I chose this word despite feeling discomfort about its complexity, and despite recognizing that I don’t completely understand its multiple meanings nor how the word will be useful in shaping or framing my outlook this year.
Sometimes a word just wants to be used. This word kept coming up. I kept seeing it and hearing it. And it arrived with a clear image. A manifestation is what’s visible. To make manifest is to show. Within the word is its reason for being, its implicit shadow: everything that is latent, hidden, unconscious, unseen, unknown and mysterious under the surface. The image I see is of surfacing. I’m in a deep body of water, carrying an offering to the surface. My offering is small, no bigger than a grain of sand, and I have a long way to go from the ocean floor to the open sky. But I enjoy the work. I’m swimming happily toward the surface with my grain of sand. When I pop through, I’ll float on the surface for a little while, resting, holding my grain of sand up to the sky in case a bird wants to carry it away. It won’t be long till I dive down to the bottom, again, to find another grain of sand.
Something that is manifest is readily perceived by the senses; it is what’s shown.
A manifestation can also mean the spiritual made real.
There are things that are declared, or announced, before they spring into being; to make manifest is to bring into being that which did not exist. My life’s work, I think. Because I also believe that what isn’t yet seen does exist, just not in tangible form. My life’s work is to go underground and surface, again and again.
When I frame my work as a spiritual quest rather than a career, it makes sense in a way that soothes and comforts me. It makes sense in a way that other framing does not and never has; I’m left cold and anxious, seething with envy and practical concerns, when I try to frame my work as a career, something that is transactional in nature, something I do in order to receive something in return—money, success, fame, or even simply a decent living. Nope. That’s asking my work to be something it fundamentally isn’t.
Accept what is before you. Be led. Open pathways for others, but don’t be angry or worried or dissatisfied if the path you see for them is not the path they see for themselves.
A story should call us, should lead us, we should follow it; if we’re dragging that story behind us like a dead weight, we know it’s not alive. It makes sense to me to visualize and live my life, as much as is possible, in this way—being called, following where I’m being led, whether or not it makes sense or is logical or dutiful or practical or immediately rewarding. I can’t know what I’m making. I can’t know what I’m doing in the moment of doing it. I’m just swimming, swimming, swimming toward the light carrying this little grain of sand.
Today is my birthday. It’s family tradition that we get to do what we like on our birthdays (within reason). Among my wishes was that I wanted to go to church: my dad’s band was playing at the service. I love the band’s mellow folksy sound — Dad plays the piano, and there’s a banjo, guitar, fiddle, and voices in harmony. The whole family came along, which was also my wish.
It was the last service of the year, and instead of listening to a sermon, the congregation was asked to reflect silently on two questions: what experiences in your life this past year have been life-giving; what experiences in your life this past year have been life-draining? I found myself turning away in my mind from labelling any experience as negative, or draining. Why? Because there is a part of me that remains forever hopeful, optimistic that any conflict or trial could be transformed by attention and care, or could be transformative in ways that can’t be guessed in the painful, hard moment of its happening.
But in truth, some experiences are draining. And I do try to pay attention to those, too.
Life-giving experiences this year: as I let my mind wander through memory, I saw images of connection. Sitting at the end of the dining-room table, poring over the novel I’m working on, feeling like an antennae connected to the universe, pinging with focus and energy. Eyes closed, doing yoga, sitting cross-legged on soft sheepskin surrounded by music. In my body, running in the early dark morning. With my family, around the table. With my soccer team, outdoors on summer evenings. With my writing group sitting at the table. With my word-of-the-year group. Listening to stories being shaped and coming alive. We are all raw material, and yet we are also all capable of transforming into exactly what others need, at any moment in time.
Life-draining experiences: I did not dwell on these heavily. But I acknowledge these were also a part of my year. I would call them: broken connections. Relationships in flux or turmoil. The distractions of the constant stream of information and news, the scroll of social media, disconnecting me from my body and mind, and from those who are present with me. Times when I lacked focus. Days when I was unable to write for lack of focus, or care. Frazzled energy. Fears too dark to name. Times when I felt overwhelming anxiety, paralysis, over everything I can’t control (which is, let’s be honest, most everything).
Connection / broken connections.
To be grounded is to be rooted, is to feel oneself sturdy, energy flowing directly to and from an idea, a cause, a project, a desire. To be grounded is to feel connected to place, connected to self, to body, to spirit, to feel whole. It may not be possible to feel this way always. But even to feel like this sometimes is wonderful. It’s good to remember that it’s possible to feel this way, at times and on days and in hours when I don’t.
Connection / broken connections.
There will always be broken connections. Broken connections remind us that we are needed, that our creativity is needed, that our love is needed, our attention is needed, that our hope is needed, crucial, essential. We can’t fix a lot of things that are broken. That’s a hard human truth to learn. Maybe we aren’t meant to do that, we humans — go around fixing things all the time. This isn’t to discount the importance of policy-making in shaping our lives; what I’m talking about seems more personal. What I’m talking about is loving awareness. Maybe loving awareness is about acknowledging hurt, pain, brokenness, and making connections despite our fears, despite the risks. Maybe it’s letting go of the expectation that we can fix anything at all, and just listening, trying to hear and feel underneath to what this broken connection is telling us. (Put down your phone? Go for a walk? Write in your journal? Sit with yourself? Hold someone’s hand? Ask someone to hold your hand?)
Letting go of the idea that you can control what happens doesn’t mean you give up hope.
Hope is not the same as expectation. Hope seems much richer, much deeper, much more flexible and open to the air. Emily Dickinson says it much better than I can.
I’ve been running a lot, and will continue to run a lot for as long as I can stave off injury and chronic pain, no matter the weather. Winter has descended early on Southern Ontario, and I’ll admit that it takes a little more gumption to layer up and run out into a stiff headwind over icy sidewalks. You have to really want to, for some reason beyond the running itself — and for me, that’s my mental health. Running clears my mind. Clears my anxieties. Makes me feel stronger, powerful.
But I do have to run early, it has to be the first thing I do upon waking, or I lose the gumption. I don’t mind running in the dark, oddly enough. My favourite path is reasonably well-lit, and I’ve come to love the quiet of the early morning, its solitude almost dream-like, the darkness a strange comfort, womb-like. There was little wind this morning, and I kept a steady pace, earbuds in, tuned to a podcast called Dolly Parton’s America, which at one point brought me to tears, as the host described the unexpected connections between Dolly Parton’s Tennessee mountain home, and his own father’s Lebanese mountain home. About how different musical instruments and rhythms, patterns and vocalizations find confluence across culture and time, come together, remind us of our common need for expression beyond words or even actions. So that happened on this morning’s run: I was crying.
And then, as I turned onto a busier stretch, I was yelling at the cars buzzing by, their noise and fumes drowning out the podcast.
Emotions: they’re all over the place. Where do they come from, where do they go?
When I got home, I replayed one section again, to drink in what Dolly Parton had said. I’m telling you: You have to listen to this podcast! I’m starting to believe that Dolly Parton is not only a brilliantly talented songwriter and musician, but also a wise, grounded human being, who is carrying a message for our moment that we’re having difficulty hearing. To paraphrase what the podcast’s host said: Dolly Parton is expressing an ethos, a spirituality, in which no one is cast out. No one is condemned from the community. She has her opinions, but she will also allow that you have yours; and she has a massive capacity to see the other, to understand complexity in human behaviour. (I wonder if this points to a difference between being an artist and being an activist; both are necessary and important to instigating and envisioning change, but the roles don’t necessarily overlap, because the strengths of an artist are different from the strengths of an activist. Their ways of framing experience often run counter to each other.)
At the end of seeing all these movies, I said: How anyone makes it through this world whole is beyond me. And maybe we don’t. Maybe we don’t make it through this world whole. But there are moments of clarity, amidst the confusion. Moments when people are called by some force beyond themselves to take a stand. Moments when they call others in and hold them. Moments of forgiveness. Moments beyond pain and suffering. The victories might be small and temporary. But no matter.
If you pay attention to someone else’s story, you’ll see under the armour and bluster and noise to the complexity of need and of fear and of hope beneath. We all want a safe place to call home. We all want to feel safe, and loved, without condition. How can we be that for each other? It comes naturally to want to be that for my family and friends, but can I try, too, to be that for those with whom I have little connection and less understanding? Can I ask for the same in return?
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.)
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.”
My word of the year is SPACE. What I didn’t expect to find within this word is its companion, SILENCE. Silence can be a challenging state to sit within. I don’t always want to hear my own thoughts so clearly, or recognize the distracted and tumbling, tangled nature of my own interior life.
We spent last week, the last week before school started, at the cottage that belonged to my stepmom, and still feels like hers, even though she’s been gone for more than a year now. We love going there, love being there. It’s been a gift to have this place in our lives, and the kids have memories that go back, now, 11 summers. It’s the kind of place that has become a touchstone, and returning is a kind of pilgrimage. Returning is a measure of time passing. While we’re there, though only for a week at most, it feels like we’ve always been there and will always be there.
You can only get there (easily, practically) by boat. About five years ago, Kevin developed an inner ear disturbance that’s triggered by boat rides, and each year the after-effects would last longer and longer (months, even), so for the past two summers, he’s hiked in on a path that literally no one else uses. It’s overgrown. It takes him about an hour and a half. And this year, it was occupied by swarms of insects. He arrived at the cottage looking like a wild man. He wasn’t sure he could manage the hike out, but on Monday, he and Rose trekked the path again, to save his brain.
The corollary to his necessary hike is that I’ve had to learn how to drive a boat (not high on my list of things I wanted to learn how to do). We do what needs doing to get us to this place.
There is plenty of space at the cottage. Space for the kids to play. A big lake for kayaking and adventuring, alone or together. Star-gazing at night. Shelves of books. Late, lazy mornings. Late-night all-family card games. We never seem to need anything more than what we’ve got. Even when meals get creative, by necessity.
Isn’t that something? How the themes of our lives get tied together by invisible thread? I’d been worrying about space and silence. Silence as a negative. Silence as too much space for my mind to listen, anxiously, to itself.
Silence. Presence. Everything.
“Silence and the Presence of Everything” was about listening. Not active listening for a particular thing you expect to hear, or have been told to listen for, or pay attention to. Listening to what’s there to be heard. Listening without judgement.
An interesting thing happened at the cottage. I managed to write a bit every afternoon, when no one was paying attention; no one even really noticed. What was strange and thrilling was how I would fall into the writing (fiction), almost as if by drifting toward an idea. An image would surface. I would let it drift. I would be resting or sitting by the water. And some small fragment would drift toward me. And then I would get up and write. The writing felt similar to listening.
It didn’t feel active. It didn’t feel forced. It felt like I’d tipped sideways into another time and place and body, and I was just there.
Now I’m here, home again. Dreading a root canal tomorrow morning, but otherwise glad for a day, today, in which I’ve done exactly what I want to do with all my new-found, new-made space: I wrote. I’d gotten up early to exercise with friends and by 10AM when everyone had left the house and the laundry was underway, I felt tired. So I meditated/napped for 10 minutes. And then I got up and wrote. I told myself: Remember to meditate/listen/nap before writing. Drift into what you’re about to do. Listen. It’s okay if listening turns into dreaming. Let yourself drift.
Space = silence. Silence = listening. Listening = drifting. Drifting = door opening to fictional world. Step inside. Space = writing.
Also, space = rest.
I’ll write another blog post (maybe) about what it feels like to let go of the need to pay attention to a particular something, and just be. It’s almost the opposite of striving. I’m such a striver. To be without purpose, listen without demand; it eliminates the task of waiting. It makes silence okay. Drifting toward mystery. Because mystery is okay too.
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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?