The Marginalian
The Marginalian

The Pain in You and the God in You: Carl Jung on the Relationship Between Psychological Suffering and Creativity

The Pain in You and the God in You: Carl Jung on the Relationship Between Psychological Suffering and Creativity

When AI first began colonizing language — which is still our best instrument for bridging the abyss between us, a container for thought and feeling that shapes the contents — I asked chatGPT to compose a poem about a solar eclipse in the style of Walt Whitman. It returned a ledger of cliches in rhymed couplets. Getting the form wrong — Whitman did not rhyme — seemed like an easy correction by a line of code. Getting poetry itself wrong was the interesting question, the question that gets at the heart of why we make poems (or paintings or novels or songs) — a question fundamentally about what it means to be human.

I asked an elder poet friend why she thought chatGPT rang hollow where Whitman could compact infinities of feeling in a single image, could unseat the soul in a word.

She paused, then said: “Because AI hasn’t suffered.”

On the one hand, this echoes a dangerous myth: the archetype of the tortured genius handed down to us by the Romantics, who, cornered in their time and place, in a century of bloody revolutions, deadly epidemics, and punitive Puritanical norms, must have needed to believe that their suffering — those lives of poverty and privation, those ill-fated exercises in projection mistaken for love, all those premature deaths — was a fair price to pay for such creative volcanicity.

On the other hand, this is reality: Art is the music we make from the bewildered cry of being alive — sometimes a cry of exultant astonishment, but often a cry of devastation at the collision between our wishes and the will of the world. Every artist’s art is their coping mechanism for what they are living through — the longings, the heartbreaks, the triumphs, the wars within and without. It is these painful convolutions of the psyche — which used to be termed neurosis at the dawn of modern psychotherapy, and which we may simply call suffering — that reveal us to ourselves, and it is out of these revelations that we create anything capable of touching other lives, that contact we call art.

Our power and our freedom lie in learning to neither negate our suffering nor romanticize it but to harness its catalytic power as a current passing through us to jolt us alive, then passing on and down into the ground of being.

Carl Jung

No one has refuted the myth of the tortured genius without negating the fact and fertility of suffering more pointedly than Carl Jung (July 26, 1875–June 6, 1961), who thought deeply about the nature of creativity.

In 1943, a scholar of Kierkegaard asked Jung’s opinion of the relationship between “psychological problems” and creative genius. With an eye to Kierkegaard’s gift for letting his anxiety fuel rather than hinder his creativity, Jung declares him a “whole” person and not “a jangling hither and dither of displeasing fragmentary souls,” and writes:

True creative genius does not let itself be spoilt by analysis, but is freed from the impediments and distortions of a neurosis. Neurosis does not produce art. It is uncreative and inimical to life. It is failure and bungling. But the moderns mistake morbidity for creative birth — part of the general lunacy of our time.

It is, of course, an unanswerable question what an artist would have created if he had not been neurotic. Nietzsche’s syphilitic infection undoubtedly exerted a strongly neuroticizing influence on his life. But one could imagine a sound Nietzsche possessed of creative power without hypertension — something like Goethe. He would have written much the same as he did, but less strident, less shrill — i.e., less German — more restrained, more responsible, more reasonable and reverent.

Art from An Almanac of Birds: 100 Divinations for Uncertain Days, also available as a stand-alone print and as stationery cards.

A century before Alain de Botton offered his assuring perspective on the importance of breakdowns, Jung weighs what makes suffering generative or degenerative:

Neurosis is a justified doubt in oneself and continually poses the ultimate question of trust in man and in God. Doubt is creative if it is answered by deeds, and so is neurosis if it exonerates itself as having been a phase — a crisis which is pathological only when chronic. Neurosis is a protracted crisis degenerated into a habit, the daily catastrophe ready for use.

Jung considers the advice he would have given Kierkegaard about how to orient to his suffering, which was the raw material of his philosophical writings:

It doesn’t matter what you say, but what it says in you. To it you must address your answers. God is straightaway with you and is the voice within you. You have to have it out with that voice.

Couple with a forgotten young poet’s extraordinary letter to Emily Dickinson about how to bear your suffering, then revisit Kierkegaard himself on the value of despair.

Art from An Almanac of Birds: 100 Divinations for Uncertain Days, also available as a stand-alone print and as stationery cards.
BP

The Art of Losing and the Art of Beckoning Love Back: The Story Behind One of the Greatest Poems Ever Written

The Art of Losing and the Art of Beckoning Love Back: The Story Behind One of the Greatest Poems Ever Written

You wouldn’t have bet on it, the frail famous poet teaching at Harvard as a visiting professor and the athletic secretary of the campus residence half her age. But every great love exists against probability, belongs to that region of the universe where the wildest bet may be the winning bet.

When she met Alice Methfessel, Elizabeth Bishop had served as Poet Laureate of the United States, had won the National Book Award and the Pulitzer Prize, had spent the better part of her youth in solitude and the better part of her middle age in South America with the woman she loved for seventeen years, who had taken her own life three years earlier.

Across their stations, across their age difference, across the abyss of possibility between their era’s parameters of permission, Elizabeth and Alice fell deeply and enduringly in love — a love that comes abloom on the pages of Megan Marshall’s delicious biography Elizabeth Bishop: A Miracle for Breakfast (public library).

Soon, they were beginning each day with a ritual refrain: “Good-morning I love you.” The “blue blue blue” of Alice’s eyes became the sky of a new world shimmering with new life. More poems poured out in a spring than had in a decade. They swam together in the Galápagos, admiring the flamboyance of flamingos, and in the Greek Isles, admiring the poppies and their thousand shades of red. Whenever they were separated by Elizabeth’s itinerant life as a public poet, she sent Alice “love — housefulls, churchfulls, airportsfull” and carried her photograph in her breast pocket. She revised her will to leave everything except her books to Alice.

Elizabeth Bishop

After five years together — years of extraordinary creative vitality for the poet, but also years of savage struggle with alcohol — Alice, exhausted by Elizabeth’s increasingly out-of-control drinking to the point of collapse, met a young man who soon proposed.

“I want you to be happy and good and loved,” Elizabeth told her in a touching reminder that the deepest measure of love is wanting the best possible life for the other person. But she was heartbroken.

She coped the way all artists do.

What began as mostly prose became, seventeen drafts and several titles later — “How to Lose Things,” “The Gift of Losing Things,” “The Art of Losing Things” — one of the greatest poems ever written:

ONE ART
by Elizabeth Bishop

The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.

Lose something every day. Accept the fluster
of lost door keys, the hour badly spent.
The art of losing isn’t hard to master.

Then practice losing farther, losing faster:
places, and names, and where it was you meant
to travel. None of these will bring disaster.

I lost my mother’s watch. And look! my last, or
next-to-last, of three loved houses went.
The art of losing isn’t hard to master.

I lost two cities, lovely ones. And, vaster,
some realms I owned, two rivers, a continent.
I miss them, but it wasn’t a disaster.

—Even losing you (the joking voice, a gesture
I love) I shan’t have lied. It’s evident
the art of losing’s not too hard to master
though it may look like (Write it!) like disaster.

When she learned that Alice had decided to accept the proposal, Elizabeth was devastated. With the helpless vulnerability of love laid bare, which neither pride nor prejudice can touch, she wrote to her:

I DO want you to be free, darling — that wouldn’t ever make me stop loving you… You can always have me back if ever you should want me… truly.

And then she sent her the poem.

Elizabeth Bishop (Archives & Special Collections, Vassar College Libraries)

Nobody knows what beckoned Alice back — the poem, the way a badly sprained ankle signaled Elizabeth’s fragility and made Alice shudder at the thought of losing her, or simply the inexplicable gravitational pull of love that eludes, always eludes, theory.

“I like being with you more than anyone else in the world,” Alice wrote to Elizabeth that summer.

They remained together until death did them part — one awful October evening, a cerebral aneurysm left Elizabeth’s body for Alice to find on their bedroom floor.

Years earlier, in her most intimate poem that she never published, Elizabeth had looked to death as dreadful only for separating her from Alice:

BREAKFAST SONG
by Elizabeth Bishop

My love, my saving grace,
your eyes are awfully blue.
I kiss your funny face,
your coffee-flavored mouth.
Last night I slept with you.
Today I love you so
how can I bear to go
(as soon I must, I know)
to bed with ugly death
in that cold filthy place
to sleep there without you,
without the easy breath
and nightlong, limblong warmth
I’ve grown accustomed to?
— Nobody wants to die;
tell me it is a lie!
But no, I know it’s true.
It’s just the common case;
there’s nothing one can do.
My love, my saving grace,
your eyes are awfully blue
early and instant blue.

Inside the tragedy, a triumph: It is miracle enough to have found blue.

BP

No One You Love Is Ever Dead: Hemingway on the Most Devastating of Losses and the Meaning of Life

No One You Love Is Ever Dead: Hemingway on the Most Devastating of Losses and the Meaning of Life

Along the spectrum of losses, from the door keys to the love of one’s life, none is more unimaginable, more incomprehensible in its unnatural violation of being and time, than a parent’s loss of a child.

Ernest Hemingway (July 21, 1899–July 2, 1961) was in his twenties and living in France when he befriend Gerald and Sara Murphy. The couple eventually returned to America when one of their sons fell ill, but it was their other son, Baoth, who died after a savage struggle with meningitis.

Upon receiving the news, the thirty-five-year-old writer sent his friends an extraordinary letter, part consolation for and part consecration of a loss for which there is no salve, found in Shaun Usher’s moving compilation Letters of Note: Grief (public library).

Ernest Hemingway

On March 19, 1935, Hemingway writes:

Dear Sara and Dear Gerald:

You know there is nothing we can ever say or write… Yesterday I tried to write you and I couldn’t.

It is not as bad for Baoth because he had a fine time, always, and he has only done something now that we all must do. He has just gotten it over with…

About him having to die so young — Remember that he had a very fine time and having it a thousand times makes it no better. And he is spared from learning what sort of a place the world is.

It is your loss: more than it is his, so it is something that you can, legitimately, be brave about. But I can’t be brave about it and in all my heart I am sick for you both.

Absolutely truly and coldly in the head, though, I know that anyone who dies young after a happy childhood, and no one ever made a happier childhood than you made for your children, has won a great victory. We all have to look forward to death by defeat, our bodies gone, our world destroyed; but it is the same dying we must do, while he has gotten it all over with, his world all intact and the death only by accident.

Art by Charlotte Pardi from Cry, Heart, But Never Break by Glenn Ringtved — a soulful Danish illustrated meditation on love and loss

In a breathtaking sentiment evocative of Anaïs Nin’s admonition against the stupor of near-living, and of poet Meghan O’Rourke’s grief-honed conviction that “the people we most love do become a physical part of us, ingrained in our synapses, in the pathways where memories are created,” Hemingway adds:

Very few people ever really are alive and those that are never die; no matter if they are gone. No one you love is ever dead.

With this, echoing Auden’s insistence that “we must love one another or die,” he comes the closest he ever came to formulating the meaning of life. Like David Foster Wallace, who addressed the meaning of life with such exquisite lucidity shortly before he was slain by depression, Hemingway too would lose hold of that meaning in the throes of the agony that would take his life a quarter century later. Now, from the fortunate platform of the prime of life, he writes:

We must live it, now, a day at a time and be very careful not to hurt each other. It seems as though we were all on a boat together, a good boat still, that we have made but that we know will never reach port. There will be all kinds of weather, good and bad, and especially because we know now that there will be no landfall we must keep the boat up very well and be very good to each other. We are fortunate we have good people on the boat.

Complement with the young Dostoyevsky’s exultation about the meaning of life shortly after his death sentence was repealed, Emily Dickinson on love and loss, Thoreau on living through loss, and Nick Cave — who lived, twice, the unimaginable tragedy of the Murphys — on grief as a portal to aliveness, then revisit the fascinating neuroscience of your brain on grief and your heart on healing.

BP

Hermann Hesse on Solitude, the Value of Hardship, the Courage to Be Yourself, and How to Find Your Destiny

Hermann Hesse on Solitude, the Value of Hardship, the Courage to Be Yourself, and How to Find Your Destiny

“No one can build you the bridge on which you, and only you, must cross the river of life,” the young Nietzsche wrote as he contemplated what it takes to find oneself. Somehow, this man of stark contradiction, cycling between nihilistic despondency and electric buoyancy along the rim of madness, has managed to inspire some of humanity’s most surefooted spirits — among them, the great German poet, novelist, painter, and Nobel laureate Hermann Hesse (July 2, 1877–August 9, 1962), who drew from Nietzsche’s philosophy the most humanistic ideas, then magnified them with his own transcendent humanity.

Some of Hesse’s most emboldening ideas about our human responsibility to ourselves and the world unfold in his “Letter to a Young German,” written to a dispirited youth in 1919 and later included in his 1946 anthology If the War Goes On… (public library), published the year he received the Nobel Prize — the same stirring piece that gave us Hesse on hope, the difficult art of taking responsibility, and the wisdom of the inner voice.

Hermann Hesse

Decades before E.E. Cummings asserted that “to be nobody-but-yourself — in a world which is doing its best, night and day, to make you everybody else — means to fight the hardest battle which any human being can fight,” Hesse writes:

You must unlearn the habit of being someone else or nothing at all, of imitating the voices of others and mistaking the faces of others for your own.

[…]

One thing is given to man which makes him into a god, which reminds him that he is a god: to know destiny.

[…]

When destiny comes to a man from outside, it lays him low, just as an arrow lays a deer low. When destiny comes to a man from within, from his innermost being, it makes him strong, it makes him into a god… A man who has recognized his destiny never tries to change it. The endeavor to change destiny is a childish pursuit that makes men quarrel and kill one another… All sorrow, poison, and death are alien, imposed destiny. But every true act, everything that is good and joyful and fruitful on earth, is lived destiny, destiny that has become self.

Echoing Nietzsche’s insistence that a fulfilling life requires embracing rather than running from difficulty, Hesse exhorts the young to treat their suffering with respect and curiosity, and adds:

Might your bitter pain not be the voice of destiny, might that voice not become sweet once you understand it?

[…]

Action and suffering, which together make up our lives, are a whole; they are one. A child suffers its begetting, it suffers its birth, its weaning; it suffers here and suffers there until in the end it suffers death. But all the good in a man, for which he is praised or loved, is merely good suffering, the right kind, the living kind of suffering, a suffering to the full. The ability to suffer well is more than half of life — indeed, it is all life. Birth is suffering, growth is suffering, the seed suffers the earth, the root suffers the rain, the bud suffers its flowering.

In the same way, my friends, man suffers destiny. Destiny is earth, it is rain and growth. Destiny hurts.

Long before Simone Weil contemplated how to make use of our suffering, Hesse holds up hardship as “the forge of destiny” and adds:

It is hard to learn to suffer. Women succeed more often and more nobly than men. Learn from them! Learn to listen when the voice of life speaks! Learn to look when the sun of destiny plays with your shadows! Learn to respect life! Learn to respect yourselves! From suffering springs strength…

Writing fifteen years after he made his exquisite case for breaking the trance of busyness, Hesse returns to the sandbox of selfhood — solitude:

True action, good and radiant action, my friends, does not spring from activity, from busy bustling, it does not spring from industrious hammering. It grows in the solitude of the mountains, it grows on the summits where silence and danger dwell. It grows out of the suffering which you have not yet learned to suffer.

[…]

Solitude is the path over which destiny endeavors to lead man to himself. Solitude is the path that men most fear. A path fraught with terrors, where snakes and toads lie in wait… Without solitude there is no suffering, without solitude there is no heroism. But the solitude I have in mind is not the solitude of the blithe poets or of the theater, where the fountain bubbles so sweetly at the mouth of the hermit’s cave.

Photograph by Maria Popova

Learning to be nourished by solitude rather than defeated by it, Hesse argues, is a prerequisite for taking charge of our destiny:

Most men, the herd, have never tasted solitude. They leave father and mother, but only to crawl to a wife and quietly succumb to new warmth and new ties. They are never alone, they never commune with themselves. And when a solitary man crosses their path, they fear him and hate him like the plague; they fling stones at him and find no peace until they are far away from him. The air around him smells of stars, of cold stellar spaces; he lacks the soft warm fragrance of the home and hatchery.

[…]

A man must be indifferent to the possibility of falling, if he wants to taste of solitude and to face up to his own destiny. It is easier and sweeter to walk with a people, with a multitude — even through misery. It is easier and more comforting to devote oneself to the “tasks” of the day, the tasks meted out by the collectivity.

In a sentiment the poet May Sarton would echo in her stunning ode to solitude two decades later, Hesse adds:

Solitude is not chosen, any more than destiny is chosen. Solitude comes to us if we have within us the magic stone that attracts destiny.

Sunlit Solitude by Maria Popova. (Available as a print.)

Two millennia after Seneca admonished that “all your sorrows have been wasted on you if you have not yet learned how to be wretched,” Hesse exults:

Blessed be he who has found his solitude, not the solitude pictured in painting or poetry, but his own, unique, predestined solitude. Blessed be he who knows how to suffer! Blessed be he who bears the magic stone in his heart. To him comes destiny, from him comes authentic action.

In consonance with Seamus Heaney’s lyrical insight that “the true and durable path into and through experience involves being true… to your own solitude, true to your own secret knowledge,” Hesse addresses the young:

You were made to be yourselves. You were made to enrich the world with a sound, a tone, a shadow.

[…]

In each one of you there is a hidden being, still in the deep sleep of childhood. Bring it to life! In each one of you there is a call, a will, an impulse of nature, an impulse toward the future, the new, the higher. Let it mature, let it resound, nurture it! Your future is not this or that; it is not money or power, it is not wisdom or success at your trade — your future, your hard dangerous path is this: to mature and to find God in yourselves.

A century later, the entire piece remains a spectacular and deeply insightful read, as does the whole of Hesse’s If the War Goes On…. Complement this particular fragment with Ursula K. Le Guin on suffering and the other side of pain, Louise Bourgeois on how solitude enriches creative work and Elizabeth Bishop on why everyone should experience at least one long period of solitude in life, then revisit Hesse on the discipline of savoring life’s little joys, why books will survive all future technology, the three types of readers, and what trees teach us about belonging and life.

BP

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