discouraged by their writing pace, you could offer them this:
It takes years to write a book—between two and ten years. Less is so rare as to be statistically insignificant. One American writer has written a dozen major books over six decades. He wrote one of those books, a perfect novel, in three months. He speaks of it, still, with awe, almost whispering. Who wants to offend the spirit that hands out such books?
Faulkner wrote As I Lay Dying in six weeks; he claimed he knocked it off in his spare time from a twelve-hour-a-day job performing manual labor. There are other examples from other continents and centuries, just as albinos, assassins, saints, big people, and little people show up from time to time in large populations. Out of a human population on earth of four and a half billion, perhaps twenty people can write a serious book in a year. Some people lift cars, too. Some people enter week-long sled-dog races, go over Niagara Falls in barrels, fly planes through the Arc de Triomphe. Some people feel no pain in childbirth. Some people eat cars. There is no call to take human extremes as norms.
Graham Greene noticed that since a novel “takes perhaps years to write, the author is not the same man at the end of the book as he was at the beginning…as though [the novel] were something he had begun in childhood and was finishing now in old age.” The long poem, John Berryman said, takes between five and ten years. Thomas Mann was a prodigy of production. Working full time, he wrote a page a day. That is 365 pages a year, for he did write every day—a good-sized book a year. At a page a day, he was one of the most prolific literary writers who ever lived. Flaubert wrote steadily, with only the usual, appalling, strains. For twenty-five years he finished a big book every five to seven years. If a full-time writer averages a book every five years, that makes seventy-three usable pages a year, or a usable fifth of a page a day. The years that biographers and other nonfiction writers spend amassing and mastering materials match the years novelists and short story writers spend fabricating solid worlds that answer to immaterial truths. On plenty of days the writer can write three or four pages, and on plenty of other days he concludes he must throw them away. These truths comfort the anguished. They do not mean, by any means, that faster-written books are worse books. They just mean that most writers might well stop berating themselves for writing at a normal, slow pace.
Octavio Paz cites the example of “Saint-Pol Roux, who used to hang the inscription ‘The poet is working’ from his door while he slept.”
The notion that one can write better during one season of the year than another Samuel Johnson labeled, “Imagination operating upon luxury.” Another luxury for an idle imagination is the writer’s own feeling about the work. There is neither a proportional relationship, nor an inverse one, between a writer’s estimation of a work in progress and its actual quality. The feeling that the work is magnificent, and the feeling that it is abominable, are both mosquitoes to be repelled, ignored, or killed, but not indulged.
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