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Autor: Steven Pressfield

Hodnocení: 3,5/5

Je jedno, jestli jsem četl blogy o produktivitě nebo podnikání, The War of Art bylo knihou, která se pořád dokola objevovala. Možná jste už o ni slyšeli, aniž byste to třeba věděli.

Nejčastěji se totiž z ní cituje tzv. „Resistance“, síla, kterou Steven Pressfield pojmenoval a která by měla zhmotňovat všechny ty pocity a zlozvyky (strach, pochyby, výmluvy nebo prokrastinace), jež bývají překážkou před našimi sny a cíli.

The War of Art je pak jakési manifesto, rozdělené na 3 části, které se snaží Rezistenci popsat, poznat a vyzvat k boji.

V té první části se Steven snaží Rezistenci a její zákeřnost osvětlit. Snaží se ji dát konkrétní formu a důrazně před ní upozorňuje. Nechybí krátké příklady ze světa nebo leckdy až vtipné poznámky.

Druhá část je o boji proti Rezistenci. Steven věří, že tou hlavní zbraní je přejít od amatérismu k profesionalitě. Není to tak, že byste si museli nechat platit za to, že jste se přemluvili a šli jste vynést koš. Spíše je to ve smyslu myšlení, kdy přejdete od toho slabého, „amatérského“ mindsetu k tomu silnému, který má své zásady a pravidla.

Poslední část je pak taková filozofická. Autor se ptá především na to, odkud se bere kreativita a múza, která nám pomáhá s vniknutím a uskutečněním nápadů, ať už jde o složení symfonie nebo vybudování byznysu. Steven je věřící, a tak se hodně mluví o Bohu. Na druhou stranu hned na začátku upozorňuje, že si místo toho můžeme představit cokoliv jiného (vesmír, vědomí, …).

Z téhle části jsem měl smíšené pocity, ale zase musím říct, že „Testament of a Visionary“, kde se snaží vysvětlit verš básníka Williama Blakea („Eternity is in love with the creations of time.“) bylo nesmírně zajímavé, až mě to samotného překvapilo.

Než jsem knihu otevřel (v Kindlu), myslel jsem, že dostanu něco podobného jako The Power of Habit, a nemohl jsem se více mýlit.

Na druhou stranu nemůžu říct, že by mě The War of Art nějak zklamala, ba naopak! Kniha byla velmi čtivá a bylo nesmírně vidět, že autor přemýšlel nad každou větou. Ani jedno slovo mi nepřišlo navíc.

Vybrané pasáže

Resistance has no conscience. It will pledge anything to get a deal, then double-cross you as soon as your back is turned. If you take Resistance at its word, you deserve everything you get. Resistance is always lying and always full of shit.

Rule of thumb: The more important a call or action is to our soul’s evolution, the more Resistance we will feel toward pursuing it.

Henry Fonda was still throwing up before each stage performance, even when he was seventy-five. In other words, fear doesn’t go away. The warrior and the artist live by the same code of necessity, which dictates that the battle must be fought anew every day.

Never forget: This very moment, we can change our lives. There never was a moment, and never will be, when we are without the power to alter our destiny. This second, we can turn the tables on Resistance. This second, we can sit down and do our work.

It may be that the human race is not ready for freedom. The air of liberty may be too rarefied for us to breathe. Certainly I wouldn’t be writing this book, on this subject, if living with freedom were easy. The paradox seems to be, as Socrates demonstrated long ago, that the truly free individual is free only to the extent of his own self-mastery. While those who will not govern themselves are condemned to find masters to govern over them.

Fear is good. Like self-doubt, fear is an indicator. Fear tells us what we have to do. Remember our rule of thumb: The more scared we are of a work or calling, the more sure we can be that we have to do it.

It is one thing to study war and another to live the warrior’s life.

— Telamon of Arcadia, mercenary of the fifth century B.C.

Someone once asked Somerset Maugham if he wrote on a schedule or only when struck by inspiration. „I write only when inspiration strikes,“ he replied. „Fortunately it strikes every morning at nine o’clock sharp.“

I’m keenly aware of the Principle of Priority, which states (a) you must know the difference between what is urgent and what is important, and (b) you must do what’s important first.

How many pages have I produced? I don’t care. Are they any good? I don’t even think about it. All that matters is I’ve put in my time and hit it with all I’ve got. All that counts is that, for this day, for this session, I have overcome Resistance.

Most of us have two lives. The life we live, and the unlived life within us. Between the two stands Resistance.

The professional cannot take rejection personally because to do so reinforces Resistance. Editors are not the enemy; critics are not the enemy. Resistance is the enemy. The battle is inside our own heads. We cannot let external criticism, even if it’s true, fortify our internal foe. That foe is strong enough already.

The professional loves her work. She is invested in it wholeheartedly. But she does not forget that the work is not her. Her artistic self contains many works and many performances. Already the next is percolating inside her. The next will be better, and the one after that better still. The professional self-validates. She is tough-minded. In the face of indifference or adulation, she assesses her stuff coldly and objectively. Where it fell short, she’ll improve it. Where it triumphed, she’ll make it better still. She’ll work harder. She’ll be back tomorrow. The professional gives an ear to criticism, seeking to learn and grow. But she never forgets that Resistance is using criticism against her on a far more diabolical level. Resistance enlists criticism to reinforce the fifth column of fear already at work inside the artist’s head, seeking to break her will and crack her dedication. The professional does not fall for this. Her resolution, before all others, remains: No matter what, I will never let Resistance beat me.

The professional cannot let himself take humiliation personally. Humiliation, like rejection and criticism, is the external reflection of internal Resistance. The professional endures adversity. He lets the birdshit splash down on his slicker, remembering that it comes clean with a heavy-duty hosing. He himself, his creative center, cannot be buried, even beneath a mountain of guano. His core is bulletproof. Nothing can touch it unless he lets it.

NO MYSTERY

There’s no mystery to turning pro. It’s a decision brought about by an act of will. We make up our minds to view ourselves as pros and we do it. Simple as that.

Why have I stressed professionalism so heavily in the preceding chapters? Because the most important thing about art is to work. Nothing else matters except sitting down every day and trying.

Of any activity you do, ask yourself: If I were the last person on earth, would I still do it? If you’re all alone on the planet, a hierarchical orientation makes no sense. There’s no one to impress. So, if you’d still pursue that activity, congratulations. You’re doing it territorially.

Creative work is not a selfish act or a bid for attention on the part of the actor. It’s a gift to the world and every being in it. Don’t cheat us of your contribution. Give us what you’ve got.