RESISTANCE IS IMPERSONAL
* * *
Resistance is not out to get you personally. It doesn’t know who you are and doesn’t care. Resistance is a force of nature. It acts objectively.
Though it feels malevolent, Resistance in fact operates with the indifference of rain and transits the heavens by the same laws as the stars. When we marshal our forces to combat Resistance, we must remember this.
RESISTANCE IS INFALLIBLE
* * *
Like a magnetized needle floating on a surface of oil, Resistance will unfailingly point to true North—meaning that calling or action it most wants to stop us from doing.
We can use this. We can use it as a compass. We can navigate by Resistance, letting it guide us to that calling or action that we must follow before all others.
Rule of thumb: The more important a call or action is to our soul’s evolution, the more Resistance we will feel toward pursuing it.
RESISTANCE IS UNIVERSAL
* * *
We’re wrong if we think we’re the only ones struggling with Resistance. Everyone who has a body experiences Resistance.
RESISTANCE NEVER SLEEPS
* * *
Henry Fonda was still throwing up before each stage performance, even when he was seventy-five. In other words, fear doesn’t go away. The warrior and the artist live by the same code of necessity, which dictates that the battle must be fought anew every day.
RESISTANCE PLAYS FOR KEEPS
* * *
Resistance’s goal is not to wound or disable. Resistance aims to kill. Its target is the epicenter of our being: our genius, our soul, the unique and priceless gift we were put on earth to give and that no one else has but us. Resistance means business. When we fight it, we are in a war to the death.
RESISTANCE IS FUELED BY FEAR
* * *
Resistance has no strength of its own. Every ounce of juice it possesses comes from us. We feed it with power by our fear of it. Master that fear and we conquer Resistance.
RESISTANCE ONLY OPPOSES
IN ONE DIRECTION
* * *
Resistance obstructs movement only from a lower sphere to a higher. It kicks in when we seek to pursue a calling in the arts, launch an innovative enterprise, or evolve to a higher station morally, ethically, or spiritually.
So if you’re in Calcutta working with the Mother Teresa Foundation and you’re thinking of bolting to launch a career in telemarketing. . . relax. Resistance will give you a free pass.
RESISTANCE IS MOST POWERFUL
AT THE FINISH LINE
* * *
Odysseus almost got home years before his actual homecoming. Ithaca was in sight, close enough that the sailors could see the smoke of their families’ fires on shore. Odysseus was so certain he was safe, he actually lay down for a snooze. It was then that his men, believing there was gold in an ox-hide sack among their commander’s possessions, snatched this prize and cut it open. The bag contained the adverse Winds, which King Aeolus had bottled up for Odysseus when the wanderer had touched earlier at his blessed isle. The winds burst forth now in one mad blow, driving Odysseus’ ships back across every league of ocean they had with such difficulty traversed, making him endure further trials and sufferings before, at last and alone, he reached home for good.
The danger is greatest when the finish line is in sight. At this point, Resistance knows we’re about to beat it. It hits the panic button. It marshals one last assault and slams us with everything it’s got.
The professional must be alert for this counterattack. Be wary at the end. Don’t open that bag of wind.
RESISTANCE RECRUITS ALLIES
* * *
Resistance by definition is self-sabotage. But there’s a parallel peril that must also be guarded against: sabotage by others.
When a writer begins to overcome her Resistance—in other words, when she actually starts to write—she may find that those close to her begin acting strange. They may become moody or sullen, they may get sick; they may accuse the awakening writer of “changing,” of “not being the person she was.” The closer these people are to the awakening writer, the more bizarrely they will act and the more emotion they will put behind their actions.
They are trying to sabotage her.
The reason is that they are struggling, consciously or unconsciously, against their own Resistance. The awakening writer’s success becomes a reproach to them. If she can beat these demons, why can’t they?
Often couples or close friends, even entire families, will enter into tacit compacts whereby each individual pledges (unconsciously) to remain mired in the same slough in which she and all her cronies have become so comfortable. The highest treason a crab can commit is to make a leap for the rim of the bucket.
The awakening artist must be ruthless, not only with herself but with others. Once you make your break, you can’t turn around for your buddy who catches his trouser leg on the barbed wire. The best thing you can do for that friend (and he’d tell you this himself, if he really is your friend) is to get over the wall and keep motating.
The best and only thing that one artist can do for another is to serve as an example and an inspiration.
Now, let’s consider the next aspect of Resistance: symptoms.
RESISTANCE AND PROCRASTINATION
* * *
Procrastination is the most common manifestation of Resistance because it’s the easiest to rationalize. We don’t tell ourselves, “I’m never going to write my symphony.” Instead we say, “I am going to write my symphony; I’m just going to start tomorrow.”
RESISTANCE AND PROCRASTINATION,
PART TWO
* * *
The most pernicious aspect of procrastination is that it can become a habit. We don’t just put off our lives today; we put them off till our deathbed.
Never forget: This very moment, we can change our lives. There never was a moment, and never will be, when we are without the power to alter our destiny. This second, we can turn the tables on Resistance.
This second, we can sit down and do our work.
RESISTANCE AND SEX
* * *
Sometimes Resistance takes the form of sex, or an obsessive preoccupation with sex. Why sex? Because sex provides immediate and powerful gratification. When someone sleeps with us, we feel validated and approved of, even loved. Resistance gets a big kick out of that. It knows it has distracted us with a cheap, easy fix and kept us from doing our work.
Of course not all sex is a manifestation of Resistance. In my experience, you can tell by the measure of hollowness you feel afterward. The more empty you feel, the more certain you can be that your true motivation was not love or even lust but Resistance.
It goes without saying that this principle applies to drugs, shopping, masturbation, TV, gossip, alcohol, and the consumption of all products containing fat, sugar, salt, or chocolate.
RESISTANCE AND TROUBLE
* * *
We get ourselves in trouble because it’s a cheap way to get attention. Trouble is a faux form of fame. It’s easier to get busted in the bedroom with the faculty chairman’s wife than it is to finish that dissertation on the metaphysics of motley in the novellas of Joseph Conrad.
Ill health is a form of trouble, as are alcoholism and drug addiction, proneness to accidents, all neurosis including compulsive screwing-up, and such seemingly benign foibles as jealousy, chronic lateness, and the blasting of rap music at 110 dB from your smoked-glass ’95 Supra. Anything that draws attention to ourselves through pain-free or artificial means is a manifestation of Resistance.
Cruelty to others is a form of Resistance, as is the willing endurance of cruelty from others.
The working artist will not tolerate trouble in her life because she knows trouble prevents her from doing her work. The working artist banishes from her world all sources of trouble. She harnesses the urge for trouble and transforms it in her work.
RESI
STANCE AND SELF-DRAMATIZATION
* * *
Creating soap opera in our lives is a symptom of Resistance. Why put in years of work designing a new software interface when you can get just as much attention by bringing home a boyfriend with a prison record?
Sometimes entire families participate unconsciously in a culture of self-dramatization. The kids fuel the tanks, the grown-ups arm the phasers, the whole starship lurches from one spine-tingling episode to another. And the crew knows how to keep it going. If the level of drama drops below a certain threshold, someone jumps in to amp it up. Dad gets drunk, Mom gets sick, Janie shows up for church with an Oakland Raiders tattoo. It’s more fun than a movie. And it works: Nobody gets a damn thing done.
Sometimes I think of Resistance as a sort of evil twin to Santa Claus, who makes his rounds house-to-house, making sure that everything’s taken care of. When he comes to a house that’s hooked on self-dramatization, his ruddy cheeks glow and he giddy-ups away behind his eight tiny reindeer. He knows there’ll be no work done in that house.
RESISTANCE AND SELF-MEDICATION
* * *
Do you regularly ingest any substance, controlled or otherwise, whose aim is the alleviation of depression, anxiety, etc.? I offer the following experience:
I once worked as a writer for a big New York ad agency. Our boss used to tell us: Invent a disease. Come up with the disease, he said, and we can sell the cure.
Attention Deficit Disorder, Seasonal Affect Disorder, Social Anxiety Disorder. These aren’t diseases, they’re marketing ploys. Doctors didn’t discover them, copywriters did. Marketing departments did. Drug companies did.
Depression and anxiety may be real. But they can also be Resistance.
When we drug ourselves to blot out our soul’s call, we are being good Americans and exemplary consumers. We’re doing exactly what TV commercials and pop materialist culture have been brainwashing us to do from birth. Instead of applying self-knowledge, self-discipline, delayed gratification and hard work, we simply consume a product.
Many pedestrians have been maimed or killed at the intersection of Resistance and Commerce.
RESISTANCE AND VICTIMHOOD
* * *
Doctors estimate that seventy to eighty percent of their business is non-health-related. People aren’t sick, they’re self-dramatizing. Sometimes the hardest part of a medical job is keeping a straight face. As Jerry Seinfeld observed of his twenty years of dating: “That’s a lot of acting fascinated.”
The acquisition of a condition lends significance to one’s existence. An illness, a cross to bear. Some people go from condition to condition; they cure one, and another pops up to take its place. The condition becomes a work of art in itself, a shadow version of the real creative act the victim is avoiding by expending so much care cultivating his condition.
A victim act is a form of passive aggression. It seeks to achieve gratification not by honest work or a contribution made out of one’s experience or insight or love, but by the manipulation of others through silent (and not-so-silent) threat. The victim compels others to come to his rescue or to behave as he wishes by holding them hostage to the prospect of his own further illness/meltdown/mental dissolution, or simply by threatening to make their lives so miserable that they do what he wants.
Casting yourself as a victim is the antithesis of doing your work. Don’t do it. If you’re doing it, stop.
RESISTANCE AND
THE CHOICE OF A MATE
* * *
Sometimes, if we’re not conscious of our own Resistance, we’ll pick as a mate someone who has or is successfully overcoming Resistance. I’m not sure why. Maybe it’s easier to endow our partner with the power that we in fact possess but are afraid to act upon. Maybe it’s less threatening to believe that our beloved spouse is worthy to live out his or her unlived life, while we are not. Or maybe we’re hoping to use our mate as a model. Maybe we believe (or wish we could) that some of our spouse’s power will rub off on us, if we just hang around it long enough.
This is how Resistance disfigures love. The stew it creates is rich, it’s colorful; Tennessee Williams could work it up into a trilogy. But is it love? If we’re the supporting partner, shouldn’t we face our own failure to pursue our unlived life, rather than hitchhike on our spouse’s coattails? And if we’re the supported partner, shouldn’t we step out from the glow of our loved one’s adoration and instead encourage him to let his own light shine?
RESISTANCE AND THIS BOOK
* * *
When I began this book, Resistance almost beat me. This is the form it took. It told me (the voice in my head) that I was a writer of fiction, not nonfiction, and that I shouldn’t be exposing these concepts of Resistance literally and overtly; rather, I should incorporate them metaphorically into a novel. That’s a pretty damn subtle and convincing argument. The rationalization Resistance presented me with was that I should write, say, a war piece in which the principles of Resistance were expressed as the fear a warrior feels.
Resistance also told me I shouldn’t seek to instruct, or put myself forward as a purveyor of wisdom; that this was vain, egotistical, possibly even corrupt, and that it would work harm to me in the end. That scared me. It made a lot of sense.
What finally convinced me to go ahead was simply that I was so unhappy not going ahead. I was developing symptoms. As soon as I sat down and began, I was okay.
RESISTANCE AND UNHAPPINESS
* * *
What does Resistance feel like?
First, unhappiness. We feel like hell. A low-grade misery pervades everything. We’re bored, we’re restless. We can’t get no satisfaction. There’s guilt but we can’t put our finger on the source. We want to go back to bed; we want to get up and party. We feel unloved and unlovable. We’re disgusted. We hate our lives. We hate ourselves.
Unalleviated, Resistance mounts to a pitch that becomes unendurable. At this point vices kick in. Dope, adultery, web surfing.
Beyond that, Resistance becomes clinical. Depression, aggression, dysfunction. Then actual crime and physical self-destruction.
Sounds like life, I know. It isn’t. It’s Resistance.
What makes it tricky is that we live in a consumer culture that’s acutely aware of this unhappiness and has massed all its profit-seeking artillery to exploit it. By selling us a product, a drug, a distraction. John Lennon once wrote:
Well, you think you’re so clever
and classless and free
But you’re all fucking peasants
As far as I can see
As artists and professionals it is our obligation to enact our own internal revolution, a private insurrection inside our own skulls. In this uprising we free ourselves from the tyranny of consumer culture. We overthrow the programming of advertising, movies, video games, magazines, TV, and MTV by which we have been hypnotized from the cradle. We unplug ourselves from the grid by recognizing that we will never cure our restlessness by contributing our disposable income to the bottom line of Bullshit, Inc., but only by doing our work.
RESISTANCE AND FUNDAMENTALISM
* * *
The artist and the fundamentalist both confront the same issue, the mystery of their existence as individuals. Each asks the same questions: Who am I? Why am I here? What is the meaning of my life?
At more primitive stages of evolution, humanity didn’t have to deal with such questions. In the states of savagery, of barbarism, in nomadic culture, medieval society, in the tribe and the clan, one’s position was fixed by the commandments of the community. It was only with the advent of modernity (starting with the ancient Greeks), with the birth of freedom and of the individual, that such matters ascended to the fore.
These are not easy questions. Who am I? Why am I here? They’re not easy because the human being isn’t wired to function as an individual. We’re wired tribally, to act as part of a group. Our psyches are programmed by millions of years of hunter-gatherer evolution. We know what the
clan is; we know how to fit into the band and the tribe. What we don’t know is how to be alone. We don’t know how to be free individuals.
The artist and the fundamentalist arise from societies at differing stages of development. The artist is the advanced model. His culture possesses affluence, stability, enough excess of resource to permit the luxury of self-examination. The artist is grounded in freedom. He is not afraid of it. He is lucky. He was born in the right place. He has a core of self-confidence, of hope for the future. He believes in progress and evolution. His faith is that humankind is advancing, however haltingly and imperfectly, toward a better world.
The War of Art Page 2