Failure destroys some people. Others rise from the ashes.
from PSYCHOLOGY TODAY, May 2009
In September of 2008, Philip Schultz, a humble and plainspoken fellow, crossed the hardwood floor and slid in behind a temporary lectern in the Center for Well-Being at The Ross School in East Hampton. It was commencement day for the eighth-grade class. Some students recognized Schultz, who was giving the address, as the father of eighth-grader Eli. He was a local poet.
Schultz told the students he hadn’t learned to read until he was 11. By then, he’d been held back a grade and was a permanent member of what the other kids called the “dummy class.” Teachers just didn’t know what to do with a kid like Phil Schultz—who, it turned out, was dyslexic. When a teacher asked him what he wanted to do with his life and Schultz said he wanted to be a writer, the teacher laughed. “I wasn’t insulted,” Schultz recalls. “I understood it was a funny thing to hear from someone who hated to read and couldn’t write a simple English sentence.”
Schultz’s punishment for being a dummy was exile to shameful outsiderdom within a class moving forward. And that’s exactly the kind of experience from which writers are made. Within “the loneliness of having so little expected of me, and the pain of being overlooked and forgotten,” as he put it to the assembly, was time for careful attention to his interior life. All a writer really needs are the self-knowledge to decipher his feelings, the judgment to recognize the original ones, and the courage to make them public. It’s a job open to anybody—even dyslexics. And so Schultz steamed ahead toward the one career for which others thought he was the most ill-suited—poetry.
Cut to 2007. A working poet now, Schultz realized that almost everything he wrote was about failure. Failure was his clay. He was writing about his dad—a drunkard who’d been a lousy parent and a worse provider—but he was also tapping the part of himself that felt like a failure. Schultz had aimed to be a novelist, but couldn’t pull it off. Alongside the very personal poems about his father, a long poem took shape about a character who walked other, more successful, people’s dogs.
The voltage that shot through the plainspoken language was unlike anything Schultz had produced. He called the collection, simply, Failure. On its cover: a bent nail in a board. Last year, it won the Pulitzer Prize.
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