I am committed to creative work. All of my adult life has been shaped by that commitment. And while I don’t directly recommend it (unconventional routes are unpaved, and, of course, there be dragons), I know it is the route to beauty and making the most out of the world as we live it. We’re lucky to make music, show love, and hand it down to our kids, but we need to tell stories, and we must have stories to tell. All of this arises from your creative power. I know a lot more than I can say with words, but the languages of sharing emerge from venturing into the unknown.
So, first things first with this list of recommendations to unlock your creativity: you got to get yourself out of the way. There’s no better way to do this than acquainting yourself with Sufism, even on an introductory level.
I am very close friends with the pre-eminent American translator of the 13th-century Sufi poet Jalal al-Dīn Rumi, and it still took me many years to get to this book. Maybe everything happens at the right time, but you still need to settle with yourself to get any ball rolling, especially the powerful tool of your own creativity–the only medicine, the single refuge.
Written in response to more than 70,000 questions received about the Sufi tradition from people around the world, this keystone work is crucial for readers wishing to approach the Sufi Way.
Learning How to Learn presents traditional teaching stories, anecdotes, and question-and-answer exchanges to illustrate the barriers and prerequisites to Sufi learning. Shah uses the language of Western psychology—concepts known in the ancient wisdom traditions of the East—to explain how and why Sufis learn, and how spiritual understanding may be developed.
The author draws from a vast array sources to illustrate the challenges and pitfalls inherent in real self-development work:…
So, after the first things, you need some actual instruction, and the great Russian filmmaker lays it all out here. The book is his memoir about filmmaking, but it’s really about art making, written as large or small as you can imagine. I wrote a review by request a few years ago.
Allow the tools he discusses here to free you from the oppression of lazy filmmaking, as well as your own timidity and fear. It works. Ask me how I know.
A director reveals the original inspirations for his films, their history, his methods of work and problems of visual creativity, and the autobiographical content of such films as "Mirror" and "Nostalgia"
Once you’ve opened yourself up, gotten a few instructions and are reminded that nothing is holding you back, you’re ready to connect with your own internal mechanisms. Hillman re-positions psychology in the context of soul-making, where it makes most sense and is most useful for us.
We get hung up on so many things, and Hillman fearlessly wades into every one of them with great intention. I think Hillman is one of the smartest, most perceptively radical writers not named Jung, and this book grapples with the uneasy humility that is creative work: your own soul-making.
Nancy Lemann is one of the treasures of contemporary American literature and I re-read many passages in this book out loud to my wife, out of amusement and as a sort of personal honorific. Honestly, I found myself reading much of this book out loud, even alone, as does the Southern lilt of her writing punch through the page.
But that merely surprised me. The story is engrossing on both levels–micro/macro in the common parlance. A lot of writers drop hints about how to do what they are doing right into the text of their work. Tolstoy, for one, is very clear about this if we’re paying attention–specifically in Anna Karenina. There’s plenty of that here. Also see her recent story published in the Paris Review. It’s like a green book for great writing.
Claude Collier made the world seem kind,"" says Louise Brown, -beginning a tale of Violent Love, Breakdowns, Moods, and Felonious Drunkenness that floats from one lush, green, sweltering New Orleans evening to another. Returning home after four years of college in New England (""Among the Yankees I have known,"" she says, ""I only met one who had the grace to apologize to me about the War""), Louise bemusedly finds herself reimmersed in New Orleans society's ""wastrel-youth contingent."" At the center of this gin-fueled hurricane is Claude, rumpled, accident prone, supremely sweet, and desperate. For Claude, Louise is his steadying focus;…
Know your audience? I’m kidding—never condescend; there’s nothing to be gained. Leave the smug cleverness to the Gladwells and Pinkers; we’re seeking higher ground here. What is culture? Don’t act like you don’t want to talk about it – or the stakes. This is THE TALK we actually need to have.
We have an affinity for our own habits, and Bourdieu walks us through them using the socially innocent language of likes and dislikes. His is a very straightforward discussion of experiences and social conditions that you didn’t know you needed. How do tastes vary, and why? Hmmmm.
No judgment of taste is innocent. In a word, we are all snobs. Pierre Bourdieu brilliantly illuminates this situation of the middle class in the modern world. France's leading sociologist focuses here on the French bourgeoisie, its tastes and preferences. Distinction is at once a vast ethnography of contemporary France and a dissection of the bourgeois mind.
In the course of everyday life people constantly choose between what they find aesthetically pleasing and what they consider tacky, merely trendy, or ugly. Bourdieu bases his study on surveys that took into account the multitude of social factors that play a part…
Newly ensconced creative director of the Cansville Theatre, Toby Alameda, sets about to reconstruct the story of his boyhood home and the extended family that had lived there. The structure itself had been expanded from a modest farmhouse where his family took in relatives during the Great Depression.
By the time the young Toby was practicing archery in his upstairs bedroom two generations later, the great emptied house had so grown into his being that he hardly gave it any thought. Until he tried to write a stage play about it.
It is 1948 in Berlin. The economy is broken, the currency worthless, and the Russian bear is preparing to swallow its next victim. In the ruins of Hitler's capital, former RAF officers and a woman pilot start an air ambulance company that offers a glimmer of hope. Yet when a Soviet fighter brings down a British airliner, Berlin becomes a flashpoint. The world teeters on the brink of World War Three.
Award-winning novelist Helena P. Schrader tells the backstory of the Berlin Airlift in Cold Peace, the first book of the Bridge to Tomorrow series.
