Saturday, November 13, 2010

DO I HAVE TO BE AN ALCOHOLIC TO BE AN ARTIST?


         I want to write. Ideas for stories’ hammer at me all day long. When I finally get to my two hours a day of writing its like all the inspiration got left behind. Where does my time go or rather where does the inspiration get left?
         Is it in the car driving across LA to run another errand, preparing my dog’s arthritis medication, washing dishes, grocery shopping for me and my fiancĂ© Jeff - yet again? I am convinced that the necessities of my daily life are what dominates, or better yet – describes my time. But other writers have families and publish books. Some are even prolific and they have more than a dog, they have kids. Sometimes more than one. Do they just have good help? Is that it? Or am I a distraction whore and they have a steely focus?
         When I sit down to write for my daily two hours I need at least twenty minutes to browse the web, get through emails and then my mind feels unwound enough to begin. But then Jeff comes in the room, the phone rings, “This one’s important, I have to take it”, the dog needs to be walked, et al. It goes on like this for my two hours and the whole day if I let it.
         So I think back to a time when I was totally obsessed and nothing was more important than my work. I was a painting major in college. At the time, I thought I was suffering from a nervous breakdown or maybe just a meltdown, needless to say it completed my artist’s mystique.  The upside of it was that my acute anxiety drove me into the painting studio. Without even trying I went from being a D student to an A student.  All the little things like food, housing, car maintenance and overall hygiene were best forgotten if an adult didn’t take care of them for me. There was little standing between me and my time to make something. College was wonderful.
         Twenty plus years later and a couple of careers as a teacher and an arts writer and curator I have finally settled down into the gift that God gave me as a storywriter. With a sigh of relief I resign willingly to my post. But as I drive around Los Angeles everyday doing my due diligence of errands, I am only ever thinking of what needs to be written. This isnt like college. Now I am the adult who I once took for granted, solely responsible for my car maintenance, visits to the dentist, exercise and groceries. To top it off, living life with someone else is a maze of new challenges for the things you normally take for granted. Like finding a solitary, quiet place to work.
         I worry that I am not obsessed, devoted and captivated wholly by my work. How could I let inconsequential errands, chores and phone calls drag me away from my writing? They didn’t twenty years ago in college. After my painting teacher in art school told me that being a good artist was comparable to becoming a Bride of Christ I became obsessed with the lives of artists. My parents had a small swoon when their Jewish American Princess came home on winter break with that one…
          I found out more often than not that the myth of the artist is an unfortunate one. Many books told me that when the artist is not working, he or she is drunk or stoned or under the influence of something except their given families, friends and basic day to day responsibilities. In fact, many of them created their work while abusing substances. It was exciting to me as a nineteen year old that I could potentially get a better grade if I took substances too.
         Artists sacrifice everything to their calling sometimes with a religious zeal. Although many artists are not religious, myself included, they possess the same kind of focus as the zealots and holy men who through the centuries created the institution of religion. These were people fanatical in their focus, and if they weren’t fanatical, I think it is safe to say they were obsessed. I don’t have to describe how successful they have been. Raising the question, is it possible to be obsessed with your work and also have a life where you like yourself? So I proceeded to find out how other artists maintained their “holy” marriages.
         The painter Phillp Guston sacrificed his reputation resulting in a paranoic loss of confidence. I have never forgotten the touching story while he was creating his final and most powerful works. He woke up every morning pleading with his longtime wife Musa McKim to assure him that he was a good artist so he could get out of bed. His paintings were under scrutiny from the nineteen-seventies New York art world. Many longtime colleagues, critics, dealers and artists turned on him as firmly as he had laid down his beacon of Abstract Expressionism. Overnight Guston went from being a respected painter to a crackpot. And as it typically goes with an artist, he had to die and time had to pass before anyone could appreciate how timely and innovative were his paintings. The Renaissance artist Fra Angelico’s greatest achievement was the the sublime San Marco Monastery where he lived. He was a monk following a bidding as an artist on a request from God. He was a lucky one where his “marriage” and his work dovetailed neatly into each other. What about Michelangelo whose personal life is a basic no mention. He might have been gay, he might have had a son. I don’t recall, it is not what I found interesting when I read Vasari’s diaries all those years ago and it is not really how history wants to describe him.
        Substance abuse is the true religion of creative people. It moves them anyway they want to go, deeper into depression, immersion into their work, immersion away from their work, from the world, all at a price to pay. Jackson Pollock was a monster of alcohol abuse and every household who knows his name fifty years later usually knows that part of the story too. I think Pollock felt really lonely and had no clue how to reach out to people, just him and his work against the world.
         Writers Ernest Hemingway, F. Scott Fitzgerald and painter Willem de Kooning were all notorious alcoholics among their colleagues also known for their excessive use of the sauce. Writer and artist William Burroughs had the self-control to mete his heroin out parsimoniously until he died at the ripe old age of 83. Hunter S.Thompson, like Burroughs, used drug taking as fuel for his bizarre memoirs. In some strange way it has the same convenient dovetail as Fra Angelico who used God to fuel his exquisite paintings.
          I need to mention that it was conspicouos in my research for this article that all I could find in the general lore and literature about women artists was their issues with clinical depression and bipolar disorders. Female rockstars are candidly, even proudly presented with substance issues while alcoholism or drug issues are politely overlooked among the fairer sex of intelligentsia and artists. Maybe it is just easier to feel sorry for the suicidal Sylvia Plath with her head in the oven than for an aggressive, loud or neurotic female drunk or drug addict writer.
         In the stories these peoples lives have been reduced to it is difficult to imagine any of them loading a dishwasher, fawning over their dogs with Pill Pockets and anti-arthritis pills, grocery shopping for their sick loved ones or separating the colors from the whites for the laundry. I can maybe see Sylvia Plath or Anne Sexton with the kids, but barely. I do see them meticulously organizing the surface of their desk cleaning their keyboards or typewriters with a Q-tip and a bottle of rubbing alcohol or sitting down to the new mural, story or the daily dose of heroin.  
If I did drugs and drank too much alcohol when I was younger does it count for my drug and drinking quota to become an interesting writer in my forties? Does my quest for a healthy lifestyle and Yoga preclude me from writing about dark and complex humanity? Or am I sequestered to write about Yoga and food alternatives? Doesn’t my dirty mind which is ineradicable 24/7 qualify me to be a writer?
         What is obsession exactly? And how much of my life do I need to let it eat up before my book gets written? Will two to three hours a day do the trick, does one day off for errands and emergencies disqualify me? Does it lessen the quality of my commitment?
         I still don’t know how to balance my creative process with my life. My
friend wisely told me that its about handling the imbalance gracefully. It is past 4 pm, maybe Ill go get a glass of wine and think it over.
        
Lara Taubman


Lara Taubman Copyright 2010

Saturday, November 6, 2010

The Unveiling of Michelle Dubois

THE UNVEILING OF MICHELLE DUBOIS

Monologue written by Lara Taubman performed by Liane Balaban October 21, 2010 at the Royal Pagoda, Room 7, at 8 pm  in conjunction with the opening of the exhibit
"The Unveiling of Michelle Dubois" by artist Zoe Crosher at the Charlie James Gallery, curated and organized by Emma Gray of Emma Gray HQ.   

Chinatown, Los Angeles, California

            I never forgot taking my third grade yearbook picture when I had to wear an eye patch. I looked like every other kid from Oklahoma, milk-fed, pigtails, white skin, big eyes but with a big, black eye patch.
            Part of my childhood was spent at the optometrist’s office getting corrective eye therapy. I was born with crossed eyes. They pointed in every direction but straight ahead. Eye patch therapy began the day before the school yearbook picture. I begged the Doctor to wait a week. Mama smacked my face in front of the doctor and told me to be quiet.
            The next day I summoned my courage to approach the schoolroom where the photographer had set up his camera. My knees locked at the door. He walked over and gently guided me to the stool.  He tried to make me feel comfortable.
            “Say cheese please!”
             I slapped my hands over my face.
            The camera clicked.
            “Hey! What are you doing?” 
            “Don’t you think I look weird? I cried.
            “ Gosh no. You look really interesting to me…Well, I think you look like       
            Mae West as a girl pirate.”
            “ Really? Who is Mae West?”
            “Only the most beautiful woman in American history.”
            “Really?”
            He clicked.
             My face must have lit up because I look happy in that photograph.
            The rest of the day I walked on air.
                                   
            After school I asked Mama who Mae West was.
            “Who told you about Mae West?”
            She had the angry tone.
            “Nobody did, I just saw her name somewhere.”
            “Don’t you mention that name again, do you hear me?           

          It wasn’t until I was fourteen and could browse at the public library by myself that I found some old Hollywood movie magazines featuring Mae West.  I never forgot how that guy said I looked like her. I ran to the girl’s bathroom and looked at myself in the mirror. Did I look more like Mae when I thought about her?   
            I got my first period on May 1, 1963. I was twelve. I remember because it was the first day after I started my paper route.  I watched my breasts grow every day in my bathroom mirror.  I would push them up high on my chest or press them down with my hands until they squished out the sides. I cocked my head and posed full front, or I would play coy and cover them with the palms of my hands, I turned my back to the mirror as I peered back over a shoulder catching my eye.
            They grew to full size in two years and I thought they were the best thing that ever happened to me. I could play with the nipples and they grew hard or leave them alone and they stayed soft and tender. It felt like I had given birth to two babies, suckling at my tits, maternal and hot, two permanent, portable friends. I named them the Twins.  I always ask my lovers to call them that too.
            My eyes were straight now but I felt the same inside. None of the guys at school ever noticed me so it was surprising to see the men in Main Street stare at me out of the corner of their eyes.
            One day on my paper route I stopped because my bike tire was going flat. I was fourteen and a half. It was Saturday so I didn’t have to go to school. I had a hard time pinning the awkward pump under my feet while pushing for air. Bent over facing the ground the huge feet of an adolescent boy came into view. I looked up to find Evans Mueller staring down my scoop neck shirt. I looked down it too to make sure he saw what I thought he saw. Sure enough, it was The  Twins. Mama still refused to get me a bra trying to ignore them, but there they were erect and swinging and admired exclusively by Evans. I realize now that I was supposed to feel ashamed but I didn’t. The Twins were as natural to me as my hands or feet. I straightened and looked up at him. Evans was the most popular guy in school. He was a JV quarterback so he was tall and strong, his muscles budding on his young body. He had never spoken to me before.
                        “Do you need a hand?” his large fingers splayed out in a fan on his              hips.
                        “Sure,” I said.
                        I tried to look up at him but the sun was glaring into my eyes. I     
                        held up my hand  to shield them but still couldn’t see.
                        “What would Mae West do?” I thought, stunned that he would                
                     speak to me.
                        Evans pumped up the tire with ease.
                        I thanked him. He didn’t say anything for a while. He just stared at                            me.
                        “Want to come in for a Coke?”
                        “Sure.” Mae would have.
               We went into his house. His family wasnt home.  We didn’t get a Coke but went to an office. It must have been his father’s office,  there were a lot of books and a couple of bottles of liquor set up at                     a bar. He shut the door behind us and locked it. I wondered why he didn’t give me a Coke.
              He tilted up a planter behind the desk and picked up a key that opened the closet. He went in and pulled out a stack of magazines.
                        “Here look at these,” he said.
                I walked over to the stack and the top one showed a woman in just  her underwear. No bra, nothing else. I never saw a woman  photographed this way. I daydreamed about it but didn’t think it                                  ever happened.  She looked sidelong into the camera right through me, through the camera man, through anyone looking. She didn’t look back to be pretty but to dominate anything in her gaze. I was                              excited. I could feel it all over my body. I got warm. Evans stared at  my chest.
                        “She kind of reminds me of you. ” he said.
                        “I know,” I said imagining my face in my bathroom mirror.
                 I wasn’t offended but I realized later that I should have been. I could only hear that in his voice he had the same curiosity as me. The only bizarre  thing that happened in the office that day was that me and that model really did look alike.  
                        Evans stepped closer to me. He placed his hand on my shoulder and pulled me 
around to face him. I looked up. He laid his big fingertips on The Twins, their first suitor. His touch
didn’t feel the same as when I touched them. It was heavier, he squeezed a little too hard. I 
remember us looking at each other straight in the eye. I didn’t know yet what I wanted to do or not. This
wasn’t Mae West, this was something else.  He told me to take off my jeans and he would too. 
I unbuttoned them and it just came out of my mouth -
            “I want a Coke.”
            He kept undressing. I pulled off my jeans.  I looked at my white cotton panties, thank 
goodness they were new.  Mama always cautioned that my underwear be clean and intact just in case I 
was found unconscious or dead and strangers had to undress me.
                        Evans pulled me to the floor onto the carpet. He didn’t have any underwear on. I couldn’t take my eyes off his penis, I had never seen one. We both stared down at it.
                        He pulled off my shirt. The one Grandma Akers gave me for my last birthday. 
Her intention was so safe, so easy. He threw it across the floor, Granma Akers’s shirt. He squeezed 
my boobs again and he sucked one. It hit me like a pony lash. I opened such with a force. I am sure
 he could hear my heart beating, I am sure of it. I started to feel the way I do when I touched
 myself in private but this was so much more powerful.
                        My whole body got hot, I was like boiling water. My eyes tearing, was I 
crying or sweating? It felt like there was a hot rock on my thigh and I looked down and it was his
 penis but it had changed! It looked different. 
                        “No!” I cried. It scared me  that I didn’t care that I didnt know Evans. He was a body, a part of my body for a few minutes. 
                He started pushing into me.  I will never forget how the jersey of his Fruit of the 
Loom t-shirt felt under my hands stretching and tearing at the material. I think he told me that he 
had never done it either.
                        He pushed. And pushed. And instead of flying off the mountain into the clouds 
and stars, I looked down and saw my feet had never left the ground.  He smelled different, his 
sweat smelled funny.
             Except for the pain in my vagina, I was happy. As I walked the bike for the 
rest of my paper route that afternoon I I wondered what Mae West wanted from guys. I felt special. I kept thinking of Mae, to be a star like her.
                       




Review of The 90 Day Novel

Alan Watt’s new book  The 90 Day Novel is more than a how-to book, or another book about someone else’s process that only works for them. Somehow Al is able to pull the essence out of every important aspect of writing a story and then frame it in a universal context. The pedagogue figure is absent in this book, Al is right there with us. You get the feeling that he is working through the muck of a novel himself. He is generous in sharing his agony, fears and self-doubt. Any writer, novice or seasoned will appreciate Al’s consistent fight to help us writers stay out of the dangerous waters of “results” by engaging with the creative process. His unique and freeing process of inquiry sends you right back into your story. “Stay curious” are words he repeats ad infinitum and ad nauseum sometimes, but to an important end for the student.
            Creative writing can take you to some dark and lonely places. Al stays right there with you and shows you the light in between the clouds. Make no mistake though, this book is not a formulaic gimmick on how to write a novel. Followed closely – or probably even loosely – the 90 Day Novel will tell you how to find the story inside of you, the one that can only be told by you.
            The 90 Day Novel gets a permanent spot on the bookshelf next to the other inspiring ‘How to Write’ books.  
            And a personal testament: Al’s teaching got me over a twenty year bout of writers block. His method opened a door where writing is now pouring out of me but I remain dumbstruck over how effective is his teaching process. 

Books I Highly Recommend

Alan Watt's book  The 90 Day Novel. Its only in a Kindle edition but will be out soon in paperback. This guy ended my twenty year bout with writers block. Now I cant keep up with myself.

http://www.amazon.com/The-90-Day-Novel-ebook/dp/B0046LV9AO/ref=cm_cr_pr_pb_t