How the world works

Creativity & work

Making things, finding your voice, and doing meaningful work.

Read your way in

  1. Leonardo’s mirror writing was ordinary to him — Walter Isaacson · Leonardo da VinciA glance
  2. Matisse drew with scissors — Hilary Spurling · Matisse the MasterA glance
  3. Beethoven’s pages show music being revised — Jan Swafford · Beethoven: Anguish and TriumphA glance
  4. A constraint can shrink the search — Twyla Tharp · The Creative HabitA glance
  5. Why a pause can help an unfinished problem — Graham Wallas · The Art of ThoughtA glance
  6. Feedback works when it changes the next move — David Bayles and Ted Orland · Art & FearA glance
  7. Mozart did not simply take dictation — Maynard Solomon · Mozart: A LifeA glance
  8. Creativity does not live in the right brain — Nancy C. Andreasen · The Creative BrainA glance
  9. Frankenstein survives in two hands — Roseanne Montillo · The Lady and Her MonstersA glance
  10. Programming ENIAC meant rewiring the machine — Claire L. Evans · Broad BandA glance
  11. Make ten versions before choosing one — John Berger · Ways of SeeingA glance
  12. Record the decision, not the mood — Mason Currey · Daily RitualsA glance

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The books behind it

  • Walter Isaacson, 2017. Why this book: Reads the notebooks closely to connect Leonardo’s restless observation with the works he completed—and abandoned.
  • Hilary Spurling, 2005. Why this book: A detailed account of Matisse’s mature work, relationships and exacting reinvention of his studio practice.
  • Jan Swafford, 2014. Why this book: Sets the music’s difficult making inside a full, unsentimental account of Beethoven’s life.
  • Twyla Tharp, 2003. Why this book: A choreographer’s concrete account of preparing, collecting and working—best read as practice, not law.
  • Graham Wallas, 1926. Why this book: The classic source of the preparation–incubation account, useful when read beside later experimental tests.
  • David Bayles and Ted Orland, 1993. Why this book: A compact, humane account of continuing to make work amid judgment, uncertainty and ordinary studio life.
  • Maynard Solomon, 1995. Why this book: A psychologically alert biography that tests the Mozart legend against documents, family pressures and work.
  • Nancy C. Andreasen, 2005. Why this book: An accessible early map of creativity research, worth pairing with newer network-based neuroscience.
  • Roseanne Montillo, 2013. Why this book: Places Shelley’s novel among the era’s experiments, bodies and intellectual circles without stealing her agency.
  • Claire L. Evans, 2018. Why this book: Recovers women’s formative work across computing while showing how technical cultures decide whom to remember.
  • John Berger, 1972. Why this book: A sharp invitation to compare images, contexts and habits of looking rather than accept the first reading.
  • Mason Currey, 2013. Why this book: A varied collection of artists’ routines that is most useful as possibility, never prescription.