Who will you be in 25 years? This is an exercise I’ve done twice this fall, with different results each time. The first time, I was led through the exercise by someone else. Today, I led my students through the same exercise.
Here’s how to do it, if you want to try:
Draw a self-portrait as if you were posing for an author photo on the back of the book you’ve always dreamed of publishing. Use crayons. If you have a notebook, draw the portrait on the very last page. (10 minutes)
Next, write your author bio blurb. Remember to write in the third person. Cast yourself deep into the future (25 years or so), and discover who you imagine yourself to be. (10 minutes)
Here’s mine, from today. (Note: I draw self-portraits as if I were 25 years younger …)
Carrie Snyder has devoted her life — or the better part of it — to the pursuit of an ideal self that she first imagined into being as a seven-year-old child, when, as a reader of far-ranging taste with a wild imagination she said to herself (and to anyone who would listen): I’m going to do that too! I’m going to write books! While the perfection of her notion would prove impossible to achieve, the truth of its imagery was uncanny (she saw a forest path and a treehouse hideaway, which, as she grew, became representations rather than literal spaces). Through writing, Carrie found herself transported, frequently, into a deeper understanding of her relationship to the world itself and to its many mysteries. She came to a kind of peace with its mysteries, by holding them to the light and examining their facets with care and attention — and love. Love figures heavily in Carrie’s work, specifically in her discipline to craft, and to sharing the joy of a discipline with others. She has not yet finished, and she hopes she never will. What has changed, with time, is her understanding that finishing something is temporary, and that what lasts is the pull of discovery itself. The process. The adventure of it. She will never be satisfied nor think her work on earth complete, and that is the fuel that invites her to continue — to be the ideal self she imagined at age seven: an artist. Someone who by alchemy transforms the ordinary into the extraordinary. Someone who sees what is possible. Someone who looks at the world and loves it with her attention.
Here is the original exercise, completed in October, with a different result (except for the youthful portrait).
Carrie Snyder, despite crippling bouts of self-doubt, has managed to put herself forward, into positions of service, of leadership, roles that demanded the ability to see herself as more powerful and more capable than anyone else did, and by believing, to become. She was not always confident. Was not always the presence she presented. At times, she thought she was doubled, the face to the world not the face she turned to herself. Was it possible to live doubled like this? What did it mean to do work that challenged and frightened her to her very core — could she get up the next day and rise again? But something deep inside ran like an engine or furnace, the flame of desire, the flame of meaning, and she knew she could live in no other way — could she? She tried listening to reason, to her heart, to her spirit, but the fire was the constant that gave her life, renewed her desire to inhabit bodies and minds bigger and braver than her natural own. She said: If I can do it, then I will. She said: Be the change you want to see. And she was. And that was marvellous to her. Because if she could do this, anyone could — anyone loved and believed in and cherished. Carrie Snyder cherishes herself, believes in herself, loves herself and that has made her strong enough to love, believe in and cherish each of you —
each of you —
each of you — beautiful, aching beings
PS It’s tempting, when presented with two things, to compare them … but let’s not. I like that both of these projections into the future are, in fact, deeply embedded in the emotional reality of a present moment. Like putting a thumb-tack onto a map to say: I was here.
Oh my goodness, I’m flying off in a million different directions these days. Is this only the second week of summer holidays?? We kicked off our summer with a weekend at my brother and sister-in-law’s farm. The heat was something else. We watched all of the World Cup games, went to the beach, performed the annual burning of the homework, lit some fireworks, chilled around the fire taking turns playing DJ, listening to our favourite songs. It was sweet.
Kevin flew off to Montreal for a couple of days last week.
Then we drove to Kingston for a soccer tournament (that’s me on the end feeling like a champion … and looking somewhat shorter than our team’s tallest players, some of whom aren’t quite 13 yet! Keep growing, girls!). In a bizarre twist, our team actually won all three of our opening games … but did not advance to the semi-finals. I’ve never seen a tournament organized like this, and hope never to see one like it again. The good news is, our team had a blast during the off-hours, plus on the field the girls played like stars, revealing inner grit and resolve and team joy, coming from behind to win each of the games. We had lots to cheer for.
I spent Sunday afternoon driving across Ontario to drop CJ at camp, where he’ll spend the week. It was a very long day, and the air conditioning in my little car DID NOT WORK. (Did I mention how hot it’s been?) Thankfully, I had a driving companion — Angus came along for the ride, and kept us entertained. We spent quite awhile making top 5 lists in the following categories: soups, salads, and sandwiches. Of course, this was over the supper hour when we were barrelling toward camp and not wanting to stop unless absolutely necessary. Discussion of our top 5 sandwiches inspired a long riff on the classic old-fashioned assorted sub. We were so hungry! Angus texted Kevin, who had already arrived home with the girls, requesting he pick us up exactly these sub sandwiches from Pepi’s, a local pizza place that Angus had heard makes good subs. Kevin kindly agreed. Then Kevin texted with the bad news: a hose had burst and the kitchen and basement were flooded.
Fortunately, this calamity had only just happened, likely less than half an hour before their arrival home. What could have been a total disaster was just a really messy cleanup (which I wasn’t too terribly sorry to have missed).
The sub sandwiches from Pepi’s were waiting when we got home … very late … The sub was exceptionally tasty. Definitely my # 1 sandwich. Also, the basement was drying out. Also, there were mountains of laundry.
In other news, the kid pictured above got her cast off. (Wrist broken in a soccer game.) But she can’t play for another couple of weeks. She is not loving her role as bench-warmer.
In other other news, I’m working on a potentially BIG project. So is Kevin! (Different projects.) I will share news when/if these projects get off the ground. I feel energized. It’s Marg. Her example was powerful, and I’m lucky to have known her — a woman who used her skills and talents and personality and time here on earth to take charge, take a stand, stand up, speak out, clear and grounded in her intentions and values. Sometimes this means walking toward conflict, rather than away. Difficult decisions, taking responsibility — this is tough stuff for those of us trained to be nice and likeable. I think we need to stop fearing conflict, fearing push-back. Our power is within us, people. I feel it when I run in the mornings. I feel it when I write. I feel it when I reach out to my community. I know what I love, I know what I believe in. I know that the world will always be troubled, there will always be weariness, grief, injustice, greed, unchecked self-interest. I can’t fix that. What I can do is respond to opportunities to be otherwise, to be the change. I remember that I started coaching soccer because I noticed no moms were coaching, and I thought that was weird and a bit sad. Why did the dads get to have all the fun? Then it occurred to me — why was I complaining about it? I could just volunteer and coach! It’s pretty simple, really. If you see something that bothers you, ask yourself: can I change this? If not, can I respond in some other proactive way?
Respond with love, not fear, at every opportunity. That’s the key.
Title: Finding Footing
Captions: I ran with Heather this morning. It was snowing. The snow was so deep we couldn’t find our footing. We talked about our words of the year: fire and fresh. At home, I put unmelted snow from my hair on Annie’s forehead.
(What I like about this cartoon is the image of the snowflake that appears in each panel. It creates a visual motif that links the pictures with the text. The “on” should be “onto” but when writing in pen, mistakes get made and they’re permanent. So be it.)
The joy of embarking on a new project is the mystery of what its process will unearth. It’s too early into the cartooning project to guess what’s yet to be learned by doing it. What I’ve noticed so far is that already I have a sense of how many words can fit into each panel. Brevity and clarity are paramount. Thematic clarity is valuable, but sometimes a scattered cartoon, written and drawn in haste, can have its charms.
Captions: This particular cartoon is very time-challenged. Things that happened today: Forgot to pick up Angus from work … Tuned out during scripture reading at church … Walked backward into the cold wind with Calvin.
(This cartoon was written and drawn in almost exactly 10 minutes, which I think is the absolute minimum amount of time required.)
Some days I’ve drawn two cartoons, one on a political subject, and the other more personal. For the purposes of keeping the project streamlined, I’m allowing myself to post only one cartoon each day (on Facebook and Twitter); so far, I’ve chosen the personal over the political. The political cartoons have gone into blog posts instead. I don’t feel that I’ve settled on a drawing singular style, yet. I like that. I like the freedom to experiment with both subject matter and style.
Title: Is It Like Climbing A Mountain Of Snow?
Captions: What happens if I don’t feel like drawing? Is it like climbing a mountain of snow to get to campus? Like doing the dishes and vacuuming? If I just show up, just do it, just keep going, it will happen?
(This was the one day so far that I really didn’t feel like cartooning. I’m glad that I did. It’s a good reminder to just show up and do it, even if you don’t feel like it; good advice for life in general, for writing in particular.)
Questions I’m mulling: What makes a good cartoon? What’s too personal, in terms of subject matter? Would these cartoons be of interest only to family and friends? Is it possible to find the universal in the daily? (Of course it is! The question, really, is how?)
Title: Messy House
Caption: “My house is messy,” Asmaa said, and I said, “I won’t look.” But she wanted to show me. On the coffee table, a pan of butter, markings where dough was rolled out. She brought me a plate of baklava. “Too sweet?” “No!” I ate three.
(Most of these cartoons pair random scenes from the day with largely unrelated captions, and I enjoy discovering how these two dissimilar things respond to each other, but for this one, all the scenes drawn come from the story described in the text.)
Something interesting I’ve observed: that cartoons have the capacity to envelope sad, difficult narratives in a way that eases the pain, I think. Something I think about quite a lot is how to write about trauma without traumatizing the reader. I see in cartooning a possible means of tackling challenging subjects in non-traumatizing ways. Cartoons remind me of poems, a bit.
Title: This Day
Captions: This day has almost crushed me, yet it hasn’t been hard, objectively. I felt close to collapse, inside and out. I felt swarmed inside by anxiety that was almost pain. Yet, I did all of the things.
(Here, I think the scenes from the day soften the description of depression/anxiety in the text.)
Things I like about this project: I get to draw everyday. It’s an opportunity to reflect on my day, and pay attention to it in a different, unusual, creative way. It’s also an opportunity to invent thematic coherence and narrative out of the raw material of life. Life is raw. We humans, we have a tendency to pattern. Pattern may be illusion, but it is powerful. Pattern brings comfort — order to disorder, shape to chaos, coherence to uncertainty.
Title: Suddenly I Felt That I Understood
Captions: Today, I baked bread and I read Mary Oliver’s A Poetry Handbook. In it, she quotes a line from Emily Dickinson… “After great pain, a formal feeling comes —” Which suddenly I felt that I understood absolutely.
(The drawing of my hands kneading bread dough didn’t really turn out. But now you know what that panel is all about. Kind of looks like two islands separating in the middle of a lake … or, I don’t know; what do you see? I’m trying very hard not to re-do any “mistakes” in the cartoons, but rather to accept them as speaking from or to some secret part of myself I couldn’t otherwise reveal.)
Excerpts from my notebook, written sometime during the past eight days, which we spent at my stepmother’s boat-access-only cottage. I wrote every day. Every time I sat down to write, I began by drawing an “attendance cartoon” (Lynda Barry-style), to a random song from my Spotify playlist. Then I wrote for 3 minutes, beginning with the question: What’s on your mind?
I am staring out at the lake, through the piney trees from my perfect sheltered vantage point in the bunky — my office for this week. We are so fortunate, so very fortunate, to get to spend time here every summer, so that this place has become part of our lives and our children’s lives. Today is sunny and warm, and the water is warm, apparently — I have not set foot into it yet. I did drive the pontoon boat yesterday, proving again that I can.
What would I give up to write more? I don’t know. Let’s make this new writing plan / routine work. Please, dear God, I don’t want to give anything up.
The scene I worked on before lunch is unfinished. Instead of finishing it, I ate lunch with the family, then read in the sun for hours. I am reading I Capture the Castle and I’d forgotten how romantic it is and also how much that romance moves me, or triggers in my mind such delicious feelings.
Finished I Capture the Castle, furious at the description of the constipated mad genius father (a writer), whose inspiration may derive from violently attacking his family members, including throwing his teenaged daughter Cassandra into a wall, almost breaking her arm. Is it that I hate the implied privilege of the artist — Artist with a capital A — or is it the male artist in particular whose privilege I abhor? But haven’t I been reading about women writers, too, how are childless or who steer clear of their children for long stretches, so as to write? And what would I sacrifice in the long run? Would I give up coaching or teaching, let alone parenting intensely, in order to serve the “genius” of artistic creation? No. It seems a nonsensical thought. Yet when I am writing, don’t I want to go on living in this other world and not come back — or not for a long while?
I don’t know how to draw a mosquito. My eyesight seems to be getting worse. I stare at letters that my hand is making and the words are blurred. Somehow I can keep writing without seeing.
From this angle, the boat parked in the middle of the lake looks like a car that’s been driven there by accident, and is half-sinking. I am not doing a good job on a number of fronts. That is the feeling I am having. But it’s been an exciting couple of weeks of writing. Writing and imagining. Yet other things have fallen to the side, and I wonder how I will have anything to give to my students this fall, or even to my children. The forecast is calling for rain. What is joyous about my writing right now is the pleasure I’m taking from it, that doesn’t seem connected to worries about publication. This might not last. My eldest daughter says I’m always trying to improve myself and failing: I’m really just always the same. The more I think on it, the more I’m convinced she could be right.
I think all of this burst of writing comes from calling myself, naming myself, WRITER. Can I change in other regards? I don’t want to be a prickly person, constantly challenging others.
Sunlight is shining through the glass door and warming my office / bunky. I had a feeling after yesterday’s work that I’d written a scene that was the culmination of about 15 years of trying to write that particular scene, with that particular combination of effects — a scene about children playing in a makebelieve world where pretend and real blend together so seamlessly it’s almost impossible for the children to tell them apart. That feeling of being immersed in imaginary play. I’ve been sitting here trying to remember the first version of that scene while staring out the window at the roofline of the cottage, shingles, pines, smoke from the fire, child outside petting Suzi (dog) who was recently sleeping in the sun on my stoop. Gillian Welch is playing “Revelator” on Spotify and this mood seems exquisite and impossible to capture, and yet that’s what I’m attempting to do when I write.
The brain is on my mind, the two selves, as described in Thinking, Fast and Slow, by a psychologist who won the Nobel for economics. The experiencing self is not made happy by the same things that please the remembering self. Writing, I think, is the most peculiar linking of the two selves — the remembering self immersed in the experiencing self. My knowledge on this subject is pitifully inadequate.
Today I am having difficulty focusing and getting into characters. This has been an intense week and I fear it coming to a close, but I’m also growing a bit weary and perhaps a rest will be good — a day off.
Sometimes I draw something, and I think, that comes right from the back of my mind. The front of my mind couldn’t have drawn that.
The way my attendance cartoon matches with the song and a mood and whatever is happening is uncanny, although this may only be my mind making magical connections. Today, on the day we leave the cottage after having been here for eight days, the song is Joni Mitchell’s “Urge for Going.” It is a song about the changing seasons; it even has a chevron of geese flying south. And I’m sitting here with rain falling on the roof, cool or almost cold, fog rising off the lake, and smoke rising from the chimney in the main cottage, reflecting on this time of transition. In the cartoon I’ve drawn this morning, I press my hand against the window from inside the cottage and try to say goodbye. This has been the most blessed month. Time has stretched and expanded and we have been content.
A person wonders whether she can carry home the things she learned, whether transformation in a radically different setting from home is sustainable. A person yearns to be the self she was while she was away. But a person knows, coming home is coming back to a crowd of needs waiting to be met. Even the house needs her. A person has so many loves. Loves are obligations but loves are also earned and cherished and what would a person write about were she to have no loves to tend to?
I can hold two oppositional thoughts in my head at the same time. I want to go home. I miss my family. I want to stay forever in this ridiculously rich creative space.
What I’m trying to say is that I’m home from Omega, in upstate New York, home from the Lynda Barry + Dan Chaon workshop, a 5-day intensive experience in a summer-camp-like setting, with an amazing yoga class every morning, ultra-healthy vegetarian/vegan food served three times daily, virtually no responsibilities, no chores, and perhaps most critically, almost no emotional labour except for the work that poured onto the page. My mind was uncluttered and immediately more open to images and connections. Will I be able to be joyful, I wondered on the evening we arrived, will my spirit find lightness? Is it still possible? I had my answer in less than a day: yes. It was so easy, under the circumstances, to be playful, attuned to what’s under the surface, easy to meet any challenge.
Writing isn’t easy, but it’s enjoyable, said Lynda Barry. She likened it to seeing runners go by in the middle of the day, and you can tell they’re enjoying it, but you never once think, hey, that looks easy. Writing — it’s the same. What this week kindled in me is a fire for the writing. For the possibility in writing, which is seductive to someone who entertains as rich a fantasy life as I do.
After Lynda Barry said goodbye, on the last morning, Dan Chaon, with whom she co-taught this workshop, helped us debrief our experience. Someone asked him about writing to an audience, and his answer had me in tears. It must have answered something very deep inside me, something neglected, lost, forgotten. I’m writing to my peers, he said. I’m writing to the writers I love, my kindred spirits.
I’m writing to my peers.
Am I capable of thinking of the writers I admire as peers? How does it change my mind and body to think: I am writing to Helen Oyeyemi. I am writing to Rumi. I am writing to Eden Robinson. I am writing to Ann Patchett, to Rilke, to Mavis Gallant, to Chimamanda Ngozi Adichie, to Mary Oliver. Feelings of love and awe and excitement come over me. I am writing so my work will speak to their work. In Lynda Barry’s classroom, we show our drawings to each other, but we also show our drawing to each other’s drawings. It sounds flaky, but it’s a reminder: this work, once created, lives a life separate from our own.
On Wednesday, I walked the labyrinth on campus, and spent a lot of time writing — my own writing, not guided writing. It was late in the evening. I decided to do one last project before snack and bed, something I’d been wanting to do for awhile: make the Rilke poem I’ve memorized and repeat often into a little cartoon. For the pictures, I looked at my peers’ attendance cards, hanging from the walls, and I chose images that seemed to speak to the words in the panel, and I copied them as best I could. All the drawings are drawings I admired, made by hands and minds I did not know. Then I taped the cartoon to the classroom wall and left it there for the rest of the week.
It was the kind of space that makes a person want to leave behind gifts. But on the last day, I untaped the cartoon from the wall and brought it home. It was the kind of space that makes a person want to believe she can bring what she found there home.
I know we were in another world, a bubble of creative vibes and chickpea scramble, but what was happening in the world was with us too, if at a remove. I mean, there we were in the United States of America during the week when the president spoke out in support of Nazis. There was pain and confusion in that classroom too. This feels like a crisis, said Lynda Barry, doesn’t it feel like a crisis? And everyone said yes. We are facing a crisis. What are we going to do about it? What are we going to do?
She didn’t have an answer. She just had us knuckle down and draw ourselves as a dejected Batman, draw the statue of Liberty with our eyes closed, make a map of a familiar walking path. And then she made us show our neighbour.
xo, Carrie aka Treetop Annie
I’ve been making lists.
Every night before bed, I make a list in the journal I share with my fourteen-year-old daughter, and she replies with her own list. This is a list I made up on the spur of the moment, six simple questions to focus the mind, capture the day, and provide an opportunity to be thankful and reflective. It really works, and the answers can be as short or as long as you want.
For my last class, on Tuesday, I finished by asking the students to answer these six questions, as a way of reflecting on their experience in the class.
These are the questions, and my own answers:
- Something that surprised you? Surprised by how easy it was to teach during the day.
- Something you’re proud of? Proud that I kept thinking of ways to make this time slot work. [I taught twice a week in 90 minute chunks, rather than once a week in a 3-hour chunk.]
- Something silly? Me at the front of this class. Like basically every time.
- Something happy? Listening to my students share their work.
- Something sad? Worried I was boring students. Having to assign marks to their work.
- Something you’re thankful for? Thankful for summer, and bike rides through the park to and from work.
At the end of each term, there is a magical feeling in the classroom. It happens each time, and each time I am nevertheless surprised. Each time, I feel a joyful inner peace, welling up from the depths. I think of what Lynda Barry told us at the end of her workshop last summer, that she is just the person pointing the way, that what she’s doing isn’t magic. What we’re feeling, when we overflow with gratitude, is appreciation for a deep connection to something we thought maybe we’d lost; our gratitude should be directed toward ourselves, not her.
I understand afresh what she meant.
Because the outpouring from students this term has been so genuine, so unforced, like something spontaneous that can’t be stopped up, and I know that while I facilitated their experiences, it was the students themselves who tapped into their own wealth of knowledge, their deeper consciousness, or unconscious minds, and that is what brought them feelings of peace and joy. It wasn’t me. Anyone who went there — that was of their own doing. Anyone who was pulled into the spiral and moved by the recitation of Rumi’s poem, “The Diver’s Clothes Lying Empty” — that was something they found for themselves. I could never make them do this — I could only invite them to try, with the tools I understand to have worked for myself and for others.
A student visited my office on Wednesday, to give me a book by Eckhart Tolle that was meaningful to him. After he’d left, I opened to the first page and read:
“A true spiritual teacher does not have anything to teach in the conventional sense of the word, does not have anything to give or add to you such as new information, beliefs, or rules of conduct. The only function of such a teacher is to help you remove that which separates you from the truth of who you already are and what you already know in the depth of your being. The spiritual teacher is there to uncover and reveal to you that dimension of inner depth that is also peace.”
When I read these words, I thought: that is what I’m trying to do. My medium is the written word, and images, but my goal is to open you to yourself. I can offer you technical information, and I try to, but the point of all those exercises in class is to facilitate opening, diving to the depths of the self, adventuring down and in and emerging with something you can hold and look at and read and share. What you return with isn’t the thing itself, but a record of what you’ve experienced, a record of your imaginative travels. Will this process, repeated over time, make you a better writer? Honestly, I don’t know. But if you go there, you will write things that matter to you, which is a good start.
I accept that my methods won’t work for everyone. It’s been hard to come to acceptance; I want to reach everyone, and I can’t. But for those who connect with what I’m offering, the connection is deep and it is meaningful. It seems to give people the opportunity to feel emotions they’d forgotten they could. It gives people the chance to play, to imagine, to be silly. And to be still, in a world that moves quickly. How often do we get to sit and not be distracted? These exercises can be reminders of the better world that is within reach, that we can access if only we remember how. If only we are given the excuse to go there.
If you can spare a few minutes before bed, consider sitting down and answering six questions about your day. Even better, consider sharing the ritual with someone else.
- Something that surprised you?
- Something you’re proud of?
- Something silly?
- Something happy?
- Something sad?
- Something you’re thankful for?
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