Günlük Ritüeller II: Yaratıcı Kadınlar Nasıl Çalışıyor?

by Mason Currey, Bülent O. Doğan (Translator)

Mason Currey’nin Günlük Ritüeller’i dünyanın yaratıcı kadınlarıyla devam ediyor!

Bu kitapta George Eliot’tan Zadie Smith’e, Susan Sontag’tan Doris Lessing’e, Virginia Woolf’tan Maggie Nelson’a, Shirley Jackson’dan Patti Smith’e, Mary Shelley’den Pina Bausch’a ve Frida Kahlo’dan Marie Curie’ye farklı alanlarda üreten, farklı dönemlerde yaşayan, farklı normlarla yüzleşen yüzlerce kadın sanatçının yaratabilmek için mücadele ettiği günlük engelleri ve sarıldıkları günlük ritüelleriyle bambaşka esin, korku ve neşe kaynaklarını keşfedecek, çağlar geçse de değişmeyen zorunluluklara tanıklık edeceksiniz.

“Yazmak kendini harcamak, kendinle kumar oynamaktır.”
Susan Sontag

“Deneme yanılmayla ilerlersin ve ihtiyaç duyduğun, seni besleyen şeyi, içgüdüsel ritmini ve rutinini bulduğun zaman da onun üzerine titrersin.”
Doris Lessing

“Yaşam yaşamı doğurur, enerji enerjiyi yaratır. İnsan kendini harcayarak zenginleşir.”
Sarah Bernhardt

Genres: Nonfiction, Art, Feminism, Writing, Self Help, Biography, Productivity

322 pages, Paperback

First published March 5, 2019

About the author

Mason Currey is the author of the Daily Rituals books—Daily Rituals: How Artists Work (2013) and Daily Rituals: Women at Work (2019)—featuring brief profiles of the day-to-day work lives of more than 300 brilliant minds. His next book, Making Art and Making a Living, comes out on March 31, 2026.

Currey lives in Los Angeles and writes Subtle Maneuvers, a twice-monthly newsletter on the creative process.

Reviews

[Hannah Notess · Rating 2 out of 5]

Oof, so ... it's tough. I'm glad this book exists (admittedly, as a corrective to the writer's earlier book). Did I get what I needed and wanted from it? Absolutely not.

Lots of interesting vignettes. So many were absolutely infuriating and enraging - Clara Schumann's abusive husband (it's not named in the book as abuse) who WOULDN'T ALLOW HER TO PRACTICE WHILE HE WAS IN THE HOUSE so she had to use the two hours he spent at the pub. WTF??!!? And a surprising number (or maybe not so surprising?) basically had to either wait for their husbands to die or they just straight up abandoned their families so they could do anything artistic.

Things that I wanted:
- significantly more discussion of paid childcare (Zadie Smith has been open about her use of it and that support of her work, yet her vignette was pretty thin and didn't mention it) and other domestic labor. Wealthy women of the 19th century producing creative work had domestic workers supporting them. Why erase that?
- more naming of abuse AS abuse - the way it's worded in a lot of these instances sort of could leave you to think "well that's just the way things were/are."

There are just more interesting stories out there, and the stories of women who have managed in the midst of complex lives to create art. What Heather McHugh did with her genius grant - setting up a fund for family caregivers, is instructive. Still waiting for the book that tells these stories.

[Kristen · Rating 4 out of 5]

These little snippets are like crack to my soul.

[Anna (lion_reads) · Rating 4 out of 5]

This book had me compulsively reading the daily rituals of all these women — writers, artists, performers, dancers. I don't know what it is, but I find how people work absolutely fascinating.

I also appreciated Mason Currey's thoughtful author's and acknowledgement notes. He addressed that this book is corrective, considering that his first book covered many more men (usually because their work had fewer social barriers).

Great collection. I want more!

[Elizabeth A · Rating 3 out of 5]

I read and enjoyed the first book in this series, and appreciated that the author addresses the criticisms of that one in the introduction. It's not all about dead white men after all.

The basic message? Prioritize your work. Make time for it. Get it done.

Like the first one, this is a collection of snippets from memoirs, biographies, interviews, letters, etc. dealing with how 143 women artists get their art done. I found it interesting how many of these women I'd never even heard of before, so that was a plus. Like the earlier book, this one is uneven in the amount of information about each woman, and some sections felt like filler material. Still, I had fun dipping into this one over the course of a month or so.

[Murat Dural · Rating 4 out of 5]

İlk kitabı bitirir bitirmez ikicisine geçtim, çok da iyi yapmışım; bu sefer Mason Currey ilk kitapta az yer verdiğini düşündüğü kadın sanatçılara yöneliyor ve onların ritüelleri, üretim süreçlerine fokur oluyor. Birinci kitaptan daha kalın daha dolu. Kolektif Kitap'tan çıkan her iki eseri de yaratma serüvenini merak eden herkese öneririm.

[Joy D · Rating 3 out of 5]

Mason Currey's Daily Rituals: Women at Work offers brief glimpses into the work habits of 143 creative women from the world of art, including painters, dancers, writers, actors, sculptors, poets, photographers, filmmakers, musicians, scientists, and other creatives throughout history. It is a companion to an earlier work, which focused mostly on men. The author admits he is addressing a notable gender imbalance in his original book.

The short vignettes reveal a wide range of habits. Some women adhered to rigid schedules, while others embraced more improvisational approaches. We learn about their creative spaces, daily routines, a few unusual diets, a few healthy habits (walking, exercising, regimens) and some unhealthy coping mechanisms (smoking, alcohol, laudanum, amphetamines).

While I enjoyed this book, the entries feel way too brief, and there is no analysis by the author. The vignettes are compiled from information already available in other sources. There does not seem to be any rationale for the structure – just random entries. I would have preferred more depth, an intentional structure, and at least a bit of reflection on what can be learned from all these snippets.

[teresa · Rating 3 out of 5]

What it covers in breadth of many different women artists it loses in anything other than a cursory overview of how each artist approaches work. I find the subject fascinating but yet I found myself bored of reading much the same thing--artists tend to be workaholics that often have to separate themselves from friends and families and spend a lot of time alone and thinking and working. Being a mother I was more interested in how are you able to do that when you have a family.

[Tracy · Rating 2 out of 5]

I picked up this book thinking it was more of an account of building effective work habits for women. The stories are a bit repetitive - a lot of artists get mixed up with substance or affairs, wake up early, shut themselves in, and dedicate a lot of time to their work. I found a few good quotes but overall struggled to get through what felt like more of the same.

[Anastasiia Mozghova · Rating 5 out of 5]

being any kind of creative is an immense challenge, but being one when you are a woman is even more complicated. this book is yet another reminder and proof of that. nevertheless, it filled me with enthusiasm, as in 'if they could, so can i'.

[Yangzi · Rating 4 out of 5]

I recently reread the original Daily Rituals and also read this new one Women at Work. While both are fascinating to read, this one is more relatable. The quote below from the introduction summarizes the reason.
"Too often, the Great Minds's daily routine seems quaintly fantastical, with neatly apportioned rounds of work, walks, and naps unsullied by such pedestrian concerns as earning money, preparing meals, or spending time with loved ones. Switching the focus to women, by contrast, opens up dramatic new vistas of frustration and compromise. Granted, plenty of the women in this book came from privileged backgrounds, and not all of them were constantly hurdling obstacles in their daily lives - but a lot of them were. "
It is utterly inspiring to read how these women artists conquer obstacles by putting the work in, day in and day out.

[Kaplumbağa Felsefecisi · Rating 4 out of 5]

Kitabın ilkinde erkekler baskındı. 2. Kitabı sadece kadınlara ayırmışlar. Yine zamana yayarak okudum. Kimi alışkanlıklar, ritüeller hayatın sakinlediği, soluklandığı, kendini hatırladığı bir hisle geliyor. Sadece kendinizle yaptığınız, size özel ritüelleriniz hayatı anlamlı kılıyor. Buna bir de meditasyon eklediniz mi değmeyin keyfinize🌸

[Dilan · Rating 4 out of 5]

Yaratıcı Kadınlar Nasıl Çalışıyor; alanında çok iyi olan, zorluklar içinde yükselmeye çalışan, yarış dışı bırakılmaya çalışılırken daha da öne geçen bir sürü kadınla tanışmamı sağladı. Bu kitaptaki çoğu kadını tanımıyordum. Bazılarının adlarını duymuştum ama nelere öncülük ettiklerini, hangi eserleriyle bir ilk olduklarını bilmiyordum. Tam da sevdiğim tarzda hayatlarına karışma şansım oldu. Zaten insanların rutinlerini okumayı ve izlemeyi çok severim. Bunda da detaylı yazılan günlük rutinler verimliliğimi arttırabilmem konusunda yardımcı oldu.

Aslına bakarsanız kitaba başlarken bu verimsizlik sorununun tek bir formülü olduğunu düşünüyordum. Eğer gerçekten potansiyelinizin çok altında kaldığınızı, çıkış noktası bulamadığınızı hissediyorsanız bu basit düşünceye kapılmamanız mümkün değil. Fakat Martha Graham, Frida Kahlo, Margaret Bourke White, Susan Sontag, Virginia Woolf gibi isimlerin çok değişik rutinlerini okuduğunuzda daha farklı şeyler düşünmeye başlıyorsunuz. Bu kadınların çalışma dönemlerinde yoğun bir durgunluğa saplandıktan sonra nasıl çıktıklarını, kendilerini disiplinli olmak için nasıl yönlendirdiklerini, ev işleri yapmaya mahkum edilirken çalışmaya nasıl vakit ayırdıklarını, çalışırken ne tür maddeler kullandıklarını ve bildiğimiz bazı kitaplarını, heykellerini, tablolarını nasıl oluşturduklarını gördüğünüzde kendinizi de bu kadınlardan biri gibi hissediyorsunuz. Çünkü mutlaka kendi rutininizi eşleştirdiğiniz bir kadın oluyor. Fakat eklemem gereken bir şey var. Günlük yaşamı bir kenara ayırdığınızda hayatta farklı filmlerde yer alan kadınların üstlendikleri her rolün hakkını vererek oynamaya çalıştıklarını görüyorsunuz. Sanatında ileriye gitmek, daha iyi öyküler yazabilmek, iyi bir şair olmak, kendini parçalamak pahasına iyi bir dansçı olmak, tercihlerine göre anne olmak, yalnızlığı seviyorsa kendi istediği tarzda bir yaşam kurmak, herkesten uzaklaşmak, aşık olmak ve her şeyin sona erdiği yerde kendi hayatının başrolü olmak. Rol çalmaya gelen okura da bir seyirci değil oyuncu olmayı öğretebilmek!

[metempsicoso · Rating 2 out of 5]

Questo libro, come specifica l'autore nell'introduzione, nasce dal bisogno di correggere un errore: il precedente volume sulle stranezze, le mani e i rituali dei più grandi artisti dell'umanità era uscito in gran parte declinato al maschile. È un tentativo lodevole, ma mi ha dato l'impressione che l'orma di quel passo falso sia rimasta: c'è un modo di vedere alle donne, che sono protagoniste indiscusse di questo volume, che è troppo maschile. Troppo patinato, scolastico. Manca la capacità di trasmettere l'oppressione, manca il fare i conti - davvero - con il patriarcato.
Poi, ed è per me il secondo grande difetto di questo volume, è americano nel modo peggiore possibile: americano nell'egocentrismo. Americano-centrico. Certo, qua e là compare qualche scheda dedicata ad un'artista non anglofona, ma si contano senza difficoltà.
Per il resto, ho trovato quello che sapevo fosse contenuto all'interno di "Grandi artiste al lavoro": una serie di rapide schede su tante (142) artiste nel loro modo di approcciarsi alla propria arte. Aneddotico, perlopiù. Sarà che quando approccio un libro nuovo indago sempre sulle biografia di chi lo ha redatto, ma di tutte le scrittrici (e, ahimè, poche artiste figurative) che conoscevo già non ho scoperto nulla. Fatti ricavabili da Wikipedia e contestualizzati con poche notizie e qualche stralcio di testo autografo.
Su alcune di loro ho poi fatto qualche ricerca personale e mi sono appuntato dei libri da recuperare, ma, ahimè, la superficialità di questo testo non mi ha motivato abbastanza da voler iniziare subito qualcosa. Forse, un giorno, per tramite di altri stimoli, lo farò.
Testo da non affrontare dall'inizio alla fine, come ho fatto io, ma che in tutta onestà, ora che l'ho concluso, non mi immagino proprio di passare a "piluccare" con gusto.
Insomma, buona l'idea. E poco altro.

[Tash · Rating 2 out of 5]

A half hearted and Western-centric set of tableaux on female artists. Bizarrely, many of the snippets on the chosen figures did not feature any information at all about their work habits and drew an exceedingly long bow to make this link - just one lowlight was Emily Dickinson's page bizarrely including her class schedule while a sixteen year old at school.

Could've been a nice coffee table book.

[Jara · Rating 4 out of 5]

Mi género favorito

[Nurbahar Usta · Rating 3 out of 5]

Birçok arkadaşımın çok beğenmesi üzerine, uzun uzun bir şeyler okumaya konsantre olamadığım bu dönemde ara ara birkaç kadının rutinlerini okuyarak başladım kitaba.
Benim beklentim sanırım biraz daha yüksekti. Sayıca daha az olup içerik olarak daha detaylı ve yoğun olmasını tercih ederdim "günlük rutinler"in.
Kişinin disiplini (çalışma alanı anlamında) ne olursa olsun konsantre olma ve üretmenin çok kişisel ve neredeyse eşsiz bir süreç olduğunu çıkardım ben. Önemli olan kendi ritmimizi, eğer üretmek istiyorsak (çünkü zorunda değiliz) bunun kendimize en uygun yollarını bulmanın işin en önemli kısmı olduğunu düşünüyorum. Gerisi kendiliğinden geliyor.
Çeviriyi genel olarak güzel bulsam da birkaç yer gözümü tırmalamadı değil. Özellikle ölçü birimi foot'un direkt kelime karşılığı olan "ayak" diye çevrilmesini şahsen tercih etmezdim (gözümü en çok tırmalayanlardan biri oldu).
Keyifli bir okumaydı, ara sıra tekrar elime alıp karıştırırım gelecekte de muhtemelen.

[Stephanie · Rating 5 out of 5]

Somewhere between the women who have servants to clear the day and the women who clearly could have done MORE work if they had not been fettered by horrible entitled men who claimed every second for themselves, I still found a lot to learn from this book. Definitely worth a read.

[A S]

Si te lo lees despacito, buscando referencias de las artistas que no conoces, da mucha culturilla. La verdad muy chulo, pero para ir leyendo pildoritas mejor que de atracón.

[Deb (Readerbuzz) Nance · Rating 4 out of 5]

I'm an odd cookie, I guess; I love to write, but sometimes I think I love to read about writing more than I love to write itself.

This version of Daily Rituals shares little stories about the lives of women artists, women dancers, women writers, women actors women musicians.

[Mallory · Rating 4 out of 5]

I really enjoyed this book, though it took me nearly 8 months to finish. It is not the kind of book to read in one sitting, but rather chip away at slowly when you need it. I loved getting to read profiles of how women have managed to get their work done while juggling whatever other duties they have. The sheer volume of women in this book astounded me - I had no idea many of these amazing creative women existed!

I started reading this book to see if I could gather any insight that might help me hone my own creative process. But I quickly realized, everyone has their own way of doing things. It’s a bit refreshing to find that there is no answer. And that a lot of these women have overcome the same struggles I feel when trying to produce something worthwhile.

Thanks to the author for pulling together all these stories!

[Michael Lent · Rating 3 out of 5]

Inspirational and a worthy subject that is long overdue. That said, I went snow blind after awhile: too many subjects (143) not covered in enough detail (about 2 1/2 pages per) to allow for differentiation. A bit more culling and more time spent each would have made this a great read for me.

[Sindhu S · Rating 5 out of 5]

This book is a collection of many fascinating vignettes about the kind of obstacles that female artists had to overcome. Currey wrote this when he realized how few women there were in his first book. Of course, it is not exhaustive: many more women artists, especially from Asia and Africa, have greatly captivating stories, but this is a start.

I read books on routines, schedules, and rituals to learn from them. Most of them say the same: prioritize your art/work, but the practical how-to is missing from many. This book is also not a guide to help you form effective habits.

It reiterates that there is no perfect routine; you have to do what works for you. However, it has 143 examples from which you can choose what suits your needs.

The book shows you that many artists resort to strange practices, such as waking up or going to sleep at odd hours, smoking, drinking, isolating themselves, etc. It was reassuring to know that even great artists struggled with their routines and their creative process.

The stories may seem repetitive. The information about the 143 artists is inconsistent in quantity and quality, which is understandable because the details available may have been sparse in many cases.

Currey has provided an introduction to each artist. This was helpful because I didn’t know many of them. It took me quite a long time to finish the book, as I went off tangent researching them.

Overall, a good book that I may return to from time to time.

[Melanna · Rating 2 out of 5]

I didn’t read the original one as I thought this one might apply more.
It’s an interesting project but I felt most of the excerpts too short. I mean, we all know a woman’s day can’t really be summed up in 3 paragraphs or less.
I also got annoyed about the lack of practical talk of her day. I can forgive it for women who are long since dead and there not being much to go on, but women who are still living mostly missed this as well. According to this book women take care of their children and family responsibilities in either 1-2 hours blocks of time in the morning or have paid help. Without really acknowledging that they have paid help. This becomes obvious when they are relegated to creating either late in the night or early mornings when their families are asleep.
I found myself annoyed most of the way through that society is missing out on the creativity of women because we haven’t set them up to be creative. It’s squashed through the mundane chores of life. And how many women married other artists and his art came first. I was frustrated for them through most of this book.
I think the idea was to see the creative process and maybe find inspiration for ones self to do the same but over and over it was “put it off for 20 years.” “Only slept 3-5 hours a night” “had to take stimulants” why are we celebrating this? None of this I would want to emulate for artistry.

[Khulud Khamis · Rating 5 out of 5]

I enjoyed reading this book so much! As a writer and someone who is forever struggling with her writing process, I love reading about other women writers and artists (writers, painters, architects, scientists, sculptors, performers, dancers, singers, composers) and their rituals, their habits, and how they manage to integrate their work into their daily lives or, alternately, separate it. A major thread running through many of these women's lives is the challenge of reconciling between their gender roles (wives, mothers) and their work. Many were able to overcome this, some with the support of their husbands, others despite their husband's lack of support.
This is more of a reference book, with about a page or two about each artist. The reason I loved this book is because it includes these short profiles of some 150 artists in a condensed way, introducing the reader briefly to each artist, opening up to further reading. So if you're intrigued by a specific artist, you can read her memoir or look up works by her. I have already marked some artists, mainly writers, whose memoirs I want to read.

[Alexis Stevens]

I loved this collection of vignettes of various female artists by Mason Currey! Not only are their day to day routines and personalities fascinating, their stories are also extremely validating for someone trying to produce a work of art.
The artists, from writers to performance artists and painters and everything in-between, demonstrate that there is no right way to get one’s work done. The only thing one can do is believe, and figure out what one needs in life so her ideas can somehow make it to a page or canvas or stage. By shedding light on women artists across an expanse of time (1600’s to present, though not in any order), Currey’s selection reassures the reader that this is how art has been and continues to be made.
The passion for her art is evident through each woman’s commitment to what, for many, is a painful process. For others, it’s enjoyable, trance-like. For all, a way of life.
This book would make a great gift for an aspiring artist or even oneself, if that artist is you!

[Marta Crespo · Rating 5 out of 5]

Terapéutico! Dos años leyéndolo, con toda tranquilidad. Siempre me ha gustado conocer los rituales ajenos, siento que ayudar a ampliar la imaginación sobre cómo vivir… y de entre ellos los rituales de los artistas me parecen fascinantes. Una joya. Y un alivio! Ver que todas sufrimos… y qué hacemos con ello, o cómo simplemente nos aguantamos

[Regan · Rating 4 out of 5]

Consider me inspired! Was introduced to so many incredible women from so many time periods and backgrounds and creative fields, loved the insight into their daily lives and routines, would recommend!

[monique · Rating 3 out of 5]

these divas:

“I fight pain, anxiety, and fear every day, and the only method I have found that relieves my illness is to keep creating art,” the Japanese conceptual artist wrote in her 2011 autobiography, Infinity Net. Kusama has suffered from visual and aural hallucinations since she was a child, and in 1977 she checked herself into the Tokyo mental hospital where she still lives. Across the street, she built a studio where she works every day.

But before reaching this pinnacle she had toiled in near obscurity for decades. A bad marriage at eighteen, and an unplanned pregnancy the next year, derailed her early ambitions, and it took Nevelson more than a decade to escape her marriage and establish herself as an independent artist in New York. Even after that, she exhibited her work for twenty-five years without making a sale, didn’t have her first solo exhibition until she was forty-two years old, and didn’t get her big break until her work was included in a 1958 exhibition at the Museum of Modern Art, when Nevelson was almost sixty. Until then, the artist got by thanks to regular infusions of money from her family and occasional gifts from her many lovers.

She told a friend, “I promised the Devil my soul, and in return he promised me that everything I was going to experience would be turned into tales.”

To prevent interruptions from her houseguests, Hellman posted a warning on the door of her study: THIS ROOM IS USED FOR WORK DO NOT ENTER WITHOUT KNOCKING AFTER YOU KNOCK, WAIT FOR AN ANSWER IF YOU GET NO ANSWER, GO AWAY AND DON’T COME BACK THIS MEANS EVERYBODY THIS MEANS YOU THIS MEANS NIGHT OR DAY By order of the Hellman-Military-Commission-for-Playwrights. Court-martialling will take place in the barn, and your trial will not be a fair one. (…) She carried the projects forward on successive currents of “elation, depression, hope,” she said. “That is the exact order. Hope sets in toward nightfall. That’s when you tell yourself that you’re going to be better the next time, so help you God.”

“Somewhere very long ago,” she wrote in Blood Memory, “I remember hearing that in El Greco’s studio, after he died, they found an empty canvas on which he had written only three words: ‘Nothing pleases me.’ This I can understand.”

"That’s how it is, darling. Gifted women pay.”

When a visiting reporter asked Millay how she managed such a large and complicated household, Millay explained that she had nothing to do with it: Eugen does all that kind of thing. He engages the servants. He shows them around. He tells them everything. I don’t interfere with his ordering of the house. If there is anything I don’t like, I tell him. I have no time for it. I don’t want to know what I’m going to eat. I want to go into my dining room as if it were a restaurant, and say, “What a charming dinner!” It’s this concern with my household that protects me from the things that eat up a woman’s time and interest. Eugen and I live like two bachelors. He, being the one who can throw household things off more easily than I, shoulders that end of our existence, and I have my work to do, which is the writing of poetry.

“If you have any young friends who aspire to become writers, the second greatest favor you can do them is to present them with copies of The Elements of Style,” Parker once said. “The first greatest, of course, is to shoot them now, while they’re happy.” Parker was only half- joking, or maybe not even half. Despite becoming a much-sought-after writer, with high-profile, well-paying gigs at Vanity Fair and The New Yorker, Parker loathed the writing process and barely managed to get her articles in on time. She never followed any particular writing routine, although when she was a reviewer for The New Yorker there was a kind of weekly routine, a push-and-pull act between the reluctant author and her editor, which Marion Meade describes in her biography of Parker: "Almost from the outset, she set a precedent of being late with her copy, which was due at The New Yorker on Fridays. On Sunday mornings, someone from the magazine would telephone. Dorothy, reassuring, said that the column was finished except for the last paragraph and promised to have it for them within the hour. Throughout the day, the same routine would be repeated several times. Occasionally, she would claim she had just ripped up the column because it was awful. At that point, she would start writing." She did this with all her editors. An editor at The Saturday Evening Post remembered the process this way: “You sit around and wait for her to finish what she has begun. That is, if she has begun. The probability is that she hasn’t begun.” An editor at Esquire confirmed that Parker “had a miserable time writing,” and compared the process of extracting copy to a difficult childbirth, with the editor as obstetrician—the operation was, he said, a “high-forceps delivery.” Parker hated it as much as her editors did, but she couldn’t change. She was once asked by an interviewer what she did for fun. “Everything that isn’t writing is fun,” she replied.

She had trained herself to work in virtually any conditions: “I have written in bathrooms and aboard ships; on jet planes and in woodsheds; on trains between New York and San Francisco or Paris to Madrid; in bed at home or propped up on a hospital contraption; in hotels; cellars, motels, automobiles; well or ill, happy or despairing.”

Even after the tremendous success of Gone with the Wind—which sold millions of copies, was made into a classic movie, and won the Pulitzer Prize in 1937—Mitchell was never tempted to write another book. “I wouldn’t go through this again for anything,” she said.

“The more plentiful the work,” she wrote, “the less time to be neurotic.”

“What I want: energy, energy, energy. Stop wanting nobility, serenity, wisdom—you idiot!”

“If you are a woman, and you want to have a life of your own, it would probably be better for you to fall in love at seventeen, be seduced, be abandoned, and your baby die,” she wrote. “If you survived this, you might go far!”

Asked if she’s ever had writer’s block, she laughed. “Never,” she said. “If you have writer’s block, you’re not reading enough. And you’re not thinking enough. Because there’s no such thing as writer’s block. What that really means is you don’t have anything to say. And everybody goes through a period of not having anything to say; you have to accept that.” Asked whether she often has periods of not having anything to say, Giovanni laughed again. “Very seldom.”

In 1957, the BBC was preparing a radio adaptation of Rhys’s 1939 novel Good Morning, Midnight, and it placed an advertisement asking for anyone with knowledge of the author’s whereabouts to get in touch. At the time, Rhys hadn’t published anything in almost two decades, and many of her acquaintances had lost track of her and assumed that she had died of suicide or alcoholism—believable ends for the Dominica-born author, who seemed to have a gift for self-destructive behavior, and who had spent much of her twenties and thirties destitute and depressed, reeling from one doomed relationship to the next, self-medicating with alcohol. But the BBC advertisement did turn up news—Rhys herself wrote back. She was living with her third husband in Cornwall, and not only was she alive, she was working on a new novel. She soon signed a contract for the book, telling her editors that she expected to be done with it in six to nine months. In fact, it took Rhys nine years to finish the book, Wide Sargasso Sea, now widely considered her masterpiece and one of the best novels of the twentieth century.

as usual, didn't care much about the non writers.

[Andrew Nichols · Rating 4 out of 5]

I grabbed this book on accident. I actually meant to get Daily Rituals: How Artists Work, which came up as a suggestion, because I'm often inquiring or reading about the benefits of creating habits. However, when I searched the author and title in my Libby app, I didn't question the cover looking different, as this isn't uncommon when it comes to digital copies or subsequent volumes.

Daily Rituals is an account of famous, influential and inspiring artists, inventors, writers, etc and their habits. Through excerpts from interviews, journals and 3rd party accounts, Currey covers over 150 individuals' personal habits, beliefs, and routines that helped either contribute to or hinder their life work.

As I started the introduction, Currey began to discuss the shortcomings of his first book. At this point I double checked the title. Currey's first outing How Artists Work was focused on a male majority, that historically have always had the resources via money, property, and assistance from hired help, caregivers or wives. The day to day burden of children, cooking, and other domestic were often left to others, for even the lowest earners, allowing them the privilege to focus on their craft. His second volume, Women At Work, sets out to to expand on the original concept offering glimpses from the point of view of those less fortunate who had to juggle said task and make time for their craft by any means necessary.

Women At Work, does a great job at providing an introduction to each artist, how she got her start and setting up her unique challenges. It offered much insight on life decisions many women made in th name of their art. Some worked in secret, while others took years to finish works or eeven start because they prioritized their families, while there are several that simply said "I can't live like this" and left their families altogether, going on to find acclaim. Several barked at the romanticized role of a helpmate, cooking only when necessary or stripping the task down to it's bare minimum, while others used elaborate meals, wine and liquor to fuel their creative juices. As an artist myself, learning the methods employed by these women and the emotions behind them had me relating to my own struggles. Some hated the writing process, procrastinating and working best under pressure. There were women past and present who need a strict regimen to bring order. Meanwhile, some did not work unless they felt called to work.

In closing, Daily Rituals: Women at Work was a really fun and informative read for me. I'm sure I will read the original How Artists Work, but this volume was filling. I'm also considering gifting it to women creatives I know...

[Zeynep Öziş · Rating 4 out of 5]

1. kitabı da severek ve çok esinlenerek okumuştum. Burada özellikle kadınların rutinlerini okumak benim için ufuk açıcı oldu çünkü aslında hepimizin ne kadar benzer yerlerden geçtiğimizi ve rutin oluşturmanın meşakkatli yollarını, taşlı zeminlerini ve hatta kanlı, sinir krizleri ile dolu zamanlarını okumuş olduk. Bu kitap böyle ele alınıp tek seferde okunacak değil; zaman içinde, ilhama, morale ihtiyaç duyulduğunda açılacak bir kitap benim için.

“İyi bir karım olsa çok daha fazla şey başarabilirdim kesinlikle. Bu son derece erkek egemeniz gibi geliyor, ama karşıma çıkan dünya böyleydi işte.” -Alice Neel.

Kitabın içindeki kendi ağızlarından aktarılan alıntılar ve yaratıcı aktivitelerle meşgul olmanın kimine çok ızdırap ve kötü bir yaşam ama "düzgün bir rutin" oluşturmayı başarabilenlere de tatmin dolu bir ömür bahşettiğini apaçık görmemi sağladığı için de açıkçası bolca faydalandığım notlar aldığım bir metin oldu. Belki tek eleştirim sanki hep yazar ve ressam okuduk hissi oldu. Daha çok mimar, bilim kadını da görebilmek keyifli olabilirdi. Bir de elbette keşke içlerinde bir kaç tane "batılı olmayan" isim görebilseydik. Japon, Türk, İranlı ya da Arap kadınlar günün sonunda daha da zorlu yollardan geçip bir şeyler üretmeye çalışıyorlar. Füreya'yı görebilseydik mesela harika olurdu diye bir hissiyat ile kapattım kitabın kapağını.