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The epilogue defines the Artist’s Way as a spiritual journey and recognizes the creative process as a spiral, a fog, and a pilgrimage. She references Thomas Merton’s Seven Storey Mountain, which has a central image of a mountain that helps her envision the creative process. She finds the image of climbing mountains for oneself a useful way to look at the creative journey, though she also makes other analogies to recursive and meandering things like stumbling through the fog and embarking on a journey. She mentions an image that lives in her head of a mountain in the Chinese film entitled The Horse Thief and described to her by Mark Bryan, her friend and writing partner. In the film, a man must journey up a mountain by lying prostrate after each step as penance for bringing shame to his village. Cameron then leaves readers with the notion of the spiritual creative journey as climbing a mountain in reverence and closes with a poem titled “Words for It.”
This section covers frequently asked questions and Cameron’s answer to them, covering everything from who can be creative to the reasons artists procrastinate. This is intended to be a supplement to the work and only focuses on the most common questions.
Cameron notes that The Artist’s Way is popular with therapists, teachers, wellness centers, and other group-oriented facilities. She explains that she has no interest in doing any accreditation for these groups and that she offers up the course at no charge to whomever feels it helpful. This section is intended for those who wish to complete the course in groups and offers guidance for how to make those groups as effective and supportive as possible, including the time frame, atmosphere, rules, and expectations needed to successfully maintain a group. She notes that it's important to stay true to the intention of the book and not to get bogged down with over-intellectualizing or therapeutic processing since these things can actually serve to block creativity or the over-examined creative resistant may mimic some other psychological issue. She also includes a note for the different kinds of teachers who may be using this book, including therapists, teachers, and therapeutic clients. She ends with a word of thanks for using The Artist’s Way.
This appendix details ways to build a creative environment by forming a Sacred Circle, which is a boundary to protect the soul and a commitment to elevate fellow creatives. She outlines rules for the Sacred Circle, including the expectations of creative friendships and how feedback should be given. At the end, she offers a poem called “An Artist’s Prayer.”
This section contains the Introduction to the Tenth Anniversary Edition of The Artist’s Way. She covers similar ground as in the other introductions but with more of a focus on her life in Manhattan and then transitioning into her teaching career and the development of this book. She discusses hew her aim for the book was for it to be free and to follow the same format as a traditional 12-step program, which is self-guided. She also highlights the attention the book brought her, including awards and it being featured on important book lists and was even included in a few movie sets. Cameron also stresses that she follows her own advice closely and morning pages are still part of her creative process. She closes with the notion of the importance of the artistic process and how God lives within that process.
Although Cameron recommends many other exercises to boost creativity than just reading, she provides a list of books that aided her research in writing The Artist’s Way and that other writers may find useful. Most of these books are pop-psychology works also aimed at helping artists find themselves and learning to nurture their creativity, but there are few fiction selections that resonate on one or more of the themes Cameron highlights in her work.
These closing sections contain the final sentiments Cameron wants to leave the reader with as well as more practical strategies and content around the book’s ideas and application. For example, Cameron’s Questions and Answers section tackles the questions her students most frequently ask with candid, complete responses to each. She uses bolding to identify each line as a question or answer and italics to emphasize the question, which is a visual strategy to make the content easier to consume at a glance. Cameron knows her audience likely won’t be reading these sections cover to cover in the same way they approach the chapters, but rather they’ll likely skim for the lingering questions they have, which makes this formatting useful. Similarly, when outlining guidelines for groups or rules for giving feedback, Cameron makes use of lists, which is a strategy she uses throughout the book. She calls attention to what is important by pulling this information out but also offers a more comprehensive analysis for readers who want more detail in the paragraphed sections. These extra ending chapters also account for previous iterations of the work, and by providing this record she calls attention to how long Cameron has been devoted to this process, which further reinforces her credibility as a creative teacher dedicated to this field. She also brings her themes full circle with these closing sections, often directly stating her beliefs, such as “Art is a spiritual transaction,” which echoes her ideas on the relationship between Spirituality and Creativity (225). She also relays these themes in new ways, like in the poem “Words For It,” in which she says, “I wish I could take language / And daub and soothe and cool / Where fever blisters and burns, / Where fever turns you against you” (204). She is exploring this notion of healing and surrender through a metaphor on physical health. The spiritual healing that comes with practicing creativity is like recovering, and like in the poem, she wants to be a facilitator of that healing as blocked writers realize they Already Have Everything They Need to be successful.



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