For the past six months, I’ve been working on a 24-hour cartooning blitz once a month. The idea is that you draw a cartoon every (waking) hour over a 24-hour period. These cartoons are samples from my most recent blitz, which happened to be yesterday. I purposely chose a day in July when I’d be hanging out with my siblings. I’m hoping, over the year, to cover a representative sampling of the people, experiences, and events that thread their way in and out of my every day life.
I don’t know what this project will be at the end of making it … but I don’t question its value. How could I? Reflecting on and recording the every day essentially form the basis of most of the projects I undertake, including this blog.
Another project on which I’m currently working is a collection of stories based on events in my own every day life. At first, it began as a stylistic experiment — trying to record, faithfully, minutely, the vicissitudes of emotion and sensory experience in which we are immersed as we make our way through each day. But the project changed over time, and it’s become a place to experiment, instead, with the short story form. I play with structure. I play with character. I slip through time. I play, essentially.
Several of the stories from the collection have been published recently or will be published soon, and I’m seeking and receiving feedback from my teeny-tiny writing group on them, too. Again, I don’t know what will happen to these stories when I’m finished working on them … but working on them, reading them, thinking about them brings me deep satisfaction, which is all I ask of my projects. Making things is where the magic happens. Making things, and learning by making, and experimenting, and feeling frustrated, and getting exciting, inspired, surprising myself, refining, revising, trying again — all of this brings me joy.
This is where I flourish. (Where do you flourish?)
I’ve entered a new phase in my life. It should have a name, but it’s a little too nascent to be properly defined, as yet. In this phase, I’m not teaching and The X Page Workshop has wrapped up, and collectively the team has yet to decide what comes next. My focus, therefore, turns not outward, but inward.
All this year, I’ve been seeking space. Last fall, when I was drowning in responsibilities, the word SPACE became my mantra, and my goal. I worked so hard to give myself this gift. It’s here now. And I’ve recognized that my new goal is to allow the space I’ve elbowed open to remain spacious, not to clutter it with new pursuits. What if I give my writing the attention I’ve given everything else? That is the question before me. It’s an experiment. I wonder: will the writing life, its necessary solitude, its self-generated energy, continue to call so loudly now that I can turn toward it?
Here is the gift of time, to explore.
Here is where I inevitably get caught up in looping guilty thoughts, ranging from, can we afford this?, to if we can afford this what have I done to deserve this?
There lives inside me a desire, an impulse, to give rather than to receive. The discomfort I feel when receiving — praise, thanks, gifts, anything good — is profound; it makes me almost ungracious. I’ve been trying to learn how to say thank you for years. To say it and to absorb it and to accept it. I don’t want to hoard my riches. But I don’t want to squander them either. If I am to accept this gift of time, I have to accept it despite not knowing whether anything good or useful will come of it. That’s hard. I know that if I put my time into teaching, into running workshops, good and useful things will come of it. So it’s hard to step away from purposeful actions toward an activity that seems indulgent, self-indulgent, even, and not obviously of use to anyone else.
You see, in this new phase, I am a writer.
I mean, I am writer whose focus is on writing. Stories, a new novel, cartoons. I’m not, in this phase, a writer whose focus is on sharing her skills with others. I’m a writer who is practicing her skills. I need the practice. The practice calls me.
I am setting new routines, in order not to squander my riches: these gifts of time and space. Exercise early. Meditate when the house has emptied out. Follow the rituals that ease me across the border into a creative state: open my notebook, listen to a song while drawing a self-portrait, write for three minutes (or more) answering the question: What’s on your mind? And then writing, or editing, or cartooning. Also, and as important, reading. Books, fiction. On Monday, I read an entire novel (Normal People, by Sally Rooney.) Today, what’s on your mind? turned into a meditation on love, a spoken-word poem, inflected by the Kendrick Lamar soundtrack I’d been listening to. I hung up a load of laundry in the sudden sunshine. I meditated while standing in the grass in the back yard. I decided to write this post before setting up at the dining-room table to work on cartoons.
It feels easy.
It feels pleasurable.
It feels good.
I’m not a hedonist by nature. I’m ashamed, maybe, to enjoy feeling good. To enjoy ease. Something whispers that I’m not deserving. What a strange barrier to fulfillment. Truth be told, I’m drained and exhausted, teetering on the edge of burn-out. I know in my bones that this phase is as necessary as the other phase. The inward feeds the body and the spirit to prepare it for the outward. It’s good to feel good. To swim with the current. To sit quietly and breathe deeply. The scent of flowering trees is especially intoxicating just now. Am I ascending or descending? It’s too early in this phase to know. Either way, it feels good.
End-of-term launch party.
I’m done teaching for another term. My course was on the creative process: how to set goals, envision a major project, and lay the groundwork necessary to complete the work. I spent a couple of days this week and last meeting with students to hand back their final projects (stories in comic form), and to chat about the term. Some themes emerged in our conversations. Here’s what we learned.
The importance of mistakes. So many students talked about how important their mistakes had been in shaping their project, how an apparent mistake had turned out to be important or valuable to their drawing, or how freeing it was to allow themselves to make mistakes. My theory is that through mistakes our unconscious mind gives us important information we couldn’t otherwise access; and drawing is the perfect medium for this communication with the self, because we see our “mistakes” pretty much instantly, and have to figure out what they’re trying to tell us.
The freedom of stepping away from perfectionism. Students also expressed how freeing it was to embrace their mistakes, or even how freeing it was just to give themselves permission to make mistakes. Creating a major project by hand is time-consuming and laborious, and if you don’t accept the mistakes you’ll inevitably make, you’ll never finish what you’ve started.
The calm that exists inside creation. Every student in the class put a lot of time into their projects, and some put in vast swathes of time, far more than they’d anticipated, or really, that was required to meet the project’s guidelines. (In other words, they didn’t care about the rubric, they cared about the work itself.) Students talked about losing themselves in what they were doing. It didn’t feel like work. It was fun, it was relaxing. The time flew. There is a meditative quality to making things by hand, to being focused in this way; engaged.
The time for this is always with us. (To paraphrase Lynda Barry.) This feeling of calm, this experience of getting lost inside a pleasurable task, is available anytime. And yet, we seem to need someone to remind us of this, we need a reason to get engaged in this way, a task, a project for a class to give us the excuse to get lost in making something that requires focus and effort, that is time-consuming, and that ultimately may have no material or monetary value. We feel like we have to prove that it’s worth it. I wonder why? When it seems so obvious, looking at these wonderful students and their amazing artwork — their unique, truthful, serious, funny, silly, brave, thoughtful beautiful art — that it is worth it.
This course gave the students permission to make art. To draw. To colour. To turn their lives, their observations, their ideas into cartoons. Many expressed how valuable this practice was for them, and how much they hoped others would get the chance to take the course too. “Everyone should have to take this course!” “You have to teach it again for the sake of future students!” In truth, I’m not sure what I taught was a course so much as a concept: what I tried to do was make space for the students to make space for themselves.
Anyone can draw. Most of the students had no idea what they were signing up for when they entered my classroom on day one. They thought they were taking a creative writing course; the course description was vague; they were surprised to learn they’d be doing so much drawing. They weren’t sure they could do it. Many hadn’t drawn since high school, or even grade school. “I never thought I could draw well enough to …” And to a person, they could — they could tell the stories they wanted to tell through cartoons. (“Well enough” went out the window; “well enough” had no place in our classroom.)
Pride in accomplishment. The final projects undertaken by the students were big!! This was no small undertaking. And everyone did it! The deadline got met, and each project proved to be as unique and individual as the person who created it.
Thank you, Artists of ENGL 332! Thank you for your trust. It was an adventure.
If you’ve done any writing workshops with me, you’ll remember the X page, which is a Lynda Barry staple, a page in your notebook on which you draw a big X — you “wreck the page,” as she says — and on this page, you pour out your sensory memories that emerge from whatever image you’re exploring. In the photo below, you can see that blank X mark amidst the text that surrounds it on the board, behind the writer, Tasneem Jamal. This photo was taken yesterday evening, when Tasneem was leading the writing session of The X Page, a writing and theatre workshop for immigrant and refugee women, which I’m coordinating with the help of many wonderful local partners. Last night was our first workshop session!
While the women were writing their stories in their notebooks, I modelled Tasneem’s instructions on the board (those are my X page scribbles). I got to write two new X page stories, which are brief 7-minute recollections based around an image anchored in memory. Our prompt for the evening was “suitcase,” or bag or backpack or purse.
“Backpack stuffed with my life”
I am sitting on the floor in the Detroit Airport, leaning against my backpack, a hiking backpack, that is stuffed with my life, or the life I expect to be leading in this place I’m going, somewhere I lived as a child and have not returned to for a decade. I’m 19 years old. I grin into the camera my dad is holding, already sunburned. My jeans are hot, as the day is warm. I just want to say goodbye and go — get on the plane and fly away, mostly because I am scared, though I would admit that to no one, certainly not myself. I feel as though I am fulfilling a calling that I am meant to return to this place that in my memory was a kind of paradise — Managua, Nicaragua. It was not a paradise in any way that is easy to explain. I was a child when I lived there, and I felt free.
“Grandma King’s purse”
I am inside a memory I didn’t know I’d kept. I can see my grandma’s purse held open, and I am being permitted to dig through it to look for candy, but I see all kinds of treasure here — tissues, lipsticks, keys, a wallet I want to open, gum in stick form, pens, an address books, yes, candy, wrapped; mints. Peppermints striped red and white in crackling plastic. I sit on Grandma’s lap and smell her scent, nothing fancy, her hair spray. She gets her hair set at a salon, but I wouldn’t know that, not yet, it’s a detail that will fascinate me when I’m seven or eight. She does not touch her hair in between appointments. She is not a snuggly grandma. Yet here I sit on her lap in the front seat of a car on a hot day, windows down, in the parking lot of — maybe — a grocery store. We are waiting for someone to return. I did not know I’d kept this memory. Yet here it is.
Walking home from campus this afternoon, I kept formulating and reformulating my “artist’s statement”; writing an artist statement is something I’ve asked my Creativity Unplugged students to think about doing for our end of term launch party. What would mine be? What would yours be?
Maybe this is my statement:
Life is about seeking beauty: go and find it, record it, and share it.
But I think my statement would also have to include this:
Life is about seeking beauty: go and find it, record it, and share it. We can go together.
I’ve been doing an intensive writing week. I have little transferable advice to pass along regarding strategies for how to write a novel, unless you’re interested in the pathological approach. I’ve spent seven days writing almost non-stop, abandoning all else, and I can report back to you that the overwhelming sensation involved is: compulsion; essentially, it felt too psychologically painful to stop until done. So I wrote till I was done, and the whole book was out of me. (Important side note: Much editing awaits ahead.)
I finished this morning. I was working off a previous draft, and an outline, so this wasn’t material conjured from thin air, these are characters I’ve been exploring in one form or another for several years now. I know them. Writing scenes felt like describing events that I’d witnessed. I just had to look around, pay attention, and write what I was seeing.
I marked each writing session by drawing — the drawings I’ve used to illustrate this post — while listening to music (the song titles are incorporated into each drawing). After drawing, I wrote for three minutes — “What’s on your mind?” — the same prompt I use when leading creative writing classes, and it’s brilliant. Just dump it out. And then GO.
There must be another way to do this work, of course, and my goal is to give myself enough space during my regular life that I can aspire to write under more regular, ordinary circumstances. Because, I’ll be honest, all I crave is more of this. More and more and more and more. Writing like this feels as natural as breathing. Effortless? In truth, yes. The way that going for a hike in the woods is effortless. Because I was so occupied, it was like I was living in another world. And now, thankfully, that world exists outside of me in a form accessible to others.
The relief I feel is extreme. I can’t describe it accurately. I was so afraid that something would happen to prevent me from pouring the whole thing out — the whole story. And to imagine leaving those characters half-formed, half-finished with their tasks, was excruciating.
I’m writing this now to help myself remember what it feels like to be in this rare place. I want to record what it feels like to be inside this altered state, because I can’t assess it clearly from inside, yet I know I’m not exactly myself, even now. I’m still too attached to that other world, which feels more vital, more marvellous, more enticing than the mundanity of this real world, which is loaded with responsibility, distraction, good intentions (mine) causing problems, irritating details that mustn’t be overlooked. I know it’s good in the real world too, but this other world — it’s like getting to live inside of a novel, which is somehow even more profoundly affecting than simply reading a novel. If you know the pleasure of reading a novel, and falling into that other world (or any invented and stylized world, of any form), I hardly dare tell you that writing a novel is a million times more intoxicating, more absorbing, more wonderful, because that will sound like hyperbole. (Or maybe, too, I fear sounding like a junkie craving another hit.)
But it’s not hyperbole, it’s true. It’s that wonderful, that absorbing. I must make space to do this — just this.
Context: A student introduced me to the Hourlies project, wherein you draw a cartoon marking each waking hour over the course of a 24-hour day. I’m going to assign this as our class’s Reading Week homework. Fortuitously, I decided to test it yesterday/today, on what would become a snow day, and therefore essentially useless to me for other purposes.
Observations: I couldn’t do this project while doing any other project requiring sustained attention. But I’m playing around with ideas for how to do it again — perhaps once a month, or perhaps, when I’ve got time to spare, doing a marathon version over a week; and I’m brainstorming about how to do it as its own standalone project. I really really really did not want to stop today, and in fact made an extra panel (there are two 4:00PMs). I learned a massive amount, which you can see for yourself by comparing the first panel to the last.
Feedback: Welcome, please.
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