"I think I'm constantly in a state of adjustment"
About this Quote
Restlessness, framed as practice rather than crisis. When Patti Smith says, "I think I'm constantly in a state of adjustment", she turns what most people treat as a private glitch - insecurity, recalibration, the fear of falling behind - into a workable identity. The line is modest on the surface, almost logistical. But its power comes from how it refuses the fantasy of arrival: no final version of the self, no stable platform where you get to stop revising.
Smith’s career has always made adjustment feel like a creative ethic. She moved between poetry and punk, devotion and rebellion, high art references and sweaty club immediacy. That crossing of worlds isn’t a one-time reinvention; it’s ongoing maintenance. "Constantly" hints at vigilance: the artist listening for shifts in culture, in the body, in grief, in desire, and responding without pretending those shifts are interruptions to the real story. They are the story.
There’s also a quiet defiance in the phrasing. Adjustment is usually coded as compromise, especially for women: soften the edges, be agreeable, fit the room. Smith flips it. Her adjustments are not surrender; they’re survival strategies that protect the core. You change your angle so the work can keep coming through.
In a moment obsessed with branding - the crisp bio, the fixed aesthetic - Smith offers a different kind of credibility: the willingness to be unfinished in public, and to treat adaptation not as damage control but as artistry.
Smith’s career has always made adjustment feel like a creative ethic. She moved between poetry and punk, devotion and rebellion, high art references and sweaty club immediacy. That crossing of worlds isn’t a one-time reinvention; it’s ongoing maintenance. "Constantly" hints at vigilance: the artist listening for shifts in culture, in the body, in grief, in desire, and responding without pretending those shifts are interruptions to the real story. They are the story.
There’s also a quiet defiance in the phrasing. Adjustment is usually coded as compromise, especially for women: soften the edges, be agreeable, fit the room. Smith flips it. Her adjustments are not surrender; they’re survival strategies that protect the core. You change your angle so the work can keep coming through.
In a moment obsessed with branding - the crisp bio, the fixed aesthetic - Smith offers a different kind of credibility: the willingness to be unfinished in public, and to treat adaptation not as damage control but as artistry.
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