In Stacey D’Erasmo’s new book, “The Long Run,” she interviews artists who are late in their careers.
There’s dancer and performer Valda Setterfield, who performed through her 80s despite serious injuries from a car accident in her 40s. There’s writer Samuel Delany, now 82, who has published more than 40 books although he’s dyslexic.
D’Erasmo also provides anecdotes from artists of the past, including that Monet painted his impressionist water lilies the way he did because his vision was deteriorating from cataracts.
Author Stacey D’Erasmo
Photo: Sarah Shatz
What interested D’Erasmo was not what got these artists going, but what kept them going over decades of life. Romanticized ideas of the starving artist, she says, ignore the reality that art is made “by real people with real needs in real places.” Those include financial realities, which often require balancing one’s art with another job.
“What gets us started — those first few years, or perhaps those early moments of artistic ignition — is brief, fiery, and beautiful, of course,” D’Erasmo said. “It’s a story the culture loves to tell as in, say, ‘A Star is Born.'”
On the other hand, she said, “The story of duration, of a sensibility unfolding over time and the life that evolves to keep art at the center is a story that gets told less often. To me, that is such a heroic story.”
CNBC interviewed D’Erasmo, the author of five novels and two nonfiction books, by email this month. (The conversation has been edited and condensed for style and clarity.)
‘When you starve the artist, you starve artmaking’
Annie Nova: Why is it a heroic story when someone sticks to their art over a lifetime?
Stacey D’Erasmo: In this world, it is so hard to do that. As a writer who knows lots of other writers and artists, I’ve experienced firsthand the urgency of this question: How do we keep doing this, on all levels? Which is to say: How do I support a complex and often difficult practice that means everything to me, even though it may not immediately, or ever, produce money, glory or approval? That’s not a three-act drama, roll credits. It’s a life.
AN: The idea of the “starving artist” is a familiar trope in our culture. What does it get wrong? How does financial stability help to create art?
SD: Well, if all the artists were starving, they’d be dead, and we wouldn’t have any art! That trope romanticizes deprivation, and it’s a fantasy of art as some sort of magic that can live on nothing, but art doesn’t get made in some ethereal realm. It’s made by real people with real needs in real places.
Financial stability is a godsend to the artist, primarily because the less you have to think about money, the more you can think about what truly matters to you. In this country, though, even basic financial stability can be very hard to come by, as we know. Among other things, that is never good for the arts. When you starve the artist, you starve artmaking.
We long endlessly for more time.
AN: What do you see with people balancing a job to pay the bills with their art? Does it matter if the job is related to their art?
SD: I would say that 99% of the artists and writers I know balance a bill-paying job with their own work. Whether it’s related to one’s art or not is a matter of temperament: Some people love to do something totally unrelated, and others want to be immersed in cultural work.
The problem people constantly face is that the day job’s demands are often urgent — things need to happen today, this week, right now, before 5. That’s true whether your job is woodworking or running a gallery. Art-making has its own idiosyncratic clock. The difference between these two clocks is hard to navigate, which is why I and nearly everyone I know pines not so much for money per se as for time. We long endlessly for more time.
‘There really is no free lunch’ for artists
AN: The artists profiled in your book work in all different mediums. Do some take more money to sustain than others?
SD: Film, as we all know, just inhales money. Even the lowest-budget film costs way more than what it costs a writer to sit down at their desk and write. Visual art requires all sorts of materials. Dance requires not only costumes and lighting and so on, not to mention dancers who need to eat, but rehearsal space, and space often does not come cheap. Artists, writers and arts organizations all spend a fair amount of time seeking grants and other sources of funding just to keep the lights on. Writing is probably the cheapest medium in terms of art creation, but distributing it in the world — publishing, also requires a fair amount of money that someone has to pay. Sadly, there really is no free lunch.
AN: How does economic inequality determine who gets to make art?
SD: That’s a book-length question, but the short answer is: A lot.
I would also say that economic inequality is most brutal not only in who gets to make art, but also in who gets to have a career and a life in art. I live in New York City, and I see acts of creation everywhere every day: a person walking down the street who has put together a fantastic look, a person making glorious graffiti, or something like ball culture, which you can now see in the glossy television show “Pose.” All of those people are making art, but the structural inequality of opportunity means that few of them would ever be able to build a life around it. We’re missing out greatly on what those people might be able to do not for a moment or a season, but for decades.
‘As the artist changes over time, so does the art’
Valda Setterfield attends the Hold My Hand Forever Exhibition By Forevermark at Highline Studios in New York City, Nov. 17, 2014.
Dustin Harris | Getty Images
AN: There are some artistic professions that come with an early retirement age. I’m thinking of dancers. How do people reinvent themselves after an early end to a career?
SD: Some dancers become choreographers. Some actors move into directing — think of someone like Ron Howard. But that makes it sound seamless or easy, and often it isn’t. Valda Setterfield, a dancer whom I profile in the book, had a horrific car accident at 40 and she thought her life on stage might be over. Her husband, choreographer David Gordon, helped her learn to move again, and she also began to do more theater and film work, which continued for the rest of her life.
Vera Wang was an aspiring Olympic figure skater, but she didn’t make the Olympic team in 1968. Then she turned to fashion. Later, she began designing costumes for Olympic-level figure skaters such as Nancy Kerrigan and Michelle Kwan. When I look at Wang’s designs, it seems to me that they have a precision and grace not unlike a figure skater’s balletic moves.
Often, people reinvent themselves by opening up a slightly different channel through which their gifts can flow
AN: What advantages do middle and later career artists hold over younger ones?
SD: So much more comfort with the weirdness, unpredictability and challenges of the process. You’re just not as freaked out all the time. I don’t mind my own stumbling. I also don’t feel as brittle or defensive. When I was younger, for instance, I would look at all the incredible writers who had come before me, and who were around me, and feel terribly intimidated by the depth and breadth of the field.
But now, it all looks to me like this extraordinary abundance. If you’re fortunate enough to have a long run, there can be so much freedom in mid- and late career.
AN: How do you see people’s art change as they get older?
SD: Again: a book-length question, and several books have been written about it, such as Edward Said’s “Late Style.” What I noticed about the people I interviewed is that their work changed, and changed again, over time. They weren’t waxwork replicas of their younger selves.
The musician Steve Earle, for instance, who came up as a rollicking solo artist in country music in Nashville in the ’70s and ’80s, has moved increasingly toward musical theater in the latter half of his life — a collaborative, multimedia form. The renowned writer Samuel Delany has traversed myriad genres over the course of his life. Intuitively, it makes sense. As the artist changes over time, so does the art, because we make it out of ourselves.
‘Creativity isn’t a machine’
AN: In the end, what were the biggest things you found that helped people sustain a creative life?
SD: As we get older, the willingness to be open, to be vulnerable, to be a beginner, to be out of one’s comfort zone can get a little stiff. You aren’t always so confident that you won’t break something, literally or figuratively. Shame lurks around. But the people who have sustained what looks to me like a truly alive creative practice are the ones who are willing to take the risk of flopping. I hope that I am able to risk embarrassment for the rest of my life.
AN: What can people do if they hit a period of disillusionment with their art or creativity?
SD: Remember that it happens to everyone — this I know for a fact. Creativity isn’t a machine, it’s an organism. Organisms get tired, bored, distracted, daunted, ornery. Stop. Take a walk — and by this I mean: Go somewhere else, do something different, maybe for an hour, maybe for a year. Or several. Keep walking. Look around. What do you see?
The United States Department of State has officially implemented a revised visa policy introducing a mandatory posting requirement for caution payments of up to $20,000 on select foreign travel applications. Under the updated regulatory framework, consular officials are authorized to require temporary nonimmigrant visa applicants from targeted foreign countries to post a refundable financial bond of $20,000 as a condition for visa issuance. The policy mechanism is designed to address diplomatic concerns regarding high overstay rates among temporary visitor, business, and educational visa categories.
The caution bond pilot program applies selectively to foreign nationals from designated countries whose diplomatic entities record historical visa overstay rates exceeding established federal thresholds. Under administrative guidelines published by the State Department, the full financial deposit is posted directly to a dedicated federal escrow account prior to final visa issuance. The entire caution payment is automatically refunded to the applicant upon verified proof of timely departure from the United States in strict compliance with the authorized duration of stay. Conversely, failure to depart within the legal timeframe results in full forfeiture of the posted financial bond to the United States government.
Diplomatic representatives and travel policy experts have expressed varying perspectives regarding the operational implementation of the caution bond system. Administration officials emphasize that the measure serves as an effective, market-based incentive to enforce international travel compliance and preserve domestic immigration security standards. However, international trade organizations and foreign diplomatic missions have raised concerns regarding the financial burden imposed on legitimate business travelers, foreign students, and commercial partners from developing nations.
The United States finalized the rule to make the temporary visa bond program permanent, taking effect on August 3, 2026. The updated permanent regulation replaces the prior 12-month pilot, eliminates the lowest $5,000 tier, and raises the maximum required bond amount to $20,000 for specific B-1/B-2 business and tourist visa applicants.
Here is the list of the 50 countries on the list as o August 3, 2026
Retirement planning strategies are evolving in 2026 to address increased life expectancies, shifting dynamic market conditions, and the transition away from traditional defined-benefit pensions. Individual investors and financial advisors are abandoning rigid retirement models in favor of flexible, multi-asset strategies designed to mitigate longevity risk and preserve purchasing power over multi-decade retirement horizons.
Mitigating Longevity Risk with Dynamic Asset Allocation
As average life expectancies extend past eighty-five years, one of the primary financial risks facing retirees is outliving their accumulated wealth. Traditional fixed income allocations—such as the standard 60/40 equity-to-bond portfolio—are being reevaluated to ensure portfolios generate sufficient capital growth alongside reliable income.
Financial planners recommend maintaining a meaningful equity allocation throughout retirement to offset long-term inflation erosion. High-dividend equity funds, global real estate investment trusts (REITs), and inflation-indexed Treasuries are combined to create diversified portfolios that deliver both growth and income stability.
The Transition to Dynamic Withdrawal Strategies
The classic “4% safe withdrawal rule” is increasingly replaced by dynamic withdrawal strategies that adapt annually based on market performance. Under a dynamic withdrawal framework, retirees adjust their annual distribution rates within pre-set caps and floors:
– Market Upside: During strong market returns, retirees can increase discretionary spending or fund family legacy gifts.
– Market Downturns: During market pullbacks, spending distributions are temporarily reduced to prevent sequence-of-returns risk and preserve core investment principal.
Guaranteed Lifetime Income Options and Deferred Annuities
To establish a guaranteed baseline for essential living expenses, individuals are incorporating modern fixed-indexed and deferred longevity annuities into their broader retirement architectures. Modern annuity structures offer competitive return caps, transparent fee schedules, and inflation-adjustment options.
By funding essential expenses—such as housing, healthcare, and insurance—with guaranteed income streams from Social Security, pensions, and annuities, retirees can manage discretionary investment portfolios with greater flexibility and lower emotional stress during market volatility.
Actionable Steps for Future Retirees
1. Calculate Baseline Retirement Expenses: Determine fixed living costs and map guaranteed income sources to cover essential expenditures.
2. Adopt Flexible Withdrawal Rules: Implement dynamic spending rules to protect investment principal against market downturns.
3. Incorporate Inflation-Protected Assets: Maintain exposure to dividend-growing equities and inflation-indexed bonds to safeguard long-term purchasing power.
As the largest intergenerational transfer of wealth in history accelerates, high-net-worth families, entrepreneurs, and individual investors are placing heightened emphasis on comprehensive estate planning, family governance, and asset protection. Preserving capital across generations requires a balanced approach combining tax-efficient legal structures with open family communication and financial literacy education.
Optimizing Estate Tax Exemptions and Trust Structures
With potential modifications to federal estate tax exemption thresholds on the horizon, proactive estate planning is essential for high-net-worth households. Estate planning attorneys and wealth advisors are establishing multi-generational trust structures to transfer wealth efficiently while minimizing estate and gift tax exposure.
Popular structural strategies include:
– Irrevocable Life Insurance Trusts (ILITs): Utilizing life insurance proceeds to provide liquidity for estate tax obligations without expanding the taxable estate.
– Grantor Retained Annuity Trusts (GRATs): Transferring rapidly appreciating assets to beneficiaries with minimal gift tax consequences.
– Dynasty Trusts: Preserving wealth across multiple generations while providing long-term asset protection from creditor claims and legal liabilities.
Establishing Family Governance and Financial Education
Legal and financial structures alone cannot guarantee long-term wealth preservation without effective family governance. Financial advisors report that a significant percentage of multi-generational wealth dissipation stems from lack of communication and inadequate financial preparation among heir generations.
Families are establishing formal family governance frameworks, including periodic family meetings, written mission statements, and structured philanthropic foundations. Involving younger family members in charitable grant-making and investment discussions fosters financial stewardship and prepares heirs to manage family assets responsibly.
Digital Asset Custody and Legacy Planning
In today’s modern economy, estate planning must extend beyond physical real estate and traditional brokerage accounts to encompass digital assets. Comprehensive estate plans now include detailed inventories and legal access protocols for corporate domain names, intellectual property, digital media rights, and cryptocurrency holdings.
Fiduciaries and estate executors should be provided with secure, encrypted access mechanisms and clear legal authority to manage and transfer digital holdings in accordance with the owner’s estate directions.
Practical Steps for Legacy Planning
1. Review and Update Estate Documents: Ensure wills, revocable trusts, and power-of-attorney designations accurately reflect current family structures.
2. Establish Structured Trusts: Utilize irrevocable trusts to protect assets from creditors and minimize future estate tax liabilities.
3. Create a Digital Estate Inventory: Document access protocols and legal permissions for all online accounts, intellectual property, and digital assets.
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