RichardsвЂ™s lovely notion of creativity as the poetry of our personhood and with anthropologist Mary Catherine BatesonвЂ™s concept of вЂњcomposing a lifeвЂќ - which captures with such poetic precision the fundamental fact that our very lives are the ultimate creative work - Cave adds: In consonance with Black Mountain College poet and ceramicist M.C. Art by Maurice Sendak for a special 1973 edition of the Brothers Grimm fairy tales. In some this vital spirit burns fiercely and in others it is a dim flicker, but it lives in all of us, and can be made stronger through daily devotion to the work at hand.

This formless pneuma is the invisible and vital force over which we toss the blanket of our imagination - that habitual mix of received information, of memory, of experience - to give it form and language. It is separate from the imagination, and belongs only to you. Your spirit is the part of you that is essential. Your imagination, it seems to me, is mostly an accidental dance between collected memory and influence, and is not intrinsic to you, rather it is a construction that awaits spiritual ignition. Nothing you create is ultimately your own, yet all of it is you. When a fan from my own neighborough asks Cave how he muffles all of his influences in order to hear his own inner voice and trust that he is making something wholly his own, he answers with his characteristic poetics of numinous pragmatism: That is what Nick Cave, part Byron and part Baldwin for our own time, explores in an issue of his Red Hand Files - the online journal in which he takes questions from fans and answers them in miniature essays of uncommon insight, soulfulness, and sensitivity, opening up improbable backdoors into those cavernous chambers where our most private yet common bewilderments about art and life dwell, and filling those chambers with the light of sympathetic understanding. To be an artist in the largest sense is to be fully awake to the totality of life as we encounter it, porous to it and absorbent of it, moved by it and moved to translate those inner quickenings into what we make. We bring to everything we make everything we have lived and loved and tessellated into the mosaic of our being. Nothing is original because everything is an influence everything is original because no influence makes its way into our art untransmuted by our imagination.

There is no blank slate upon which works of true originality are composed, no void out of which total novelty is created. Cook illustrations for a rare 1913 English edition of Walt WhitmanвЂ™s Leaves of Grass. Her father - the poet Lord Byron, rockstar of the Romantics - embodied this in his own work, fusing influences* as diffuse in time, space, and sensibility as Confucius and Virgil, Erasmus Darwin and and Mary Shelley, Greek tragedy and Galilean astronomy, to compose some of the worldвЂ™s most original* and enduring poetry.ДЄ century and a poetic revolution after him, Rilke captured this combinatorial nature of creativity when he contemplated what it takes to write anything of beauty and substance.ДЄll poets - вЂњpoetsвЂќ in BaldwinвЂ™s broad sense of вЂњthe only people who know the truth about us,вЂќ encompassing all artists, all makers of beauty and knowledge, all shamans of our self-knowledge - understand this intimately, and therefore understand the most elemental truth about creativity: that *these two words are chimeras of the ego.

Two years before she fused her childhood impression of a mechanical loom with her devotedly honed gift for mathematics to compose the worldвЂ™s first computer program in a 65-page footnote, Ada Lovelace postulated in a letter that creativity is the art of discovering and combining - the work of an alert imagination that вЂњseizes points in common, between subjects having no very apparent connexion, & hence seldom or never brought into juxtaposition.вЂќ

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