The best this particular TVWriter™ minion has ever had to say about a college level creative writing class is that it beat having to take another semester of Greek Lit. Other people, of course, may have other opinions. We enjoyed this one cuz it’s so damned erudite (especially for a daily – shudder – newspaper):
by Jane Sullivan
There’s a scene in the Simon Pegg TV sitcom Spaced when a writer is kicked off the dole and has to get a job washing dishes. She complains to the manager: “But this isn’t me. I’m a writer.” The manager replies: “Oh, everyone who works here is a writer, dear.”
They used to make that joke about actors. Now it’s writers. Not that it’s new, exactly. Writers have always taken pride in listing menial and bizarre jobs on their book cover bios, and have taken comfort in the thought they were following in the footsteps of Hemingway and Beckett. A full-time writer is still quite a rare beast, and is usually a writer of books for children, or of books in a highly commercial genre.
So why is a Nobel Prize for Literature judge, no less, complaining about the rather meagre and intermittent help writers can get from institutions? You’d think Horace Engdahl would be totally in favour of writers’ grants and creative-writing programs to nurture talent and to supplement what are usually very modest incomes.
But no, he thinks they are impoverishing Western literature. Just before the Nobel team announced that the 2014 prize had gone to the French author Patrick Modiano, Engdahl told the French newspaper La Croix that “professionalisation” of the writer’s career is having a negative effect: “Even though I understand the temptation, I think it cuts writers off from society, and creates an unhealthy link with institutions.” He cited writers including Samuel Beckett, who had to work as taxi drivers, clerks, secretaries and waiters to make a living.
Engdahl’s comments were reported in The Guardian, which drew some miffed responses from writers (one of them mentioned theSpaced scene). They just don’t view their lives as he does.
Most writers still take the Beckett route, combining paid work with writing in their spare time, and most don’t get any other income until they are published.