Confession: I do not enjoy standing at the front of a room, listening to myself talk.
I do, however, enjoy standing at the front of a room, listening to others talk about a subject I’ve opened up for them: this is the method I’ve been using in my class, asking the students to break into smaller groups and discuss a subject, then return to the larger group to share their thoughts, and I love how ideas begin to flow, to cross-pollinate, to deepen, and I am simply a facilitator, responding to the discussion, but not imposing my will upon it. I am not there to be the expert. I am not an expert. This is not to downplay my experiences, simply to state the facts: I have no advanced degrees, no areas of speciality. I am a human being, alive to the world around me, I am a parent, attuned to my children’s needs as best I can be, I am a reader who loves language and the structuring of ideas in many forms, and I am a writer who will never be convinced that accomplishment matters—my own accomplishment, that is. What is accomplishment? It sounds so final. I am interested in process.
I am always willing to examine a problem from a different angle. I am willing to change my mind, based on new evidence, or a new argument.
I want to play and be playful, no matter how old I get.
And so my goals are changing before my eyes. They are changing as the year progresses, this year in which my focus has been WRITE. When I woke up this morning, early and exhausted, I thought that this past year has not been about WRITING at all, but about the after-effects of having written. I wrote, I published, and I am living the part that comes next. And I do not love it. I do not even seem to like it, most of the time. Even while I pour myself into it, even while I work to make the most of what has been offered to me, I only find myself growing wearier and wearier, drained, exhausted, perhaps even depressed. Lost. Uncertain. Bereft of a clear goal to call me onward; a steady dull and dulling march that I continue because I don’t know how to stop.
Here I am.
What comes next? How do I access my passion once again? How do I reset my routines, alter them, even minutely, to feed the life I want to have? If I can’t name that life, can’t see it, how can I make changes to my routines in order to step toward it?
Here is where my imagination stalls out. What do I want?
I want to write challenging stories: stories that challenge me, conceptually, that push me in a new direction.
I want …
Do I want to train for a race? Do I want to teach more classes? Do I want to change careers? Do I want to study yoga or meditation more deeply? Do I want to spend more time with children? Do I want to coach more soccer? Do I want to go on a writing retreat? Do I want more quiet writing days or weeks? Do I want to host more friends for dinner? Do I want to sponsor and host a refugee family? Do I want to make more music?
Oh, what small voice is calling me?
Why can’t I hear you, small voice?
Sometimes I wonder if I need ever write anything else here on this blog, if I haven’t perhaps already written everything I need to write; if the same ideas come around again and again. I just finished reading a memoir by Sally Mann, the American photographer, which is called Hold Still. In May of 2009, I wrote about Sally Mann after viewing, by chance, a documentary on her called What Remains, which was also the title of one of her major photography projects (click here to read that post). Mann’s memoir is lovely, and loving, and offers what feels like genuine and at times unintentional insight into the artist’s mind, her blind spots, her fervour, her view of herself, which may not line up perfectly with the way she is viewed by others.
When you make something, and you send it out to be seen, you lose control over how it is received. She gets that.
There are times when I feel naked, exposed, a character in a story I hadn’t realized I’d been writing. Sometimes I do not know how to be the person at the front of the room. Sometimes I don’t even know if I know how to be the person in the quiet of this room. I don’t know if these people are different people; I would like them not to be, and yet I recognize that a performance is performative by nature, and the domestic self is simply not–but what of the creative self? Does creativity not draw on a bit of everything thrown together, domestic and performative, insightful and riven with blind spots?
It’s been a gruelling start to the new school year, and the marathon of responsibilities continues apace, and to be honest, I feel like I am living a version of life that is unworkable, unsustainable. To fit here, I have to prop my eyes open, I have little time to see friends, I rarely cook or bake, I stagger from one task to the next, I write almost nothing, and I am doing a poor to mediocre job at all tasks required of me. “How do you find time to … ? How do you do it? How do you make time for …?” This question, in its many guises, is asked often of me, and I want to cry when I hear it.
I don’t know. I’m not doing it. I do not have time to. I do not make time for. I am marching bleary-eyed and uncertain toward a goal I cannot see and cannot claim, and yet, I march.
The post that I wrote about Sally Mann, in 2009, was called “On endings.” It’s lovely. I loved re-reading it. It brought me a frisson of excitement, because I was writing about writing the stories that would become The Juliet Stories, and because the retrospective is a comforting viewpoint. But I feel in some ways that I remain in exactly the same position now as then, in 2009: stretched for time, though in new and different ways, and questioning questioning questioning my purpose, my role, my goals, even my desires. Exhaustion rolls through me like fog and bleaches my mind. What remains?
“A year feels like nothing to me anymore, writing-wise,” I wrote, then, more than six years ago. I continue to agree whole-heartedly.
I also see now what I knew already then: that time is what separates those who make something from those who don’t. Well, it’s one of the things. But it’s huge. If your mind is a tangle of appointments and schedules and to-do lists and undone-never-finished-tasks and children and worries and travel and work, you do not have time to spread out your thoughts and sink into them. The physical scattering, the distractions and interruptions, the segmented sliced-up hours: your mind is scattered. How can it settle?
I’ve applied for a grant to earn some time; whether I get this grant remains to be seen, but it’s like I’ve bought a lottery ticket, and I am sitting here holding the ticket and imagining what I would do with this time. I imagine this time clean and crisp and clear, textured by weather and hunger and coffee, hour upon hour without interruption. I imagine it on a windswept hilltop or in a one-room cottage. I am clearly immersed in fantasy. Time is such a luxury. I would like to think I could write my next book beside soccer fields and swimming pools, but I think that I can’t, actually. I can’t. Let’s be honest. Sally Mann makes her photographs alone, hour upon hour in a darkroom. She takes her photographs alone, often, travelling for days or weeks, alone, as she works. The deep gritty stuff happens alone, in quietude, when you’ve fallen down into the depths of yourself, and it is work that doesn’t fit well with much else.
This is not the news that anyone wants to hear–no one wants to hear it. I don’t want to hear of sacrificing one thing for another. But I am already sacrificing many things for many others. One does. It’s the way it goes. The question is: am I doing this consciously, am I choosing this, must I do this, or can I choose otherwise? What would I sacrifice in order to earn that quiet time?
I don’t know. I’m really not sure. I can’t see yet.
Quiet discipline is a massive gamble, and it seems to require the courage (not to mention the resources) to say: this is what I’m going to do, even if it doesn’t work out, even if nothing comes of it, even then, it will have been worth it.
This could be a really really really long post about our truly wonderful family adventure on the West coast of Canada, but I am so pressed for time, having just returned from the truly wonderful adventure with all of the laundry / deficit of food in the house / soccer games upcoming this evening / unanswered emails that it will have to be a really really really short post.
In some ways, I wish we could always be on holiday. I don’t mean I wouldn’t work, because I love my work, and in fact work was a key part of this holiday — I appeared at the Sunshine Coast Festival to present on Girl Runner, and I wrote lots while away, too. I mean, our family would be together all the time, but without the pressure of the every day. We would no doubt bore of this … sleeping in, going for hikes and walks, playing beach volleyball in the ocean, eating out, doing very little in the way of cleaning or upkeep or chores … but it was sweet while it lasted, and I hadn’t tired of it yet.
I hope to post in greater detail soon. The photo above and the one at the top were taken in Vancouver, on an early morning run to Stanley Park. I kept stopping to take photos. It was that beautiful, and that out of norm, for me. Although, strange aside, several people I met while on the Sunshine Coast had been to Waterloo region, and recalled it as a most beautiful place; to which I replied … huh? Please don’t take this the wrong way, Waterloo. I mean, I’ve chosen to live here, not anywhere else on earth, and I love you for many reasons, but geographical features and natural beauty do not top my list. I’ve never been inspired to stop and snap a pic whilst running beside the railroad tracks through campus, for example. To compare:
I know, right? Ocean, sunrise, boats, mountains. Sigh.
Meanwhile, in bookish news:
* I’ll be appearing at the Chapters in Waterloo with The Candy Conspiracy on Saturday at 11AM (click link here for more details)
* It’s just been announced that I’m on the 2015 Journey Prize jury, along with Tanis Rideout and Anthony Da Sa (and it’s amusing to compare the descending head sizes on the official Journey Prize poster)
* Finally, I just opened a package from House of Anansi with the brand-new paperback edition of Girl Runner, including a guide for book clubs, with truly challenging questions (think you could answer them all?)
All for now.
I have a list in my head entitled: Jobs That Kids Can Do Themselves! I can see the title written out in perky brightly coloured bubble letters on a piece of paper and I can see the children discovering the list, glancing at it, and sighing, Oh Mom. (On the imaginary list: pick up dog poo in back yard; clean shoes after stepping in dog poo in back yard; feed and water dogs; put away clean laundry; put dirty laundry into hamper; hang wet towels; empty dishwasher; put dirty dishes in sink; empty recycling and compost bins; make breakfast and lunch; clean up after breakfast and lunch; find friends to play with…)
I have driven many many kilometres this weekend. I have driven them in my new little car. On Tuesday we gave in to the ongoing overlapping scheduling puzzle that has been our reality, as a one-car six-person family, these past few years, and we bought a second vehicle, a little pod that can efficiently travel from the mothership.
Sunset over salt mine, Goderich, Ontario.
On Friday night I was with friends in Goderich — old friends. I was reminded that even within a larger group, I look for moments of intimacy amidst the noise. I like to listen. I like to hear.
On Saturday afternoon I read at a festival in Bayfield, in a space that had been the town hall, with four other writers, and the stories they told were essential and moving and spiritual, somehow, and as the last reader of the eventful first half, I felt myself pulled into the flow in the room, and saw how there was space and focus for what I was about to offer and I was so glad and grateful to the other writers for opening up that spiritual river. How I loved stepping into the water. How I loved Aganetha, speaking through me. On the way home, driving my new little car through the rain, I didn’t want to listen to the radio, I didn’t want talk or music, I wanted to hear my own thoughts, I needed space to let the emotions of the afternoon work their way through my system. I heard myself saying, Aggie Smart is a wonderful character. Give yourself that. Let yourself know it.
One of the writers at Saturday’s event told me afterward that they were embarrassed by the organizer’s introduction of me, which was particularly awkward—title of my last book wrong, said she couldn’t find any information about me online, except some weird site called Obscure CanLit Mama, which perhaps she didn’t realize was mine—and when I got up to speak, I tried to riff off her intro and said that I didn’t mind being obscure, and wrote for the words on the page and the stories I wanted to tell, which perhaps just made everything all the more awkward. And then I read. I dove right into those words on the page. I wasn’t upset by the intro at all, actually, even if the other writer thought it was infuriatingly dismissive of my career and experience. Oddly, I’d thought it was accurate and reassuring. How nice that she couldn’t find much about me online, I thought. Maybe I can do this writing thing and remain obscure. (Although, is that really true? I’m not going to Google myself to find out.)
An author at the event told a story about Alice Munro writing while her kids were at school, and covering her typewriter when they arrived home again; I like that un-precious approach to the work. It fits with how I see myself, as a very ordinary person living a very ordinary life, who happens to enjoy an imaginative extra-life, like a room in the attic full of dress-up clothes stuffed into old-fashioned trunks or with secret passageways that I can visit and escape to, but I’ll still be back downstairs in time to help make supper and coach a soccer game. Life has many rooms. I want to live fully in all of them, whichever room I’m in.
Yesterday, I delivered my youngest child to overnight camp, and he is away from me until tomorrow. This picture breaks my heart just a little. He looks so anxious, but also like he’s trying to reassure me that he will be okay.
The writing work that I’ve submitted recently sits out there waiting for responses and there is no guarantee that anyone will like it or want it. I want other writers to know this, especially writers beginning their careers: know that even the writers you think of as more established, or as having had some success, receive rejection, sometimes, or have to begin projects over again, or abandon them altogether, sometimes. In fact, I think it’s good for a person never to get so comfortable in her abilities that her work can’t be critiqued by thoughtful professionals. It’s good never to become so precious, so valuable commercially, that no one holds you to account. (Even though that sounds awfully tempting and a person can dream!)
The best things in life are never the easiest, even if the experience of them feels easy. Getting to ease is hard.
Maybe I exercise because it is a form of extremity, it removes barriers, can push the self beyond the beyond to a purer place that doesn’t traffic in the ordinary obstacles that come between people, that we use to keep ourselves safe and protected and apart.
Behind me, a daughter inhales her asthma puffer. I can hear her breathe out slowly, then pull the medication into her lungs.
Behind me, my other daughter and her friend practice what I think are dance steps, her friend instructing her, one-two-push. But when my older daughter joins their conversation, I realize that a soccer ball is involved, and the friend is teaching my younger daughter a fancy soccer move, in our living-room. Maybe she will use it in her game tonight.
The nervous little dog comes into this office and lies down near my feet. She is distressed by change and change is constant in our house, in the summertime.
If I were to write a poem today what would be my subject?
If I were to write a short story today what would be my subject?
Here is the blog post I’ve written today. What is its subject?
The American writer, James Salter, died recently, aged 90. His output, said the obituary, was modest: six novels, two short story collections, a memoir. I think that output sounds quite fantastic. Nine books in total, not much more than a book a decade. I think it must have meant he cared deeply about what he published and rejected a lot of his own ideas and attempts. This is just a guess.
Enjoying this room I’m in. Hope you are too, wherever you are.
I sit down to write here, on the blog, and my mind goes round and round the purpose of this blog. I wonder why people are reading, perhaps, and why they may not be reading. I wonder why I am writing. Do I have something to say? Is my purpose to amuse, to inform, to muse, to form? Do I call out in hopes of a response? Am I launching quirky missives from an insular and isolated place? Am I writing as a writer, as a mother, as a seeker, as a knower? Am I writing to you? Or to me? Or to no one at all, to the ether?
I’ve come a long way on this path of being a writer. When I was a child, I wanted to be a writer like L.M. Montgomery or Lois Lenski. I wanted to be a writer like Emily of New Moon. I wanted create imaginary romantic worlds of adventure and mystery. As a teen, I was in love with language, and saw in it a violent risky potential. I wanted to write like Michael Ondaatje. I wanted to write barely coherent poetic scenes of romance and mystery and adventure. I didn’t care whether or not my stories or poems made sense, only that they burst with emotion and the fullness of self, perhaps. As an older teen and into my twenties, I wanted to write like Mavis Gallant and Alice Munro. I wanted to craft brilliant sentences that both hid and displayed meaning, sentences that were as rich and big and complex as a whole story, characters whose motives were murky. I wanted to conjure worlds at a tilt from my own, veined and layered and dark.
And so I wrote and I read and I wrote and I read.
In some fundamental way, I refused to believe that I might not be a writer, someday. I willed myself to continue through years of small steps forward, and crushing rejections. I determined to improve. I determined to learn and to master the craft of storytelling. How to do this particular thing and do it well: how to tell a compelling story, not neglecting plot for style, not neglecting sentence structure for pace. I got better.
I got to where I am right now, here, sitting before this laptop, wondering, wondering. Do I still want to be a writer, so fiercely, so absolutely, so determinedly? Who do I wish to write like, now? Or, more importantly, perhaps, than I originally understood: what stories do I long to tell? And if I have no story that I long to tell, why craft the structure, why lovingly build the sentences? If the house is empty? (Is the house empty?)
Engagement is a key word of our era. That seems to me the purpose of social media. Anyone who wishes to earn attention, to market her work, must learn to engage with her audience, to maintain a call-and-response relationship, the bigger the better. It comes naturally to some, and less naturally to others. I put myself in the latter camp. Yet this blog is a form of engagement, whether or not I choose to see it that way. And when I recognize this and admit it, I become more and more uncomfortable as purveyor and publisher of posts. I cannot understand what I am doing, nor what my purpose may be. Is it, as originally intended when I started the blog in 2008, to narrate my every day life, to keep it in some form, and if so, for whom? For my children? For myself when I am older? Am I marketing my books? Practicing my craft? Indulging in cheap philosophy? Is this a publicly-kept journal?
Could I live without engagement? This specific form of engagement? (Silly question. Of course I could.)
Less, is the message that’s been coming my way. Not more, more, more, but less, less, less. For so long, I’ve fought to become more, to achieve more, to do more. I’ve worked toward big, specific goals and dreams. Now I’m confronted with this strange glimpse of myself, something I was afraid to see: I see that I will never write as wonderfully as I’d hoped to. I’m not possessed of a special gift. I’m a hard-working woman, that’s all, and I had a dream.
I’ve written that in the past tense without even noticing: and I had a dream. Strange. Isn’t it? Maybe the dream is shifting, deepening, altering course, becoming something else.
What now? What next?
Now: Life is strangely lovely at present. It is unexpectedly wonderful to hear less, less, less calling me. I feel myself relaxing into moments in a way that feels almost unfamiliar, unknown. I feel the pace changing. I feel myself at peace with what I have, right now.
Next? Being a writer isn’t something you quit. Writing is how I process the world around me; I’d be impaired without it. I continue to write, as always, but right now it’s a form of listening; without shape. I think my purpose is to listen, right now. I feel quiet. I feel a great deal of affection–of love–for those around me. The days are full, vivid, layered and veined and rich. I feel human. I feel flawed. I can’t think of anything I need or long for or crave, not even direction, right now. I feel present.
What I don’t feel is at an end with this blog. But I want to be honest about my ambivalence toward its purpose, and my use of it, at present. Thank you for listening.
PS Photos are from this past weekend at my brother and sister-in-law’s farm, taken after the sun went down, on the longest day of the year. Homework got burned, marshmallows got roasted and mushed between graham crackers, and the mosquitos almost won. Almost.
It’s actually been a difficult week. I’m on the periphery of two difficult recent losses, women gone too young, both taken by cancer; and wondering how, trying, hoping to support those friends for whom the loss is much much closer, terribly personal. I’m trying not to be paralyzed by the idea that a small gesture is too small, or to fear doing or saying the wrong thing; but I also want to acknowledge that it can be hard to know what to do or say in situations that fall outside of our normal every day interactions. It’s embarrassing to admit, but I wonder how many of us are paralyzed by the fear that we might do or say the wrong thing? Maybe that’s because it is easy to do or say the wrong thing. I think about what mattered when Kevin’s dad died seven and a half years ago, and remember that the questions and interest of people too many steps removed from the situation seemed callow and offensive, even when well-meant and kindly spoken. But the cards and casseroles were wonderful, no matter who they came from, and the presence of friends at the funeral really did help. So from this, I would observe that presence and a simple offering is far and away more valuable than trying to say the right thing. I remember another friend telling me (from personal experience) that the worst thing to say to someone who is grieving is “you must be feeling …” or “you must be so …” Just say, I’m sorry for your loss, he told me. Consider how common the “You must be …” sentence construction is and how often it gets applied to situations out of the norm. I wonder why. No matter the intention, it comes off sounding like the speaker is trying to dictate the ground rules for emotion. Thinking about everything I’ve written here, I’m coming around to concluding that to do is far more valuable than to say, in difficult times. After all, isn’t that our impulse when faced with someone else’s grief or loss: to do something. It’s just that we don’t always know what to do, what’s appropriate, what’s needed, what would help rather than add to the burden.
Perhaps some of you might be willing to share in a comment what words or (more likely) deeds helped you through a difficult time. And thanks for listening.
PS A link to an article in Slate magazine about a woman who designs empathy cards with messages she would have liked to have received during her cancer treatment.