The War of Art Book Review

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    The War of Art by Steven Pressfield is a must have for artists and entrepreneurs. It is highly motivational and gets down to the nuts and bolts of what makes us tick in regards to artistic endeavors. It is written in an intelligent, yet casual, laidback tone with humor and anecdotes which made me feel like I was getting advice from an older brother who had real experience.
    The author was in the Marine Corps and his style of speech definitely reflects it sometimes. I enjoy the Marine jargon because it’s comical in a “dogfaces [...] candy-asses” (68) kind of way, taking pride in being miserable. It sends the message that we need to be tough and learn to enjoy the misery, like Marines (68). Because, as the author puts it, “The artist committing himself to his calling has volunteered for hell [...]” (68).
    Some ideas in this book seem analogous to some ideas in the book, Outwitting the Devil, by Napoleon Hill. The definition of what Pressfield calls the “Resistance,” is very similar to what Hill calls, the “Devil.” Both authors describe them as an enemy to pursuing a purpose (Hill 59-61, 80; Pressfield 11). While Hill may give the Devil a personality for the sake of having a dialogue or conversation with it–for instance, being required to refer to the Devil as “Your Majesty” (Hill 58)–both authors ultimately describe these phenomena as “force[s] of nature” (Pressfield 10). Hill insinuates the Devil as being part of nature by describing it as “the negative portion of the atom” (Hill 59).
The analogy between the two concepts is very deep and I think the difference is that Pressfield’s concept of the Resistance is describing the experience that we feel as a result of the activities of what Hill calls, the Devil. The Devil is what causes Resistance. In Outwitting the Devil, the Devil states, “One of my cleverest devices for mind control is fear [...]” (Hill 61). And it states in The War of Art, “Resistance feeds on fear. We experience Resistance as fear [...]” (Pressfield 142). “Fear of poverty” is stated as a fear in both books (Hill 60; Pressfield 142).
    Other representations of concepts that mirror those of Hill’s would include: muses (Pressfield 113), angels (123), and God (139). I suspect all three could be thought of as aspects of, as Hill would put it, “Infinite Intelligence” (Hill 42). The names are just taken from different stories. Muses are from Greek mythology (Pressfield 113) and the idea of angels and Resistance residing in the Self and Ego, respectively, is derived from the author’s conception of Jungian psychology (Pressfield 132-136). These ideas are not necessarily meant to be taken literally, but can be thought of “[...] in the abstract,” as Pressfield wrote (105). Both authors mention a disclaimer like that (Hill 55-56).
    One of the most powerful things about The War of Art is the section on “Turning Pro” (Pressfield 60). It gives a practical way of looking at entrepreneurship and other endeavors that require self-discipline and creativity. In a nutshell, the difference between an amateur and a professional is that a professional commits full time to his calling, unlike the weekend warrior amateurs (61-63). The pro, like most people who have to show up for regular jobs, starts his work everyday on time no matter what (68-70). On page 64, there is a very effective description of “What a writer’s day feels like.” It talks about the daily struggle with Resistance, which reminded me of the time the author mentioned that “Resistance never sleeps” and the artist, like the warrior, must “[fight the battle] anew everyday” (13). The picture that is painted is that, as mortals, we are beasts of burden that must work and toil to survive. But it’s well worth it because, at the end of the day, “[we’ve] earned [our] keep [...]” and provided for our family (65-67). This section was powerful to me because it reiterated a message from earlier in the book that Resistance is normal and part of everybody’s lives–we are not alone in our struggles (12). So when you feel unmotivated, just recognize that it’s Resistance, as it is always there trying to get us to falter (64). This may encourage you to bear your cross, knowing that you are beating Resistance and staying on your purpose. The bottom line is that to be a pro, we need to treat our artistic and entrepreneurial projects as seriously as people who depend on their punch-in job for money. “We’re all pros already” because we work for money–we are professionals in our current jobs (68). What will you decide to be a professional in?
    Other unique ways to look at creativity and your calling is to realize that you have to show up for “work” even when you don’t feel like it or don’t have any creative ideas at the moment. If you try, the muse will eventually come to you, as if she finally sees your “dedication” and rewards you for it (107). Also, as life progresses “[The] professional reinvents himself” (94) because a pro is not attached to his instrument (86) and “[doesn't bind himself] within one incarnation [no matter how] comfortable or successful [he is]” (94). So when the muse requires, the pro can change his artistic or entrepreneurial form to fit his updated purpose (94). As stated in the first chapter describing Resistance: ”Resistance is infallible [...] like a magnetized needle [...] point[ing] to true North” (11). “The more important a call of action is to our soul’s evolution, the more Resistance we will feel toward pursuing it” (11). It’s ideas like this that make me really love this book: I find it very encouraging.
    This book was written in a way that was very easy to read. It has a lot of short chapters or sections, which leaves a lot of blank space as the chapters start on the next page after one ends. The abstract way the author describes the artist’s experience is fascinating to me, especially the parts about the muses. Along with the conversational, everyday language style, all make this a fast, easy, fun, and inspiring read. It is one of my favorite books for sure.

Works Cited

Hill, Napoleon. Outwitting the Devil. Edited by Sharon Lechter.
​    Sterling, 2011.
Pressfield, Steven. The War of Art. Black Irish Entertainment, 2002.