Write a love letter to someone you do not know.
Dear child playing the piano behind the closed door,
I can’t hear your voice, only your teacher’s, and she accompanies your ragged efforts with a determined tone, as if her words will pull from you the correct notes and rhythms. I stand and casually walk past the closed door, peeping through the narrow rectangle of glass, into a room that isn’t exactly how I would have imagined it: larger, and with more light. It has always sounded like you are playing in a dark closet. I glimpse you in this stolen way. You are older than I’d imagined, a young teen with hair cropped short into a pageboy cut; you might even be a boy rather than a girl, as I’d assumed. How can I write a love letter to someone I cannot see?
I sit again, and listen intently to the music you are making with your fingers. You keep a patient beat, hesitating as you try to read the notes you have failed to practice at home. I know this sonatina, by Muzio Clemente, one of my favourites as a young musician. You start, you pause, you try again. You have a dogged patience to your persistence, a haphazard understanding of what you’re trying to achieve, but a willingness to go on.
As I turn the page, you lose the beat altogether, and your teacher steps in to direct you, her tone not patience but not unkind. She sings along. She claps. She makes counting noises to pull you onward, and for a little stretch, here, it is only her, and you pause as if unable to continue. The song seems to grow longer and longer, and I wonder if you will ever finish it. You were wearing a white and grey t-shirt on this hot day, your face bent away from the door, as you perched on the piano bench and watched your teacher gaze at your music, which she was holding in her hands. On a chair nearby, your school backpack.
You have reached a form of conclusion, though I’m not sure it’s yet the end, and your hands crash out two chords — smash, smash — after which you continue on, your fingers chopping at the keys, dragging yourself toward the end, which requires a trill to complete. “And that’s a sharp,” the teacher reminds you, and you try to trill a second time, then stagger into the real end, the one we’ve all been waiting for.
You whack at the finishing chords. They are not the correct chords.
“What key are you in right now?” asks your teacher, and you are forced to backtrack, to begin to take another crack at this ending, again.
Have you practiced this song, this week? Are you sight reading the notes and hoping the teacher won’t notice? What are your expectations for yourself? Do you enjoy playing the piano? Does this song speak to you, or is it like a truculent closed mouth, a turned head, an impenetrable mystery whose meaning is contained behind the closed door, and which even your teacher cannot illuminate for you, though she tries, a scene you might remember when you’re older, much older, with some fondness, and, even, then, regret.
My favourite literary magazine, The New Quarterly, is hosting the fifth annual Wild Writers Festival at the Balsillie School in Waterloo, on the weekend of Nov. 4th, and I will be there too! Join us to share in the delight of the written word.
Details, including ticket information, are available on their website. Note that there are free events as well as ticketed ones. (My event is FREE, and I’ll be moderating a panel at 1:30 on Saturday on the subject of finding your voice in fiction, featuring the amazing multi-award nominee Kerry Lee Powell, Brent van Staalduinen, Kirsteen MacLeod, and Sharon Bala.)
Highlights from the rest of the weekend include:
On-stage interview on Friday night with Rosemary Sullivan, acclaimed biographer, most recently of Stalin’s Daughter, (and once-upon-a-time, my professor); Saturday writing workshops with Alyssa York, Isabel Huggan, Erin Bow, Michael Helm, among others; a “speakeasy” with Zarqa Narwaz on Saturday night at the Berlin hosted by my friend, and terrific writer, Tasneem Jamal; and Sunday brunch with, among others, 2016 Booker prize nominee, Madeline Thien.
I mean, really!
To register and buy tickets, click here.
PS To say it’s been a busy week/month/season would not begin to cover it. I’ve got more notebook exercises to share, and reflections on attempting to take a rigorous coaching course (mid-way through), and political thoughts aplenty, but this post, as is, will have to suffice for the moment.
This morning, I sat in kundalini yoga, my arms lifted over my head, lowering and raising and lowering, and aching and burning, and I began thinking about something else entirely. I remembered baking bread on Sunday afternoon, while listening to the Sunday Edition on podcast, an hour on Man’s Search for Meaning, a book written by Victor Frankl in 1946, shortly after he was released from a German concentration camp; his parents, brother and pregnant wife all died in concentration camps, a suffering I cannot fathom. And yet, Frankl wrote a book that is still in print, its words still luminous with love. On the program, his biographer discussed the fundamental flaw in the pursuit of happiness—the pursuit itself, the pursuit of a goal that cannot be forced into being, if happiness is even a reasonable or desirable pursuit at all. The more you chase it, the further from you it speeds. And, said the man, the relentless focus on the self, on creating happiness for oneself, dooms the enterprise. It’s only when we turn away from ourselves and focus on others that we become—not happy, but whole. We find meaning in our life because we’ve reached beyond ourselves.
Love is meaning. The only way to fully inhabit the self is to look, listen, love beyond the self.
I sat in kundalini yoga, my arms aching, and remembered, and remembered more: yesterday afternoon, chopping mounds of onions and sweet potatoes for our Thanksgiving dinner, listening to another podcast: Tapestry, with Mary Hines, an interview with a woman who had corresponded with Omar Khadr when he was a prisoner at Guantanomo Bay; the woman had become his teacher, and she testified on his behalf at a trial. She talked about the fear of God in a way that made this fear make sense: not cowering under fear of punishment by an angry god, but fear of refusing God’s invitation to action. Fear of making a choice based on the shallow terms on which we so often base our choices: fear of being judged by others, fear of looking foolish, fear of being singled out, fear of taking a stand and having to suffer the consequences. When none of these worldly or earthly pressures could shake the more profound fear of not doing justice, of not doing right—this, she said, was the fear of God. I look in awe at those with courage to stand firm in their convictions; does this strength come from a bigger place and purpose?
Do we know what is right? Do we know what is just?
The woman on Tapestry spoke about being pulled in an unexpected direction, a direction not of her own choosing. An invitation, an opening, a tidal pull, a crack where the light gets in.
As I sat in kundalini, I asked myself, as my arms spun circles and ached terribly, where am I pulled, who are the others upon whom I turn my gaze?
Stories, I heard.
You have stories, you already have stories, and stories pull you always out of yourself. Yet you resist their pull, you resist even the idea that you might be good at something, that you’ve written stories that are like gifts, in a way, that mean something larger than yourself—that don’t belong to you.
Who are you to say you should change course and seek a new outlet for your desire to be of use in this world? That’s not pull, that’s push, that’s pursuit.
I stayed up to watch the Blue Jays game on Sunday night; the Blue Jays game and the presidential debate. After the debate, the Blue Jays won, which was fun. But I found myself unable to shake the image from earlier, of a composed, self-contained woman being stalked around the stage by a much-larger, hostile man, his eyelids narrowed, his rage and disgust scarcely contained.
It disturbed me.
Today, when I walked to yoga class, I had to pass by a number of men who were working on the hydro lines outside my house. I was one woman, they were many men. I did not fear them. But somewhere in the back of my brain, I wondered whether these men might speak of women the way that Trump was heard speaking of women, I wondered whether Trump is telling the truth and most men (or even some men, or even a few, which is more than enough) view women as sexual objects, to be desired or loathed, end of story; or are we to be “championed and revered,” as another Republican (Paul Ryan, to be precise) said when rebutting Trump, which sounded almost as terrible, in a weird way, as if I, as a woman, could not operate on my own steam, as if I, as a woman, were a figure of worship, mythical, not quite real. And then I shook my head and thought of all the open-hearted men in my life. And I kept on walking.
I’ve always chosen to believe that I can be myself, as a woman—small in stature, ordinary, complicated, messy, curious—and be accepted as an equal in any situation, and much of my experience confirms this; but when confronted with the evidence shown in that debate on Sunday night, my spirit shrank, a bit.
I wonder whether other women feel the same.
Write while listening to music.
Sept. 29 Listening to music at half time, Jacob Hespeler High School, to the pounding of basketballs on wood, to the squeak of shoes; Eminem, but I don’t know which song. The music, the moment. Pounding rising beat and intensity. The girls huddle up and shout their little cheer. Music’s over. Game on.
The music is still in my head as I stare into space during a time out. It makes me feel excited, determined, pumped up. Cliches. How to express the whirling sensation in the blood, under the skin, like a flame licking kindling, burning up that dry wood, these old dry bones have life in them yet. I am exactly the wrong age. Not old enough for wisdom, not young enough for spirit.
Write while listening to music.
Oct. 3 At the Beckett school of music. From behind closed doors, a cacophony of voices, instruments, songs, chords, melodies. A piano teacher sings along with her student, “One, two, three, four, One two three four, One two and three four.” Further away, the sounds of a piano being played by expert hands, a fluttering waterfalling of notes rippling over the keys.
From behind the nearest closed door, the one behind which my daughter is playing her violin, a lively piano bubbles up, chirpy in tone, and then her violin bites into the opening bar — a tango. She is slightly off-key. They march together, piano and violin, and suddenly the counting goes awry and they stall out, confused, and I can hear their voices trying to sort it out. Two competing pianos now pound at each other with the violin dancing its sprightly tones. Both pianos stop at once. The pianist behind the other door stumbles and hesitates, chopping out a four-beat march in a minor key, stopping and starting, a herky-jerky effect. At a patch of confidence, the speed increases. Then stops.
I hear again the rippling of notes from somewhere far away, rolling, rolling, effortlessly, decoratively.
On the drive here, I could not countenance the thoughts crossing my tired mind; listening to a song on the radio, a brand-new lively pop song that tormented me with its worn-out familiarity. My eyes could scarcely focus and I said, I can’t be this tired all the time. Because the thoughts wandering into my mind and tapping with some irritation on the bones of my skull, were saying, I can’t bear art. I can’t bear how profoundly it can fail to do its job. I can’t bear the necessity of selling it for survival. I can’t bear to make it. Elena Ferrante has been stalked for months so as to rip her from anonymity and I can’t understand why, can only see the pain of it, and how necessary her invisibility to her work.
All of this music sounds like the cacophony in my head, the crossed wires, and missed connections. The random pairings of discordant melodies and misshapen chords, the staggering array of possibilities that is yet, as yet, and possibly forever, incoherent. I can’t make sense of it. I can’t strip it down and hold its many shapes and piece them together again. I can’t bind it in place. I can’t even hear it. My powers are waning, if ever they were waxing, and I fear what I cannot do and I fear the effort wasted. Yet I can’t stop writing. I’m still writing. No matter the unthreading it leaves in its wake.
Subject: Writing as an outsider. My chosen venue: a basketball game in a high school on the west side of the city.
When I first arrive, I sit on the wrong side in the wrong set of stands, then notice a dad I vaguely recognize heading in the other direction, and try to discreetly switch ends. It is hard to focus and write because I want to watch and things happen so quickly, end to end and back again. Coach whacking her clipboard on the sidelines, shouting, “Whoo!”, the team scores. My daughter is on the bench looking small in the red and black jersey. The coach wears red too. The other team is white and blue. Girl misses her free throws.
Shoes squeak. Ball pounds on the wooden floor. The sounds are particular to this space. Close your eyes and you would know what you are hearing. Echoing.
Girls are up 4-0 when the teams take an inexplicable break. They have been playing for mere minutes. I don’t understand. The team huddles up with a tall assistant coach who is not wearing red (blue, instead), and the head coach, who is also tall, animated and vocal. I recognize one of the refs from soccer.
The teams play for another minute and take another time out. The refs stand together at the far end, side by side, like identical twins in their black and white striped shirts, long black pants, black shoes, and round heads, one bald, one with short white hair. I know the bald one. They run up and down the court with whistles in their mouths. I don’t know much, but I can see that the coach plays the same five players most of the time. Nine girls sit on the bench and wait.
Bright lights. Echoing chamber. Blue plastic benches, terminally uncomfortable. “Home of the Highlanders.”
I should watch instead of writing.
At half-time, the ref who I recognize from soccer comes over to chat. “You don’t watch while your own daughter is on?” “Oh no! When was she on?” “She was on for the last minute.” “Oh man, I totally missed that.” “This is a good team.” “Yes.” “She’s in grade nine, your daughter?” “Yes.” He tells me about how he used to coach basketball and why he quit (a long story).
The buzzer counts down and the next half starts and now I watch with great duty and attention. My daughter does not play again. I don’t know much about basketball, but the same nine players sit on the bench and don’t move for the final quarter. My attention drifts to the clutch of slender teenage boys watching and horsing around with their phones on the lower benches. I recognize one from soccer.
I understand soccer, but not basketball. The team wins by more than 10 points. That seems sufficient.
Afterward, walking across the parking lot, my daughter, who is glowing, says, “Have I converted you to basketball yet?” “I’m really sorry,” I say earnestly, even though I’d intended to keep this opinion to myself, “but I have to admit that I’d rather be watching you run cross country.” “Oh Mom,” she says in a fond tone, “but I want to play basketball.” “I know,” I say, “and that’s what counts. You’re the one who’s doing it! I’m just here to watch.” (And today, I didn’t even do a good job of that.)
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My name is Carrie Snyder. I'm mother of four, writer of fiction and non-, dreamer, planner, mid-life runner, soccer coach, teacher, taking time for a cup of coffee in front of this computer screen. My days are full, yet I keep asking: how can I fill them just a little bit more, with depth, with care, with light.
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