Schöne Sätze

Success is too easy

By artist I mean of course everyone who has tried to create something which was not here before him, with no other tools and material than the uncommerciable ones of the human spirit; who has tried to carve, no matter how crudely, on the wall of that final oblivion beyond which he will have to pass, in the tongue of the human spirit ‘Kilroy was here.’

That is primarily, and I think in its essence, all that we ever really tried to do. And I believe we will all agree that we failed. That what we made never quite matched and never will match the shape, the dream of perfection which we inherited and which drove us and will continue to drive us, even after each failure, until anguish frees us and the hand falls still at last.

Maybe it’s just as well that we are doomed to fail, since, as long as we do fail and the hand continues to hold blood, we will try again; where, if we ever did attain the dream, match the shape, scale that ultimate peak of perfection, nothing would remain but to jump off the other side of it into suicide. Which would not only deprive us of our American right to existence, not only inalienable but harmless too, since by our standards, in our culture, the pursuit of art is a peaceful hobby like breeding Dalmations, it would leave refuse in the form of, at best indigence and at worst downright crime resulting from unexhausted energy, to be scavenged and removed and disposed of. While this way, constantly and steadily occupied by, obsessed with, immersed in trying to do the impossible, faced always with the failure which we decline to recognize and accept, we stay out of trouble, keep out of the way of the practical and busy people who carry the burden of America.

So all are happy—the giants of industry and commerce, and the manipulators for profit or power of the mass emotions called government, who carry the tremendous load of geopolitical solvency, the two of which conjoined are America; and the harmless breeders of the spotted dogs (unharmed too, protected, immune in the inalienable right to exhibit our dogs to one another for acclaim, and even to the public too; defended in our right to collect from them at the rate of five or ten dollars for the special signed editions, and even at the rate of thousands to special fanciers named Picasso or Matisse).

Then something like this happens—like this, here, this afternoon; not just once and not even just once a year. Then that anguished breeder discovers that not only his fellow breeders, who must support their mutual vocation in a sort of mutual desperate defensive confederation, but other people, people whom he had considered outsiders, also hold that what he is doing is valid. And not only scattered individuals who hold his doings valid, but enough of them to confederate in their turn, for no mutual benefit of profit or defense but simply because they also believe it is not only valid but important that man should write on the wall ‘Man was here also A.D. 1953, or ’54 or ’55′, and so go on record like this this afternoon.

To tell not the individual artist but the world, the time itself, that what he did is valid. That even failure is worth while and admirable, provided only that the failure is splendid enough, the dream splendid enough, unattainable enough yet forever valuable enough, since it was of perfection.

So when this happens to him (or to one of his fellows; it doesn’t matter which one, since all share the validation of the mutual devotion) the thought occurs that perhaps one of the things wrong with our country is success. That there is too much success in it. Success is too easy. In our country a young man can gain it with no more than a little industry. He can gain it so quickly and easily that he has not had time to learn the humility to handle it with, or even to discover, realise, that he will need humility.