The War of Art: Winning the Inner Creative Battle

Pressfield describes his daily writing ritual. He begins with a prayer, and then writes for about four hours, surrounded by “lucky” gifts from friends and family. Once finished, Pressfield does not worry about the quality of his work, instead feeling happy that he has overcome Resistance once again. He claims that professional writers understand that the writing itself is not really difficult: Overcoming Resistance is the hard part of the profession. Pressfield argues that Resistance is what separates people’s lives from their true potential. He claims that Resistance does not only affect artists, and is the reason why people neglect other goals such as health and fitness, professional dreams, activism, and other ambitions. Because of its limiting effect, Pressfield calls Resistance “the most toxic force on the planet” (3). A religious man, Pressfield characterizes Resistance as “evil,” as it robs people of their ability to share their talents and genius with the world (3).

Pressfield admits that he was powerless to Resistance until the age of 32. He argues that Resistance can fuel discontent and manifest as violence, addictions, vices, and disorders. He gives Hitler as an example; Hitler had ambitions to be a painter that he abandoned. Pressfield writes: “Call it overstatement but I’ll say it anyway: It was easier for Hitler to start World War ll than it was for him to face a blank square of canvas” (4). Pressfield reiterates that a wide range of activities can elicit Resistance, such as education, ethical choices, and any artistic endeavor from dance to painting or writing. He claims that Resistance can only be felt emotionally; it is a “repelling force” that distracts and demotivates us (7). While people may try to externalize it and blame others, it is a personal, internal phenomenon.

Pressfield demonizes Resistance as “insidious” and “implacable,” always seeking power and thwarting creative pursuits (8). He characterizes it as an objective force from nature, and explains that we should try to use it as a guide; the more people pursue something, the more Resistance they will generate toward that endeavor. Pressfield argues that our fears are the basis for Resistance, and that people can tackle Resistance by overcoming their fearful thinking. Pressfield believes that people’s insecurities can make them resentful when those close to them overcome their Resistance, and this resentment can slow people’s personal development. Resistance is particularly acute near the end of projects; Pressfield points to the myth of Odysseus to illustrate his point. Feeling confident he would finish his voyage home, Odysseus becomes complacent and ends up severely delayed by bad winds.

Pressfield acknowledges that most people don’t give up on their projects entirely, but simply procrastinate. Unfortunately, this procrastination can become a debilitating habit. Similarly, compulsive sex, comfort eating, gossip, TV, shopping, and trouble-making are other ways that people are seduced by Resistance and distract themselves from their real life’s work. Pressfield eviscerates modern mental health perspectives, claiming that disorders such as ADD and ADHD, social anxiety disorder, and seasonal affective disorder are more rooted in consumer culture than medicine. He argues that companies benefit from these diagnoses because they can market cures.

Pressfield is critical of taking medication to cope with distractibility, anxiety, and sadness. He is convinced that these things may be manifestations of Resistance that could be conquered through “self-knowledge, self-discipline, delayed gratification and hard work” (26). Pressfield claims that self-dramatizing and feeling like a “victim” are mental choices and the opposite of “doing your work,” and urges the reader to not engage in a “victim mentality” (28). Pressfield addresses how Resistance manifests in relationships, noting that it “disfigures love” when partners try to live vicariously through their spouse when their spouse overcomes Resistance in their creative pursuits (29).

Pressfield admits that he encountered Resistance when he sat down to write this work; he felt that giving advice to others may seem “egotistical” and that as a fiction writer he should work on a novel instead (30). Once Pressfield began writing he felt better. He revisits his claim that modern consumer culture exploits people experiencing Resistance by offering the short-term relief of buying products. Pressfield claims that artists must liberate themselves from these habits or they will never overcome Resistance.

Next, Pressfield contrasts art and fundamentalism. He characterizes artists as open-minded, confident, and forward-looking while embracing the opportunity to be free and individualistic. Conversely, fundamentalists romanticize the past and idealize their tribe or race to create a comforting sense of order or superiority. Pressfield argues that desperation and alienation fuel fundamentalism, which only results in violence and destruction; fundamentalists’ creativity is “inverted” and so they can only destroy (35). As such, Pressfield argues that there is “no such thing as fundamentalist art” (35). He reflects on how living in freedom can be difficult, as it requires us to develop our own individual identity and “self-mastery,” a challenging task that requires intention and discipline (37).

Pressfield connects Resistance with criticism: People who are controlled by Resistance tend to be critical of others while “realized” individuals are more positive and encouraging (38). Self-doubt is not necessarily a negative thing as it reveals our interest in pursuing something, and our hope that we will succeed. Similarly, Pressfield claims that Resistance can show how much people love or value something, since it means that they are afraid of failing at it. Pressfield insists that feeling fearful can be good; we can use our fears to understand what is important to us and what we should try to accomplish. In contrast, fantasies about great success or stardom are not useful; real professionals focus on the work and not the potential reward.

While pursuing a certain craft can seem like a lonely endeavor, Pressfield feels the “Muse” always keeps artists company. He enjoys being with himself and feels connected to, and fascinated by, the characters he writes. In his section “Resistance and Healing,” Pressfield argues that people who feel they must be healed before they can begin their creative work are caving into Resistance. He encourages the reader to conceive of personal hurt and creativity as two separate things; creative pursuits are not dependent on resolving one’s childhood issues or personal hurts. He assures the reader that everyone needs healing, but that “it has nothing to do with doing our work” and can become “a colossal exercise in Resistance” (50). Pressfield concludes his first book by calling rationalization Resistance’s “spin doctor” since it generates seemingly reasonable excuses for people to not do their work (55). He reiterates that while Resistance can seem insurmountable, people can beat it.