online: 28 may 2019
modified: 28 may 2019
15 may 2019 what we do every day
i have been thinking while we were getting ready that there must be
something good as well as something bad in what we do everyday . . . in
what we call industry and work . . . high quality standards for powerful
and rich people . . . but we may not do the same for ourselves . . .
unless we are paid we dont do things of good quality . . . that is the
idea in industry as we inherited it . . .
we say we will do it that way, the luxury path, which is provided for
those of us who are more healthy and wealthy . . . the terrible economic
problem of the health service everywhere, where we try to do things well
but result only in creating problems held by most of us . . .
this is confusion which i call creative confusion . . . in fact we wrote
badly by including too many things . . .
luco* (let us carry on)
it is not me or you it is both of us who are writing this . . . as we
come to the edge of good writing and bad . . . the confused place from
which new thingsmay emerge . . . we realize that this talk about good
and bad work is teaching us something we did not expect . . . that our
discussion between speaking and writing not only improves what we are
doing but also confuses us . . . this mixture . . . or any mixture . . .
leaves the people who are doing it in, I hope, a happier state than we
were in before . . . we are slipping away from sensible ordinary talk or
rationality for the greater pleasure of revealing the complexity of what
we are about . . .
pausing to think what the next word might be . . . we attempt to speak
and write well . . . in which we learn that quality in anything is
indeed very difficult to achieve but very desirable . . . we have now
landed ourselves in the happy world of utopia which very soon becomes
confused and yet creative. . . not flowing with goodness which we
started off to achieve . . .
by which i mean you not me . . . notice that the correction changes the
nature of what i am saying to the point of being confused myself . . .
so we have to stop a moment to grasp the simplicity with which we began
. . .
© 2002, 2003, 2004, 2005, 2006, 2007, 2008,
2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019 john
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