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Art and Literature in the Raw

Essay by Urszula Humienik, a member of the Congress of Rough Writers.

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Kurt Vonnegut once told The Paris Review, “I think it can be tremendously refreshing if a creator of literature has something on his mind other than the history of literature so far. Literature should not disappear up its own asshole, so to speak.” Which is something I must have thought or heard or read somewhere sometime in high school, because instead of writing and literature, I decided to pursue a degree in my other passion.

I didn’t decide to go into some useful and prestigious field like law or medicine, like many other writers such as Harper Lee, John Grisham, Anton Chekhov, Khaled Hosseini, or even Gertrude Stein. No. I decided to go into art, a field even more useless than being an English major. Of course, I don’t believe that. I believe both art and literature to be essential. These two fields make us truly human while simultaneously showing us the human condition in the raw.

As a smart English teacher once said, “We don’t read and write poetry because it’s cute. We read and write poetry because we are members of the human race. And the human race is filled with passion. And medicine, law, business, engineering, these are noble pursuits and necessary to sustain life. But poetry, beauty, romance, love, these are what we stay alive for.” (John Keating, Dead Poets Society)

There seems to be an interwoven connection in my mind between art and literature, and it’s possible I’m not the only one. Lots of writers and poets made art, including: Sylvia Plath, Kurt Vonnegut, Lewis Carroll, Henry Miller, William S. Burroughs, Herman Hesse, Rudyard Kipling, Joseph Conrad, William Blake, e.e. cummings, and many others. Some artists also wrote. The surrealist painter Leonora Carrington wrote stories. Salvador Dali wrote screenplays. Even such brand names as Warhol and Picasso wrote. Gertrude Stein straddled the fence between these two worlds as a writer, art collector and muse. Her home was filled with artists of all types, including writers – so many of whom we know and love (or love to hate).

Then there are people like Patti Smith and Audrey Niffenegger, most known for The Time Traveler’s Wife, who make a living working in several artistic fields. I admire them both, and hate them just a little out of jealousy for being able to do what they love without staying within the boundaries of a neat label. We so love to label and put things in their place. I remember a friend once yelling at me in the stairway in high school, “Are you an artist or a writer? You can’t be both.” My answer throughout my life has always been why not.

There are several things I believe to be unarguable truths. One, our passions make us more interesting. Two, writers without passion for writing and the subject cannot write well. Three, any activity done without passion cannot be sustained for very long.

Somehow, in my life, I was fortunate to develop several passions. Two of them – art and writing – developed almost simultaneously, interwoven, interconnected to the point of being inseparable, one needing the other. I do not know if one can exist in this mind without the other. The way I see it, writing and visual art are just modes of expression, of connecting to another human being, of creating a space for an idea.

Visual art and literature begin in the same place in the psyche of their creator. I’m not sure if the spark to create them are the same, but maybe it is. Sometimes I feel that something that has come to me must be in the written and sometimes in the visual form, but I cannot explain the why or how I know that. The most interesting is when these two intersect. I have characters in my stories that are artists, for example, and I am drawn to create their art.

My art background also provides material for stories. An example is the following flash I came up with in response to one of Charli’s prompts, where I imagined what it would be like growing up in a house with a stolen painting hidden in plain sight.

Father’s Poppy Painting

A painting hanging in my father’s study figured large in my childhood. I remember its exotic golden yellow and crimson poppies on a background of burnt sienna and ochre. I remember days spent studying and copying it. I remember my mother constantly practicing Mendelssohn’s violin concerto in D minor. I remember father always gone on business. I remember the scent of Arfaj flowers wafting through the windows. Father’s poppy painting was the reason I decided to study art history at university.

One day when taking a class on famous stolen paintings, I discovered father’s poppy painting in my book.

There are several similarities between art making and writing. For starters, they often begin with a concept. Sometimes it’s just a word or a color or a vague idea. Once you have a concept, art and writing both have different phases of creation and exploration before achieving the final product:

  • play and experimentation – I’d argue that this may be one of the most important stages for both;
  • sketching, what would be akin to raw writing;
  • planning or outlining – depending on how a writer/artist works, this may happen earlier or later in the process;
  • and application of several layers.

This last phase may be thought of in different ways, but over time it has become how I think of the formation of a piece (of artwork or story). In a painting, this phase is obvious. The painter begins with a sketch or several, then the canvas is prepared with a base paint, next several background layers are applied, details are added, and added, and added, and added until the painting has achieved the painter’s intentions.

This is an oversimplification, of course, but a similar process occurs when writing. We begin with an outline or maybe just a rough story idea, which is then written and refined over layers. Some parts of the original raw writing become hidden under the layers of “improved” writing, but they are still there. And in my experience, the raw writing is necessary and enriches the final piece in ways others may not fully comprehend.

I spend much of my time thinking how I would describe a piece of art. It’s an exercise that’s more difficult than it seems (try it). There are many ways to talk about color and qualities of a line. It’s possible I could write essays on just those two characteristics alone. I also spend a great deal of time visualizing things I am writing, and I hope that improves my writing, deepens it, making it more tactile. I hope this means my writing is refreshing in the way Vonnegut said.


Urszula Humienik is a freelance writer and editor from Chicago, currently living in Bialystok, Poland. When she’s not working on her first novel, she’s doing yoga, meditating, or making delicious vegan food. You can find her on her blog or her latest obsession, Instagram.


Raw Literature is an ongoing conversation about those first works we create as writers, as literary artists. Guest Authors share personal insights on their craft, its process, the experience of creating raw literature and what they do with it. Carrot Ranch is a dynamic literary community that creates raw literature weekly in the form of flash fiction (99 word stories). If you have an essay idea, pitch to Charli Mills, Lead Buckaroo, at