At the beginning of this year, I had the idea of choosing a theme for each month, something I would particularly focus on, no matter what else was happening.
January’s theme was daily meditation and writing.
February’s theme is writing, travel and rest. I did no writing while travelling. None. Instead of writing, I rested—it was mental rest as much as physical rest. The time spent driving proved unexpectedly peaceful, as if my mind had been craving space. How often do I let myself stare out the window, how often do I let my mind wander? There are moments, certainly, throughout the day, but these are of necessity brief, fleeting.
Spacious wandering. Staring out the window. Can I do this more often? Can I give myself permission?
I was ready to write again when we got home!
I was also ready for a few changes. In keeping with February’s theme of rest, I am trying to get more sleep. This means going to bed earlier. I managed to be in the bed with the lights out before 10PM all week, and it made the early morning exercise so much easier, and more sensible.
I’m also five days into a two-week experiment with giving up caffeine (especially coffee). I’d been drinking a lot of coffee, and in truth, it seemed to feed my nervous energy and anxiety. Peppermint tea is an okay replacement; I can’t complain (can I complain?). My insides feel steadier. Rest.
As in January, I continue to meditate. This week I’ve been combining meditation with movement because it keeps me awake. It also gives me a chance to practice some kundalini yoga at home.
I haven’t chosen a theme for March, yet.
Other themes I’m interested in exploring in the months ahead include: reading (imagine sitting and reading for a whole month!), research, music (songwriting/recording), photography, yoga and meditation, swimming, writing fiction by hand. What would be on your list?
This morning I hosted the final session in my inaugural, experimental series of Writing Adventures. The feedback I received circled around the theme of welcome, I think. Participants thanked me for giving them space and and a place to write, as well as guidance throughout; the space felt safe; there was something spiritual or peaceful about the exercise, or about the environment that was created in the room. Several participants told me that the writing had been therapeutic. Some found it challenging or hard, while others expressed that they’d had a lot of fun.
Ultimately, the sessions confirmed for me that this is not a writing exercise, although it uses writing as its medium. It’s an exercise about making or creating, about shaping experience, about exploring the unknown. It’s about being led to a place we never meant to go, to find something we didn’t know we were looking for. It’s an exercise that can bring a sense of peace or resolution to a problem that your mind may be working on, quietly, behind the scenes—I frequently uncover an emotional theme, something I haven’t otherwise been able to acknowledge or recognize. That is why the same “map” or “guide” can be followed again and again on these adventures and never become repetitive; there is always another story waiting to be found. We live within ever-shifting emotional states that affect how we interact in ways both profound and mundane.
Finally, I observed again that there is no perfect time to sit down and write. Forget about finding the perfect time, writers of the world! There will always be external blocks rearing up—I’m too tired, my to-do list is too long, I should be spending this time with X, it’s been a long day, I can’t squeeze it in, I just don’t feel like I can go there, not right now, maybe tomorrow, I’m too distracted, I can’t sit still. All legitimate barriers. But these barriers dissolve as soon as I sit before the page and open myself to what’s waiting to be found. Maybe those moments when we are least inclined to force ourselves to attend are the moments when we most would benefit from stopping and listening to the quiet (or clamouring!) voice within.
I arranged the first Adventure as a three-session series because it’s an exercise that becomes easier to do with practice: you figure out what risks you can take, what rules you need to break (interior self-binding rules, mainly), and how to let go and follow where you’re led. It’s the letting go that’s the hardest. It’s letting go of the voice in your head that says, This is not important. It takes practice to learn how to reply to that voice: It doesn’t matter whether or not this is important, I’m doing it. What that voice in your head won’t tell you is that you actually can’t know while you’re making something what value it may have, what necessary step it represents in the piecing together of a larger puzzle, and where this is leading you.
Imagine this. You are crossing a creek in the middle of a thick fog come down to earth. It’s like saying of a stepping stone, the only one you can see right now before you: This is not an important stone. You wouldn’t, would you. You would in humility understand implicitly that you just don’t know. You just don’t know—and it doesn’t matter. To think that it matters is to completely miss the point of what lies before you. So you step on the stone, and you come to another, and you just don’t know. And that is how you find not only where you are, but where you’re going.
P.S. No new Writing Adventures scheduled yet. Please send me a message or comment below if you are interested in participating in future Adventures, and you will be the first to know. Also, I would love to hear, from those of you who participated in the sessions, whether there was anything you strongly liked or, perhaps even more importantly, disliked.
My word for last year was WRITE.
I wrote a lot. I’m not sure any of it will be published, although it does seem to have informed the project I’m working on now—its value is incalculable, in other words, and I think maybe that became the point for me as the year progressed. I wrote to understand why I write, and to be disciplined, and the more I wrote the more I understood that I love writing, and that I don’t need to remind myself to write because it is intrinsic to my being, it is how I create, most naturally, it is my chosen discipline. Maybe within this, by following and exploring this word, I allowed myself to write that which I didn’t consider to be publishable; I allowed myself to explore, to roam, to wander, to try, to experiment, to follow where led rather than pushing.
I did some pushing in the first half of the year; and the second half of the year, I’m seeing now, was quite different—I wrote a new novel manuscript in the first half of the year because I felt that I needed to; and when it was done, I saw that it wasn’t ready and I’ve yet to sort out whether I can ever make it ready, and so, for now, I’ve let it go. I let it go, and for the second half of the year I let myself write other things instead, things I suspected a publisher wouldn’t be interested in; I decided that my own calculations and guesses about a publisher’s interest didn’t matter, couldn’t matter, and that I needed to write what was welling up inside of me. And that’s been really wonderful.
Writing is my livelihood. But when I focus on its potential to earn me a living, it dies, somehow. I think that’s what I learned this year.
I allowed myself to be reacquainted, really fundamentally, with the idea that a writer is someone who, when faced with a blank page, does not know anything. (To paraphrase Donald Barthelme.) It’s terrifying; it’s thrilling. It means I don’t know what I’ll find, and it means I’ll definitely find a lot of things I’m not looking for, the value of which may not be explicit or recognizable. As hard as it is, I have to write even knowing that I may never write anything publishable, anything that earns money ever again. I don’t see that as a sad thing. It’s made me assess what I value, and how I assign value to the things that I do—how I spend my time.
Unexpectedly, I feel far more confident as a writer than I ever have before. Maybe because I’ve recognized that writing & invention through writing is intrinsic to my being. I’m less afraid of the scarce resources in the publishing industry. It doesn’t scare me to consider the possibility that I may never publish again, that there are no guarantees of success. I know and believe that what I’m doing has value—I value it. And I want to celebrate the wonderful words and stories of others. The success of other writers doesn’t feel like a threat to my own existence as a writer (we don’t talk about it much in this industry, but the professional jealousy that can arise from scrambling to secure scarce resources has corrosive potential on a personal level.)
I can’t explain this sense of calm and purpose. Will it stay with me? It may not, it’s true. I accept that change is eternal. But it feels like there’s been a shift over this past year in how I approach my writing, and the shift feels fundamental.
Next up: Word of the Year 2016. Stay tuned.
I think I was always a little bit afraid of David Bowie. I was afraid of his many guises, his shape-shifting abilities, his restlessness, the enormity, the almost-dangerous energy of his creative fervour. I’m a no-make-up low-key woman who has never quite understood the appeal of punk or glam-rock; I prefer my world stripped down to the bones, rather than glammed up. So, his work made me a little bit afraid, I think, even if I found much to admire in his seemingly infinite curiosity and innovation.
This video, Lazarus, was made while he was dying and aware that he was dying; it was made while he was continuing to be himself — a creative genius — and to inhabit himself fully, as he was, throwing himself openly in to the arms of creation. I look at him in this video and I am afraid, but I am meant to be afraid, I am unsettled, but I am meant to be unsettled, I am in grief, and I am meant to be in grief, I am moved, I am horrified, I am worried for him, I am filled with thanks and sorrow. He lets us see him weak and dying, blind and shackled by illness, he lets us see him afraid, working feverishly until the end, drugged, in the grip of the desire to make more and more and more, and he lets us see him dancing, briefly, and then he goes away and shuts the door. He has to let us see him at his worst, at his weakest, in order for us to know him, believe in him, trust him, come with him.
What is art?
I want to know, and I think about this constantly, and perhaps all the more right now as I invite others to come create with me. How tempting it is to define art by what pleases us, individually, personally; or even to define art by what we cannot do ourselves, but admire.
What is art?
It isn’t that art is anything, it’s that it can be anything. It involves the shaping of life and experience, of image, of idea, into something that speaks beyond itself. For example, walking to meet the kids after school is not art. But if I write a poem about walking to meet them, or a story, or I photograph the small details I’m seeing on that walk and create a collage or meditative post on the blog, or I stop to mark each corner by laying a painted stone, or the children and I create a dance to mark the walk and perform it as we’re walking home from school — this is art. We’ve altered and interpreted an experience. We’ve tried to express how it makes us feel; or we’ve asked someone to look differently at their own similar experience; or we’ve challenged or upset the experience in some way, we’ve caused a disruption, we’ve called for attention. We’ve broken the routine, deliberately.
What is art?
It is comfort. It is disruption. It is an answer, but more often it is a question. It is personal. It is political. When we create, when we make something, we make ourselves vulnerable, there is no denying that risk is involved. If you watch David Bowie’s last video, you see this truth laid bare, and you see how intrinsic vulnerability is to the process of creating art. It is a scary thing to do. Sometimes, it’s a scary thing to watch or witness, too.
I believe it takes practice and discipline to make art; that, too. And those who pursue their art at the highest level of focus and craftsmanship, like David Bowie did, will work enormously hard to learn their craft, hone their skills, test their vision, challenge themselves through professional collaboration, and practice, practice, practice. What is practice? It means to do, doesn’t it. It implies commitment, repetition, but it also means you just show up and do the thing you’re practicing. So, on a fundamental level, I think, what it takes to make art is a simple willingness to try, to experiment, to take what may be a single, tentative step in the dark, into the unknown.
So often, we stop ourselves by judging what we’re doing, and by comparing what we’re doing to what others are doing. Yes, comparison can be instructive; we all learn from those more skilled and knowledgeable. But I think the point of how David Bowie lived his life is that comparison is much more often pointless, and not only pointless, but destructive — creatively destructive. Comparison either diminishes or elevates what you’ve made; and in some strange way, has nothing to do with what you’ve made, why you’ve made it, where it comes from. What pours forth from you? What pours forth from you at this precise moment in time? Nobody but you can create what you can. To create is to embrace what you’ve got inside you, even while you let it out, let it go, let it take shape in the world.
Anyone can do this. In any variety of ways. What you make might not be polished, it might be very humble indeed, it might be raw, it might not make perfect sense, it might not match the vision in your head. But here it is, you’ve made it. You’ve arrived, you’ve departed.
“The truth is of course that there is no journey. We are arriving and departing all at the same time.” -David Bowie
Immersion is the word of the week. On Monday morning, our family switched off holiday-mode and jumped into the deep end. I feel like each day has doors that open into different rooms, sometimes into wildly different rooms, and I open a door, step over the threshold, and adapt to whatever role is required of me; and then it’s on to the next door.
The key is to keep the other doors closed while securely inside any given room. Every once in awhile everything will tumble out into the hallway, where it will need to be sorted, organized, and assigned back its proper place. Or, I find, it’s helpful to leave stuff in the hallway. Forget about it. Don’t sweat it. It will be waiting for me when I’m ready to sort it out, eventually. (The hallway represents email, I think, more than anything.)
On Monday morning, I opened the door to the swimming pool with my eldest daughter, and she taught me how to do a flip turn! What a fabulous and unexpected beginning to this new year. I’ve been terrified of learning, but she gently urged me to try, and try again, and by the end of the lesson, I was able to sprint to the wall, flip turn, and sprint back again — my mind lost in effort, my fears lost, too.
I neither believed I would be able learn this new skill, nor imagined I would ever try to learn. It was such a happy surprise to discover that this new skill was within reach; and I couldn’t have done it if someone else hadn’t believed that I could, even when I didn’t believe it. Is this a metaphor for an approach to the every day? To attempt new things, even slightly unwillingly, even if you can’t quite see the point? To allow yourself to be coached, nudged, gently? To take pride in the smallest of achievements — that too. Because, I thought, if I can learn this, imagine what else I can learn!
The writing adventure has filled quickly. As of this posting, there are two spots remaining, and a few drop-in days, so if you’re mulling but interested, get in touch. I’ve had several people wonder whether the adventure could be for them, as they are not writers, and the answer is, yes: think of this as a creativity workshop, with writing as the medium.
Time to open another door, now. It’s a lovely threshold to step over. All this week, I’ve been meditating and then diving directly into writing (fiction) for several hours, while turning off my phone and email notifications. It’s bliss, but it’s also highly productive.
Wishing you a day of immersion and focus whatever doors you may open.
Okay, folks, I’m giving this a go. Never one to procrastinate (admittedly, this can cause problems), here is my open invitation to a writing adventure, such as it may be…
Writing Adventure with Carrie
“You are sitting here with us,
but you are also out walking in a field at dawn.” – Rumi
Be curious, be challenged, be present, be immersed. Join me for a weekly writing adventure, starting with an introductory, experimental three-week session.* I will be your guide and companion as we write ourselves through memories and experiences using an image-based exercise loosely based on the teachings of Lynda Barry, who asks us to consider “the perishable images about the day you didn’t notice you’d noticed at all.” All you need is a notebook or lined paper, and a pen or pencil.
Space is limited. Please contact me directly if you have any questions, or to reserve a spot.
*If the experiment goes well, I may open up a six-week session in mid-February.
Where & when:
Saturday mornings, 9-11AM
January 16, 23, 30
$45 for series
$20 for drop-in
Who can attend?
Anyone! Appropriate for all ages and walks of life. Not just for writers or aspiring writers.
What do I need to bring?
A notebook or lined paper, and a pen or pencil. You are encouraged to write by hand even if this is something you rarely do anymore, or haven’t done since childhood. Think of writing as a physical act that will bring you into a state of focus and meditation.
What should I expect?
The first hour will be devoted to guided writing exercises, followed by sharing at least some small portion of our work with the group. While I’m scheduling two full hours for each session, in practice it may be closer to 90 minutes. Writing takes focus and focus is hard work! This is a flexible undertaking.
Will I have to share my work?
You are encouraged to read from what you’ve written, but you will never be forced to share. We will not be critiquing each other’s writing; that is not the purpose of the exercise.
How should I respond to others’ work?
You can say, “Thank you.” This is not a writing workshop. All you need to do is listen.
Can I share this information with a friend who might be interested?