Saturday, January 15, 2011

Happy place

Well, I'm only taking 15 credits this semester, instead of 17-18. I'm sure this phenomenon of so little homework will not last, but I'm taking advantage of the extra time right now for things I really want to be doing.

I have a ton of art supplies that I brought from home. I hardly ever get to use them on my own projects, I generally end up using them for homework. My studio art class this semester is painting 2 so all that work has to be done in the studio on campus. No drawing to be done at home, so...

 I'm working on some things I started last summer. This picture of Ceci makes me wish she was here, especially since my room mates sister, who is Ceci's age, is coming over to play games tonight.
I am in my happy place. A lovely snowy day out my window, our desk covered in colored pencils and my music playing. I'm having fun aplying what I'm learning in painting to color mixing with pencils. It's a different sort of game, but I think I can learn a lot switching back and forth between pencils mixing on the page, and paints mixed on the pallet. I hope I can keep up this kind of stuff on weekends at least.

Tuesday, December 28, 2010

Roses are red... what horrible passive language.


I don’t know if I have explained my battle with poetry on this blog. Poetry is like this 
My poetry text book says poetry is all about showing rather than telling, so I thought I’d try and work an image into this post.

I’m an explainer. Maybe I should go into academic writing. Or maybe it’s all the academic writing I have had to do all these years that has really caused me a problem.
No, the real problem is that I don’t read poetry. So I have no idea when I am reading good poetry. If I can’t identify good poetry, I can’t pick it apart and find out how it’s done.

I know when I am reading a really good story. The way I learn to write is by imitating the best things I see in good stories that I read. I guess I started by actually imitating the plots and characters that I liked, but that turned into the plot devises and other tools. The closer I looked at my favorite books, the more subtle my imitation becomes. Generally, can any of you tell that I learned to write from (to name just a few) Brian Jaques, Lloyd Alexander, C. S. Lewis, Rosemary Sutcliff and Tolkien? Do I sound like them? In one way, I hope I do, Because they are really good writers, and story tellers. But on the other hand, I hope you can’t tell because I want to have my own voice.

So, poetry is difficult because I haven’t formed enough of my own opinion on it. My teacher says that I have a natural ear for it because of my back ground in music, but I actually don’t usually hear when my own poems sound musical. I can hear when something is not quite right, occasionally. But I never hear when something is good.

            I really want to be good at poetry. I wasn’t really attracted to it… at all. The more I study it, however, and learn… what it is… what it does… the more I want to be able to play with words in that way. Who knew.

            Like many of the things I love to do, I have to get over a feeling of inferiority, or inadequacy. It seems really pretentious to write poetry, or stories, or draw or sing for that matter. These voices in my head tell me I’m trying too hard, or making an image overly cliché or flowery. Meanwhile my teacher tells me I really am a poet, though still a developing one. So here I am, hating the struggle of writing poetry and longing, painfully, to be able to do it well.

            Can you get good at something just by wanting to?

Saturday, December 11, 2010

Hands take three

I think I might need to make a special tag for hand posts.

One of my required classes for my art major is New Forms. This perfectly vague name is the best the department can do at defining a class that's whole purpose is to be undefinable. Basically, this class is supposed to teach us to think outside the box and communicate ideas visually in non-traditional ways. Is it ironic that the class that is hardest to explain is all about communication? Actually, my teacher would say that it isn't about communicating the idea to a viewer, it's just about the artist exploring the idea for herself.

  Oh post-modernism. It seems like a very lonely world, doesn't it? If my art doesn't connect me to people and help them understand something, how the heck am I supposed to connect with them?


So, we picked a concept and then did a whole bunch of projects in which we tried to convey that concepts. The catch for the final project was that we weren't allowed to use any traditional art material (paper and pencil, canvas and paint, plaster or clay) unless we had a darn good reason for it. So I used rice, Elmer's glue and wire mesh mostly, with some plastic gems and a few strings of those colorful party beads thrown in for good measure. My concept, basically, was poverty as a virtue. I guess you could call it gratitude, or simplicity, or something else, but I have been raised with the idea that somehow the poor are blessed. The whole thing changed quite a bit as I went along. It was a real journey, but somewhere along the way, hands got thrown in. I think it started because I was thinking about the idea of possession. We posses something only if we have the power to give it away, like freedom is the power to choose good, not the power to do whatever we want. So the gesture of giving or taking or 'Handing" something over lead me conveniently back to my oft repeated theme: the human hand.

 I'm not really sure if I succeeded in my unofficial goal of making something that I don't hate. Part of me is a cynic who constantly says "This isn't art, it's just post modern rubbish" but it is not completely void of visual pleasantness.
The whole thing was really interesting and I will draw on it in my other work for sure. I just probably won't use elmer's glue and rice in any more art projects.

Writing Like a Woman.

Essay I wrote for a class this semester, probably a feminist rant:
Warning: some language in this post is a little stronger and more vulgar than I typically use.

I’m reading a blog post about being a man. It opens with a quote from something that I don’t know about someone stabbing someone in the gut. The post is broken up with clips from the movies Gladiator and Braveheart. The text changes in size and color, the large read parts seem to shout at the reader. The title of the post is Testosterone.
My family tosses the idea of a “real man” around quite a bit at home, mostly in jest (real men wear pink). We can do that because, of the eight of us, my father and my four-year-old brother are the only males. But they are all far away now. I’m at college on the other side of the country, on duty in the art and music center office, and trying to figure out what it really means, in case I ever need to know. The music department is mostly empty; the practice rooms silent, the lounge deserted. In the recital hall, a lone pianist is practicing. In my family, men play music.
The blogger says that our culture is trying to emasculate and objectify men. I nod in agreement. The blogger says that Christianity is as guilty of this as secularism. “Let's start with the so-called Christian man. He is supposed to be patient, kind, gentle...” For some reason the blogger thinks that these traits are contrary to true manhood. Men need to be strong, fearless, and wild.
I roll my eyes and get ready to be insulted. Just as I suspect, the next critique of culturally accepted behaviors for men is that they are too feminine. “I'll be as blunt as I can: the ‘nice guy image’ is a feminized pile of crap… What does all this femininity do? Breaks us down and makes us shy and miserable.” What is the implicit (and sometime explicit) definition of femininity?  Oh, you know, being passive, gentle, nurturing, being quite and hoping other people (men) will defend goodness truth and beauty. Then the writer tries as best he can to affirm women by assuring them that these traits make women beautiful and strong. They are just not good for men.
I can feel my rational objections to this sort of argument being overwhelmed by a rather un-feminine emotion. It’s the sort of feeling that might prompt some men to make an obscene gesture at the blogger and walk away. But I’m not that sort of person. I try to write a response.

What do you mean, the nice guy image is feminized crap? Of course Christian girls like me want men to be gentle and kind; look at the alternative. You have the secular culture glorifying and romanticizing abusive relationships. If a man won’t come out of the jungle for me, and treat me as his equal, (as I am) I don’t want him. Gosh, I hope there are men out there who don’t need a woman to motivate them to act like a human and not an ape.
Further, women can by courageous too. You are acting like women never stand up for truth, or shouldn’t. Even if men were more commonly defending truth, it wouldn’t mean women would, or should, stop.

A student shuffles through the door of the office carrying a backpack too large for her. I hastily wipe the scowl from my face and greet her with my canned “Hi there, how can I help you.” She needs me to unlock the ceramics studio upstairs in the art department. I take my feet off the desk and dig the keys out of the deep pockets of my “boy pants.” We cheerfully walk to the clay room, making small talk, past the drawings of nudes that the figure drawing class has pinned on the walls. Some of these quick sketches, which art students call gestures, are made of just a few active lines that capture a motion, the curve of the spine, the turn of the hips and shoulders. They are done so quickly, catching just the essence of a pose, that there is no time for sex defining details. These dashes and smudges of charcoal and graphite represent a human. When I come back to the office I am tempted to close my web browser and forget the blogger.
 I am keenly aware that I am a woman (even one wearing pants from the boy’s department). I am trapped in a stereotype. I sense that my thoughts will be dismissed because I am a woman; overly emotional, overly sensitive, constantly whining about being left out, like a younger sibling, always trying to force men into overly civilized attitudes. I am everything the writer of the blog disdains.
Unwilling to fall into that trap, I add disclaimer sentences such as “as a woman” and “this is the way I see it” and “to me, it seem that.” Whatever ideas I have, I must make the male author think they are his ideas. I have had to deal with men this way before. To be fair, I have had to deal this way with women also, but it always seems more annoying when it is a man. It's not a very nice thing to do, it is kind of condescending, actually.

            I am a woman who very diligently seeks to live an authentically feminine life. I am pretty sure I agree with your main point. However, I think I am misunderstanding something.
            I am unclear on what exactly you are asking men to do or be that is distinctly masculine, and not a universal virtue. What do you mean when you say gentleness is a strong virtue, but it does not “define man?” If it’s a strong virtue, why should a man not practice it? Is there a such thing as a weak virtue? Are you also upholding anger as a vice that is proper for men to practice? It might be just me, but it seems like being silent in the face of injustice is a vice regardless of sex (or gender, if you like). As a woman, I’ve always thought that being gentle toward the wounded and weak is a virtue that both men and women should practice.

This is useless. I am being the kind of women the blogger praises, practicing the virtues that make a man “shy and miserable,” but are beautiful in a woman. What does that mean? It means that he doesn’t respect this kind of language. He doesn’t respect it in men, so why should he respect it in women? This is the internet. If I don’t tell him, he doesn’t even have to know I am a woman. Based on this post he will either assume that I am an emasculated man, or a good and gentle woman, both people he doesn’t have to take seriously. I feel the door being shut on my face. The men, capable of real discussion of important issues, gathered inside, unwilling to be bothered with my questions, or my thoughts, invalid in their discussion.
I delete the comment. Many English classes have taught me to write assertively, as if my words were truth, and not merely my opinion. A voice in the back of my mind says I am being arrogant, but another voice answers saying that women stereotypically use weak language and it does them no good whatever.
My anger is subsiding, being replaced by frustration, an emotion I know how to overcome with rational action (and some prayer) before it gets too strong. I read the post again, trying to see what exactly the author is challenging men to be. He wants men to be protectors and defenders of truth, goodness, beauty and women. Why do I feel attacked? I would love to live in a world where more men defended and respected women.
I think about the men in my life; men I admire, respect, and who help to define my idea of masculinity. They are not afraid to cry in front of people. They lead with authority, inspiring my respect by respecting me. They wield their power and strength in service of those weaker then themselves. They are humble and not condescending or arrogant. They are gentle and kind. They are not afraid to confront evil, but they don’t fight evil with evil. This also describes the women I admire most.
The blogger is attacking men that I love; my father, my uncles, friends, mentors, teachers; and ignoring and dishonoring women I love. I rise with indignation to defend them against charges of being too feminine; too like me. Again I am left with the feeling that womanhood is shameful. My shrinking apology for thinking has turned into the sarcastic snarls of a wounded animal, trying to look bigger and stronger than it is.

Have you ever noticed that real women confront evil without balls?Gee, sorry for stepping on your toes, men, I guess I’ll just hide in the corner and let you solve all my problems for me. Excuse me for asking you to shower and wear deodorant, didn’t mean to step on your delicate macho ego. You go ahead and be “wild” (whatever that means in a civilized society) and I’ll just mop up the mess when you are done.

 I delete these too. Being defensive will do no good. He’s not trying to attack me, I shouldn’t be hurt, and I certainly should not be reactionary about it. I am just trying to pin point the error he has made and challenge him to rethink it. I’m just calling him out. He is calling men to be stronger. I am only calling him out on his failure to honor women. If I read what he meant, instead of what he actually said; what he was trying to say, instead of what I understood from the way he said it, (it’s a little hard to tell in places, but) I think I agree with him.
Apparently, I am not the intended audience. This blog post is written for men. I don’t really have any business reading it, much less trying to respond to it. As long as other men understand what he is trying to say about virtues that men should practice, it’s all good. I should mind my own business, he probably wouldn’t criticize me for talking about how women ought to act. I wonder if he would approve of my writing.  I’m not being passive, silent, and patient, which he says are bad things for men to be, because they are too feminine. I wonder if he would like to write a post about women being too masculine.
In a newly rational state of mine, with only a slight residue of anger remaining, I try to explain, in plain language, the objection I have to the his point. I find myself pointing out that every virtue he praises in men is also a virtue that women need to cultivate. Every vice he abhors in men is also a vice in women. Furthermore, some of the qualities he wishes to avoid are actually virtues misapplied, like my weak language. My gentle words would be appropriate in some delicate interpersonal situations. That’s called tact. Staying silent in the face of injustice is a vice; a lack of courage. That’s why I am writing a response to this post. Attacking a person because of their opinions is a vice; a lack of gentleness. That’s why I am taking out the snarky insulting comments.
Words pour again. They are firm but not emotional. No apology, no attacks. I laugh as I write, thinking about how many times I turn in a first draft of an essay. I resolve to always give myself time to revise my writing so I can catch the weakness or tactlessness in my writing. Five bucks says I won’t keep that resolution for even a full week.
This blog post lacks gentleness, which is a virtue for men and women. I end up telling him that his whole post is pointless because he is making a point exclusively for men that should be applied to men and women. I have essentially argued that men and women are not at all different. I hate it when I argue that. My traditional upbringing and my progressive higher education clash leaving my convictions in a confused jumble. There is a difference between men and women, beyond biology. I just don’t know what it is yet. I don’t think it has anything to do with what virtues they should practice. That’s all.
I am arguing about his audience again. Why should I bother? I delete my comment draft, close the browser window and sit back in my chair. The Art and Music Center is quiet and I have three more hours as building manager. I want to call one of my male friends and ask his opinion. Maybe he will tell me that I am being picky and annoying. Maybe I can out argue him. I always feel very pleased with myself when I can out argue him. He likes to tease me, saying insulting things in jest to see how far I will bend before I break and say something insulting back. I don’t like to play that game. Usually I can’t actually think of anything insulting to say. Then I don’t want to say it because, jest or not, we are less connected at the end of the conversation. I don’t need any help separating myself from people. It’s understanding and connecting that is the hard part.
Now that I am tuned in so keenly, I can see specific words that I object to. Why does he describe gentleness as “feminized crap?” Women like me tend to use weak language. I assert my femininity by inviting stronger opinions to overrule mine. I am gentle, willing to listen and eager to understand. The school system, which has been teaching men to write far longer than women, has done it’s best to slash this habit out of me with a red pen. I appreciate it. Men like the writer of this particular blog tend to use hyperbole. They assert their masculinity by using very strong language. They verbally abuse their opposition, leaving their readers with an impression of unyielding absolutes, despite half hearted qualifiers that bare wittess to an education (recently balanced by the presence of women) that warns against broad generalizations. The blogger might disregard my comment for its weakness and emotional language. I find it difficult to connect to the blog post because of its bombastic strength and emotional language. The battle of the sexes continues. Our negotiations aren’t going very well.

Saturday, September 18, 2010

Scribbles

With all this talk of being an art major, I figured I'd better produce some evidence of it. I considered posting some photos of my tattoos and paperclip piercings. But I don't have any. The cool thing to do in my art department is to run around in white canvas shoes that have been heavily decorated with colored Sharpies. Don't have those yet either. But this is my favorite study from last semester's drawing class.

Saturday, July 10, 2010

Fictional men

I should be reading Middlemarch. I am 300 pages behind and it really is fascinating. Whenever I am deeply appreciative of art of any kind, I find myself fleeing from it in an agony of creative restlessness. Thoughts beget thoughts and ideas, ideas. Wonderfully written descriptive passages make me want to draw and beautiful images make me want to sing, and wonderful music makes me want to write. Hurray for the liberal arts!
So here I am, typing away to try and alleviate the creative pressure that has built up as a result of George Eliot.
I am reading Eliot because Heidi invited me to join her college friends for a book club. Otherwise I would be much too distracted to get through any such literary work. I loved Silas Marner when I picked it up some times in high school, but I seem to have lost the stamina required for deep reading since my motivation became all entangled with that highly prized and practically useless black smudge on paper (or on my computer screen) known as a grade point average. Self motivation is a luxury of the home scholar and the exceptionally gifted. I'm slowly turning into a drone.

(A bottle of bright purple nail polish remover sits innocently on the desk next to me. I keep absently picking it up as if to drink it. When did my subconscious accept neon purple as an edible color? I'm starting to worry about myself.)

This book club, which has so advantageously saved my brain from the plague of summer idleness, is made up of five or six girls with bachelor's degrees and a female English professor. Perfect. Middlemarch involves several plots and subplots that can be more or less classified as romantic. At least they involve courtship and marriage. Naturally, we girls have more or less given our allegiance to one or the other (or several) of the young men in the story. I was surprised to find, on reflection, that I was actually rooting for two men who are seeking to marry the same woman. I see that both characters are not people I would want to have a relationship with in real life, but this doesn't keep me from kind of liking them. That seems to be true of many of the fictional men on whom I have had "crushes" in my career as a sappy romantic reader; I wouldn't actually like to know many of them in real life. What strange relationships we have with characters in books. That is the power of the author, I suppose. My class last semester in reader response theory has made me hyper aware of the author's power to shape my opinions of the fictional people I love. Sometimes they misjudge me and fail utterly to get the reaction they are attempting to prompt. Other times I find myself completely sucked in and there is nothing I can do about it. And this makes me want to write.

I find myself rather fascinated by those elusive personalities that may or may not be the voice or the author, known as "narrator." I really liked my reader response class, and not at all for the reasons I thought I would like it. Traditionally, if that word can be used in a free and developing form like fiction, the narrator is not strictly a person, and you can safely assume that he or she is the voice of the author giving you fact, impressions and whatever bias serves the purpose of the moment. Narrators who step out of these guidelines are an interesting breed. The impression they make is subtle. Jane Austen follows the rules and still manages to make you love her personally because of her wit and intimate tone. We get an impression of knowing Jane personally. I don't think I would like her. I seriously doubt that she would like me. But in any case, we assume that the narrators voice conveys something of the author's personality.

(Who decided that purple was a good color for nail polish remover?)

George Eliot is kind of interesting, first of all because she is not really George at all. The male pen name gives an aura of dishonesty to her writing. I can't help but wonder if she would have written some things a little differently if she was using her own name. Female authors always seem a bit self conscious. They have a distinctive voice, as they should, that is different from a male author. Some of them are preoccupied with giving special depth to female characters, as if to rectify the violence done to us by men who write about female symbols more than female characters.

("Dear Mr. Dickens, I hate your female characters... and most of your other characters too. But that's okay because you are amusing anyway and you certainly couldn't be expected to see the feminist movement coming.")


On top of that, she breaks the fourth wall. George, the narrator, speaks in the first person, talks about his opinions of the character he is creating for us, and tells us little anecdotes about his social life. These are all in the service of the story, or commentary on the story for the reader's benefit, but it is still remarkable. He is certainly not a character in his own story. But like Toni Morison's narrator (oh Queen of the post-modern novel), he questions his own conclusions and assumptions about his own characters. He stops in the middle of a description of one character's thoughts to question why he always tells the story from that character's point of view.

("Warning: ...Harmful if ingested. In case of accidental ingestion, give fluids liberally and consult with local POISON CONTROL CENTER..." see Zita, no drinking the nail polish remover unless you want to spend the night in the ER)

I was paying so much attention to the narrator of Middlemarch that for a while I wasn't really paying attention to the characters and the plot. They are all very engaging and everything, but I just got done with Dickens and Stoker who pretty much beat you over the head with clues as to who are the "good guys." Eliot gives her characters enough depth and realism that they have as many obvious flaws and inconsistencies as they have lovable traits. She allows readers to suspend judgment, or make up their own minds, more or less, at least for a while. Slowly it becomes clear who the virtuous characters are that she is upholding and prompting her reader to fall in love with. They are not without their flaws, but we see that they are generally a good sort of people with the important things set straight. And one odd consequence of this subtlety is that I like Fred (who is what we call a Loser) and Will as much as Mr. Stuffy-Procrastinating-Scholar and whatever that other curate's name was. I certainly would not want to be the object of their affection - any of them - but I find them equally interesting as characters and I hope they all end happily. I remember my reaction was similar with Silas Marner. The characters were painted so vividly that I could not fully approve of any of them, but I was interested in all of them.

("Strengthening Nail Polish Remover is formulated to help soften cuticles and add strngeth and resiliency for more beautiful nails" and drive dehydrated writers to violent distraction by it's unnaturally bright and appetizing color.)

I begin to wonder about my previous book crushes. The next time I manage to get through The Lord of the Rings without running away to draw a picture, I will have to pay attention how Tolkien sets me up to be hopelessly in love with Faramir. I'm pretty sure he doesn't do it on purpose, while some of my favorite female authors are obviously trying to get me fall in love in order to create sympathy for her female characters. Eliot is doing her best to dissuade me by making flaws obvious. This makes me wonder if I only fall in love with flat, unrealistic characters. Vices are hard to live with, but sometimes a charming demeanor can cover them in real life. They are harder to ignore when they are printed in black and white.

(The smell of nail polish remover is especially unappetizing. Gives me a head ache.)

However, I can never allow that. First of all, because I have an inflated opinion of my own ability to resist the charms of characters designed to be too perfect for real life. Secondly, I would never let anyone say that Faramir is a flat character.

I'm not sure what I wanted to say with this post. The goal was something between intellectual reflections on my reading experience and how it has changed since I pretended to be an English major, and a humorous exploration of the cultural phenomenon of book crushes. (By the way, I am pleased to hear rumors that boys have book crushes too.) I guess I pretty much failed on both counts. I'm blaming the nail polish remover.

Thursday, May 13, 2010

It's because I'm an Art Major

The Acrobat

From trapeze to
to trapeze, in the hush that
that follows the drum roll's sudden pause, through
through the startled air, more swiftly than
than his body's weight, which once again
again is late for its own fall

Solo. Or even less than solo,
less, because he's crippled, missing
missing wings, missing them so much
that he can't miss the chance
to soar on shamefully unfeathered
naked vigilance alone.

Arduous ease,
watchful ability,
and calculated inspiration. Do you see
how he waits to punce in flight; do you know
how he plots from head to toe
against his very being; do you know, do you see
how cunningly he weaves himself through his own former shape
and works to seize this swaying world
by stretching out the arms he has conceived -

beautiful beyond belief at this passing
at this very passing moment that's just passed

~ Wislawa Szymborska

The very first quarter of Community college, almost three years ago, I took Intro to Lit, Music Theory 1 and Drawing Technique... I think... anyway it was a 100 level drawing class.
I reflected that first day that I knew I would like my Lit class. The teacher seemed pretty cool. The worst part was going to be the other students who were taking it just to fulfill a requirement. I was going to be one of the geeky ones who actually enjoyed the coursework. But I knew I would fit in with the other geeks, so it was all cool.
I discovered that music theory is my favorite language. It came more naturally to me than learning to read words or numbers. And I love music people.
The art class was a puzzling phenomenon. I didn't have a lot of experience in formal education, but anyone who has taken a studio art class knows that they are a little different, just by their nature and structure. But I was okay with that after the initial scary plunge of having to actually draw in front of a teacher and ten or fifteen other persons who are "the artistic one" in their family or school. The really difficult part is that art students are weird.

First of all, there is that stereotype. Walk through my community college art department and there is no denying that this exists. It is a very diverse look, but in a way they are also all the same. There are the angry looking ones with eyes that have no light or sparkle in them. They look a little hunted, solitary. In other classes, they sit in the back, don't talk to anyone, and make fabulous doodles all over their notebooks instead of taking notes. (Have to admit, I am guilty of that last one, except I keep mine in the margins and they are far from fabulous.) They are the kids who can't major in anything else because everything else is too objective. They can't deal with anything that has right or wrong answers. They don't know what to do with their lives. Losers, back sliders and renegades major in art.
Of course, that is only a stereotype. You see a lot less of them at AQ. But there is always that loneliness in art. You may create with the whole history of society and culture behind you, but ultimately, you create alone. Most art students I know prefer to work alone. It's a very personal battle with whatever you are creating. There are no study groups. It takes us a long time to learn how to talk about each other work or even our own. In many ways, as with all art forms, there simply is no language.

There is a poem about an acrobat that I studied in that first Lit Class. The acrobat almost kills himself because he is seeking a beauty he is incapable of achieving. He is missing wings. The best he can do is "falling with style," like Buz Lightyear. Art is like that. Sometimes you are just trying to translate what you see, in life or in your head, into something else on the outside world, paper or clay or paint. Everything is against you. You are not God. You just can't will things into being. Even when you have the skills necessary, something is always missing: that part of myself that I can't quite make present: The acrobat's wings. And this makes art students retreat into themselves. No one else can do this for us, tell us how to do it, or even tell us when we have done it. Out in the big scary world, people like us starve because we have to create, and no one understands. The people who make money at it are not necessarily the ones who have wings. There really is no measuring stick. They are haunted and they are hunters. It's a little scary.
I walked away from that first art class thinking, "I can never fit into this group of people. I could never be an art major. It's a good thing I'm majoring in music."
Two years later, one morning towards the end of last semester I realized that I was wrong. I woke up and realized I am an art major.

I've been trying to avoid it for years. Please, no! Anything but that! I knew I was going to study art in some capacity. But even when I was thinking of double majoring, I would say English and Music, even though music was going to be my minor. I still referred to myself as an English major for some of this last semester. English may be the perfectly useless degree, but statistically, English majors get jobs. Music may be a similar dead end as far as money goes. But Music majors can at least commiserate with each other. They are all singing the same songs! And we all wish we could pay them a little more.
Art is so lonely. I have bounced between the three most pathetic majors a college can offer and landed at last on the most disturbing of the bunch.

But hiding it does no good. I should just get over the fact that eight out of ten people are not going to understand; probably nine our of ten. People are going to worry about me. People I meet are going to make assumptions about me. I'll be plagued with all sorts of comments that are akin to racism in their ignorance and obnoxiousness, and yet the speaker is almost always completely unconscious of having said anything annoying. It doesn't matter. I'm going to fly. So I'm not going to have an identity crisis about it anymore.