Few things in life are more devastating than to give something your all and still fail. Not the “fail better” of startup culture, not the “fail forward” of self-help, not the failure that is childhood’s fulcrum of learning, not the inspired mistakes that propel creative risk, but simply that helpless and harrowing moment when you face the abyss between your will and your powers, your values and your choices, your ideal self and your real self. It is without redemption, such failure. But it need not be without reward. Admitting failure, especially moral failure, is hard enough — to others,… read article

“History is not some past from which we are cut off. We are merely at its forward edge as it unrolls. And only if one is without historical feeling at all can one think of the intellectual fads and fashions of one’s own time as a ‘habitation everlasting.’ We may feel that at last, unlike all previous generations, we have found certitude. They thought so too.”  I heard it expressed by commencement speakers and others in more casual conversation that ours is an unprecedented age of uncertainty and worry. “We have never seen anything like what we’re experiencing now,” said an articulate and highly educated woman. I wanted to remind her of, say, April 1861 in the U.S. and September 1939 everywhere. The phenomenon of presentism is like a disease that causes blindness. We attribute a sort of proud uniqueness to ourselves and our era, an understanding fostered by narcissism and historical ignorance.   The speaker quoted at the top is Robert Conquest in “History, Humanity, and Truth,” the 1993 Jefferson Lecture in the Humanities delivered at Stanford University. Conquest is the historian who gave us, among other revelatory works, The Great Terror: Stalin’s Purge of the Thirties (1968) and The Harvest of Sorrow: Soviet Collectivization and the Terror-Famine (1986). He was not the first to note the moral parity of Hitler and Stalin, but, even before Solzhenitsyn, he documented it and published the results. Denying history and privileging oneself is a form of reality denial. In John Dryden’s “Secular Masque,” Janus says, “Tis well an old age is out, / And time to begin a new,” though the new is merely the old repackaged. Conquest says in his lecture:   “We spoke of fads and fashions. Fanaticisms and factiousnesses too, unfortunately. The Soviet experience was, of course, a terrible example of what can happen when an idea gets out of hand.”   Conquest was doubly blessed with gifts, being a poet as well as a historian. In 2009, already in his nineties, Conquest published Penultimata, a collection of new poems. Among them is “Last Hours,” nine stanzas of three lines each, including this:   “Dead in the water, the day is done There’s nothing new under the sun, Still less when it’s gone down.”   Presentism is more than a misguided focus. It is a prescription for disaster. “Without truth in history,” Conquest says in his lecture, “humanity is no longer humanity. It becomes prey to the mental distortions which have, in this century, already caused so many millions of deaths, and brought the world to the verge of ruin.”   [John Dryden died on this date, May 12, in 1700 at age sixty-eight.]

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“Inspiration is perhaps merely the joy of writing: it does not precede writing.” A student and aspiring fiction writer wonders why I seldom refer to “inspiration.” What is it? Do I deny its existence? Have certain writers successfully relied on it? Can he? My answer is yes and no, which betrays my background as a newspaper reporter. Telling an editor I hadn’t completed a story because I wasn’t “inspired” would be grounds, at minimum, for mockery if not dismissal. All those years of writing for a daily deadline resulted in a work ethic that now is second nature. You learn to budget your time appropriately, make telephone calls in a timely fashion and write even when the Muse is nonresponsive.   Writing can jump-start inspiration. Just plow ahead, get something on the page or screen, and you’ve created the conditions necessary for inspiration to bloom. Shortly after publishing his penultimate novel, Transparent Things (1972), Nabokov published a teasing essay titled “Inspiration” in the January 6, 1973, issue of The Saturday Review. Listen to the voice of a man who had published his first novel almost half a century earlier. He describes his experience with inspiration in detail:   “The bolt of inspiration strikes invariably: you observe the flash in this or that piece of great writing, be it a stretch of fine verse, or a passage in Joyce or Tolstoy, or a phrase in a short story, or a spurt of genius in the paper of a naturalist, of a scholar, or even in a book reviewer’s article. I have in view, naturally, not the hopeless hacks we all know—but people who are creative artists in their own right . . .”   [The sentence at the top is Jules Renard’s entry for May 9, 1898, in his Journal 1887-1910 (trans. Theo Cuffe, selected and introduced by Julian Barnes, riverrun, 2020).]