The Artist's Way - Couverture souple

Cameron, Julia

Couverture souple

ISBN 10 : 1585421464 ISBN 13 : 9781585421466

Editeur : TarcherPerigee, 2002

Synopsis

Book by Cameron Julia

A propos du livre

Extrait :

ALSO BY JULIA CAMERON

NONFICTION

 

The Artist’s Way
The Artist’s Way Morning Pages Journal
The Artist’s Date Book (illustrated by Elizabeth Cameron)
The Vein of Gold
The Right to Write
God Is No Laughing Matter

 

Supplies: A Troubleshooting Guide for Creative Difficulties
(illustrated by Elizabeth Cameron)

 

God Is Dog Spelled Backwards
(illustrated by Elizabeth Cameron)

 

Heart Steps
Blessings
Transitions

 

Inspirations: Meditations from The Artist’s Way
The Writer’s Life: Insights from The Rightto Write
The Artist’s Way at Work (withMark Bryan and Catherine Allen)
Money Drunk, Money Sober (with Mark Bryan)

 

 

FICTION

 

Popcorn: Hollywood Stories

 

The Dark Room

 

PLAYS

Public Lives
The Animal in the Trees
Four Roses
Love in the DMZ
Avalon (a musical)
Bloodlines
The Medium at Large (a musical)
Tinseltown (a musical)
Normal, Nebraska (a musical)

 

 

POETRY

 

Prayers for the Little Ones
Prayers for the Nature Spirits
The Quiet Animal
This Earth (also an album with Tim Wheater)

 

 

FEATURE FILM

(as writer-director)

 

God’s Will

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Copyright © 1992, 2002 by Julia Cameron The Artist’s Way is a registered trademark of Julia Cameron.

 

All rights reserved. This book, or parts thereof, may not be reproduced in any form without permission. Published simultaneously in Canada

 

Library of Congress Cataloging-in-Publication Data

 

Cameron, Julia.

The artist’s way : a spiritual path to higher creativity / Julia Cameron. p. cm.

ISBN: 9781101156889

I. Creative ability—Problems, exercises, etc. 2. Self-actualization (Psychology)—Problems, exercises, etc. 3. Creation (Literary, artistic, etc.) I. Title.

BF408.C175 1992

153.3’5—dc20 92—5906

CIP

 

This book is printed on acid-free paper.

 

MY ARTIST’ S WAY GRATITUDE LIST

AT THIS POINT, WELL over a million people have contributed to The Artist’s Way. It is truly a movement. There are, however, people without whom its safety and growth could not have occurred. I wish to thank some of them here.

Jeremy Tarcher, for publishing my work, editing and caring for it so carefully with his characteristic brilliance and vision.

Joel Fotinos, for nurturing and guarding my body of work—husbanding not only my work but my deepest heart and truest dreams with clarity and strength.

Mark Bryan, my gratitude for fighting to protect and defend my body of work, for his innovative and visionary thinking and capacity to understand and forgive our frequently—and necessarily—divergent paths.

My daughter, Domenica Cameron-Scorsese, for sharing her mother and bearing the dual pressures of second-generation fame and first-rate talent. My gratitude for being always the kind of artist and person for whom I want to write good and useful books. With admiration for her shrewdness, tenderness, and sheer creative “guts.”

Emma Lively, with gratitude for her visionary strength and her bold and daring conviction in her work both with my music and my books. A true friend, not only to my creativity but also to my dreams and desires. We met through The Artist’s Way and my musical Avalon, and have enjoyed combining our Artist’s Ways as musical collaborators over the last four years.

Susan Schulman, with gratitude for her long years of devotion and commitment to The Artist’s Way, with admiration for her vision and with humility for her courage throughout our parallel and difficult trials.

With gratitude to Pat Black and company, for holding a steady course as The Artist’s Way, and I myself, grew in fits and starts.

With gratitude to David Groff, for his fine writing and thinking.

To Johanna Tani, for her graceful and acute editing.

And to Sara Carder, for her deft and careful assistance above and beyond the call of duty—all three of these creative souls.

James Nave, for his loyalty and generosity as a long-term teaching partner.

And to Tim Wheater, a special thank-you for his musical brilliance and creative and teaching partnering through multiple years and projects.

Gratitude also to Mauna Eichner and Claire Vaccaro, for their inspired and fastidious design work, remembering always that form follows function—to make my books embody that artist’s formula—“Beauty is truth, and truth is beauty.”

Gratitude always, too, to my sister and frequent collaborator, fine artist and cartoonist Libby Cameron, whose wit and whimsy allowed me to create additional tools to support The Artist’s Way. She well knows the truth that laughter is the best medicine, and helped me in administering creative first aid with a spoonful of sugar to make the medicine go down. My deepest thanks for her inspired work on The Artist’s Date Book, Supplies, God Is Dog Spelled Backwards, and the upcoming How Not to Make Art—or anything else that really matters.

My gratitude to Sonia Choquette and Larry Lonergan, for their love and clarity of vision as I labored to bring into fruition large dreams from small seeds.

To Edmund Towle and Robert McDonald, for their creativity and chivalry as they both protected and inspired me to do all forms of my creative work.

Finally, I wish to thank those who have gone before me and shown me the path, most especially Julianna McCarthy, Max Showalter, John Newland, and all who hold a spiritual lantern to light our Artist’s Way with their artistry and generosity.

THIS SOURCEBOOK IS DEDICATED to Mark Bryan. Mark urged me to write it, helped shape it, and co-taught it. Without him it would not exist.

Table of Contents

Title Page

Copyright Page

Dedication

Introduction

 

WEEK 1 - Recovering a Sense of Safety

WEEK 2 - Recovering a Sense of Identity

WEEK 3 - Recovering a Sense of Power

WEEK 4 - Recovering a Sense of Integrity

WEEK 5 - Recovering a Sense of Possibility

WEEK 6 - Recovering a Sense of Abundance

WEEK 7 - Recovering a Sense of Connection

WEEK 8 - Recovering a Sense of Strength

WEEK 9 - Recovering a Sense of Compassion

WEEK 10 - Recovering a Sense of Self-Protection

WEEK 11 - Recovering a Sense of Autonomy

WEEK 12 - Recovering a Sense of Faith

 

EPILOGUE

The Artist’s Way Questions and Answers

Creative Clusters Guide

APPENDIX: TRAIL MIX

READING LIST

INDEX

About the Author

Excerpt from The Prosperous Heart

INTRODUCTION TO THE TENTH ANNIVERSARY EDITION OF THE ARTIST’S WAY

ART IS A SPIRITUAL transaction.

Artists are visionaries. We routinely practice a form of faith, seeing clearly and moving toward a creative goal that shimmers in the distance—often visible to us, but invisible to those around us. Difficult as it is to remember, it is our work that creates the market, not the market that creates our work. Art is an act of faith, and we practice practicing it. Sometimes we are called on pilgrimages on its behalf and, like many pilgrims, we doubt the call even as we answer it. But answer we do.

I am writing on a black lacquer Chinese desk that looks west across the Hudson River to America. I am on the far western shore of Manhattan, which is a country unto itself, and the one I am living in right now, working to cantilever musicals from page to stage. Manhattan is where the singers are. Not to mention Broadway. I am here because “art” brought me here. Obedient, I came.

Per capita, Manhattan may have a higher density of artists than anywhere else in America. In my Upper West Side neighborhood, cellos are as frequent and as ungainly as cows in Iowa. They are part of the landscape here. Writing at a typewriter, looking out across the lights, I too am something Manhattan knows very well. I write melody on a piano ten blocks from where Richard Rodgers, a gangly adolescent, climbed a short stoop to meet a short boy who became his longtime partner, Larry Hart. Together they dreamed through drought and flood.

My apartment is on Riverside Drive. At this narrow end of the island, Broadway is a scant block behind my back as I face west across the river, inky black now as the sun sets in colored ribbons above it. It is a wide river, not only dark, and on a windy day—and there are many—the water is choppy and white-capped. Cherry-red tugboats, as determined as beetles, push their prows into the waves, digging their way up and down the river, pushing long barges with their snouts. Manhattan is a seaport—and a landing for dreams.

Manhattan teems with dreamers. All artists dream, and we arrive here carrying those dreams. Not all of us are dressed in black, still smoking cigarettes and drinking hard liquor, still living out the tawdry romance of hard knocks in tiny walk-up flats filled with hope and roaches in neighborhoods so bad that the rats have moved on. No, just like the roaches, the artists are everywhere here, tenements to penthouses—my own building has not only me with my piano and typewriter but also an opera singer who trills in the inner canyons like a lark ascending. The neighborhood waiters are often—not always—actors, and the particularly pretty duck-footed neighborhood girls do dance, although you wouldn’t imagine their grace from their web-footed walks.

I drank a cup of tea at Edgar’s Cafe this afternoon, the cafe named for Edgar Allan Poe, who lived down here and died farther uptown, all the way in the Bronx. I’ve looked up into Leonard Bernstein’s ground-floor windows at the Dakota, and gone a little numb each time I pass the arched entryway where John Lennon was shot. In this apartment, I am a scant block from Duke Ellington’s haunts, and there’s a street named after him too. Manhattan is a town full of ghosts. Creative power—and powers—course through its vertical canyons.

It was in Manhattan that I first began teaching the Artist’s Way. Like all artists—like all of us if we listen—I experience inspiration. I was “called” to teach and I answered that call somewhat grudgingly. What about my art? I wondered. I had not yet learned that we do tend to practice what we preach, that in unblocking others I would unblock myself, and that, like all artists, I would thrive more easily with some companionship, with kindred souls making kindred leaps of faith. Called to teach, I could not imagine the good teaching would bring to me and, through me, to others.

In 1978 I began teaching artists how to “unblock” and “get back on their feet” after a creative injury. I shared with them the tools I had learned through my own creative practice. I kept it all as easy and gentle as I could.

“Remember, there is a creative energy that wants to express itself through you”; “Don’t judge the work or yourself. You can sort it out later”; “Let God work through you,” I told them.

My tools were simple and my students were few. Both tools and number of students grew steadily and hugely for the next ten years. At the beginning and, for the most part, always, my students were chiefly blocked or injured artists—painters, poets, potters, writers, filmmakers, actors, and those who simply wished to be anything more creative in their personal lives or in any of the arts. I kept things simple because they really were. Creativity is like crabgrass—it springs back with the simplest bit of care. I taught people how to bring their creative spirit the simple nutrients and nurturance they needed to keep it fed. People responded by making books, films, paintings, photographs, and much, much more. Word of mouth spread and my classes were easy to fill.

In the meanwhile, I kept making my own art. I wrote plays. I wrote novels and movies. I did feature films, TV, and short stories. I wrote poetry, then performance art. From doing this work, I learned more creative tools, wrote more teaching essays, and, at the urging of my friend Mark Bryan, I got the essays assembled into teaching notes and then into a proper book.

Mark and I stood elbow to elbow, printing and assembling the simple book that I could send out to people needing help. We mailed it in this form to perhaps a thousand people, who in turn photocopied and passed it on to their friends. We began to hear amazing stories of recovery: painters painting, actors acting, directors directing, and people with no declared art who began doing the art form they had always wished to do. We heard tales of sudden breakthroughs and slow awakenings.

Jeremy P Tarcher, the noted creativity and human potential publisher, read an early draft of the work and decided to publish it. Meanwhile, I divided the book into a twelve-week course, each section dealing with some specific issue. This simple book was the distillate of twelve years of teaching and twenty years of making art in many forms. At first I called it Healing the Artist Within. Finally, after much thought, I decided to call it The Artist’s Way. It explained and explored creativity as a spiritual issue. I began to witness my own miracles.

I often traveled to teach, and at book signings and public venues people began to hand me CDs, books, videos, and letters conveying this thought: “I used your tools and made this, thank you so much.” My most frequent compliment was, “Your book changed my life,” and I heard it from artists of little fame and great fame, in backwaters and on the international frontlines. Using the tools, painters went from being blocked to winning large, juried exhibitions. Writers went from not writing to winning Emmy and Grammy awards for their work. I found myself humbled by the power of God, the Great Creator, to restore strength, vitality, and inspiration to individual creative paths, diverse and divergent. One woman, a blocked writer in her mid-fifties, became an award-winning playwright. A longtime sideman conceived and executed a bravura solo album. Long-harbored dreams bloomed everywhere the Great Creator turned a gardening hand. I received thank yous that properly belonged to God. I was a spiritual conduit for the central spiritual fact that the Great Creator loved other artists and actively helped those who opened themselves to their creativity.

Artist to artist, hand to hand, The Artist’s Way began t...

Revue de presse :

“This book has been around for a long time, and I hope it sticks around forever. It guides the reader through a fascinating (and fun) 12-week-long program of exercises and explorations that help loosen up one’s artistic self. It takes you on a journey that will cost you nothing (aside from the guidebook) and it brings much insight, gently helping you see what is holding you back, and showing you how to move forward. Three times in the last decade I've committed to doing The Artist's Way's program, and each time I've learned something important and surprising about myself and my work. Just to show how influential it's been to me—the first time I did the program, I had decided by end of it that I wanted to 1) travel to Italy and learn Italian, 2) Go to an Ashram in India, and 3) Return to Indonesia to study with the old medicine man I'd once met there. We all know what THAT decision led to. . . Without The Artist's Way, there would have been no Eat, Pray, Love.”
—Elizabeth Gilbert

“THE ARTIST’S WAY by Julia Cameron is not exclusively about writing—it is about discovering and developing the artist within whether a painter, poet, screenwriter or musician—but it is a lot about writing. If you have always wanted to pursue a creative dream, have always wanted to play and create with words or paints, this book will gently get you started and help you learn all kinds of paying-attention techniques; and that, after all, is what being an artist is all about. It’s about learning to pay attention.”
--Anne Lamott, Mademoiselle
 
“The premise of the book is that creativity and spirituality are the same thing, they come from the same place. And we were created to use this life to express our individuality, and that over the course of a lifetime that gets beaten out of us. [THE ARTIST’S WAY] helped me put aside my fear and not worry about whether the record would be commercial.”
--Grammy award-winning singer Kathy Mattea
 
“Julia Cameron brings creativity and spirituality together with the same kind of step-by-step wisdom that Edgar Cayce encouraged. The result is spiritual creativity as a consistent and nourishing part of daily life.”
--Venture Inward
 
“I never knew I was a visual artist until I read Julia Cameron’s THE ARTIST’S WAY.”
--Jannene Behl in Artist’s Magazine
 
“Julia Cameron’s landmark book THE ARTIST’S WAY helped me figure out who I really was as an adult, not so much as an artist but as a person. And award-winning journalist and poet, Cameron’s genius is that she doesn’t tell readers what they should do to achieve or who they should be—instead she creates a map for readers to start exploring these questions themselves.”
--Michael F. Melcher, Law Practice magazine
 
“This is not a self-help book in the normative sense. It is simply a powerful book that can challenge one to move into an entirely different state of personal expression and growth.”
--Nick Maddox, Deland Beacon
 
“THE ARTIST’S WAY (with its companion volume THE ARTIST’S WAY MORNING PAGES JOURNAL) becomes a friend over time, not just a journal. Like a journal, it provokes spontaneous insights and solutions; beyond journaling, it establishes a process that is interactive and dynamic.”
--Theresa L. Crenshaw, M.D., San Diego Union-Tribune
 
 “If you really want to supercharge your writing, I recommend that you get a copy of Julia Cameron’s book THE ARTIST’S WAY. I’m not a big fan of self-help books, but this book has changed my life for the better and restored my previously lagging creativity.”
--Jeffrey Bairstow, Laser Focus World
 
“Working with the principle that creative expression is the natural direction of life, Cameron developed a three month program to recover creativity. THE ARTIST’S WAY shows how to tap into the higher power that connects human creativity and the creative energies of the universe.”
--Mike Gossie, Scottsdale Tribune
 
“THE ARTIST’S WAY is the seminal book on the subject of creativity and an invaluable guide to living the artistic life. Still as vital today—or perhaps even more so—than it was when it was first published in 1992, it is a provocative and inspiring work. Updated and expanded, it reframes THE ARTIST’S WAY for a new century.”
--Branches of Light
 
“THE ARTIST’S WAY has sold over 3 million copies since its publication in 1992. Cameron still teaches it because there is sustained demand for its thoughtful, spiritual approach to unblocking and nurturing creativity. It is, dare we say, timeless.”
--Nancy Colasurdo, FOXBusiness

Praise for VEIN OF GOLD, the second volume in the ARTIST’S WAY trilogy
 
“For those seeking the wellspring of creativity, this book, like its predecessor, is a solid gold diving rod.”
--PUBLISHERS WEEKLY

À propos de cette édition

• Éditeur: TarcherPerigee
• Date d'édition: 2002
• ISBN 10: 1585421464
• ISBN 13: 9781585421466
• Reliure: Broché
• Nombre de pages: 272