I’m not quite sure how to write about this. I’m not quite sure I should write about it, even though I’ve actually already written about it, in fact, in pen on damp paper clipped onto a clipboard, provided for me by a police officer. This morning, I gave a witness statement in response to an incident in my neighbourhood in which I became involved by happenstance, but also, I think, by choice.
The happenstance was simply that an incident was occurring at an intersection toward which I happened to be walking, this morning. The choice was to stop, to take time to observe and try to assess what was happening and how I could best engage to prevent escalation and harm. I couldn’t interpret what I was seeing, immediately, but I heard angry shouts; I saw three people, somewhat disconnected from each other, who seemed involved in a charged emotional situation; and I saw at least a dozen kids walking in groups to school. I wanted the kids to be able to pass by the situation without being affected, without being scared or harmed in some way. That was my primary motivation for staying on the scene.
It took a little while for the situation to resolve into any kind of clarity — for me to understand what had happened and what was at stake. I won’t go into detail. An incident had occurred, which had been triggering, and as one of the people involved came toward me, there was a loud verbal confrontation that I feared could become physically violent. That was when I stepped toward the person who was being accused of something, though I didn’t know exactly what at that time, and I said that I would walk along with him. I can’t say it was a decision that was well-received by everyone involved, but I did it anyway and I stuck it out.
My gut said that just being present, just walking with this person, would change the charged emotional noise all around us, and it did, at least enough, I think. Two children were walking toward us on the sidewalk. I told the person I was walking with that I wanted these kids to be safe. He said he understood. I asked him whether he understood that the police had been called, and he said yes. I asked him whether he intended to try to run away, and he said no. I tried to make sure we weren’t walking too quickly. I kept telling the man that I was going to stay with him. I made eye contact. I asked him ordinary questions. Where he lived, what work he did.
When the police arrived, three of us stayed on the scene to give witness statements. I did not need to give a victim statement, because I was not a victim. But there was a victim, at least one, possibly more. The man was moved into the back of the police vehicle. We stood in the drizzle and the cold for nearly an hour, while a police officer took our statements. I’d never been through the process before. Rose was frigid and shaking, barking and pulling on her leash, making it difficult to write down what I’d seen.
Ultimately, I found myself home again, then driving to Herrles to pick up pumpkins, as I’d promised my youngest I would do this morning. I found myself crying in the car. I was crying for the victim. I was crying for the bystander who was triggered and traumatized by what he’d heard. I was crying for the man who’d decided to do something that could potentially hurt so many others when he came into our neighbourhood this morning, instead of going to work. When I asked him if he had someone to call after this was over, a friend, family, was there anyone he could think of, he said no, he didn’t think so. He was crouched down at that point, and I can see his hand outstretched on the sidewalk, one finger drawing imaginary lines on the wet concrete.
I’ve been teetering atop my emotions all afternoon, feeling more than thinking about the fragility of human beings, about the ways we hurt each other, about how we pretend we’re ok till it’s obvious we’re not. I noticed that each of us who gave witness statements said that we wouldn’t need the assistance of victim services. Afterward, driving, I wondered at that impulse to say, hey, no thanks, this is nothing, I’ve seen this before, I’m not affected. But that can’t be true. I think we all were, because we all are, affected by what we see, experience, do and don’t do, and how we interact with the unexpected that comes toward us.
I’m sitting here thinking about how difficult it is for me to assess the unknown, to pass judgment, to decide who deserves what, to see the world as binary, and the humans in it in absolute terms. I can’t. Fundamentally, I don’t seem equipped to do that. I seem equipped, instead, to want to consider conflict, to understand it, maybe even to engage with it, to try to find a way to drain it of its emotional weather. To de-escalate. To bring everything back down to the ground. Where we’re all just humans and we’re all hurting, to different degrees. And some of us need to be stopped from hurting others. And we’re all holding stones. I want us to set down our stones.
I want for everything to make sense; but it doesn’t.
The original project was a lot of work, there was no way around that conclusion, and many of us felt burnt-out following the final performance. Our discussions this summer circled around how to make the project sustainable for all involved, and we began to define the different leadership roles with more specificity, create a long-term plan for funding, and identify elements from the original production that could be revised or reframed. We also wanted to make space within the workshop for former participants to return in leadership roles.
For the 2020 season, The New Quarterly literary magazine has taken over a number of administrative tasks and responsibilities, which frees me and Lamees (who co-coordinated the first workshop with me) from much of the grinding effort necessary to get the project off the ground. I’m excited to be the production’s “stage manager,” a role which I rather accidentally filled last time around (and loved!), while Lamees will be working more directly with candidates during the recruitment process. I’m thankful for our ongoing conversations with Pamela Mulloy, the editor of The New Quarterly — and with others — as we continue to learn from and develop this project. This is not a static process.
Personally, it’s been a gift from the universe to be able to work on a project that combines so many of my interests, including Lynda Barry’s life-changing exercises (the “X page” of the workshop’s title), multi-disciplinary creative team-work, and the power of personal storytelling. I’ve got a running theory that the antidote to (and inoculation from) xenophobia, misogyny, and fear of others’ cultures, religions, and beliefs, is immersion in stories. You can’t sit with someone and listen to their stories without being changed in some way. Especially the particular stories that emerge from Lynda Barry’s X Page — stories that may on their surface appear ordinary, every day, but therein lies their power: X Page stories are rich with sensory detail, evoking images that transfer from speaker to listener, images that pull us directly into another human being’s experience. Being part of this process, through the workshop, is powerful.
I have a lot on my mind. And somehow that has translated into silence. How to sift through the jumble and identify items worthy of sharing? I seem to exist in a fog of confusion, at least right now.
Last week was absorbed by creating a roster for this season’s soccer team. A painful, heart-rending process, in all honesty. Humbling and bruising, too. A large part of me rebels against the levels imposed by competitive sport that claim to filter children into good, better, best. It isn’t an objective process, yet it’s treated as such; worse, there’s an implicit assumption that the teams themselves are good, better, best, based on level alone, and that a child’s experience would therefore be improved by moving up, and would deteriorate by moving down. I know what I can offer, as a coach, but within the competitive framework, it often feels like what I can offer doesn’t actually matter.
I’ve been waking in the middle of the night, unable to fall back to sleep. Mind racing. Body restless.
Not thinking about these things, exactly, but about the everything, the jumble, the chaos of a world that claims to be about one set of rules and values, while operating on a completely different set of tacit rules and values. Winning. Winning by any means. Power. Shows of dominance, especially rage. Shaming. Placidly public corruption. Lies. Assume everyone is lying to you, or you’re naive. Well, dammit, then I’m naive! The values we encourage our children to adopt could almost appear cruelly out of step in the context of this greedy, ego-ascendant world: be kind, share, be trustworthy. But that’s what I want to be and to do.
That’s the space I want to hold open.
I keep picturing the frame we teach players to make with their arms, to protect the ball and box out the pressure. It’s a strong stance, but not aggressive or violent or dirty — you don’t lift your elbow to hurt the attacking player, you simply use the steadiness of your body and of this frame you’re creating to hold your ground.
The conclusion I keep coming around to, amidst all the confusion and noise, is: I want to be kind. It’s actually almost the only thing I want to be. I don’t think much else matters to me, in the end, and in the right now. I accept that kindness can go awry, that the road to hell is paved with good intentions, that kindness, offered in ignorance, can cause suffering. And maybe I’m talking about something bigger, deeper, wider than kindness. Maybe I’m talking about love. Love; and attention. But it’s easier to start with kindness. Kindness is easier to grasp in the moment.
There is a mantra that’s been keeping me grounded, as much as it’s possible to be grounded, whenever it feels like I’m whirling away or spiralling down: I am loving awareness. It helps when I’m worrying about being judged, or am judging others, when I’m second-guessing my choices, or letting external pressures and feedback (real and perceived) affect my state of mind.
Here’s a ten-minute meditation to sit with.
(If the visuals in the video turn you off, just listen to the sound. Or don’t listen to anything at all, just repeat the phrase I am loving awareness, till you know it’s true.)
Today, I went to the climate protest in our town square. None of my kids went, and Kevin was working and couldn’t strike, so it was just me. We live nearby, and I walked, noticing people amassing, some with signs, many with children or pushing strollers. By sheer dumb luck, I ended up standing on a concrete riser closer to the front, where I could see some of the speakers. Drumming. Call and response. “What do we want?” “Climate action!” “When do we want it?” “Now!” And then a stripped-down orchestra appeared, led by a conductor, and they began playing Ode to Joy, quietly at first, a single cello, then more instruments joined, and at last, like magic, the choir burst out singing. I was right in the middle of it; I’d seen them filing in with their sheet music.
Goosebumps. I wished my kids had skipped school to experience this, too.
One speaker asked us to turn to someone else and say why we’d come. I turned to the woman behind me and introduced myself, and she introduced her son. I admired his handmade sign, covered in scribbles (he was 2 years old, at most). But I didn’t say why I’d come, nor did I ask her why she’d come.
At one point, the crowd start chanting something that I interpreted as HOPE. After calling this out for awhile, I realized everyone else was saying VOTE.
Well, it was hope that got me out the door and into the crowd. At least, I think that’s what it was. I wonder whether recognizing and responding to the climate crisis is a matter of viewing everything through a different lens. There are so many things we’re blind to, until we learn to see differently (racism, misogyny, poverty, and the list goes on and on). We don’t know what we don’t know, in so many ways, and so often we don’t understand until we’ve experienced something up close, either personally, or in some other immersive way (side note: stories are powerful like this). My kids, yes the same ones who didn’t go to the protest, are seeing the world differently: my son, who can vote this fall, says he’s most interested in climate policies because the other stuff seems insignificant by comparison (jobs, the economy, taxes).
This one sign said: STOP LIVING IN YOUR FANTASY.
That got me. It is a form of fantasy to imagine we can keep living the way we’re living, especially here in Canada, where we consume far more than our fair share of pretty much everything. I didn’t make a sign, but I was thinking: WAKE UP!
I was also thinking: WHAT ARE YOU WILLING TO SACRIFICE?
But that’s more of a question for myself, a personal question. What happens after a protest? I feel overwhelmed and swamped with partial and seemingly insignificant choices — cooking vegetarian/vegan (which we often do), refilling plastic containers at the bulk store (ditto), walking more, driving less (but soccer fields are so far away!). Maybe I want to know that whatever I’m sacrificing will actually be consequential, rather than merely delusional. Rather than another form of fantasy. I want a road map. I want direction.
Also, I want leaders who do something. But what? What would I be willing to sacrifice?
I’m fascinated by stories of people who are artists or who belong to other devotional professions that demand extreme discipline to a practice or a cause. I just finished reading a story in The New Yorker about the artist Vija Celmins, a woman now in her 80s, who paints, sculpts and draws the same subjects over and over again, sometimes for years at a time. She made bronze casts of 11 stones, for example, and spent years painting them so that they would like the exact replicas of the original stones. When she put the sculptures on display beside the original stones, people couldn’t tell them apart. Years! She also did a long series on spider webs, in which she would use an eraser to etch the web on a black/grey surface. She’s done paintings of the night sky, paintings of sand in the desert, paintings of small sections on ocean water, over and over and over again.
It’s funny, but I had a flash while staring at the lake last month, thinking about how impossible it was to try to capture the movement of water — yet that’s what she set out to do. I was mesmerized by the pattern on the surface of the lake, these symmetrical moving shapes, almost like ovals, all connected, that spread out across the surface of the water and both held and did not hold as they seemed to move and move and move, but also not change.
I can’t describe it in words.
I knew I’d need a photo, and also that a photo wouldn’t suffice, and I was tempted to try to draw it, but I couldn’t imagine the water holding still for me to be able to draw it. I would need the water to hold still. And I guess that also got me thinking about how impossible it is to describe a moment, even though that’s what I set out to do in the story collection I’ve been working on for five years now — trying to describe the intricacies of a sequence of moments. It all just falls to pieces. There isn’t time to grab everything. By the time I’d describe even a fraction of a moment, the moment would be very far behind me, and I wouldn’t be able to return to it. So it’s been an interesting exercise, but perhaps not one that can succeed. But I’m veering in the wrong direction. Success or failure doesn’t seem to be the point of what Vija Celmins (and others) are attempting in their devotion to a particular craft. Instead, there’s a common desire, shared by artists across mediums, to capture something ineffable by repetition. Or by a series of actions that will deepen our knowledge and experience of something particular, which can’t otherwise be named or known.
I don’t know.
Despite everything, something inside me still finds the stories I wrote vital and compelling. I continue to return to them, to work on them. Maybe they’re like the poems that I wrote all those years ago in young motherhood (never published) — necessary to my own survival, dull to anyone else. Who knows what pulls a person in, or why a subject demands one’s attention. It doesn’t have to be because it needs to be seen or known by anyone else.
Just now, in looking up more information about this artist, Vija Celmins, I came across this video of her talking about her work (link below). Listen to this: “Sometimes I think that the only part I think is of any value is the making itself. And the things about it that is — that are — interesting is that you’re making something that is basically unsayable.”
Here I sit, Monday morning, trying to distill my thoughts into a package tidy enough to make sense. I’ve been reading “How to Do Nothing: Resisting the Attention Economy,” by Jenny Odell, which is not the type of book I usually manage to wade all the through; non-fiction seems to take me a long time to process, especially when it’s offering new ideas or new ways of looking at the world. Odell uses stories from her own life and experience to analyze different forms of attention, and different ways of being in community with others: with humans, with animals and birds, with ecosystems, with any animate or inanimate being that exists within our particular intersection of time and space.
Here’s a quote that jumped out at me, as I read this morning (Oh, yes, I’m trying to start every weekday/work morning by reading a book): “A community in the thrall of the attention economy feels like an industrial farm, where our jobs are to grow straight and tall, side by side, producing faithfully without ever touching. Here, there is no time to reach out and form horizontal networks of attention and support—nor to notice that all the non-“productive” life-forms have fled.”
Immediately, I thought of my life as a contract lecturer: how lonely it was. How, when I asked an administrator how many other contract lecturers there were at the university and whether there would be some way to reach out to others, to attempt to form a community, share stories (and possibly even to organize for better working conditions), I was told that no one knew how many lecturers there were, and that there was no easy way to identify and contact others who shared my situation.
How many people work jobs like this, now? Part-time, contract, isolated, without benefits or protection, jobs with no guarantee of future contracts, temporary, often with baffling administrative or online systems to learn and negotiate, no set hours, and workloads that creep outside the boundaries of what we’d thought we’d signed on for, our value measured by anonymous evaluations. “Producing faithfully without ever touching.”
It’s a recipe for burn-out. In my experience, it’s not a sustainable way to live a life. But this isn’t a post about disappointment. Because the next thought that came into my mind was how different life can be, if you have the ability (and privilege) to step away from “producing faithfully” and turn instead toward the networks of attention, support, and all the non-“producing” life forms that continue to exist. What am I willing to sacrifice in order to afford a different pace, a different way of being in the world?
Most obviously, I’m willing (and temporarily able) to sacrifice a regular paycheque. I’m willing to live with more risk, to invest time into projects that are underway or unfolding, but not yet profitable (and which may never be profitable). I’m willing to live with uncertainty. I’m willing to live in a nebulous zone of invisible productivity where others may not understand what I’m doing, or why. I’m willing to give up status and authority. I’m willing to *not* be too busy. I’m willing to say no. I’m willing to protect my time to go for walks, to read books, to draw, to write, as fiercely as I would any task deemed important or productive. I’m willing to work inefficiently.
Do I squander my time when I cook a meal from scratch? Is it a waste to go for a walk with the dog and notice trees, birds, other dogs, to stop and talk to neighbours out walking with small children and dogs? Is napping wasteful? I think most would agree that, no, these things are not wasteful; and yet, I feel a shame and guilt as I write this, because there are so many people expending their time and energy to do and achieve big things, or just to survive. Cooking, walking, resting, stopping seem like luxuries only a few can afford. I wonder: is that true?
One final thought, arising from this quotation: how necessary, how critical, how important to our survival as a species is the collective—the opposite of being alone, or being isolated from others who would both support and challenge us. Odell writes about how the self is not, in fact, a fixed property, even if algorithms may insist on its fixedness, and how boring life becomes when our likes and dislikes are made to seem predictable. In fact, we need to know and care about others who aren’t like us: to expand our understanding and empathy, to help us see in new ways, to live interesting lives.
Maybe that’s all I’m after: a life that interests me, not because it’s full of drama, excitement, glamour, but because its fundamentals are present to me in the smallest ways, the most mundane places, the simplest interactions. Fundamentals: birth, death, relationships, conflict, love, beauty, pain, the air, the ground, the sounds, my material self, the spirit. And so here I sit, recommitting to the responsibilities that I’ve decided matter to me; alone, but not feeling alone. Thinking of groups of people with whom I’ve formed bonds; thinking about what it means to be on a team; thinking about everything else, animate and inanimate, that is present with me in this time and this space.
Unrelated to this post, but worthy of an update via caption: our team won the cup final to cap off our season.
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My name is Carrie Snyder. I'm mother of four, writer of fiction and non-, dreamer, contemplative, mid-life runner, coach, forever curious. I'm interested in the intersection between art and spirituality. What if the purpose of life is to seek beauty? What if everyone could make art?