New ritual: I begin my desk-time by lighting a candle. The expectant flare of the match and comforting flickering flame marks a small opening moment to help me begin. The candle, which I almost felt ashamed of purchasing (impulse buy; no reason why; it was on sale), is suddenly useful, a tiny reminder of the word I’ve chosen to meditate on for this year: perhaps as a guide, perhaps as warning. Even the tiny flame of a single candle is mesmerizing, its movements mysterious, its light enticing.
The word fire initially drew my attention because I was thinking of creative fire, of passion, of burning brightly in pursuit of art. Which sounds howlingly pretentious, I realize. But I felt comforted by the image that accompanied the word: of a furnace, deep inside, glowing with steady bright heat.
Fire is dangerous, as elements are. I pictured, too, a fire that burns across a prairie, leaving behind blackened space, but also a place for new growth in fertile soil — not a wasteland, after all.
Fire is sacred, precious, life and death. Without it, we would be hungry and cold in the dark.
A fire either is, or is not. When I blow out this candle, its flame vanishes. What keeps a fire alive? It needs oxygen to burn, and energy. It devours fuel. Some fuel burns bright and quick, while other fuel burns slow and steady. But in time, all fuel will run out and must be replenished.
You can’t leave a fire untended. It will burn out, or burn out of control. Either way, it needs attention.
What fires am I tending now? What feeds my fire?
I think of the story of the Little Match Girl, which I adored as a child of melodramatic bent. How the brief flame of each lit match gave the girl temporary comfort and relief — and visions of warmth and plenty — even while she froze to death, shoeless, in the street. Fire as illusion of heat.
Fire as passion, fire as creative, fire as necessary; fire as destructive, fire as hungry, fire as all-consuming, insatiable.
I fear this word and yet it draws me. What would happen if I let my fire burn? What does that even mean? Do I know?
One last image that keeps coming around: Edna St. Vincent Millay’s poem “First Fig.”
My candle burns at both ends;
It will not last the night.
But ah, my foes, and oh, my friends —
It gives a lovely light!
PS The cartooning project continues, day by day. I’m posting a daily cartoon on Twitter and Facebook, and plan to use some here too, in future posts.
Title: poem excerpt by Rilke, drawings by Carrie
Captions: No one lives her life. We come of age as masks. / Our true face never speaks. / Somewhere there must be storehouses where all these lives are laid away. / Maybe all paths lead there, to the repository of unlived things.
Observation: It is easy (and a total delight) to cartoon every day when I’m on holiday. The challenge will be to create cartoons on days when I’m spread super-thin and scarcely keeping up. It will also be a challenge to accept the cartoons that suck — or, more accurately, to move past the idea that my drawing sucks while I’m drawing. This will be good practice in flipping the switch, like Lynda Barry tells us and like I tell my students: turn off that little voice that’s asking DOES THIS SUCK or IS THIS GOOD? Because you don’t know and you can’t know! Instead, tell yourself I DON’T KNOW BUT I’M DOING IT! Sometimes, when I make a glaring error in a drawing, I feel a sense of relief: it’s no longer perfect, and now I can relax and just make the thing without worrying about ruining it.
The mistake I made here was in the first panel, when I drew myself with dots for eyes, which is not my usual style.
Title: Worst sore loser
Captions: This morning we played soccer, and I was the worst sore loser. / The kids and Kevin are playing a board game. / Everyone agrees it’s better that I don’t play. / Self-awareness only goes so far in terms of self-improvement.
On this last day of this old year, I’m trying to figure out how to present my cartoon project. Process fascinates me. I love a long-term project and having completed quite a few know that the process must be simple and easy to manage. The parameters need to be strict enough to make completion challenging yet attainable. Any long-term project will test commitment, and therefore requires enough flexibility to prevent one bad day from destroying the whole task. My goal is to cartoon every day. Will I accept stick figures on a bad day? A single panel cartoon? What if I forget one day? Any long-term project also needs accountability. So I’d like to publish my cartoons throughout the year, likely here on my blog. I don’t publish every day, so I will likely weave the cartoons into weekly posts. We shall see. This is an ongoing experiment, and I am at the very beginning of it.
One of my favourite blog readers is visually impaired (Hi Kerry!), so I’m going to title and caption the cartoons in hopes that this will allow her to “see” them too.
Title: How to be a good person
Caption: Annie is doing a project today where she tries to be a good person. / She is trying mainly, as far as I can see, to pay attention to other people’s needs. / Giving of your time and attention are similar tasks. / Both are hard to do, and we spend lots of both without great thought.
What am I hoping to accomplish through this project? As with any long-term project, the excitement is in the surprise. I DON’T KNOW BUT I’M DOING IT! When I did my 365 self-portrait project, I learned how to be a subject and how to embrace the frame. I also learned the value of editing a day down to a single image. When I did my triathlon project, I discovered previously unrecognized reserves of determination, confidence, and inner strength. When I designed the creativity course last winter, I discovered the surprising joy of putting lines on a page. I learned brevity and gesture. When I write a novel, I discover whole new places and people. Ideas that are otherwise ephemeral become embodied. When I meditate for a year on a single word, the word becomes part of my being.
With this project, I’d like to become a better artist and cartoonist. I’d like to find my voice and style. I’d also like to practice a new way of holding and cherishing the daily, mundane, fleeting bits and pieces of life. I want to pay attention. I want to distill my ideas into an accessible format. But who knows? Who knows what will be accomplished? The project is the process, as it always it.
Title: I know this isn’t a job
Captions: I know this isn’t a job / But I feel so lucky that I get to make up tasks for myself, like this one / And somehow, sometimes, it turns into something real / something I can give to someone else.
PS Soundtrack for this post: Way With Words by Bahamas
Today is my birthday. It’s the first day I’ve had time to reflect, active reflection, since we waded into the Christmas season, and when I sat down before my notebook such a whirl of disconnected thoughts poured out. I am thinking of starting an autobiographical cartooning project, as shown above. I’ve developed a relatively efficient way of making a 4-panel cartoon: I write for 3 minutes using the prompt “What’s on your mind?”; then I use a timer to draw four cartoons, scenes from the past 24 hours of my day, each completed in exactly 2 minutes; and finally I pair ideas or phrases from “What’s on your mind?” with the cartoons, creating captions that aren’t directly related, and yet, combined, tell a little story. I’ve been making these half-hapzardly, often while waiting at piano lessons, squeezed into a tiny amount of time. I love creating a visual artifact. I love creating something to keep.
I have sad news. On the morning of December 23, we said goodbye to DJ. Above is the cartoon I drew that morning, while she lay on the floor beside me, still very much alive. We were fortunate to have a vet come to our house, and the whole family was present in the room as DJ passed out of this world in the most peaceful way possible, with loving hands on her, truly surrounded by love, so I can’t be sad about that. And although I miss her goofy presence underfoot, I also can’t be sad that her suffering has been relieved. The end felt like a surprise, even though we were preparing for it for a long time, and even though signs had been accumulating that the time was coming. But really, DJ was fine right up until she wasn’t, and thankfully, we were able to respond quickly. As we made the decision, and prepared to say goodbye that morning, one of the kids wept, “I don’t want DJ to be a body!” That struck a chord deep within me. Yes. Oh, yes, I know what you mean.
I didn’t want DJ to be anything but what she was: alive, breathing, present, animated, here with us. But when I look at the photo, below, taken on her last walk that morning, I see her distress. And I know we can’t keep what isn’t ours to keep.
It is hard to say goodbye. I am struck over and over this holiday season by how hard it is to say goodbye. Even a welcome change can create a hole, nostalgia for what was. I’m thinking of the new parkland across the street, created by knocking down the houses that were there before, none of them very pretty, and yet, I found myself in the days immediately after they were gone irrationally missing them. Absence is absence. It’s why we keep telling ourselves stories that may not be serving us. It’s why we hang on to old pain and shame. It’s why we are afraid of making space for something new. Instinctively, we know that any absence, any loss, any goodbye will reshape us in ways impossible to predict.
Today has been a great day, a good birthday, and I’ve been doing exactly as I please and wish, which is my definition of the perfect birthday. I woke early to go for a walk with a friend. Kevin made me breakfast. I went out for coffee with two of my brothers. I treated myself at the bookstore. I hugged my mom, and my dad. I worked on the logistics for this new cartooning project, figuring out how to scan and edit images. I listened to music while drawing and writing. Oh, yes, and I blogged. Tonight, Kevin is taking me out for dinner.
Every year that comes around is a blessing. This past year has been full. Full of the unexpected, the hard, the surprising, and the miraculous. I learned how to draw this year! How unexpected is that? Never saw it coming. I also wrote a book by a hand, something that wouldn’t have happened if I hadn’t been concussed. I’ve been kinder to myself in many ways, this year, accepting aging (I’m wearing new reading glasses, for example), deepening relationships, sending roots down into the earth, humbled by my work, demanding time to exercise and also to write. Many tears. Much warmth. Quiet, too. I can’t guess what will come in this new year. I have ideas, plans, stories to write, poems to memorize, kids to snuggle, friends to embrace, a new word to play with, songs to learn, habits and rituals to nurture.
Cartoons to create.
Below, from December 15: “I didn’t leave room for a caption.” Hey, lots of learning to do, too.
PS Soundtrack for this post: Lullaby, by the Dixie Chicks.
In the past couple of creative writing courses I’ve taught, I’ve devoted an entire class to listening to and writing fairy tales. Why? Sometimes I introduce an exercise without fully understanding its necessity, until I’ve been through it several times. After my fairy tale class yesterday, my brain was spinning, like I’d learned how to spin flax into gold. I may not entirely understand why the fairy tale is so valuable to listen to and enter into, but I’m getting closer.
Fairy tales are full of archetypal imagery: images that are powerful and timeless, even if they may be interpreted differently by different cultures and in different eras. Brothers and sisters; transformations; talking beasts; wise women and witches; kings and queens; red shoes; axes; forests; water. As we wrote our own fairy tales, some of these images no doubt found their way into our stories, and we knew they had meaning beyond themselves, we understood it at gut level. A dark forest conjures a meaning different from a river; the moon means something different from the sun; the power of a witch is different from the power of a king or a queen. Maybe we also understood that the meaning of these images was somehow malleable, too, and that we could work with it, we could subvert it, we could make it our own—we understood that meaning shifts. Sometimes it’s even our duty to shift meaning or fight against it.
Fairy tales are by their nature grim, even gruesome; the characters suffer horrors and sorrow that is difficult to comprehend. And yet the stories are told in a way that makes them enjoyable to listen to—not frightening, but compelling. One of the hardest tasks as a writer is to write about trauma without traumatizing the reader: fairy tales do exactly that. How do fairy tales protect us, even as they reveal traumatic narratives? Perhaps it is in part our detachment from their one-dimensional characters. But I think protection also relies on the use of archetypes to contain and control horror, and shape meaning.
What is the difference between meaning that is political or ideological and meaning that is literary? The world is not magical. In other words, what happens to us is not meaningful, in and of itself. We make it magical: we create the meaning. We impose shape onto the events we witness, onto our own experiences, onto the random gathering of routines, activities, sights and sounds, interactions and reactions that make up our lives—much of what falls through and into our lives is like the weather, out of our control. This could be terrifying, paralyzing. It is not a truth our brains accept easily; in fact, our brains are built to create narrative to explain the randomness, to comfort ourselves, in order to survive and to thrive. The same source of comfort drives our impulse toward religion, politics, and poetry: narrative. We need narrative because we need meaning. Meaning comes from shape, pattern, images that carry thematic weight, from threads being pulled together to weave a tapestry that is so satisfying to our brains that we don’t care that it’s not real because it feels real—it feels as it should.
Why do we seek to understand the motive of a man wielding an AR-15 in a church? (I’ve been wondering and wondering about this, because in my opinion, trying to pin down a motive in cases like this is a waste of our collective energy; but most news media would disagree.) There may be a fundamentally human reason driving this search: because without motive there’s no sense of cause and effect, there is only shapeless unformed chaos resulting in death and grief. Audiences want their stories to make sense, and the news media are storytellers and we are their audience. Think of all the different ways we impose narrative on the world around us—my interest is largely literary, but political narratives are inevitable and create competing storylines that truly fail to intersect. Some narratives exclude, lock out, imprison rather than connect.
How can literary narratives help us? By creating empathy—through windows and doors, through the lens of another’s eyes. By refusing to be ideological. By appealing to our human frailty and flaws—by showing us our possibilities and our hopes, and our failures. By releasing us from our humanness, too, sometimes, the way that fairy tales do. Fiction is inherently unrealistic (even so-called realism). Fiction will always be much more and much less than reality is—it contains both too much or too little of reality to be real. Fiction is interpretation. Fiction pushes the writer to identify what matters in whatever moment is being described. It creates magic inside of us all of a sudden! We become magical when we write and also when we read, because we are transforming what is into what could be—a recreation that has substance, shape, and meaning.
Something from something, as Etger Keret writes.
I wrote this in a white heat of emotionless thought after yesterday’s class, as if it were tearing from me whole: the reason I write, the power of writing, the value of it.
“The world is not magical. We make it magical all of a sudden inside of us.” – Silvana Ocampo
Write these words on my heart.
I cannot honestly believe that I am writing a book by hand.
In August, I started this manuscript over from scratch, writing each new chapter by hand. Many of the chapters were originally written by hand, so for many of these pieces, I am writing them by hand more than once. That’s a lot of pages in a lot of notebooks. It is excruciatingly slow, in terms of how many words I can produce in one sitting.
And yet, I trust the process. It is like cooking from scratch. Takes a lot longer, worth the wait.
What I say to myself, when approaching a new character, a new scene, or when reworking material in a new way, is this: you have to translate it. Most of the scenes already exist in some form—I’m solidifying a plot-line that already exists. But each scene feels new, in this new iteration, and so it must, in order to be exciting. It feels like a process of translation, like I’m taking dead scenes and bringing them to life with the power of my hand, which seems to know more about life and aliveness than my brain does.
But it is so much work. It requires a patience and degree of determination that feels almost herculean, almost too much for my mind to bear. Yet I want so badly to finish this project. At this point, that is what is driving my ability to continue—the desire to finish. The desire to see this story through to its end. The desire to let these characters live, not just inside my head, but for real, on the page, accessible by the minds and imaginations of anyone else who can read.
It is such an intense struggle, it is difficult to put it into words. It is also so extremely satisfying, I would almost call it excruciatingly satisfying when I’m finished a scene and can read it, shocked and surprised by what’s been discovered. It feels like I am a conduit. It’s not that I relinquish responsibility for these characters, only that I am as surprised by their aliveness as if I were reading someone else’s work. Maybe it’s that I am transported by these characters, maybe it’s that I’m alive somewhere else and inside of someone else while I am writing these scenes—maybe that is why I feel like a conduit rather than an author. I feel like an observer. That’s what I mean when I describe my writing as translating, when I pick up the pen, open the notebook, and write a new scene—I’m translating from the back of my mind into words. The front of my mind doesn’t know what the back of my mind already knows, and so it is a surprise, even if I am making it, creating it, all of it. I am surprised by myself, by my capacity to plot, to pull together images, to thread connections like beads on a string.
I feel the same way when I am drawing, now—whenever I am lost, I tell myself to let my hand lead me, to discover what my hand wants to show me. My hand always knows. My hand always knows more than my thinking brain.
I look with surprise, admiration, even awe, and say, oh, that’s what this means, oh, that’s where I am, oh, that’s who I am right now, oh, that’s what I’m feeling, oh, that’s what I want, oh, that’s what’s hurting me, oh, that’s where the pain is, oh, that’s what’s on my mind. Oh, that’s how it all fits together.
Like Lynda Barry said, writing isn’t easy, but it can be pleasurable. Just like those runners jogging by in the middle of the day. You’d never look at them and say, oh, that looks easy. But you understand that they are getting something from their efforts, something like pleasure, or a feeling of accomplishment, or surprise, or enjoyment, or transcendence. Transcendence is both why I write and why I run. For that lovely floating feeling of being apart from it all.
And also of it all.
And also free.
Hurricanes, earthquakes, floods, fires.
But ordinary life goes on, and outside my window is a cool Friday evening, with sunlight splashing shadows through the still-green leaves of early September. I wrote today. After a week of disappointing attempts to write, this was truly a gift. I wrote with a friend, and when we were done, we read to each other what we’d just written, and that was the most magical part of all — that joy of sharing what did not exist only an hour before. I may have to add this point to my manifesto (see below): read what you’ve written to an appreciative audience immediately upon writing it!
re the manifest0: On one of the last days at the cottage, I wrote out a set of reminders for myself, in an attempt not to lose what I’d gained. But then I got home, and it was all too much — the hours of each day consumed themselves, often quite wonderfully, but with only a few words set to page, and the words seemed weak, the magic drained from them by the heaviness of early mornings, forms to be filled, course prep, answering emails I’d abandoned, meals, scheduling, driving children, walking dogs, and on and on. That is why this afternoon’s blissful writing time was such a gift.
For the record, here’s my message to myself, from the office overlooking the lake.
Something I am learning is that writing by hand is actually the very quickest way to access a character or a scene. Something has changed for me over the past year, and at an accelerated pace this past month (the beautiful amazing writing and resting month of August, 2017, as I shall hereafter recall it). In my hand and on the page, I find access to fiction. This book has been a long time coming to fruition, and perhaps that is due in part to my needing to learn a new way to write and think — the Lynda Barry way (but also the post-concussion way). When this book is done, I will dedicate it to my friend Lisa, who introduced me to Lynda Barry. The detail and complexity of thought that arises now that I’ve trained my hand to listen, to be a force in motion, to be the leader, not the follower, of my thoughts — it astonishes me daily.
The other key to freedom, which I must share with my students, is the lack of a delete button when writing by hand. It sounds so obvious, but if I were writing this on-screen, I would have just gone back and deleted a whole line — probably not an important thought, but nevertheless it would have vanished forever. Here on the page, even a crossed-out line still exists. And there is an impetus to push forward, not to recreate and reattempt what one has already written, but to find out where the somewhat misshapen present is taking one.
I am not permitting myself to delete when I’m writing on the laptop, when I transcribe material — this is the first draft, I’m telling myself, and it can be refined later. I allow myself to add more words, but not to delete. The draft needs to exist as it stands, for now, until it is complete.
I will also print my drafts when they are done.
I’m writing this like a manifesto for my future self, as a reminder!
Something else to remember, for later: the back of the mind needs to know it has time and space to come forward — permission to come forward. That is why ritual is so important, and timed writing is so important, because it is training the back of the mind to trust, and the front of the mind to trust, too. Give it time! I must commit to 2.5 hours every day, if possible, and sacrifice all else. [Future self says: bloody hell, are you ever optimistic, cottage self!] What will this look like in practical terms? I hardly dare ask. I think the habit is imperative, no matter what project I’m working on, now and in the future.
Priorities. I need to stop taking on responsibilities I haven’t got time to learn how to do, or to do well. Instead, I want and intend to focus on what I already do well. Writing. Writing writing writing! I am a writer unleashed! The only person who is messing with my priorities is me. I can see that clearly now. I have put all kinds of blocks and obstacles into my own path as a writer. This may be out of fear. Fear that I will run out of things to say, fear that I’m really not that talented. Fear I’m delusional.
But right now, at the peak of this surge back into writing, I want to laugh at myself, gently mock myself, and say, hey, not everything you write needs to be published. That doesn’t mean you’re not a writer. You’re the one who is going to determine your own writing future, not anyone else. It’s weirdly true, I can see. I can’t determine prizes and publishing deals and grants and recognition and audience, but that is immaterial — material and immaterial. It’s the identity that makes all the difference. It’s being a writer, inhabiting the body of a writer, loving the mind of a writer, making space for this writer, time for writing, challenging myself to difficult tasks, challenging projects, pushing myself to do this thing I believe I was born to do.
And stop undoing all that I’ve done to get here. Stop ignoring where I am and how I’ve gotten here. Stop undermining myself.
I don’t mean to become arrogant. I mean to become fully myself. Sorry, fourteen-year-old daughter of mine, I do believe a person can grow and change. I do. I’ve seen myself at so many different stages, witnessed real change, seen my body change and my mind too. I know this is possible, it is possible to be a writer and be comfortable being a writer. It is possible to nourish and feed myself as a writer, and damn well to do the writing. Damn well do it.
Oh Lord, I want to keep doing it. I don’t want this holiday at the cottage to end. I want every morning to sit at my desk and write. So do it [says cottage self to cowering future self]. Do it, and sacrifice in other areas instead. Experience the discomfort of that. The discomfort of honouring your work and your vocation above your other responsibilities.
End of manifesto.
Note to self: read this post whenever you’re feeling lost, confused, down, uncertain, anxious, whenever you’ve lost faith. Read this post!
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