Yesterday, picked up this tired little fellow from camp. Despite looking half-asleep at camp, he was very animated in the car, singing and recounting happy stories all the way home. My favourite was about how he and two cabin-mates had plotted out a three-book series (!!) about the mythical “Evil Octopus” that is said to live under the water trampoline in the camp pond, and a good but luckless character named Tamarack Tom. Could a writer-mother ask for anything more?
On the drive to camp, I listened to an interview with a young British woman, who was on the last leg of a five week North American tour: she’s a hip-hop artist, poet, and novelist — Kate Tempest. Somehow, at least temporarily, she restored my faith in the necessity — the importance — of performance. Her fresh enthusiasm was exactly what I needed to hear. She was so present and so thoughtful, dynamic, inventive, inspiring. I was inspired. Look it up, take a listen.
When we arrived home yesterday, our visitors were just arriving too: cousins for Canada Day!
The three other children had been home alone all day and the house was in a minor state of disaster, despite our newly assigned jobs and chores. How hard is it, really, to carry a dirty dish to the kitchen?
Anyway. Thankfully my sister-in-law is not fussy. But the dogs are also shedding at present. So I just vacuumed.
And I’m getting ready for another road trip yet this week (just me and the elder daughter).
Me and boy and tiger in “The Chub-Chub”
Since last Tuesday I’ve put over 1,000 kilometres on our little pod car, or “The Chub-Chub” as it has been nicknamed by the eldest son. So much car-sitting! My body couldn’t wait to move again. Last night I ran at AppleApple’s soccer practice and kept going and going and going. I knew if I stopped and stood by the field, the mosquitos would get me, and my legs were so happy to be running: I went 14.5 kilometres and it didn’t feel hard, which cheers me greatly, and makes me think I’ll be able to run the half-marathon when I go to Victoria this October (I’m a guest speaker at this fall’s Victoria marathon–have I told you that yet?). (How this fits with less is more, I have no idea, and it probably doesn’t, but there it is, and I’m excited, and excited too about the possibility of even more travel.)
In other exciting news: here is the cover of The Juliet Stories, as it will appear in the UK & Australia. Amazing, hey?
My meditation word right now is change. I’m restless, wondering, working hard, trying to tune in to what matters, my brain firing off in all directions, as I stand here on July 1st, amazed at what we managed in the month of June. It’s been quite the ride, with so many swoops and dives, long distance drives, and more soccer fields than I can count. Hang on, here’s summer.
All for now.
I sit down to write here, on the blog, and my mind goes round and round the purpose of this blog. I wonder why people are reading, perhaps, and why they may not be reading. I wonder why I am writing. Do I have something to say? Is my purpose to amuse, to inform, to muse, to form? Do I call out in hopes of a response? Am I launching quirky missives from an insular and isolated place? Am I writing as a writer, as a mother, as a seeker, as a knower? Am I writing to you? Or to me? Or to no one at all, to the ether?
I’ve come a long way on this path of being a writer. When I was a child, I wanted to be a writer like L.M. Montgomery or Lois Lenski. I wanted to be a writer like Emily of New Moon. I wanted create imaginary romantic worlds of adventure and mystery. As a teen, I was in love with language, and saw in it a violent risky potential. I wanted to write like Michael Ondaatje. I wanted to write barely coherent poetic scenes of romance and mystery and adventure. I didn’t care whether or not my stories or poems made sense, only that they burst with emotion and the fullness of self, perhaps. As an older teen and into my twenties, I wanted to write like Mavis Gallant and Alice Munro. I wanted to craft brilliant sentences that both hid and displayed meaning, sentences that were as rich and big and complex as a whole story, characters whose motives were murky. I wanted to conjure worlds at a tilt from my own, veined and layered and dark.
And so I wrote and I read and I wrote and I read.
In some fundamental way, I refused to believe that I might not be a writer, someday. I willed myself to continue through years of small steps forward, and crushing rejections. I determined to improve. I determined to learn and to master the craft of storytelling. How to do this particular thing and do it well: how to tell a compelling story, not neglecting plot for style, not neglecting sentence structure for pace. I got better.
I got to where I am right now, here, sitting before this laptop, wondering, wondering. Do I still want to be a writer, so fiercely, so absolutely, so determinedly? Who do I wish to write like, now? Or, more importantly, perhaps, than I originally understood: what stories do I long to tell? And if I have no story that I long to tell, why craft the structure, why lovingly build the sentences? If the house is empty? (Is the house empty?)
Engagement is a key word of our era. That seems to me the purpose of social media. Anyone who wishes to earn attention, to market her work, must learn to engage with her audience, to maintain a call-and-response relationship, the bigger the better. It comes naturally to some, and less naturally to others. I put myself in the latter camp. Yet this blog is a form of engagement, whether or not I choose to see it that way. And when I recognize this and admit it, I become more and more uncomfortable as purveyor and publisher of posts. I cannot understand what I am doing, nor what my purpose may be. Is it, as originally intended when I started the blog in 2008, to narrate my every day life, to keep it in some form, and if so, for whom? For my children? For myself when I am older? Am I marketing my books? Practicing my craft? Indulging in cheap philosophy? Is this a publicly-kept journal?
Could I live without engagement? This specific form of engagement? (Silly question. Of course I could.)
Less, is the message that’s been coming my way. Not more, more, more, but less, less, less. For so long, I’ve fought to become more, to achieve more, to do more. I’ve worked toward big, specific goals and dreams. Now I’m confronted with this strange glimpse of myself, something I was afraid to see: I see that I will never write as wonderfully as I’d hoped to. I’m not possessed of a special gift. I’m a hard-working woman, that’s all, and I had a dream.
I’ve written that in the past tense without even noticing: and I had a dream. Strange. Isn’t it? Maybe the dream is shifting, deepening, altering course, becoming something else.
What now? What next?
Now: Life is strangely lovely at present. It is unexpectedly wonderful to hear less, less, less calling me. I feel myself relaxing into moments in a way that feels almost unfamiliar, unknown. I feel the pace changing. I feel myself at peace with what I have, right now.
Next? Being a writer isn’t something you quit. Writing is how I process the world around me; I’d be impaired without it. I continue to write, as always, but right now it’s a form of listening; without shape. I think my purpose is to listen, right now. I feel quiet. I feel a great deal of affection–of love–for those around me. The days are full, vivid, layered and veined and rich. I feel human. I feel flawed. I can’t think of anything I need or long for or crave, not even direction, right now. I feel present.
What I don’t feel is at an end with this blog. But I want to be honest about my ambivalence toward its purpose, and my use of it, at present. Thank you for listening.
PS Photos are from this past weekend at my brother and sister-in-law’s farm, taken after the sun went down, on the longest day of the year. Homework got burned, marshmallows got roasted and mushed between graham crackers, and the mosquitos almost won. Almost.
Twenty minutes can feel like no time at all, when I’ve fallen down the rabbit-hole of the internet, reading truly fascinating but perhaps not necessarily useful stories on … well, see, there’s the problem. I must have read at least five truly fascinating but not necessarily useful stories in the past twenty-four hours, following links from Twitter and Facebook—to genuine news stories or long-form articles, not top-ten lists—but I can’t recall the contents of a single one. Poof. The minutes vanish.
But twenty minutes can feel like a very long time when I’m sitting in silence listening to the sound of my thoughts skittering, seemingly randomly. Oh, there’s my mind trying to make a plan for later on today, and a list of things I can’t forget to remember to do. There’s my mind slipping sideways into what seems to be a dream. Bring it back, follow the breath. Breathe, breathe, meditate. Oh, there’s my mind dashing off to wonder how much longer. And under it all, there’s my body, trying to hold fast, remain still and calm but strong. What this exercise seems to be, at its core, is a daily weather report: here’s what you’re feeling today. Here’s how your body and mind is coping with challenge. Bring an umbrella.
Today’s weather report of my body and mind: very tired, wandering, a bit directionless, with a chilly breeze of underlying anxiety about upcoming events.
I’ve been struggling to write, here. Not elsewhere, but specifically here, in Blogland. I was at a book club on Monday evening, a friendly thoughtful group, and they asked interesting questions, including one I found difficult to answer: How do you manage the attention? My gut instinct? To reply: uh, what attention? The truth is that I’ve been managing attention by pretending there’s a solid wall between my public life and my private life, and that the two don’t intersect. It’s a mental trick I sustain when blogging, too. I pretend no one’s reading. It’s like I’m writing this in a special private journal that oddly ends every time with me pushing “Publish.” It’s a trick that doesn’t work terribly well, I’m beginning to understand, not just in Blogland where readers respond to posts (which I love), but also in the real world. (I can hear you thinking: you’re just grasping this now?). For example, on Monday afternoon, my 9-year-old had a new friend over, and when the dad came to pick her up, and I was making small-talk in the front hall, he said, “I saw you in the newspaper.” Private Carrie fought with Public Carrie, confused. He’d seen me in the newspaper? Had I been charged with some crime? Oh, right, I’m a writer. I actually had to say it out loud, as if explaining it to myself, “Oh, yes, I’m a writer.” “I know,” he said. Oh, right.
So the separation is illusory at best, and delusional at worst.
Further, the whole pretence breaks down completely when I admit, both to myself and to you and to the lovely women at Monday night’s book club and likely to that dad in the front hall, that I want people to read what I’m writing. Of course I do! The sustainability of a writer’s career depends on readers. If I were operating a retail business, it would be counterproductive, not to mention just plain ridiculous, to open a shop only to pretend the shop doesn’t exist. A customer walks in. Carrie pretends she’s in her living-room, in yoga pants, looking after sick kid. Customer is confused, feels like an intruder, apologizes for wishing to purchase something from shop Carrie continues to pretend does not exist. (Why doesn’t anyone come to my shop, Carrie wonders? Maybe I’m not very good at making _____. Maybe I should quit trying and become a midwife.)
In other words, ambivalence isn’t actually ambivalent. It’s pretty damning. Like my dad would say, shit or get off the pot. (I really like that saying, actually; I use it a lot, when giving myself advice.)
But here’s the thing. What I’m selling in my shop is not me—it’s my writing. And that does feel genuinely separate. I’m in my living-room, in my yoga pants, with my sick kid, holding out a book. Holding out a blog post. This is the thing, I’m trying to say, Forget about me. So it’s confusing. I write in hopes that people will read what I write, not to attract attention to myself. I read Nick Hornby and Bill Bryson and Miriam Toews and Ruth Ozeki and Karl Ove Knausgaard and Kim Thuy because I really like their writing. I wouldn’t need to know anything about them to like their writing. I may feel I know them, because they are all somewhat autobiographical writers, but knowing them is not my motivation for reading their work: I read because I love what they do with story, with language, with structure and form, and because I’m moved and entertained by their writing.
I guess my overarching question is: Is seeking attention critical to finding readers? Is it a job requirement? What if I focus instead on being the best writer I can possibly be and stop sweating everything else? What if I simply support a project at every stage of development, including talking about it after it’s been published–and let go my attachment to the attention, personally. Then the transition between public and private might be much less jarring, much less important.
During today’s meditation, I had a sudden vision of seeking balance between interior and exterior. Between maintaining a quiet private interior focus, which is what I need in order to write, and an accepting reflective public exterior focus, which is what I need in order to be in the world as a writer. How can I be as authentic and free in my public life as I am in my private life? I breathe in, and I breathe out. Breath itself is a balance between interior and exterior.
So, how do I manage the attention? Maybe I’ll figure it out someday, twenty minutes at a time.
PS I’ll be at the Kitchener Public Library this evening, presenting the prose awards for the Dorothy Shoemaker prize, which I adjudicated this year. And I’ll be in Fort Erie on Friday evening as part of the Ridgeway Reads reading series.
It’s a long week, this one. I’ve had a lot on my plate, and therefore have been unable to put into practice, with regularity and insularity, my word-of-the-year: WRITE. The first two weeks of January stand out as this kind of cocooned ideal, during which there seemed just the right balance of, well, everything. Early mornings, quiet concentration during school hours, busy after-school activities, family suppers, time to unwind late in the evening. Add onto the schedule, and something has to give. And that something is so often this: WRITE.
To write takes inward focus. Publicity work pulls the energy outward. There’s attention, and there’s attention: two different meanings for that word. I can’t and won’t complain about receiving attention for my writing, because this is what sustains a career. But how to receive attention and also remain vigilant and protective of my quiet time? I haven’t figured it out. I’d like to ask someone who would know better than I do, someone who’s received far more attention and yet continues to make space and time to write. Someone like Miriam Toews. I wish I’d asked her last fall when I had the chance, when we were in the same place together, on several occasions.
It’s winter. This is good inward-delving time, always has been. The pull is to this keyboard and screen, which take me into my mind, into scenes that surprise and intrigue me, chasing characters I’ll never meet, yet who feel completely real. I don’t know why I want to do this, nor what practical use it could possibly serve, yet here’s where I’m drawn: into the imagination.
Maybe because real life is hard, sad? Maybe I’m seeking symmetry and wholeness and the balance only fictional framing can offer.
I just received the cover art for the Polish version of Girl Runner (titled “Biegaczka”; any Polish-speakers out there? does it translate as Girl Runner?), and thought it might be fun to line up the covers so far, and see all these versions of Aganetha Smart running, flying, leaping, winning, or standing pensive and strong, as in the Dutch version, which will have the title “The Rosebud Athletics Club for Women.”
Because the images appear on the screen in a different order depending on your browser, it doesn’t work to tell you what cover comes from where by going around clockwise, but included here are covers from: Poland, the United States, the UK & Australia, Spain & Latin America, Canada, and the Netherlands. (I should run a contest–which cover comes from where!)
I also just got off the phone with Owlkids, the publisher of my first children’s book, The Candy Conspiracy, and will take this opportunity to note that although the official pub date isn’t until April, 2015, it’s already available for pre-order on various book-selling websites in Canada and the US. Here’s what it looks like.
Will it be different to be a children’s author than an adult author? I guess I’ll find out soon enough. And I will let you know, but of course … One difference will be the launch party: way more gummy worms. (This launch party basically plans itself.)
It’s been a week of busyness with little opportunity for reflection. It’s been an up and down week, emotionally, and it’s just struck me that I’m finishing my November, as I often do, in a bit of funk. Is it the shortened days, the vanishing light, the overhanging clouds, the chilly winds, the general gloom of a world stripped bare and not yet blanketed in bright snow? Probably, yes.
But it’s also an existential Novemberness that alights every year. A wondering what it is I’ve accomplished this year, and what’s left to complete, as if I am a list of tasks done or undone. And maybe I am? But maybe, maybe I’m not, in truth.
As Kevin tells me, Life is not going to give you First Prize. There is no First Prize that can assure you you’ve written a good book. There is no First Prize that can assure you you’re a good parent. There is no First Prize that can assure you you’re a good person.
I’ve fallen to pieces on a few occasions this past week. I’ve been filled with unaccountable shame. This is not the face or person I present to the world, but my kids have to stumble over it. They’ve seen me crying and have found ways to comfort me, with compassion and rationality; and I worry that I’m harming them by not being as solid as rock, as rooted as an oak tree, as strong as diamonds.
I suspect that this feeling of vulnerability and exposure is cumulative. It’s been a fall of presenting my book in public to audiences interested and sometimes not so much; that’s the reality and necessity of publishing books. One must promote one’s work. One must speak on behalf of the work in hopes that the work gets found and adopted and championed by others. I have many many wonderful memories from events this fall, and in truth, very few that are even mildly distressing. So I suspect this feeling of vulnerability and exposure has little to do with the quality and worthiness of the events themselves, but rather with a sustained public stance that has been more difficult for me to participate in than I’ve allowed myself to recognize.
After all, I enjoy reading from my work. I enjoy meeting other writers, and readers. I enjoy sharing my thoughts, and appreciate immensely being invited to participate. These are enormous blessings. I am enormously grateful.
But the shadow side is that I don’t think the human character is designed to absorb even the modest amount of attention that’s come to me this fall. I don’t think we’re particularly good at it. It doesn’t tend to make us into better people. It tends to make us think we’re something special. And even while we’re thinking that, we know we’re not special at all, and the disconnect and disharmony of having to sustain and project the confidence of having something worth saying, while fearing one doesn’t, creates a cognitive dissonance.
I’ve felt kind of hollow this last little while. Hollow, and, in truth, lonely. Removed from myself.
Restoring an interior balance and sense of location and groundedness seems the answer. Advent starts tomorrow, a season of waiting, and I like that metaphor. I don’t mind waiting. I’ll never arrive, not really, because I’ll never cease changing. I want to inhabit deliberate patience. I want to discipline my mind away from its taste for quick hits of attention, and return it to the slow and steady onward pace of life in its daily ritual and routine, a life of small adventures, private successes, and strength through connection.
How I fit in the public work that is necessary to my job — and important (teaching is important, for example!) — is a question I’m not entirely able to answer at the moment, but I think it relates directly to maintaining disciplined habits and routines. Maybe too — this has just come to me, just now — it relates to forgiveness. Maybe it is mainly in my own mind that I’m falling short. Maybe, secretly, I really do believe in a First Prize for anything and everything, and as long as I cling to my imaginary scale of external validation, I’ll exist in a kind of permanent November of the spirit. And I would rather not.
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