Regular readers will know I’ve written about the logic of markets and capitalism many times. It’s one of my ongoing interests: How they work, what they do well, and where they fail.
And why.
Yesterday, at the supermarket buying a rainbow trout fillet, a thought popped up about one of the ways in which markets fail, giving people power outside their area of expertise; past where they can do good and turn to evil. It was a simple insight, though at the end of a chain of logic.
I was both very pleased and chagrined, it seemed to me that after spending 30 years on this subject I ought to have had this insight already, but I was happy it had shown up.
And then I thought something else, which was “It’s not my responsibility anyway, I get the insights I get when I get them.”
This is one of the fundamental truths of all non-mechanical creative and intellectual inquiry: You do the work, but you don’t control when you reap the results, or even what they will be.
You do the reading, you practice (I’ve written all those “logic of capitalism articles” in part as practice), you contemplate what you know, running through the links. You ask questions (and even the questions are more given than something you control) and the results are out of your hands beyond that.
You control the preparatory work. Reading, thought, conversation; you don’t control the crop.
This is even more true of creative work: You could study the great masters of painting, learn how to do all the brush strokes, spend endless hours contemplating how light, perspective, and symbolism work, but you can’t guarantee what work will come from it.
This is the great curse of such endeavors: You can put in all the work and not get a great deal as a result. The less mechanical the discipline, the less determined the results are.
But it is also a blessing: Your job is just to show up and do the work. Because you can’t control what happens after that, or what your body, heart, and spirit are doing with the material, there is no point in worrying about it; no point in self-blame. What shows up after you’ve mixed in the materials is not your responsibility.
You can relax and enjoy the process, the pleasure of ideas or aesthetics, the joy of a great idea or inspiration popping up.
Indeed, relaxation is necessary. You select a seed, plant it in the right soil, water it, ensure it gets enough sunshine, and weed it. Then, you leave it alone. The breaks, the times you don’t think about your art or area of inquiry are just as necessary as anything else. (In fact I recommend any creative workers or thinkers also be nappers.)
Generally, the more relaxed you are, the more you trust the process, the better the results.
This doesn’t mean you don’t turn your critical intellect or aesthetic sense on whatever pops into your mind. Not all ideas or inspirations are great or even good. But if you self-flagellate, you make the process slower, the results weaker. Treat every sprouted idea and impulse with joy, and you’ll get more of them, even if not all of them are as pretty or useful as you hoped.
That moment when inspiration strikes, those ah-hah moments, are one of life’s great joys. Treat them as such, nourish them, and understand you have no direct control, and you’ll have more of them.
They come when they come, their frequency and quality is not up to you–but nurturing them, evaluating them, and loving them is. They are all your children, all loved, but not all equal.
The results of the work I do, like this article, are free, but food isn’t, so if you value my work, please DONATE or SUBSCRIBE.
I have a friend who is a serious meditator. For many years, when someone asked him to help them become enlightened, he would teach them a simple meditation, then instruct: “Do that for six months, every day, for one hour. Then return.” He called it “the very minimum required.”

I’ve been writing online for 17 years or so, if you don’t include forums, in which case it’s 25 or so.