Writing, like any art or discipline, takes practice and dedication to learning about the craft from those who have come before you. In learning, I like to teach, so each week I will take a piece of advice from the greats, both living and dead, famous and not, and apply their lessons to my own work and share my thoughts and progress with you.
This week I have chosen a quote from the American writer Willa Cather.
Willa Sibert Cather, born December 7, 1873, in Back Creek Valley, Virginia, achieved recognition for her novels of frontier life on the Great Plains, including O Pioneers! , The Song of the Lark, and My Ántonia. In 1923 she was awarded the Pulitzer Prize for One of Ours, a novel set during World War I.
Cather grew up in Virginia and Nebraska, and graduated from the University of Nebraska–Lincoln, initially planning to become a physician, but after writing an article for the Nebraska State Journal, she became a regular contributor to this journal. Because of this, she changed her major and graduated with a bachelor’s degree in English.
As a student at the University of Nebraska in the early 1890s, Cather sometimes used the masculine nickname “William” and wore masculine clothing. A photograph in the University of Nebraska archives depicts Cather dressed like a young man and with “her hair shingled, at a time when females wore their hair fashionably long.”
After graduation in 1894, she worked in Pittsburgh as writer for various publications and as a school English teacher for approximately 13 years, thereafter, at the age of 33, moving to New York City for the remainder of her life, though she also traveled widely and spent considerable time at her summer residence in New Brunswick, Canada.
Throughout Cather’s adult life, her most significant friendships were with women. These included her college friend Louise Pound; the Pittsburgh socialite Isabelle McClung, with whom Cather traveled to Europe and at whose Toronto home she stayed for prolonged visits; the opera singer Olive Fremstad; the pianist Yaltah Menuhin; and most notably, the editor Edith Lewis, with whom Cather lived the last 39 years of her life.
Cather’s sexual identity remains a point of contention among scholars. While many argue for Cather as a lesbian and interpret her work through a lens of queer theory, a highly vocal contingent of Cather scholars adamantly oppose such considerations. For example, scholar Janet Sharistanian has written, “Cather did not label herself a lesbian nor would she wish us to do so, and we do not know whether her relationships with women were sexual. In any case, it is anachronistic to assume that if Cather’s historical context had been different, she would have chosen to write overtly about homoerotic love.”
She was elected a Fellow of the American Academy of Arts and Sciences in 1943. In 1944, Cather received the gold medal for fiction from the National Institute of Arts and Letters, an award given once a decade for an author’s total accomplishments. She died of a cerebral hemorrhage on April 24, 1947, at the age of 73 in New York City.
A resolutely private person, Cather had destroyed many old drafts, personal papers, and letters. Her will restricted the ability of scholars to quote from the personal papers that remain. However, in April 2013, The Selected Letters of Willa Cather—a collection of 566 letters Cather wrote to friends, family, and literary acquaintances such as Thornton Wilder and F. Scott Fitzgerald—was published, two years following the death of Cather’s nephew and second literary executor, Charles Cather. Willa Cather’s correspondence revealed complexity of her character and inner world. The letters do not disclose any intimate details about Cather’s personal life, but they do “make clear that [her] primary emotional attachments were to women.”
“The stupid believe that to be truthful is easy; only the artist, the great artist, knows how difficult it is.”
— Willa Cather
Being truthful is not the same thing as being honest. Being open is not the same as not telling a lie. One is to answer when asked. The other is to pour your soul out thoroughly and unprompted. One is hard to do, the other feels almost impossible.
Telling the truth is complicated, tiring, and terrifying and writers and artist do it every day.
Telling the truth means making yourself vulnerable to judgment and rejection but since no man or woman is an island telling the truth can mean exposing not just yourself, not even just your family and friends, but your hometown, your gender, your race, and even your age group. It means that what you say means something and you have to carry the full responsibility and ownership of what you reveal.
Being truthful is painful. I’ve read over and over that the best way to be a writer is to just write but what do I do on the days when I am too afraid and too hurt to welcome more eyes and acknowledgment? What about the days when I am already exhausted and have nothing left to help carry the weight of revelation? What about the days when I cannot look myself in the eye let alone allow strangers to see such deep parts of me? What about the days when the truth is too disturbing and scary to examine? How do I do on those days?
The ones who say “just write” I wonder if they understand how much the tears sting and how the real the old memories feel when they pour put of you.
There are so many times I sit down to write my truth, and I find I have built so many defenses against what I carry deep down that I see no truth worth telling. I am nothing, I feel nothing, and nothing has ever hurt or helped me.
Society tells me to be happy and grateful and ordinary and getting past that to all the ugly things we would rather look away from is like pulling teeth or climbing mountains. Telling the truth starts with a search, and the mazes of this world are complex on purpose. The truth is hard to find and what you find may be nothing but illusions. More lies. Tell those too until you learn, I suppose.
I wouldn’t go as far as Cather in calling anyone stupid, but I would say they are a whole lot of ignorant, uninspired, and non-introspective ones out there. I would say I am among them, and so are many other artist and writers aspiring to do better too. The truth never comes easy, and the need to hide and run for cover never leaves us. Writers tell other writers what writing ought to feel like, forgetting what is hard for them will be hard for others too.
It’s rare to find people who open so easily and unapologetically, but we cannot deny that the ones who do are the best among us. Most people live lives so closed up and cut of that such vulnerability is beyond comprehension. I have met husbands and wives, sisters, and best friends who reveal less to one another than a writer does to the world.
Being truthful is hard. There have been many times I have written something that left me in tears and utterly exposed. When I read back over pieces like that, I get embarrassed and afraid. They are just too truthful, too raw. I edit and chop away at the feeling until I am once again cloaked and covered. I know that in doing so I have turned my work into lies but being so open is something you have to build up the courage to do.
And that is what all this practice is for, I suppose. Not just to write better but to write a little more truthfully every time. To write what we are again and again. To write what has been forgotten and what is wished to stay that way. To write about right and wrong and reality, about broken dreams and broken hearts and about the way the world doesn’t care or owe us a damn thing, it is exhausting! And it is the most fulfilling thing we can do.
Write often. Open yourself often. Feel pain, feel joy, feel fear, hope and anger, as often as you can and write, write, write, but never deny to yourself or anyone else that it is the hardest thing to do. Never minimize the worth and the work of what you and other writers do every single day.
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Biographical information via Wikipedia and Goodreads
Featured image via Unsplash