Margaret Atwood tells a joke:
The Devil comes to the writer and says, “I will make you the best writer of your generation. Never mind generation—of this century. No—this millennium! Not only the best, but the most famous, and also the richest; in addition to that, you will be very influential and your glory will endure for ever. All you have to do is sell me your grandmother, your mother, your wife, your kids, your dog and your soul.”
“Sure,” says the writer, “Absolutely—give me the pen, where do I sign?” Then he hesitates. “Just a minute,” he says. “What’s the catch?”
Atwood uses this fictional exchange to explore “the problem of moral and social responsibility in relation to the content of a work of art.” The passage appears in chapter four of her 2002 book Negotiating with the Dead: A Writer on Writing. I’m still in chapter three, but I skipped ahead.
Negotiating with the Dead is a literary essay on the writer as artist. At least, that’s true of the half I’ve read so far. Chapter 3, titled “The Great God Pen,” traces the Art Wars generally, and the world of poetry and fiction as a theatre of war in particular. And she examines an interesting argument—strictly syllogistic, mind you—that “we should devote ourselves to beauty-worship.” An unexpected but crucial premise in this argument is Jesus’ declaration, “The truth shall make you free.”
The interesting story here is that art has displaced religion in a secular society. Atwood isn’t all that explicit about this. But what she says is suggestive. Her chapter begins with clichéd questions about literary worth and money. Since writers are warned against unrealistic expectations of monetary gain, they must come to grips with deeper incentives. One possibility commends “the social usefulness of art.” But writers beguiled by this idyllic motive are victims of censorship, often inflicted by themselves. “Thus, the heroes of Art became those who were willing, as they say, to push the envelope.”
In due course, this pushed artists in the direction of a “pure aesthetic” that pitted art against moral purpose. The upshot, in the words of Ralph Waldo Emerson, is that beauty, rather like God, “is its own excuse for being.”
Oscar Wilde drew out religious parallels with art that imitate the language of Christianity, says Atwood. In his preface to The Picture of Dorian Gray Wilde wrote, “No artist has ethical sympathies.” He added, “Those who find beautiful meanings in beautiful things are the cultivated. For these there is hope. They are the elect to whom beautiful things mean only Beauty.”
The artist is a high priest of the imagination. But this does not require scruples. When it comes to Art, some get it and some don’t. Art for art’s sake is non-utilitarian. It disdains mammon and turns a blind eye to social responsibility. For a writer of this persuasion, there is no accountability. The only ultimate is the instinct of the artist.
Atwood explores this theme without committing herself to its creed. But she does seem to think that there are only two other motives for writing. They are writing for monetary gain and writing to fulfill a social responsibility of one sort or another.
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Atwood is probably best known for her novel The Handmaid’s Tale (1985), depicting an apocalyptic future with the world’s women in subjection to a theocracy run by fanatical devotees of the Bible. The film adaptation appeared in 1990, starring Faye Dunnaway, Natasha Richardson, and Robert Duvall.
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