Our morning routine is sturdy and pleasant. Exercise, shower, breakfast. We’ve worked out a shower schedule, since there are six of us vying for a spot. I’ve been eating chia seeds and oats soaked in yogurt, or scrambled eggs on homemade bread for breakfast. Everyone is at their desk (or couch, or bed) by 9AM. Peaceful. And motivating, too. I’m wasting less time in the mornings getting to my own work.
Today, I wrote for so long that two of my pens ran out of ink! Something that brings me pleasure each day is to check in on my plants. I’ve got two new ones that I repotted from cuttings, and it gives me such a kick to see the progress their little shoots are making, day by day, slowly, slowly, rising and unfurling into shiny new leaves.
If I’m getting “better” at drawing, as a few people have commented recently, does it change my approach to this project? I’d like to keep this fun, unselfconscious, an adventure into the unknown, into the hidden parts of myself that only my hand and pen can discover; like what’s shown today, above, in my awkward hesitant shape, revealing the vulnerability I felt (but didn’t want to admit) during this conversation with a friend.
Many lovely grace notes on this quiet Sunday—baking bread, playing hymns and singing harmony with Annabella, church on YouTube and Zoom followed by watching the Liverpool game while everyone sat around in the living-room—but it all revolved around breath. Controlled. In, out, long, smooth.
Talked to my Grandma this afternoon, asking questions about specific times and experiences in her life. We will keep talking. I want to ask her about big things, like, how do you feel about death? How did you survive the upsets and shocks in your life? (Talk about self-conscious: I do not like the drawing of myself in the corner of the Zoom screen, and nearly scribbled over it before posting here; but decided to let it stand.)
Sometimes I can’t keep my eyes open and I unroll my yoga mat and lie down in a very particularly way on my studio floor (which is heated), and I nap—for no more than 24 minutes. More stories via Zoom from my Grandma this morning. I’m listening. I have time to listen.
I paused my day to watch Kamala Harris take her oath of office, and was later transfixed by Amanda Gorman’s recitation of her poem “The Hill We Climb.” We aren’t broken, we are unfinished, she proclaimed. I write these words on my heart. (I’ll admit, I held my breath till Joe Biden was sworn in, and then—relief.)
It can get very busy in the kitchen at breakfast time: for accuracy, this drawing should have at least two more people squeezed into it. I spent the morning talking to Grandma again, and she told me about celebrating the inauguration last night, even watching the entire TV special, sitting through all the musical acts, even when she didn’t love the songs. Someone chose them for a reason, she told me. We talked about change today, and next time we are going to talk about death.
I’ve scarcely left my desk all day; but after supper last night, our whole family walked uptown. It was the first time we’d all been out together since lockdown. I get very panicked and queasy seeing new businesses opening now, and trying to survive. Like, the worst feeling! I wonder why?
I should have taken photos of my drawings in full natural daylight, but I forgot till it was too late (too late being just after 5PM). I notice a lingering and annoying dissatisfaction with the imperfection caused by the poor lighting. The colours are faded and distorted, for one thing! But I’m too tired and it’s too much end-of-the-week to start all over again (plus, I’d have to wait till tomorrow to re-take all the photos!). Hey, it’s Friday evening, and we’ve got take-out on the table, from Sari-Sari Filipino Cuisine. Look them up, if you live in Kitchener. They post their menus daily on Facebook, and the food is delicious and inexpensive, and served in the most generous portions.
Happy weekend, everyone.
Note: About a week after originally posting this, I photographed all the drawings again, in natural daylight, and uploaded them to replace the ones that had annoyed me so much. Is the post measurably better because of this? I don’t know, but I feel better!
Drawing a flower with CJ.
- What felt good this month? At the beginning of the month, it felt wonderful to be on holiday (we spent two weeks away at an isolated cottage). As always, I hoped to bring that holiday-feeling home; but inevitably it has slipped. I can’t drink a caesar while cooking supper every day! It isn’t even possible to keep up the habit of twice-daily yoga. But it is possible to get up early every week day morning for a walk or run, followed by yoga. It’s also been blissful to take charge of my studio space, to clean and organize and purge and paint, and to set new goals. And we have kept the holiday-feeling going in small ways: Kevin bought a fake fire pit (propane-powered) and we’ve been sitting outside some nights, watching the flames, listening to tunes.
- What did you struggle with? After rejigging my studio, I panicked—as if I didn’t deserve the space, full of fear and doubt about my work and worth as a writer. But then I journaled, meditated, and went for a dog walk with Kevin, and I came out the other side. It helped to reframe my work through the window of books. Books are my life’s work. If I feel unmoored, I can ground myself by reading, writing, or connecting with others who read and write. I am so thankful for this blog as a place to come to, to share ideas, and experiment, too. I am so thankful for each one of you who reads. Thank you.
- Where are you now compared to the beginning of the month? Unexpectedly calm. When my mind spirals away, caught in fear or doubt or shame, I notice, and find a safe branch on which to land. I breathe. I think: Is this true? What’s really happening right now? Are you okay? Is there anything you need to do? I’ve noticed, too, that projects are so very satisfying to work on and complete: my mind is soothed, no matter the task. Cleaning out the bathroom cupboards. Cooking a meal from scratch. Painting a door. Writing a grant application. Revising a story to send to my writing group. In this way, small accomplishments accrue, and the days flow peacefully, but don’t feel dull. And in the evenings, I reward myself with some stretching, watching a show, reading, eating popcorn, letting my mind and body relax. (Note: this is so much easier to achieve now that I’m not coaching! I do not take my easy evenings for granted!)
- How did you take care of yourself? All of the above. Plus, remembering to reach out to friends. Working on my posture, and core strength. Sticking with established healthy routines. Putting away the pairs of jeans that don’t fit anymore. Thanking my body for carrying me through this life. I ask a lot of my body! I am in total awe that my chronic running injury has healed through physio, and that I’m able to run fast again, without pain, at least for now. Every morning run through the park is a full-body expression of thanks.
- What would you most like to remember? It’s okay if I don’t remember very much from this time. Sometimes the best days aren’t super memorable—I don’t remember much when inside the flow, but if I’m fortunate, from the flow will emerge some work of substance, or a strengthened relationship, or deepening insight and capacity for approaching conflict, suffering and pain. I will remember where I was when Ruth Bader Ginsberg died; and my own sadness and immediate despair. But I’ll remember just as much that her passing sparked a renewed connection with one of my beloved American cousins. I’ll remember, too, what she worked toward: equality for all, a far-seeing, long road of commitment that developed from her own experiences, that was encouraged to develop through the support of her husband and family, and that extended till her death. Like John Lewis, she is a true role model of character and vision, beyond the self.
- What do you need to let go of? I deactivated my Twitter account a week ago, after watching The Social Dilemma on Netflix. I also turned off most of the app notifications on my phone. It’s been good, and I hope it lasts. What I’ve noticed: I’m freed to work with more focus throughout the day. But I’m also not filling my mind with fury and outrage, the primary emotions sparked by “doom-scrolling.” True, there’s less to distract me from my own restlessness and boredom, but here’s the strangest part: I’ve felt less restless, less bored, since signing off. There are more productive and meaningful ways to connect with others in this world. I commit to choosing those instead.
The bugs whirring in the trees. The sound of wind through branches. Cars and trucks grinding by on the nearby streets. I am gliding through these days. Maybe I want to keep this time, but maybe I also want to let it be. Let it roll like weather, let myself rest in the grass and look at the sky, so different every time, completely clear this morning with sunlight at the tips of the trees, the leaves lit from behind, green etched on pale blue.
I am waiting to discover something—what?—new?—about myself? about my purpose? about what I might become? I wonder why I always feel so sure that I am becoming—it seems so optimistic; because of course I am so sure that what I am becoming will be an improvement on this present iteration of self.
I’ve noticed that my flaws are magnified by this time of intense closeness with my little family unit. There are fewer of the everyday, outside, fleeting social interactions that help me to see myself differently; at home, my relationships tend to be more raw, less inhibited by boundaries and graces. In the outside world, I perform civility. Home is where I let my hair down (or wind it into a messy bun, more often!), seen only by those closest to me, who are also most bound to me and therefore most forgiving. Within these close relationships, I see reflected my limitations, my tendencies, my patterns, my behavioural tics and triggers. In truth, it is more often than not painful, humbling.
The question presents itself almost non-stop: Do I want to change? And if the answer is yes, what would I like to become, if not this?
Also, acceptance: this is what I’ve got to build upon.
This weekend, I listened to this On Being interview from 2013 with John Lewis. I’ve been thinking a lot about non-violent resistance, and what it means; and its relationship to my faith and faith tradition in the Mennonite church. I am planted in this soil. Here are my roots. How do I flower and grow and express “love in action”? The idea of resistance infers that against which you must resist—there is an implied relationship, a force that is pushing back. What John Lewis seemed to know is that in order for “good trouble” to bear fruit, you must present yourself at the edge, where you can meet resistance. You must be morally unassailable, dignified, restrained, patient, but also forgiving (of yourself and others). Non-violent resistance is hard, it requires self-discipline, rehearsal, practice (you learn to protect your head with your arms, you learn to curl into a ball on the ground, in practical terms). To win the moral battle, which may or may not move you closer toward your goal, you must be spiritually prepared to suffer. But to meet resistance effectively, you also need clarity of mission. The thing against which you are resisting must be clearly in view.
I’ve been thinking, too, that I lack clarity of mission. I don’t know my own goals. And this is why it feels like I’m waiting. (I’ve also been reading Maggie Nelson’s The Argonauts and thinking about the many ways in which human beings cause each other pain and are hurt, despite our best intentions, despite trying to protect ourselves; and how powerless that can make us feel, to act, to respond, to seek out relationship with others.)
re resistance, re mission, re goals, just found this in my notes: I still need to write that blog post about the flaws in the system. Which flaws? Which system?
Too many flaws, too many systems.
On this subject, more to come. But I shall spare you and stop here for now.
Last post, I wrote, somewhat tongue in cheek (I hope!) that it had just occurred to me that as I get older, I could be getting worse not better.
Here’s what comes to mind when I think worse, not better: Less ambitious, less courageous, more cautious, more conservative, less likely to throw myself into something new wholeheartedly, crabbier, boring, predictable, less engaged with the world, more fearful, content with the status quo, narrow-minded, petty, envious, self-indulgent, less willing to give of myself.
You probably have your own personal list of worse, not better.
Which makes me wonder, what’s on the better, not worse list? Funnier, looser, less concerned about what others think, flexible, giving, generous of mind and heart, trusting myself and others, sharing responsibilities, moral clarity, openness, curiosity, wonder, kind and tough, practical and impractical, disciplined and relaxed.
Oh dear. Some push-pull on that list.
What if: Instead of fearing that I’m getting worse as I get older, I acknowledge that I’m changing? My ambitions are changing. My desires are changing. Having checked the major life goals off my list (education, family, career), it seems harder to name what I want. Maybe the goals at this stage (mid-40s) are looser.
At moments, I do sense a wholeness, a oneness, an understanding of purpose that feels deep and wordless, and wondrous. But it is fleeting, as ecstatic experiences tend to be. I get the feeling, in these moments, that our purpose here on earth is to be brazenly present and wholly human, insatiably curious vessels of grace poured into imperfect containers, cracked and fragile and not meant to last. We’re meant to be brief, and aware of our limitations; in our brevity, we sense eternity; in our faultiness, generosity of spirit.
I used to dismiss religion’s various visions of heaven or paradise. Hated it, actually. But I’m starting to understand, more deeply, why these visions exist. Because here on earth, we’re bound to invent a series of flawed experiments, no matter how heart-felt our intentions. Criticism is easy, also necessary, also demonstrates involvement in the process; but the ease with which a critic can point out flaws, versus the challenge to she who attempts change, or reversal, or to implement a new idea, structure, system, vision, dream—well, it’s a pretty massive gulf. It’s why Canada keeps commissioning reports and implementing few/none of the reports’ recommendations.
The will to act almost has to be collective.
And while we wait for collective action, people suffer. As individuals, we see our neighbours suffering, and we find band-aid solutions, work-arounds, we tinker with the machinery we’ve inherited, upheld by greed and power and inertia. But we can’t knock it down till enough of us amass at the gates and demand change.
I’ve been thinking a lot about hope. Hope despite set-backs. Hope despite seeing the same script played again and again. How to serve hope, see hope, carry hope? And I think, ah, that’s where the vision of heaven comes in. It’s something to hold onto, to imagine, to dream of. It’s often present in art. Think of gospel songs: crossing the river, being called home, carried home, the relief and sweetness of rest after labour. This represents what we long for, and can’t quite glimpse. Wholeness, resolution, peace.
I can’t possibly know exactly what a better world would look like, let alone figure out how to get there. Just like I can’t even seem to see what a better Carrie would look like, let alone figure out how to get her there. I do hope I’m not getting worse. I hope the small actions I undertake every day in hopes of being healthy, humble, self-aware, humorous, curious, generous, trustworthy and trust-giving, are not outweighed by my multitude of neurotic tics, anxieties, fears, lethargy, indecision, vanity, ignorance, injury and self-interest. But who knows, really?
I’ll just have to hope without knowing, be without knowing, and take action without knowing, exactly, the consequences. Better or worse? Change keeps happening whether we notice or not, sanction it or not. So, whether better or worse, definitely different. Hopefully braver. Hopefully clearer. Hopefully lighter. But who knows.
Watching: Chimamanda Ngozi Adichie’s “The Danger of a Single Story” (Ted Talk)
Listening: Today’s program from Tapestry, on “how to ethically navigate the pandemic’s new normal as restrictions begin to lift” (CBC Radio)
It was the best of times, it was the worst of times.
While leading a recent yoga class, my friend Kasia said, These are beautiful times and we’re lucky to be alive right now.
I appreciate that perspective.
It’s easy to get bogged down in how hard everything is. How the things that used to be simple to do now require pre-planning and masks and protocols. How our bodies can feel like disease vectors. How familiar I’m becoming with my own physical manifestations of anxiety (tight chest, buzzing brain, inability to alight).
But I don’t deny that what Kasia says may also be true: that these are beautiful times and we are lucky to be alive right now.
Because change feels possible. Because it feels like we’re seeing with new eyes. Because we are freed from what it was like before to maybe figure out how we can make what comes after better. Because our own strengths and weaknesses are more visible. Because we need to know what’s broken in order to fix it. Because we can’t keep building on the same broken foundations. Because we’re being forced to identify our core values, our reasons for being, and what we really care deeply about.
I’m not pretending this is an ideal time to live through, or a fun time. I’m not pretending everyone’s equally affected, either. It’s a scary time, a discordant time, a time when we’re required to hold dissonant information, and altogether too much of it, in our heads all at once.
The interiority of this time has freed me to write a lot. One day, during a meditation, I heard the words create and destroy used together, and my brain suddenly couldn’t peel them apart. It was the strangest thing. It was like the two words, apparent opposites, had fused in my mind. Create/destroy. I saw how interconnected those states of being are, so tightly bound that, in truth, one cannot exist without the other. We tend to posit that one is good and the other is bad. But if both belong to each other, that duality of judgement is rendered inconsequential.
In every end, a new beginning. But also, in every beginning, an end. To make something is to unmake something else.
When I write, I create/destroy.
We are in create/destroy right now. Is it a beautiful time? It’s not a time of symmetry and balance, if that’s what beauty means to you; it’s a time of extremes. Our house is very quiet. The world is roiling. But if beauty means potential (no matter how far from realization), if beauty means truth (no matter how painful), if beauty means invention (create/destroy), then now, right now, is beautiful.
These are beautiful times and I am lucky to be alive right now.
Like many of you, my days — their very substance — have changed. And I’m finding comfort in a daily drawing and writing session, the results of which I’ve been sharing here. Will it last? I don’t know, but I’m debating whether these cartoons and poems should replace the ordinary content of my blog, which is more like this … more like me talking to you (rather than me talking to my notebook), more conversational, a little more “newsy.” The writing I’ve been doing in my notebook is closer to fiction or poetry; and its tone might not fit the blog’s, perfectly.
But, still. I’m making it, and I enjoy sharing it. I will keep sharing it for the time being, and perhaps find another way to do so, in order to preserve this space for, well, this.
How are you? I hope you’re finding ways to enjoy your days, which may feel extra-long and extra-slow; the stretched-out passage of time, in the absence of much happening, reminds me of my days spent parenting small children.
We are good, here. Our eldest returned from his trip to Montreal (where the city had shut down around them); he’s restless, and has yet to settle in to the strangely calm routine the rest of us have invented for ourselves. Kevin is our designated leave-the-house-for-supplies-person. We are grateful for our big back yard. There’s room to kick a soccer ball. Room to refinish a coffee table. My office is an oasis of peace. I’m mainlining meditation, and have been tuning in every evening at 8PM to my friend Kasia’s livestream kundalini session on Facebook. At some point this week, I baked a double batch of cinnamon raisin bread that was divine. Yesterday, I wiped down every major surface with a bleach solution, a tedious and wearying project that opened my heart with gratitude and amazement for everyone whose job it is to wipe down surfaces, to keep us safe. My admiration and thanks are with each and every worker on the front-lines, putting themselves at risk, doctors and nurses, and also cashiers and cleaners. My job by comparison is ridiculously easy: stay home, stay calm. I think often of those who have lost work, who fear the immediate future, the basics of survival. A couple of weeks ago, I was mercifully awarded a major grant from the Canada Council for a novel I’m working on, the timing of which has been a major relief; I’m certain we’ll be okay even if the kids can’t work their summer jobs, even if Kevin’s business shrinks in the near-term. I feel fortunate, too, to share my home with five other people, plus dog. We might irritate each other from time to time; but we also have close companionship. Staying connected, generally, has taken on increased significance. I enjoyed tuning in to my church’s virtual service this morning. Last week, my sibs and I met for drinks via Zoom.
The forced presence and stillness suits me, at least for now. But, as you’ll see from my “poems” below, I’m also aware of underlying anxiety, of uncertainty, of the fear of the unknown that seems to be floating through the atmosphere, bubbling up from the depths.
Below, you’ll find samples of my drawing and writing from the past couple of days. Feel free to read, or skip, as you wish. Sending you presence, light, hope, stillness, and, in place of anxiety, free-floating poetry.
PS Add this to your recommended reading list: Washington Post article about a poet in Southern Italy who shared his personal cellphone number on social media, offering to talk to anyone who wanted to call. As Seth Meyers would say: this is the kind of story we need right now.
Thursday’s cartoon was drawn to Lindi Ortega’s “Fires.” I think it’s a double self-portrait, of me, right now, waving to me, from a time before coronavirus. But who knows? These portraits seem to draw themselves.
What’s on your mind?
Today’s poem comes to you from a land of uncertainty where nothing and everything has changed from one moment to the next, and the landscape looks the same, only bleaker, and the world is windswept and bleary, all crispness reduced to the edges of dried grass rustling as we shuffle past, keeping a safe distance from one another. When our hands brush briefly, accidentally, before parting, I flinch as if I’ve touched fire, fever, the source of fever — or is it I who am a danger to you? Either way, I bear responsibility for the possibility of infection, and this reminds me that we must be guarded and vigilant, we must restrict our children’s movement and our own.
Is twenty seconds long enough to thoroughly clean my hands?
The pressure in my chest expands. I sneak into the bathroom to take my temperature again, momentary reassurance that I am well. But is this well? I stand in the bathroom looking at the number that presents itself to me, a neutral number, on a neutral device of measurement, and I ask, what about the invisible suffering parts of us, how can we measure and assess those fevers and chills and aches?
There is so much surface that needs to be disinfected, vast and spreading; what’s underneath must be even vaster, almost infinite, the darkness we fall into, the anxious pain that presses against the ribs, trying to get out. I see it everywhere, written on everyone, muted, uneasy, restlessly awake now.
We knew we would die one day.
We thought we would know better what we had dominion over, what we could control. These depths bubbling like lava, like an eruption at the bottom of the sea, like rumour — are not the message we’d been awaiting. We want instruction. A six-step undertaking to cleanse our surroundings. A bleach solution (9 parts to 1).
A tincture, an inoculation. A cure.
Friday’s cartoon was drawn to Bill Withers’ “Lovely Day.” A friend observed that the past two portraits seem to be expressing a fractured self; in any case, the figures are all boxed up and separated, though some of them are reaching out.
What’s on your mind?
My mind empties out and I see behind the overcast grey sky a clean-swept blue; now hidden, but still there, and I imagine the wind pushing at the clouds and opening a smear of light; the clouds torn like paper, ripped like fabric.
Experience has the same effect, working on my mind to rub away the clouds of certainty. In its place, a frayed understanding — that nothing holds, and that certainty is less desirable than I’d imagined, that instead I am happy to settle for being useful, for finding myself, occasionally, in the right place at the right time.
I see that vulnerability is like an invitation, while certainty silences. The rip in the massing clouds reveals the sky, blue, which was always there, if I’d known to open myself, frayed, worn, fragile, as I’ve always been, whether I knew it or not. I let myself be seen. And in return, I see you.
Saturday’s cartoon was drawn to Tom Petty’s “Running Down a Dream.” I drew it with my eyes closed. I took the theme rather too literally, which is why I’m running, sort of, though I couldn’t visualize what dream, exactly, I was running down. So I drew a few little star-like flowers that can be seen near my right elbow, like the flowers I noticed on the spider fern whose tendrils are hanging over our sink (pictured at the top of this post).
What’s on your mind?
This time is this time is this time of now and now and now and it is almost impossible to be anywhere else or with anything else but what’s before me.
I notice the spider fern is flowering, tiny delicate blooms hanging over the sink.
I notice my son’s head smells like sweat, and my daughter’s head smells like coconut oil. I touch their hair.
My hands smell of bleach, though I used gloves, and I wonder if the smell is real or remembered, is it in my nostrils or just the memory of it, the way I can smell cigarette smoke from someone else’s car even after I’ve rolled up my window and driven away, even after I’ve left my car in the parking lot to sit outside the door of my daughter’s piano lesson, how even here I think I can smell the stranger’s cigarette smoke in my hair — and by extension, her poor decisions and regrets and longing; which are, of course, my own.
The piano studio has locked its doors.
We live inside.
We do not drive anywhere. We are in a time of plague and even yesterday seems very far from today, estranged from today.
Now. Now. Now. The sound of my pen scratching — too fast, sloppily — across the page. I’ve only just noticed that I grip it as near to the tip, the nib, as is possible. I only just see it — my pen — as an instrument I am playing, an extension of my body, a tool encircled by five tips of fingers, each with a half-moon circle of curved, opaque nail. There are no straight lines on my hand. The pen is straight and hard and useful to me, it is made for this task and nothing more; but I am made for bending, praying, curling, holding, I am made for giving way. I am made for praise. For contorting myself anew.
I am made for change and ever-change, evermore, now, as before.
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