What are you working on now?
It’s a question I’m asked often. My vague answer — and it’s totally truthful — is that I’m too superstitious to say. I’ll tell you when something’s done, for real. There are too many lost and abandoned ideas and manuscripts along the path to publication; yes, even as a published author, yes, even now. I prefer to mourn these passings alone, and get on with the work. It’s part of the job. Believe in what you’re making while you’re making it, but never be precious about it when you’re finished: this attitude has served me well over the years. I’m not sentimental about the process. It does mean it looks like I’ve failed more than I’ve succeeded — all those dead manuscripts in my attic. Whenever I explain this process to a class of students, they collectively make the “poor you” sound: awww. It’s funny. I think they think I’m being confessional. Pity is the universal response to hearing about failure, but it’s a response that misses the point, which is that creativity is driven by trial and error. Listen up: This is how publishable books get written! Only rarely do we get it right the first time; virtually never; okay, actually never! The point is: do the work, don’t sweat the result, because you are doing the work, it’s a process of discovery, enjoy it, wrestle with your ideas, let go, reassess, press onward, learn learn learn, this is the thing.
But wait! This was supposed to be a post about new work!
I’m pleased to tell you that two new stories have entered the world, published in two Canadian literary magazines. I’ve got an essay in CNQ: Canadian Notes & Queries, about re-reading Muriel Spark’s The Prime of Miss Jean Brodie; and I’ve got a story in Brick magazine called “Why Give Yourself Away?” The former is transparently non-fiction, an essay; but the latter is an oddity that I’m defining as fiction, perhaps for my own sanity. Read it and judge for yourself. (CNQ publishes a few essays from each issue online, but mine doesn’t happen to be one of them, and Brick doesn’t publish its stories online, so you’ll have to get your hands on print copies; the links above will lead you to sources for purchase.)
The first piece in this issue of Brick is an interview with a French artist, Sophie Calle, by Eleanor Wachtel. If you’re interested in what compels artists to create, it makes for compulsive reading; Calle sees the world in such a head-spinningly different way, and she’s gotten so much done just by doing it. Inspiring.
Tonight is my last creative writing class of the term. Because I’m a sessional lecturer, with a contract that expires at the end of each term, there’s no guarantee of teaching a next class. And so there’s no way around this: I’m feeling blue.
When I started teaching three years ago, I didn’t expect I would come to love it. But I have. I will miss working with students when this term ends. I will miss the interaction, the opportunities to relate, to respond, to collaborate, to light a spark, or even just to be present in someone else’s life in a different way than I can be when I’m here in my home office, slumped over the keyboard. (Posture, Carrie, posture!) I will miss what I learn from my students, too. Once upon a time, I would have said that writing fiction is all I know how to do, but I don’t think that’s true, actually. I’m proud of the work I’ve done in my fiction-writing career, but when I send a book out into the world, there it goes, no longer mine. I can’t change what I’ve made. It’s gone from me, and exists at a remove from the present tense. Teaching is almost the opposite experience: it’s about sharing ideas with others in a present, real, interactive, reactive, responsive, empathetic way. I love my quiet space here at home; but I also love being with people, people who are learning skills and becoming themselves, and developing rich inner lives, confidence, a voice. It’s been a privilege to be a teacher. I hope the opportunity comes around again.
A blog reader recently asked me: who or what is your centre?
I would like to consider this thoughtful stranger’s question. Who or what is my centre? Who or what is all of this energy emanating from? Who or what are my guiding principles and goals? Perhaps I’m being too scattershot in my approach at present. Perhaps I need some kind of guiding light, guiding mission statement, coherent ideology. I’ve been less and less willing to put these musings out into the universe, to publish them on the blog; but in silence there is no possibility for connection. I thought of this as I ran with the dogs this morning; it was still dark. We were running down a big hill, and I thought, I fear saying too much, but by saying nothing, I offer nothing. What are photographs, what are blog posts, what are stories if not an attempt to preserve the present moment? But is it preservation I’m after? No, more accurately, it’s being a witness. It’s trying to put into order what I’m seeing. And I’m compelled to share what I see. I want to apologize for my urge to share. But there it is. I’ll admit it motivates me. Is this the what at my centre?
Who or what is my centre? I think of the divine, a connection that unites every living thing, and perhaps every thing that ever lived or will lived. I think of powers beyond my understanding. I think of grace. And spirit.
And I think of presence.
I am motivated by the desire to be present, wholly present, no matter what I am doing.
I am motivated by the idea that play is holy, sacred, a space of safety and learning, a space where imagination and improvisation are celebrated, and all are urged to play along, no matter the skill level. Cooperation amidst competition. Play as learning. Learning as play.
Writing is play: that’s what I hope my students know, too.
I don’t want to be so serious that I lose the lightness of being alive.
Our neighbourhood association, which was formed a couple of years ago to help foster a sense of community, is currently working to sponsor a refugee family and bring them into our neighbourhood. There are many ways to help, one of which is by donation, through MCC (Mennonite Central Committee). I know blog readers don’t necessarily live in my neighbourhood. If not, perhaps your neighbourhood or church group or school is organizing something similar.
It is almost impossible not to feel overwhelmed and hopeless when flooded with stories of so many people fleeing desperate situations. (I recommend this utterly heartbreaking photo essay by Magnus Wennman titled “Where the children sleep.”) I know these parents and brothers and sisters and children are not on the run because they want to be, but because there is no choice. Maybe, after Paris, it’s impossible not to feel fearful, too. What if the violence from which these people are fleeing comes to us, too?
But what use is fear? What use is denial? Are we safer for being afraid? Are we richer for turning away?
A donation may be a tiny drop in a tiny bucket, but so be it. If you are able to help, you may find your gesture an antidote to hopelessness.
There are times when the world is too much with us, and a gut response is not sufficient, what’s needed is time and reflection and perspective. I’m not ignoring what’s happening in the larger world. I’m interested, I’m engaged, I’m paying attention, but I don’t have anything useful to say about it, here.
As of today, I’ve got two teenagers under this roof, and I think their growing independence and autonomy is stoking my growing impulse to step back into the shade of obscurity. I don’t know what the purpose of this blog is anymore, which is why I post here more and more rarely.
I still want to keep this space open, for when I do have something to say. But I don’t want to say something just because this space exists.
Today, I want to tell you about the wonderful books I’ve been reading.
I finished My Brilliant Friend, by Elena Ferrante, and immediately dove into the second book in the four-book series, translated from the Italian. I’ve heard this series compared to Karl Ove Knausgaard’s My Struggle, but to my mind, they are unrelated. Ferrante has a wider world view than Knausgaard, even if she is examining in detail a very particular time and place: she is depicting the assertion of power itself through the generations. It is the story of a friendship, and of two girls (now young women, in the second book), and it is told from the perspective of one of the women, but it is not about the rigidity of an individual point of view (which Knausgaard’s series seems to be explore), but about the flow of power and knowledge and ritual that shape an individual in ways that are beyond her control, even if she is aware of them. Ferrante observes patterns, large and small. The patterns of place. The patterns of family, of neighbourhood, of wealth and poverty, of knowledge, of culture. This is extremely rich and immersive writing, but it is also propulsive in its pacing. I won’t be reading another book until I’m finished the whole series, but at the same time, I don’t want it to end. It will be like saying goodbye to a friend.
I am thinking of My Struggle in relation to this book because I recently finished reading the third book in that series, Boyhood Island. I can’t read this series quickly. It’s like being trapped inside someone’s mind, someone who has a limited understanding of how he is being received in the world around him, and the effect is claustrophobic, and sometimes even alarming. But I remain interested. I will continue reading through this series, but at a much slower pace. I have no sense of urgency in my quest. It’s more of a commitment to see a thing through.
Another recommendation: Outline by Rachel Cusk. She is the British writer who was born in Canada and whose book was a finalist for two major Canadian prizes this season; there were complaints about how Cusk scarcely qualifies as a Canadian, and that may be true, but I’m glad she made the lists or I wouldn’t have discovered her. I devoured this book. I loved it unreservedly. It is highly stylized, enormously intelligent, and although told in the first person almost erases that person entirely, so that everyone around her leaps into the world fully fleshed, but she never becomes more than an outline on the page. It is the strangest feat, an accomplishment of great discipline. It made me question the purpose of the first person narrator, and the purpose of the writer, too.
Meanwhile, I’ve been reading out loud to the kids in the evenings: especially the two youngest (ages 7 and 10). So far we’ve read Tales of a Fourth Grade Nothing by Judy Blume, and we’re nearly through From the Mixed Up Files of Mrs. Basil E. Frankweiler, by E. L. Konigsburg, both set in New York City, both stories about siblings.
All for now.
Part One, Sonnet IV
You who let yourselves feel: enter the breathing
that is more than your own.
Let it brush your cheeks
as it divides and rejoins behind you.
Blessed ones, whole ones,
you where the heart begins:
You are the bow that shoots the arrows
and you are the target.
Fear not the pain. Let its weight fall back
into the earth;
for heavy are the mountains, heavy the seas.
The trees you planted in childhood have grown
too heavy. You cannot bring them along.
Give yourselves to the air, to what you cannot hold.
— By Rainer Maria Rilke
Translated by Joanna Macy
(To hear Joanna Macy read some of her translations of Rilke’s poems, visit the On Being website, where there is also an episode featuring Joanna Macy in conversation with Krista Tippett. On Being is one of my favourite Sunday afternoon kitchen accompaniments, on those rare Sunday afternoons when the house is quiet, and I’m actually at home.)
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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.