On Aging and Creativity

Recently, longtime friend and colleague Priscilla Long gave a talk on Aging and Creativity at Elliott Bay Bookstore, which got me to thinking about the subject as it relates to my own life. Following are some miscellaneous thoughts that came to me rather briskly after I watched the video of her talk. The video can be viewed at:


To begin with, I’m so impassioned and engrossed as an artist that I’ve hardly ever given thought to my creativity in relation to my aging. I give more and more time and energy to my writing projects and pursuits along with ever-greater effort toward playing the violin more beautifully (the physical activity of the latter seems to sustain the mental activity of the former). I feel full of potential, imbued with purpose and meaning, and rewarded by ever-stronger messages of confidence and satisfaction. I’ve noticed no lapse in my personal successes, my voice, my innovation, or my overall productivity. I never have doubts, tremulousness, or even hesitation in taking up my pen or bow. Although occasionally I feel a little dry, particularly with my haiku writing, I never have writer’s block. The only question I have is this: How much more time can I squeeze out of the time I have left on Earth to do what I love, the work that, in turn, seems so much to sustain me, to enrich me, and perhaps even to extend my life? So-called “retirement,” for me, has turned out to be my greatest opportunity to have a full-time writing career.

Cooper’s (chicken) hawk, Green Lake, Seattle

I can remember thinking, once I’d set out on the path of writing poetry at age 39, that I’d better get as much down on paper as I can now, before I grow old and “dry up.” That way I’ll have built an archive of material to work up with my “drier,” more editorial mind later. The operative stereotype, then, was that with aging comes creative desiccation. This stereotype is supported by the common expression “creative juices,” the idea that, as we age, our creative juices dry up. Many people have this idea that aging, in general, means “drying up.”

First autumn leaf, Ocean Shores, WA

Another idea, a more positive one, is that if along the way I somehow concluded I wasn’t very creative, that is, not very imaginative or innovative, then it was only by facing that question with sincerity and openness that I set out on a path to become more successfully imaginative and innovative. In other words, I had to ask myself, what does it mean to be creative in the first place, and what makes a work imaginative or innovative? I’ve encountered many significant questions along this line since I set out on this path: I wondered if by being more concerned with clarity and reality in my writing that I was being less creative. I wondered if by being more vernacular in my style I was being less creative. I wondered if by not relying on figures of speech and prosodic devices I was being less creative. Worst of all, I wondered if by not imbibing in drugs and alcohol or other sense-deranging approaches to the creative process I was being less creative.

Great blue heron, Green Lake

The irony is that, as I’ve come to understand what it is to be creative, to understand what makes a work more imaginative or innovative, the more imaginative and innovative I’ve become. Considering that I didn’t get serious about playing violin until I was 28 and didn’t get serious about writing poetry until I was 39, most of the creative enlightenment that has occurred in my life has occurred in my forties, fifties, and sixties. I have to say that at sixty-six I’m only now in the throes of producing my richest, most structurally creative, most humanistically purposeful work of writing: In Search of Morris: The Ancestry Research Writing How-to Memoir. And my sentence writing at this “late date,” is, indeed, like greased lightning—sinuous, leaping, soaring, delving, poetic, multi-textured, and musical. Of course it helps that I’m spry, if not still athletic and agile, in body. Keeping the body young, I believe, helps keep the mind young.

Leaf in spider web, Ocean Shores

The book, in 1992, that helped me address what being more creative in my poetry writing entailed is Leaping Poetry, by Robert Bly. I read this book when I was 40. The idea that I took from that book that was so helpful is that there is a sideways leaping of imagination, rather than a linear one, involved in bringing together surprising words and images. Another book that helped was Richard Hugo’s Triggering Town, the idea that we need to expose our selves to word-stirring places, people, and stories to excite poetic responses and deeply human stories in ourselves. In other words, rather than lying down and dying by thinking I’m not naturally creative, I dove deeply into the question of what creativity is and how it works and, in turn, opened the way to being more imaginative and innovative. And I did a lot of this work starting when I was 45, when I got interested in Zen poetry in translation. Zen has played a huge role in my life in seeing how my thoughts were in my way.

Grass shadows on fallen leaf, Green Lake

A lot of the stereotypes and blocks that prevent or slow us from being creative, from continuing to be creative, or from becoming all the more creative as we age, involve the tiny, confining boxes and bubbles with which we close ourselves up: I’m too old. I’m too stuck in my ways. I’m not creative. My creativity will dry up. I have no imagination. It’s all been said before. I’ll never write as well as so and so. I’ll never write as well as I wrote when I was 25. I get frustrated too easily. I’m lazy…. And one doesn’t have to be old to close oneself up in these little boxes and bubbles. As a college writing instructor of many years, I’ve heard the same kinds of excuses and justifications expressed by people in their teens, twenties, and thirties. I wonder how many of us defeat ourselves even before we’ve stepped into the game or the battle.

Autumn lily pads, Green Lake

This brings up that greatest of all psycho-spiritual issues: How can we come to believe in ourselves? Maybe it takes the better part of one’s life to come to believe in one’s self. Young people who appear to believe in themselves may only be ebullient—putting on the dog, so to speak. Not that feigned confidence doesn’t work. Feigned confidence may, indeed, result in authentic confidence. In any case, as we age it’s possible we can begin to see that we’re still hugely full of potential that we never even began to fulfill and that it’s just a matter of setting our minds to doing so. We are not predetermined by the stars, our genes, our parents, or even by a certain past lifestyle or life mistake. We can erase the chalkboard if we choose to do so and pick a new color of chalk—a lot of new colors, if we like.

Autumn hummingbird, Green Lake

In fact, “artists of age” may have the edge over youthful artists simply by dint of the fact that they’ve had more time to get to know themselves—as people and as artists. They may also be imbued with that beautiful energy known as “having nothing left to lose.” Young artists, ironically, may actually be more conservative and less willing to take chances. They may also be too concerned about the reception of their work by the public since they tend to be new to the game of peer pressure and the Jones effect.

Coffee shop crow, Green Lake

Finally, having lived more years, more decades, the older creator or artist has the abundance of his or her entire long life from which to draw stories, images, memories, landscapes, characters, wisdom, and insights. And the memories that stick and continue to recur are those that have floated to the surface as the most poignant or meaningful. There are not that many young artists who have seen through to the heart of life and can write that life deeply and beautifully. However, there are some who seem to be born with gifts of human understanding and linguistic sensibility. Yet there’s no evidence that they lose that ability as they enter their forties, fifties, or sixties.

Helming the green sea home, Ocean Shores

As for continuing to strive to improve at playing violin: I was stuck at intermediate level from age 28 to about age 55. Not only had I quit playing for 14 years prior to that, from age 14 to age 28, but I had a foolish self-inflicted accident at age 23 in which I severely yanked both my shoulder joints out of their sockets so my arms dangled numbly and uselessly at my sides. So at age 55 I began working harder at increasing the range, fullness, speed, and facility of my bowing arm until I developed tendonitis and bursitis in the shoulder. I saw a therapist who had me take Ibuprofen routinely and work out with elastic bands in order to strengthen my shoulder. Meanwhile, I continued to practice violin while trying all the more carefully to play in a gentler and lighter way. At the end of nine months, at the age of 56, the tendonitis and bursitis had subsided, my shoulder had strengthened, and my bowing range, power, and speed had increased considerably.

Sibling retreat barred owl, Ocean Shores

Then, at age 56, I set out to strengthen my left shoulder in the same manner. I began by trying harder to support the instrument in such a way that I could finger and vibrate with greater facility and power until, again, I developed tendonitis and bursitis in the shoulder. And again I began with the Ibuprofen and the elastic band therapy while continuing to play in a more gentle and light way. In a year my left shoulder had strengthened such that I could finger more freely, speedily, and powerfully and without any pain whatsoever.

Heron silhouette, Green Lake

I am a 100% believer in the idea that “if you don’t use it you’ll lose it.” At age 23 I injured myself and didn’t do any healing therapy but then underwent the needed therapy in my mid-fifties and was still able to heal the injuries. The body, like the mind, is infinitely more resilient as we age than we tend to think. And as my body has grown more facile with the instrument so my mind has grown more facile with the music making. The body was no longer an impediment to the mind, the artistic sensibilities. I’m also a believer in the idea that the body supports the mind at least as much as the mind supports the body.

Heron and dock fisherman, Green Lake

More broadly speaking, creativity is a big part of my spirituality (in the secular sense to the word spirituality). Art and spirituality for me are synonymous. Throw in Nature and Mind and you have the basic outline of my personal spirituality. It wasn’t until I was well into my forties before I had a stable working philosophy. Only with age, I believe, can a person evolve a truly authentic, experientially derived spirituality or working philosophy, and it’s my belief that a truly mature art must be informed by a mature, worldly philosophy.

Autumn dew spider web, Green Lake

Then there’s the matter of distractions. I find that as I grow older I manage my time better and can concentrate for longer periods of time. I’m not as attracted to everything that’s going on around me, as I was when I was a younger, wilder person. I didn’t want to miss anything when I was younger. By now I’ve seen and done so many things that I’m not drawn to them anymore. Also, I’ve learned to make better use of my thinking mind. I used to think more in abstractions, sensations, and images. Now, not only can I think in these earlier ways, I can think in solid sentences or dialogue when appropriate. I can write in my mind and remember what I wrote, although I always keep my voice recorder near to hand for when I need to remember longer chunks of material or when I want to capture my authentic voice. I’ve written many a good haiku in my mind.

Misty night full cold moon, Ocean Shores

There is nothing I’ve described or explained here that I experienced or thought of in my early twenties. Most of these thoughts, developments, and approaches I’ve come to realize or have evolved in my forties or later. If life can be an adventure, then I’ve certainly had an interesting and exciting one since I set out to write beautifully and to redeem my violin body and sound. Maintaining a day job as an educator has been fulfilling, but I’ve kept the day job to support the night job, in order to more deeply educate myself in the ways of art making and to enrich the spirit. If I’ve been a successful educator at the college, then it’s because I’ve persisted in educating myself in these challenging and deeply fulfilling ways and sharing the adventure, the spirit of the adventure, with my students.

Copyright 2018 by Rick Clark


Eagles and Angels (Americana poem)

The Eagles come goose-stepping
around the corner of Second and Main,
drilling the wet-eyed perspectives
of moms and dads with near military
machine work, hardly rippling a shirt
or smudging a collar as a band of Angels,
leaning in on tattooed shoulders,
rumble through in hairy procession
around the corner opposite, at First

and Main, their scars and eye patches
stating there’s nothing left to lose. The Eagles
come to a simultaneous heel-digging halt
in front of Marvin’s Drug and Fountain
as the Angels clutch and brake,
squeaking rubber and leather, to stop
face to face with the scouts and kill
their engines in leering disarray.

Grandmas and grandpas
hold their cherry soda breath.
The mouths of boys and girls
hang open. One last baby gurgles
before all fall hushed. Eagles
waver in their stations, the sky
weighs a ton on every shoulder.
A gas cap glints in the heat.

Legless veteran town drunk Jake
arm-hops through stock-still legs,
passing a dog with one eye raised,
stops before the cracked black jacket
and python beard of the hog boss, calls out,
“Are you the one they call The Snake?”
The hog boss chaws and spits,
fires a look down his dreadlocked beard.
“Mary over at Morgansville says Hi.”

Snake motions with his one good eye.
The Angels kick-start their Harleys,
drop them into gear, then roll
unwavering through the Eagle ranks,
never once brushing sleeve with handlebar
as the scouts resume their march down Main.
The thunder rises in pitch as the Angels
stretch their arms and hair out of town.

All heads turn in search of Jake
who’s returned to hold up the bar.

Copyright 2015 by Rick Clark

Reservoir Raccoon

Just who is this raccoon?

Just who is this raccoon?

The raccoon has been stuffed,
been set on the edge of the reservoir
behind the chain link fence,
is an artistic statement.

The raccoon is dying,
is just now being reborn,
is practicing tai chi so slowly
I can’t see him move

on the crumbling balustrade
by the city’s central reservoir.
The raccoon moves no one;
everyone is responsible.

The raccoon is dancing the dance
of stillness, is frozen in time,
his nose to a crack,
and the earth is moving.

The raccoon has a sexually transmitted disease,
is about to drop into the reservoir,
is about to commit suicide
in the city’s water supply.

The raccoon is withholding
key information, is straining
to communicate, is meditating
on the crack, is stuck to the rail.

The raccoon is the enemy, a friend,
reason to get alarmed, to call the authorities,
reason to move on, to think about my day,
to listen to and tell his story.

The raccoon has had a rough night,
has had too much to drink,
has found hell here
escaping the night’s howling dogs.

The raccoon is a monument to survival,
stands taller than an eighty-five story building,
is the dot missing from an i in a love letter
burning in a rusted-out incinerator.

The raccoon is dangerous, will explode
if tampered with, is a toy, a game, the second coming,
a saint, a martyr, the sacrificial lamb, the Sphinx
rising from the ashes of a cigarette.

The raccoon doesn’t exist,
is the center of the universe,
is a satellite orbiting a distant planet,
is a grandfather, a father, a son.

The raccoon is the reservoir.

The raccoon knows nothing, knows everything—
my name, yours, the earth’s true name—
and spits it out with a hiss
before I call the National Guard.

Who's feet are these?

Just whose are these feet?

Note: Poem by Rick Clark previously published in Washington Community College Humanities Association Arts Journal.

Making Humans Animals: An Advanced Lesson in English

Most of us have heard of anthropomorphism, giving animals human characteristics, but few of us have heard of, or given much thought to, zoomorphism, giving humans animal characteristics. And yet we probably commit the crime of zoomorphism much more frequently than we do anthropomorphism. In fact, once we move past the well known literary examples of anthropomorphism, such as Aesop’s fables, George Orwell’s Animal Farm (this may also be an example of zoomorphism), the iconic Disney movie Bambi (which has had a huge impact on political thinking about animals and hunting), and how we think about, talk to, and treat our pets—we’re left to consider an endless list of words, phrases, and expressions we use to refer to each other as—or as like—animals.

Egyptian gods often had animal bodies or heads

Egyptian gods often had animal bodies and/or heads.

While some words and expressions draw attention to them selves as comparisons and are thus not particularly deeply integrated into our language and how we see each other, others are so deeply ingrained in our language and thought that we hardly notice them. Not only can we classify zoomorphic words and expressions, but I’d suggest we can also order those classes into a kind of hierarchy extending from the least integrated and most noticed to the most integrated and least noticed. The classification might also range from traditional expressions to relatively new expressions in modern usage.

Many Indian gods have animal features and powers

Many Indian gods have animal features and powers.

We’ve inherited many common zoomorphic expressions from the distant if not obscure past. She’s got ants in her pants. A little bird told me so. He and she are birds of a feather. He was running around like a chicken with its head cut off. She has the memory of an elephant. Don’t let him get your goat. They have their heads in the sand. He’s mad as a March hare. He’s a wolf in sheep’s clothing. She looked like a deer caught in headlights. I have a frog in my throat. And so on. These expressions have been around for decades if not centuries and attest to a long history of zoomorphic indulgence. And of course we have zoomorphic aphorisms: A bird in hand is better than two in the bush. You can lead a horse to water, but you can’t make it drink. And there are countless colloquial or regional expressions. My brother-in-law from the mountains of Pennsylvania shared these with me: as fine as frog’s hair, raining like a cow peeing on a flat rock, and slower than a herd of turtles.

Zoomorphism and evolution

Zoomorphism and evolution

We use zoomorphic similes relentlessly, yet writers, editors, and readers alike view these expressions as unabashedly cliché: blind as a bat, busy as a bee, snug as a bug, sly as a fox, quiet as a mouse, scared as a rabbit, wise as an owl, stubborn as a mule, bray like a donkey, drink like a fish, and pee like a racehorse. Note that those similes describing nouns (people) use the comparative “as,” while those describing (people’s) actions use “like.” Some employ rhymes. Others simply aren’t true, the best known being wise as an owl, as scientists and naturalists claim owls are rather stupid for a bird (do they use a standard human IQ test to determine animal intelligence?). Regardless, the writing instructor and the editor will mark these common similes as cliché.

Not quite birds of a feather

Not quite birds of a feather

As we move deeper into our zoomorphic body of language, we arrive at our use of animal nouns to call each other names. He’s an ass, a jackass, a bear, a buck, a tom cat, a chicken, a sitting duck, a fox, a stud, a peacock, a swine, a pussy, a rat, a slug, a snake, a card or pool or loan shark, a paper tiger, a shellback, a weasel, a wolf, a lone wolf. She’s a bird, a cow, a fox, a clotheshorse, a butterfly. He or she can be a crab, an old goat, a silly goose, a lamb, a pig, a hog, a real tiger while they are sheep (see John Updike’s short story “A&P”). Note that a majority of the list breaks down on sexual lines and that many expressions are mean, vulgar, and/or chauvinist. Note also that these expressions do not merely compare, using the terms “like” or “as,” but rather out and out equate humans with animals. Other animal noun expressions referring to human life include catfight, chicken-scratch, doe eyes, dogs (meaning feet), eagle eye, hawk eye, paws, horsepower, lion’s share, piggybank, rat-tail, swan song, and swan dive. We might conclude at this point that it’s hard to think about ourselves without thinking about animals.

Old goat

Old goat

Our zoomorphic tendencies reach such depths of integration in our language that we hardly notice when the words we’re using refer back to animals. Many of our zoomorphic adjectives fall into this category: catty, clammy, bull-headed, crabby, doe-eyed, dogged, dog-eared, dog-tired, fishy, foxy, lionhearted, mousy, mouse-brown, owlish, piggish, hoggish, prickly, ratty, sheepish, slothful, wolfish, and raven-haired. Because animal names or characteristics have been converted to adjectives in this case, they tend to draw less attention to themselves as animal words and we hardly think of the animal when we use them. Yet the animals to which these words refer are nevertheless sorely used, whether they’re aware of it or not.



I’d suggest the deepest we go in our sublimating of animal words and characteristics is via our zoomorphic verbs, animal words describing our actions. These words are so deeply imbedded that they’re almost imperceptible when we use them. We ape, parrot, badger, paw at, dog, outfox, gull, goose, and rat on one another. We buck the system, clam up, crane our necks, weasel (equivocate), and crow (boast). We fish for items other than fish. We horse, monkey, and cat around (two-word verbs or idioms). We hog up the food and wine. We squirrel money away. We’ve taken a quality from an animal and applied it to how we act or move. By giving each other what we perceive as animal characteristics, we’ve taken the animals fully into ourselves. We’ve applied animal nature to our own nature where it means the most: our actions.


Lionhearted? (image by Kenneth Rougeau at kennethrougeau.com))

Similarly, we humans make a cacophony of animal sounds for which we’ve created words. We too howl, growl, hoot, hiss, bark, squeal, bray, crow, snarl, and purr, to list a few. The example of a braying human that comes to mind is Nick Bottom in Shakespeare’s A Midsummer Night’s Dream, whose head is turned into that of a jackass while Queen Titania has been given a love potion to fall in love with him. And for a while she loves him all the more for his braying—till the potion wears off.

Meowing, hissing, purring?

Meowing, hissing, purring…

Other ways in which animal words have penetrated the human sphere can be found in a variety of expressions we use today: bear, meaning big cuddly, lovable man; coyote, meaning one who guides an illegal north across the border into the United States; cougar, meaning an older woman hunting younger men; mole, meaning a spy penetrating an organization or government; mossback, meaning an extremely conservative or old-fashioned person; and lemming, meaning a mindless follower. We also have such expressions as crying big crocodile tears, hens’ night (equivalent to men’s bachelor party), and monkey mind (busy, distracting thoughts that get in the way of clearing the mind in yoga).

Hanuman, Indian monkey god

Hanuman, Indian monkey god

Finally, many animal images and words have acquired great symbolic and cultural depth and weight. For example, the eagle is the symbol of the United States of America (since the eagle is as much a carrion thief as a raptor, I’m not sure what this says about the country). The donkey represents the Democrats while the elephant represents the Republicans. Hawks are warmongers and doves are peaceniks. A bear market refers to a declining economy while a bull market describes a vigorously growing era. In the New Testament, lambs refer to followers of Jesus. Fraternal lodges and sports teams boast whole menageries of animal mascot names, yet it’s ironic that the animals whose names they’ve commandeered can’t rise up against such blatant stereotyping because they can’t speak or write human.

Menagerie of animal men

Menagerie of animal men

Why do we make people animals or like animals? Perhaps the impulse derives from an inherent tendency to make fables of our selves. We may do it out of an infantile impulse to give concreteness to our abstract thinking, the way we use animals to tell stories to our children—or as Aesop did to convey his morals. Maybe debasing animals gives us a means to debase one another. Many of our animal words and expressions have a negative twist, which I would suggest says more about how we feel about animals than how we feel about one another. When we call a man a pig, what are we saying about pigs? That pigs are dirty because they eat slop and slop about in the mud? But do they trash our water, air, and land, our yards, cars, and houses, or our bodies and minds (not to mention outer space) as we humans do? Hardly. Then perhaps it’s more denigrating to call a pig a human than a man a pig. The fact that we don’t see it that way hints at a kind of human zoophobia, a fear of or hatred toward animals that comes clear through a study of our language. I remember how triumphant I felt when I read Part IV of Swift’s Gulliver’s Travels, in which the horses are the masters and the humans the slaves—how language, irony, and satire can hold a mirror to our faces.

What are our thoughts?

How human are our thoughts?

In other words, we stereotype animals at least as much as we stereotype people. Yet animals have no recourse to fight back. They may forever remain the victims of our need to denigrate one another with their images and the words we attribute to them. Although there exist animal rights organizations, these groups are concerned with the treatment of animals and not the language we use to describe them or the fact that we use their names to call each other epithets or to suggest something negative about each other’s behavior or character.

Lamb Santa

Santa the Lamb

On the other hand, as much as animals enrich our lives on Earth (probably more than we enrich theirs), the language we borrow from them to refer to ourselves also enriches our language. Animals give our language color and expand it to include another dimension. Conversely, language, like a mirror, helps to remind us of our animal nature, true or false. Whether in anger we call a man an ass or with adolescent fervor refer to a girl as a fox, animal words have weaseled their way so deeply into our collective psyche that we no longer notice—and the weasel winks at us from beneath our consciousness. In the end, when we howl or growl “You animal!” there’s more truth in it than we might think.

I welcome comments and especially further examples of and angles on this subject.–r