One of the most honest books about creativity I've ever read. Fans of Creativity, Inc. will find this an invaluable companion read. Shekerjian weaves together the themes she has learned by interviewing 40 MacArthur "genius" grant recipients. Each chapter picks up on a characteristic of creative genius and highlights a few thinkers who display or describe this characteristics well. But Shekerjian also emphasizes how difficult it is to nail down exactly what makes one person a success (and how difficult it is even for the "geniuses" themselves to identify precisely what it is they've accomplished and how!) She makes explicit the implicit tools of a creative genius.
One especially profound subtheme explores the curious and unpredictable conditions required for genius to be recognized as such. The moment must be ripe for your work to be appreciated. Many of these award recipients seemed actually quite foolish in their single-minded pursuit of a creative vision, to the exclusion of all rational, practical needs. Without the grant, these "geniuses" would more likely be considered "fools." It is only in hindsight that we can admire their tenacity to their vision. Is a genius still a genius if there is no one around to recognize their brilliance? "Hindsight makes everything seem effortless and every one of us a genius" recognizes Shekerjian, in a chapter that teases out the tension between instinct and judgment (169). She acknowledges that "intuition provides...an inkling, an itch, a yearning, a mist of possibilities" while "judgment provides...structure, assessment, form, purpose." Shekerjian describes how these two forces married to one another offer "the tiny, pert buds of opportunity, that, if pursued, may well lead to a dramatic flowering of the most creative work of your career" (170). This chapter (which is the one I marked most heavily) concludes that "instinct presents the creator with a range of possibilities; instinct is how he selects among them." That is good advice for anyone attempting to forge their own way with their work.
Some of her subjects are more insightful than others, but Shekerjian's generosity draws useful principles that will benefit anyone who longs to better understand how to recognize genius. Whether it is in their own words or her keen observations, she has pieced together several ways of being that will help any person develop creativity. If I were in a creative field, I would want to read this book perpetually to remind myself of how to call out my best ideas. I thought the book was beautifully written from page one, as she put readers into her own experience as an interviewer, and the strength of the argument grew through each successive chapter.
Some pieces I marked to remember: "Can you express the matter at hand--be it a problem, an annoyance, a point of confusion, a theory, whatever--as a metaphor? The better you get at this, the greater your opportunity for a fresh perspective" (102).
"It's the idea of doing without a fixed purpose, doing with a sense of exploration, that lets you see the tension in something that everybody else thinks is inert, dull, traditional, gone, forgotten, not worth thinking about. It's the reformulation, the mileage that can be gotten out of changing where that part fits in the scheme...The idea was to see the potential in (perfectly banal things)--not, like some volcano, to eject some completely new thought, but to see the new possibilities in things that other people take for granted" (67). (Varnedoe)
"What marks a visionary is dedication to an ideal, a dedication so strong that it rejects outright the complacency of those who prefer the status quo and insists that there has to be another way... Instead of reaching for the nearest, most convenient conclusions, his important ideal of a sustainable society causes him to push hard against the limits of what others believe is possible" (87). (Les Brown).
"Accidents 'deflect, enlarge, sharpen, simplify.' The accidents Irwin stumbles across are largely because he has put himself in a position to stumble, and is wise enough and focused enough on his own goals to recognize a stumble of potential artistic value" (160).