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.
Thanksgiving weekend in Canada.
I’m in the midst of a number of fraught and challenging decisions, with an ever-evolving to-do list related to teaching, career, writing life, family, responsibilities, volunteer work, and deadlines, and the phrase “there’s a lot on my mind” resonates strongly.
I seem to imagine, at some amorphous foggy point in the very near future — say, tomorrow — having the time and space to sit quietly and just think. To relax. To read for pleasure. And of course, to write in that exploratory, gathering, joyful fashion that is required of any early-stage major undertaking.
In my imagination, this foggy and amorphous future point, this tomorrow, is an actual space, a spacious space, wide open and clear, unclouded, with huge horizons and no clutter.
This is magical thinking, of course. As we all know, tomorrow never comes. That space does not exist, nor could it possibly, under the circumstances. This is of my own choosing. I wonder: have I filled my life with much too much on purpose, because I’m afraid of what an uncluttered life might feel like — would it feel empty, I wonder? Do I find meaning in the busyness? But what about clarity? Can there be clarity in a cluttered life? Because that’s really what I’m imagining, when I conjure this wide open space: it’s a place where all can be seen, clearly, where nothing is obscured or lost amidst the clutter.
The mind itself can see clearly. I could lift my eyes from the immediate needs that present themselves before me, and notice everything that surrounds me.
And be thankful.
I rode my bike to campus this morning with tears streaming down my cheeks. Tears of pain and rage. How can I explain? I was heading to a meeting with a colleague. We are working together on a project that will bring women whose identities have been fragmented by disruption, war, movement across borders, together in the same room to tell their stories. I see I’ve used the word together twice in that last sentence. I know it’s poor construction, but my subconscious knows what it’s talking about. As I biked in this state of flaming fury across the park, uncontrollable tears streaming down my face, what I wanted, what I felt would heal me or give me hope, would be to come together with other women and do something meaningful. When I arrived on campus and confessed my state of emotional disarray, my colleague told me that she believes what was staged in US Congress yesterday was deliberate and calculated — to cause pain. They put a woman’s history of pain on display so they could show us — this doesn’t matter, we have the power. We’re going to install this angry, self-pitying, credibly accused sexual assaulter to a position of almost unimaginable power over you and your bodies, and your stories do not matter.
I almost can’t type these words for the rage that is coursing through my body, causing my hands to shake.
Has any woman come to adulthood without having been, at some point (or many points!) in her life, treated as an object, a body, to be mocked or admired or possessed or controlled? Has any woman come to adulthood without having been patronized, sexualized, diminished, or ignored? Has any woman not struggled to find the perfect script, the words she must speak and the role she must inhabit if she is to be taken seriously, if her story is to be believed—only to realize that in fact, for her, there is no perfect script. No perfect script exists, just a series of scripts and roles designed to be turned against her.
What does this do to us, collectively?
It’s gaslighting at every turn. We want to say, but it’s better now—it’s better now! And isn’t it? Girls can be anything they want to be! Dads can look after their kids without receiving medals of honour for their efforts! Canada’s foreign minister is a formidable woman!
And yet. And yet. Is it better now? If a man credibly accused of multiple sexual assaults can be president? If all you need to get onto the Supreme Court is an in with the old-boys in Congress?
Who are we kidding?
I heard about a group of women who decided to go out into the streets of Washington DC yesterday and SCREAM. That’s about right, I thought.
I want to scream. I might even do it. But after that, it’s fuel. Fury as fuel. Whether it’s in small acts or large, I’m going to keep burning down the patriarchy, this rotten system that’s so insidious it makes us think that a man’s rage is “passionate” while a woman’s is “hysterical.” Let’s burn down colonialism while we’re at it, and white supremacy. And if these systems prove temporarily fire-proof, I’m not giving up. I’m going to take my tiny flame and light a bunch of candles and put them in all the windows of my house. I’m going to burn my energy to make space for all the stories that need to be told, that aren’t being told. I’m going to make space for creativity, because it will heal us like nothing else. To know that we are creative beings is healing in and of itself. To experience our generative selves is healing.
I’m going to model the shit out of what I want to see in the world. Can’t we be the change, be the change, be the change? Let’s do this! Let’s pour our energy and time into bringing people together to make something together. Together. Together. Doesn’t matter how small. The whole family sitting around the table for a meal counts. A soccer team of girls huddling to cheer each other on counts. Two colleagues meeting in an office to dream of using our talents to make something happen counts. It all counts. I know you know this too. Imagine what we are going to do; recognize what we’re already doing; remember what we’ve already done.
At least an hour ago, I sat down in my newly cleaned and organized office with the intention of writing a blog post. The post has been writing itself in my head for the past few days, while I vacuumed, organized, biked on errands, walked the dog — at any time when I had a few uninterrupted moments to myself. But when I sat down, at least an hour ago, instead of writing this post I answered emails, created a rough outline for the new course I’ll be teaching this winter (Creativity Unplugged), scrolled news headlines, and even watched a short video on “Coach Burnout.”
In other words, I’ve done everything except write the blog post I’d been meaning to write.
My new office is brilliantly organized (if I do say so myself). It feels peaceful. It’s amazing the difference this makes in my mind, opening space both literally and figuratively. A critical organizational piece is a filing unit discarded from one of my daughter’s rooms: in it, I’ve labelled a set of accessible folders to collect material that has been piling up, related to projects of immediate importance. Maybe a photo of this would be the easiest way to share the news I seem to be avoiding — it isn’t bad news, not at all, just a shift in my energies, and that feels … well, a recurring theme in my dreams is our house being torn apart, or moving into a new house, or not recognizing rooms that should be familiar.
Change. Risk. The potential for failure.
Change. Adventure. The potential for … success? That seems too limited in its definition, too vague. The potential for … hiking new trails, seeing the landscape from new perspectives, learning new things about myself, my limitations but also my gifts. They’re one and the same, in some fundamental way.
The labels read as follows (not weighted in any particular order): ENGL 332, The Shoe Project, Soccer Coaching, MA Theology, ENGL 335.
Let me break it down, by category.
ENGL 332 is the new course I’ve been contracted to teach this winter. It will be based on Lynda Barry’s workshops, and on her books What It Is and Syllabus. The exercises and projects will be a combination of text and drawings, largely hand-drawn, and the outline is taking shape in my mind (and on paper, as mentioned above) even now.
The Shoe Project is a *big* project I’ve been working on all summer, since reading an article about it in the Globe and Mail in June, and contacting The Shoe Project’s executive and artistic directors about starting a local version of the project here in KW. It’s a writing & performance workshop that connects local artists with women who are immigrants, to write, shape, and tell their stories. This project is currently being fuelled on energy, connection, and collaboration, and the next step is funding, which is a high bar indeed, but not, I believe, impossible.
Soccer coaching continues even as our season winds down. We played our last league game on Tuesday, but still have practices and a final tournament that will take us into September. Whether or not I coach again next season has yet to be determined, but remains a strong possibility.
MA Theology is the wild-card, about which I’ve offered no hints, in part because I applied only recently on something of a whim when a spot opened up, and in part because, well, I must be feeling some hesitance about it, some desire to explain why, even to myself. The full title of the program is MA (Theology): Spiritual Care and Psychotherapy. I *think* my interest was sparked last fall when a student discussed the idea of leading writing workshops in different settings and for different purposes — therapeutic purposes. But I think, too, that as I continue to coach and to teach, I’ve been craving more tools and knowledge with which to approach conflict, as well as a way to frame my beliefs around the value of creativity in nourishing and healing the spirit. I will be attending part-time. As my sister said, “Well, you know your limits!” to which I replied, “Or I know how to test my limits!!” “Haha yes, that’s more accurate.”
ENGL 335 is the final file, and that’s my usual creative writing course, which I continue to update and revamp in an attempt to simplify the marking scheme, and ease the workload, which I think has become too heavy and rigid over the years. I’ve been asked to teach this course in both the fall and winter terms, which means I’ll be teaching two courses this winter, plus going to school part-time. I’ll confess this thought woke me at 4AM two mornings ago. (Knowing my limits v testing my limits?)
My writing is not, you may observe, in those files. Instead, my current project, a collection of stories, is much closer, piled at my left elbow, very much a presence on my desk, and in my mind, and a very pleasurable presence indeed. It feels peaceful to work on these stories as they call out to me; I work on them with contentment and patience, not as if they are a crisis or emergency (which is how other writing work has felt, sometimes).
What I think is this: I’ve got too much energy to pour it all into my writing. Whenever I’ve tried to do so, tried to live the fantasy of “being a writer,” I’ve been mostly unhappy, plagued by self-doubt, banging my head against immovable plot points, overcome by inertia, thinking thinking thinking — and that’s no way to solve a problem or write a book or help the people around you. You need patience for all of these pursuits, patience and clarity, not anxiety. You need to clear your mind, and weirdly, my mind is clearer, my purpose stronger, my focus keener and energy smoother, when I’m occupied on a variety of fronts. I am a woman who requires a certain amount of extremity to thrive. The calm comes from being within the whirl; when all is calm and little is required of me, my mind becomes the whirl.
Did I already know this?
But it feels like a brand-new revelation: to stop fighting who I am, and get on with living the life that’s pulling on me.
I am someone who keeps an eye on my neighbourhood. I know the comings and goings of many of its residents, in part because I work from home with a window that faces the street, in part because our house is at a transitional section in the neighbourhood, through which much traffic travels on foot, bicycle, and by car, into and out of the uptown core. Across the street, several houses were knocked down last fall to make space for a park, which does not yet exist; it’s a plot of sandy land whose purpose, as yet, seems unclear.
I see, and I remember.
One morning, last week, I saw a woman in the middle of the street pushing a shopping cart. I heard her first, her screams could have been the shouts of girls teasing each other, but I quickly understood this was something else. I went to the front door and saw her in the street, pushing a shopping cart half-filled with what looked like clothing, screaming at a minivan that had stopped so as not to hit her. The van tried to pass, and she took a swing at it, a lit cigarette in her free hand. Then she came into our driveway, pushing the cart, and veered in behind the neighbouring apartment building. At this point, I called the police, my heart racing. I lost sight of her when she went behind the building, but my eldest, whose bedroom window overlooks our backyard, said he’d seen her squeeze through the fence at the back of the apartment building, and run through our neighbour’s yard. She’d abandoned the shopping cart and was carrying several bundles of belongings, shrieking at the world like her brain was fire.
On the phone, the dispatcher asked for a description. Perhaps I should not write down a detailed description here. I’d never seen her in our neighbourhood before. Her thighs were exposed, no pants, though I think she was wearing underwear. A dark blue long-sleeved sweater. Shoes? Flip-flops, I think.
The police did not arrive on my watch. I heard later from other neighbours, who had also called the police, that she was eventually found. A police officer called me later that afternoon to ask follow-up questions on what I’d seen. I could only describe what was on the surface, visible, a rough chronology of a brief series of events. He promised me, when I asked, that the woman had been found and that she would be okay.
What was happening inside her mind to turn her so violent and probably—it’s only occurred to me now—afraid? What happens to a person that they become this untethered to reality? She was out in public without pants. Cursing at anyone who came near. Screaming, slamming her shopping cart into the side of the apartment building, swinging at cars, seemingly in her own version of reality, trapped in a world that must look very different to her than it does to me.
I don’t know what to do with this scene, this snippet of a story that is not a complete story. It only has a beginning, no middle, no end.
I see it happening through the window, and my instinct is to hide. I wonder what people with training in such situations would say or do, what their approach would be, as they’d attempt to intervene. Would they try to bring her back into this world? How would they assess the danger she represents—to herself and/or to others. I wonder how a person can get so lost. What trauma is she expressing, what has she experienced?
I felt afraid of her. Afraid for her.
I keep wondering what my responsibility is as a human being in this situation. As a bystander. A witness. What is the appropriate action to take? And maybe I’m wondering something more, too: what if my responsibility goes deeper? What training or education would I need in order to become more than a bystander or a witness? What if I wanted to get involved, to help, not just to “help” — what would I need to learn?
The hardest day of the week to get oriented. There seem to be an infinite number of tasks that could be tackled — a few that should be tackled, and many that are just pleasant possibilities awaiting attention. But to be done properly these tasks require full attention. There are many ways to begin, but here is one that’s been working for me: I put on Marg’s green scarf and sit in the back yard and meditate.
On my general to-do list:
- Fall creative writing course at U of Waterloo: revamp reading list; tweak structure of peer review workshops; tweak participation rubric.
- Winter creative writing course at St. Jerome’s (new course!!!!): solidify curriculum, leaving room for student input within broader units.
- Write/edit/submit short stories: I’m working on editing a short story collection. I keep picking away at the stories, one by one; highly satisfying. I’m also setting the goal of submitting these polished stories, one by one, to literary magazines.
- Edit/submit poems: Same as # 3, only in poetry form.
- Expand/explore career options: Here is where I begin to drift off, untethered. I’m feeling a significant pull to further my education. I’ve narrowed my field(s) of interest to the following: spiritual work, counselling/therapy/coaching, writing/art therapy, conflict resolution, public speaking.
On Twitter, today, I retweeted an opinion from a thread on CanLit by Amanda Leduc, who wrote: “Literature is a special thing only insofar as it helps us to navigate the world & connect with one another.” Someone else replied: “I hear what you’re saying, but I have also talked to people who are alive today because literature literally saved their lives.”
And I wonder what I believe?
My experience as a teacher leads me to believe that writing can be powerful medicine, that telling our stories and being heard, no matter the medium, can be powerfully validating. Reading or seeing or hearing a story or image that strikes a chord within us can also be powerful. It can heal, or create an opening for healing. Who knows why something moves us? It may have nothing to do with the technical prowess of its creator.
I’m not saying that technical skill doesn’t matter or is immaterial. My God, when I read a book by someone who’s mastered the craft, I’m utterly transported. Most recently, that would be Ali Smith’s Autumn. I wanted to linger — am lingering, in memory — inside the richness and simultaneous spareness of her style. Yet I flew through the book and couldn’t put it down. That’s magic. There’s magic in deciding to pick up a book and read it, and discovering in it exactly what you need.
There is magic in the process, in all parts of the process, that’s what I’m saying. There’s work and then there’s magic. And magic doesn’t come in a form that’s graspable; magic, spiritual depth, grace — however you term it — does not arrive because you demand its arrival. A writer is not someone with special powers. A writer is someone who, with luck, occasionally finds a way to share an idea or an image with the the world, or whatever tiny piece of the world picks up our book and reads it and finds something within those pages. But there are lots of other ways to connect, even for writers. I come back to connection, to navigating the world. The world is what interests me. Relationships interest me. And, yes, spiritual life in particular interests me, even though or maybe because it’s almost impossible to put that life into words. (This is why we need images.)
Long story short. I’m happy to keep writing and practicing the craft of writing (see items #3 and #4 on above list). But I think I’m being called out beyond the borders of the page. I think there are other ways and means of connecting to the world using what I’ve learned (and continue to learn) about writing and shaping narrative, but also using what I’ve learned (and continue to learn) about being human, being mortal, being fallible, being forgiven, and loving and being loved.
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