continued from here…
I would summarize the content of this chapter with words at it’s end:
“We would have more fine artists if it were easier to be a fine artist. But creating beautiful and true work isn’t easy. It requires that you embrace the anxiety of creating, grow quieter than a person normally finds tolerable, hold your creative work through all the rigors of the day, manifest real wildness while taming that wildness enough so that you can function in the world, and think harder than a peron is wont to think”.
That’s what the first chapter is about:
hushing = quieting of a mind (in a quiet place – for some it can be the first task: to find one) and opening for ideas to come
holding idea/s (thinking about them, puting them in a journal) and nurturing them (leting the outer world feed the ideas, I would say: connecting my ideas with the outer world and vice versa. We may have an idea and then we read/see/smell/touch/experience something and it connects to the original idea and develops it further.
being wild – wildness as “amalgam of passion, vitality, rebelliousness, nonconformity, freedom from inhibitions”
and being tamed at the same time – “wildness is a heat, tameness the thermostat. Wildness is the energy, tameness the valves that regulate .”
I find it difficult to explain what he exactly means by wildness and tameness, I don’t think I understand practical side of it fully.
Maybe I would, if I did exercises which he suggests, e.g., being naked while creating/writing a letter/being on the phone… … maybe not…