What felt good this month? This month has been a bit of a blur, and I’ve spent half of it thinking it’s already December, but there have been some genuine highlights. Unexpectedly warm weather early in the month made possible some spontaneous outdoor gatherings. I’m especially grateful that my siblings and I were able to gather with both my dad, and my mom. The last time we gathered together with either parent, all of us, was last Christmas, and we know this Christmas will be challenging. So that was a real gift. Another highlight was watching Kamala Harris speak after the election was declared — especially awesome because we watched outside in our backyard shack with friends. I’ve been looking after my physical body, with physio, chiro and massage, and daily stretching and exercise. While I wait to hear back from my editor, I’ve been writing new stories using cues learned from Lynda Barry. And I continue to connect with friends in person, outdoors, which keeps me going.
What did you struggle with? This month was better than last, in terms of my mental state. I seem to be more settled into established routines, and accepting of this liminal state we’re all in. In some strange way, I’m thankful to be in a rather unambitious mindset at present, and therefore don’t have specific goals that are being thwarted by the circumstances. Nevertheless, I’m trying to use my time fruitfully even if I don’t know what will come of it. I’ve noticed that it cheers me to share what I’m doing with others; if I have any goal, it’s figuring out ways (perhaps new and creative) to share my writing, meditations, stories, photos, cartoons, musings with others. I’ve also loved getting opportunities to read and comment on and engage with other writers’ work. Reciprocity and community feels critical to a sustainable path as a writer/artist. I need to foster more of that, somehow.
Where are you now compared to the beginning of the month? Better. At the beginning of the month, the American election was weighing on me, plus I was feeling pretty bummed about trying to invent a Christmas experience in a pandemic. But my awesome little family has been brainstorming and getting creative, planning for different kinds of celebratory and brightening activities, throwing out expectations and starting fresh, which is a wonderful gift in and of itself. More on this in a future post. Basically, I’m feeling sturdier than I was at the beginning of November. Calmer. (Although my daughters have both informed me, separately, that I’m the most impatient person in the house.) As I reflect on this, I realize that I’m looking forward to things without wishing everything were different; let’s call this stage “acceptance.”
How did you take care of yourself? Plugging into my Lynda Barry Spotify playlist, drawing, writing. Tara Brach meditations. Being kind to my body. Getting outside. Remembering to text friends. Checking into literary events on Zoom. Sibs nights. Popcorn and shows with Kevin (this month we watched Ted Lasso, The Morning Show, and we just started Steve McQueen’s Small Axe). Redecorating the living-room with Kevin (a work-in-progress).
What would you most like to remember? That I am alive in my body and in my mind. That connecting with others is the necessary spark to feeling and being alive (especially thinking of this in the context of my writing life). That I love reading, responding, editing, digging into ideas and images. That food for the mind is as necessary as food for the body. That the jolt and challenge of the unexpected encounter is something I’m often missing right now, and craving.
What do you need to let go of? Good intentions. That just popped up, and I’m going to let it stand. Maybe what I mean is, I need to let go of superficial attempts to be helpful, and respond and act from somewhere deeper, more grounded, more raw, more real instead. I’ve been saying yes every time it feels like it’s coming from a place of genuine yes-ness! (And saying no when I know the answer is no, no matter how painful or uncomfortable.)
Dear friend, from my life I write to you in your life. That is the title of a book of essays by Yiyun Li, a Chinese-American writer whose stories I’ve admired for years, and I bought this book without knowing much about it, other than the title made me want to know more. (She says it’s taken from an entry in one of Katherine Mansfield’s notebooks. “I cried when I read the line,” Li writes. “What a long way it is from one life to another, yet why write if not for that distance…”)
This turned out to be a book about many things, most significantly about reading other books, and about surviving, continuing to be alive on this earth. The book is written as if to a friend, but in the end, it seems the friend is Yiyun Li herself, trying to write to herself, as she figures out how to stay alive in the years following a long descent into severe depression and hospitalization and release. It was actually exactly what I needed and wanted to read, though I wouldn’t have necessarily chosen it, had I known what I was choosing; a book sometimes chooses us rather than the other way around. I’ve read it slowly, over this fall, marking pages with insights for keeping, and that is what this post will be about: insights from this book, to keep and to wonder about. Li writes in English, a language she learned as an adult, which she calls her private language. She originally studied to be a scientist (immunologist), and in fact came to the United States to further her studies. When she decided to quit science to become a writer, a friend’s husband asked: “Why do you want to make your life difficult?”
I’ve had a thought that I would like to write a story on the theme of each of these quotes; or at least a scene. Each one brings into my mind a picture or feeling, or both, and makes me yearn to respond, through fiction. Why do you want to make your life difficult? The question could be asked in so many contexts and would always create an interesting and troubling problem, without an obvious solution. The seed of a story, I think.
“I have had a troublesome relationship with time. The past I cannot trust because it could be tainted by my memory. The future is hypothetical and should be treated with caution. The present—what is the present but a constant test: in this muddled in-between one struggles to understand what about oneself has to be changed, what accepted, what preserved.”
Yiyun Li thinks about time a lot, and truth be told, I was drawn to this thought because the character in the muddled in-between looks like a version of me, maybe now, maybe from the distant past.
“What I admire and respect in a dreamer: her confidence in her capacities, her insusceptibility to the frivolous, and her faith that the good and the real shall triumph and last. There is nothing selfish, dazzling, or preposterous about dreamers; in everyday life they blend in rather than stand out …
A real dreamer has a mutual trust with time.
Apart from feeling unqualified to be called a dreamer, I may also be worrying about being mistaken for one of those who call themselves dreamers but are merely ambitious. One meets them often in life, their ambitions smaller than dreams, more commonplace, in need of broadcasting and dependent on recognition from this particular time. If they cause pain to others, they have no trouble writing off those damages as the cost of their dreams. Timeliness may be one thing that separates ambitions from real dreams.”
Again, Yiyun Li’s reflection on time, here, made me stop and wonder: am I a dreamer? Or merely ambitious? Or maybe I have the potential to be both, and have been, and will be. What’s my relationship to time? Do I trust it, or fear it will betray me? This scene would have two characters, or multiple characters, perhaps entirely unaware of their own relationship to time; but the reader knows.
“The train, for reasons unknown to us, always stops between a past and a future, both making this now look as though it is nowhere. But it is this nowhereness that one has to make use of. … One has made it this far; perhaps this enough of a reason to journey on.”
Is this a sincere conclusion? Or is the writer writing to convince herself? I love the image of the stopped train; but I don’t want to think of time that way. I don’t want to think of being suspended between destinations. That makes the destinations too central, when it’s where we’ve stopped that I want to land, and be. Of course, the character might get off the train, here, in the middle of nowhere. Or they might find another way to shake themselves awake.
“Perhaps my deficiency as a scientist, a lack of ultimate purpose, is why I love writing. Precision gives me more pleasure than the end result.”
Ah, I thought, as I read this. Me too. (Though I’m not a scientist; but I do love order, precision, walking around a scene and picking up every little item in the room, acknowledging every flickering interior thought, every facial expression, collecting and organizing them into some kind of coherence, accessible for someone else to walk around and observe, too, and draw their own conclusions.)
“For as long as I can remember, my mother has spoken of me as a selfish person. If I were religious, I would kneel nightly for salvation from this sin. There is no measure to quantify selfishness: how much of oneself is devoted to others, or even which part of life is to be lived and which part given up. All my life I have failed to prove myself unselfish.”
A question from my own life, haunting, ever-present; this is so often a mother’s story, isn’t it? How to quantify selfishness? How to know how much is too much to take, or to give; or to want?
“A young person, beginning to read seriously, tends to live—infatuated, even—with one book at a time. The world offered by the book is large enough to contain all other worlds, or exclusive enough to make all other worlds retreat.”
This is how I read, even now, and it can feel overwhelming, almost unsettling, to be so far from home, so far from those who may need me to be present. Yiyun Li calls this “enchantment—or entrapment.” Yes. Both. The vanishing that is uncomfortable to the adult is utterly wonderful to the child; this story may wonder: what’s the difference between those minds and experiences?
“Solitude is noble, but fatal to an artist who has not the strength to break out of it. An artist must live the life of his own time, even if it be clamorous and impure: he must be forever giving and receiving, and giving and giving, and again receiving.” — Romain Rolland, Jean-Christophe
Here, Li pulls a quote from a favourite book, which she read over and over as a teenager (I’d never heard of it). I feel what is being said here most keenly: that we are embedded in our times, of our times, and it’s necessary to bob in their waters; ours are not clamorous right now, so much as masked, awkward with imposed estrangement, lassitude mixed with anxiety. I confess: the pandemic story is a challenge to write; what’s it mean to write about the times we’re in while we’re knee-deep in them? Is it foolish, too close to attempted journalism; maybe fiction comes from the compost, years later. Maybe we’re just gathering now.
“To write is to find a new way to see the world … The truth is, I did not know what I was supposed to see.”
What is my style, my reason for writing, what is it I’ve wanted and want to accomplish? At times, I’ve believed writers (including myself here) are dangerous, untrustworthy beings, both powerful and weak, impotent, seeking reaction, or to provoke; they don’t do much themselves. Ornamental. Admired, but kind of useless; frivolous, but essential, or else how would we remember who we were? And who we wanted to be?
“What does not make sense is what matters.”
This is most often what I write about, I suppose; maybe in hopes of making peace with it, or grasping some insight, or putting together part of the puzzle. Seeing a pattern in random shifting bits of light and shadow.
A friend (the writer William Trevor) writes to Yiyun Li: “You may be less confused than you imagined. Stories are a hope, and often they obligingly answer questions.”
She replies to her friend, but only in her imagination, much later: “We are solitary travellers, having crossed paths in the land of stories.”
“One cannot be an adept writer of one’s life; nor can one be a discerning reader of that tale. Not equipped with a novelist’s tools to create plots and maneuver pacing, to speak omnisciently or abandon an inconvenient point of view, to adjust time’s linearity and splice the less connected moments, the most interesting people among us, I often suspect, are flatter than the flattest character in a novel.”
Parse that out (“a novelist’s tools”), and you’ve got the structural ingredients for writing a good story (and she’s right, even the most interesting life, lived at life’s pace, wouldn’t make for a good story; it needs a fictional treatment. And this treatment can be a kindness, or it can be a cruelty; or maybe it is both; but I don’t know any other way in to the questions that come calling; these questions aren’t even asked in language, at least not in my mind, but in imagery, in emotion.)
Dear friend, from my life I write to you in your life. Thank you for reading.
Unrelated photo from Halloween that makes me laugh.
As a corollary to yesterday’s post, I realize that I’m also on the verge of laughter at all times. Tears and laughter. Maybe they come from a similar place. My emotions are closer to the surface, more accessible, freely available. It’s the way I’m living right now: on the verge of laughter or tears, or sometimes both.
Yesterday evening, for example, I laughed to till I cried watching this video (from 2016):
Who knew the morning hosts at CBC Calgary were so funny? Are they serving up comedy gold on the regular?
And this morning, folding laundry, I laughed till I cried at the first couple of stories on Colbert’s Meanwhile segment:
I do have the sense of humour of a preadolescent boy, so be warned. If there’s tripping and falling involved, I’m all in. Farting gets me too, every time. I make no claims of sophistication.
This morning, a layer of snow covers the ground, brightening up the grey sky and bare November trees. We are celebrating a birth-day (18!).
A request. If something is making you laugh (or cry) today, please share.
PS This post has been updated with links to the referenced videos, in case the embedded videos themselves aren’t visible.
Ever get the feeling that too much is on your mind, so instead of trying to say it all, you say nothing instead? Yeah. That’s where I’m at. That’s where I’ve been at for a few weeks now. I’ve also been reasonably busy, trying to seize all the moments in all the days that have come calling. It was sunny and warm for a full five days, so I was outside as much as possible with friends and family. Then one of my kids had a migraine for three days last week. I haven’t been able to run, as the nagging pain has returned, so I’ve been experimenting with other forms of self-soothing. Early morning dog walk: unsuccessful, did not provide enough endorphins, although the dog was thrilled with all the new scents to sniff. Riding the spin bike: much more successful, with the added bonus of delightfully cheesy Canadian entertainment. (While spinning, I watch Murdoch Mysteries, and I’ve been told that I talk out loud to the characters, muttering things like “Don’t go in there, George! You’re going to regret it!” or “It’s the brother. It has to be the brother!”)
Up till last Friday, I was working full-tilt on novel revisions, and now need to pause and consult with my editor to make sure we’re on the same page. It’s been fun, and a relief, and an escape, immersing myself in an imaginary world, where imaginary characters make imaginary choices and try to figure out how to mend themselves, or inflict mending on others.
My corkboard is mostly empty, but for a number of physio exercises — I’ve drawn a series of reminders for myself on index cards, including instructions for stretching exercises that are meant to get a person up from her desk at least once an hour. (It has yet to happen, but a person can hope to change her ways!) The other items on the corkboard are a watercolour of two people in a tree, inspiration for my novel; a drawing of hands that look to be in prayer, to remind myself that my work requires patience and grace, and also as a reminder of the novel’s theme of spiritual searching; and some sketches that show the steps for making a labyrinth, though it looks more like I’ve drawn a strange, childlike version of the brain. Not on the corkboard, but critical to the revision process, is a sketched-out structure for the novel, done in a kind of personal visual code that I find very satisfying and comforting to look at.
Tomorrow, my oldest daughter turns 18. I’ve ordered donuts for pick-up. I’m planning to bike to pick them up, no matter how cold. Also this week, I’m introducing a conversation at the Wild Writers Festival on Thursday, 7-9PM, between two wonderful writer, Lamees Al Ethari and Antonio Michael Downing: here’s the registration information. And on Friday morning, I’m going to read my picture book Jammie Day to a friend’s kindergarten classroom. These last two events, needless to say, are happening online. One of my goals for this pandemic time is to become more tech-savvy; or at least, less-tech-anxious.
I’m grateful for plans. No matter how small. Like those donuts.
Almost every day, I lie on my office floor. Sometimes I take a nap. It’s a glorious floor for napping. More often, I do those physio exercises 0n the corkboard. I meditate, or listen to a podcast. Almost every day, my eyes fill with tears. It seems like a way to live now, on the verge of tears, but also attempting to strengthen and bolster oneself, to practice breathing, to pay attention to the pain, not to ignore it. Not to be overwhelmed by it.
What felt good this month? This is a challenging question to start with. It’s been a hard month. What’s felt good? There have been some things! Methodically digging into my novel-rewrite has felt good and necessary. Writing a reflective essay for The Scales Project was absolutely wonderful. Thankfully, my long-established habits and routines have kept me afloat: running and yoga, even if the morning runs now happen in the dark. No matter how bleak I’ve felt, I get out of bed and exercise at an early hour, five mornings a week. Hanging out in Kevin’s “back yard shack” is the best, especially with friends. On Fridays, Kevin and I have been ordering take-out and eating outside by the fake fire, just the two of us. And my studio is a warm, welcoming cocoon to retreat to, for writing, planning, reading, stretching, relaxing, napping.
What did you struggle with? Depression, in all honesty. I had some lows that felt lower than usual, and I stayed low longer. Thankfully, I was able to reach out and get help. And the help helped. I noticed that what also helped was digging more deeply into my writing work. It was a life raft, keeping me afloat, giving me purpose when the days felt otherwise blank and empty. Cooking and chores actually helped too. I think it’s a privilege to be needed, or to feel certain that one’s work is valuable and valued. I’m not always convinced of that, and that’s when I fall down into the deepest holes. This feels like a pretty dark confession. But I’m compelled to say these things out loud, because shame thrives on silence, and because I think others may be feeling similarly, especially anyone who’s lost their job, or is in a liminal period in their life. Purpose and meaning make life worthwhile. It can be hard to function without being connected to that.
Where are you now compared to the beginning of the month? I can’t really grasp where I was at the beginning of the month, which makes it difficult to compare. Apparently I was feeling calm at the end of September? Given that I’m on about draft five of trying to answer this question, what I’m feeling right now seems to be distracted, discombobulated, and wondering what the heck is going to happen. The American election is three days away, and I’m feeling wary of false optimism, and wary of “endings,” especially of this belief in some definitive happy ending that appears as if by magic. If the pandemic has taught me anything, it’s that the answers in a crisis, as in ordinary life, change with the circumstances, require monitoring and reassessment, and must shift to take many factors into consideration. In other words: there are no easy answers. Related to this, at least in my confused mind: It seems a particularly American flaw to admire the huckster, the grifter, the entertainer, the fraud — the person who can make a buck out of nothing more than a talent for deception — and even though I’m a fiction writer, I don’t believe in personal deception as a solution to life’s challenges.
How did you take care of yourself? Meditation, podcasts, reading silly mysteries, stretching, naps on my warm office floor, kundalini yoga, walks with friends, running, yoga, a regular bedtime, beer on the weekends.
What would you most like to remember? I’m not going to remember much from this last month. But one really happy memory is the afternoon I drove the kids out to the country to pick up our Thanksgiving turkey. It was raining, the turkey line was long, and absolutely no one complained. The kids went over to the barn area and watched the chickens, pigs, and cows, and petted the dogs. No one was in a rush. The outing was mellow, chilled-out, and completely satisfying, and would only have happened in covid-times, when we’re all kind of starved for entertainment and stimulation, and a drive to the country to watch a chicken drink from a waterspout counts as memorable.
What do you need to let go of? I’ll let go of my need for things to happen, maybe. Or no. I’ll let go of my need for things to happen in a particular way, according to expectation. I’ll celebrate when I respond according to my values, and forgive myself for not being perfect or better or best.
I’ve been pausing to take photos of the morning, the early morning light and sky and trees, as they change. The days are shorter, and now I run in darkness especially when it’s recently rained, as it had last night. This morning I’d already decided that I would stop at the bottom of a hill on the opposite side of the park, to get a different view than I usually do. I’d pulled out my cellphone when the sky filled up with birds. They flew toward me and then on and on, a great stream of them; it looked like they were heading north, not south.
I don’t wear my glasses to run, and the result is photos that are often slightly (or wildly) out of focus.
But my writing life feels more in focus, both this week and last. I’ve been working on revisions, and have been grateful for the energy to be methodical in my planning and execution. Last week, when I was feeling so low, the novel was a complete escape; I needed it, I could see that. I needed something big and whole to tether me to purpose, something outside of myself, that would carry me out of my body and mind into the bodies and minds of other people. Characters. Avatars embodying my questions and testing my theories about how to be (or not to be).
Fiction is escape. Writing fiction is immersive. Like plunging into another bloodstream, or being set free into a new landscape that isn’t mine to tend and repair, only to wander through like a voyeur. Looking through windows. Inside cupboards. What’s on the bathroom floor? I don’t have to pick it up, clean it up, I just get to snoop through imaginary rooms, imaginary weather, climb imaginary trees, hum imaginary tunes in someone else’s dreamy voice. Feel imaginary sadness; that too. And I get to come through it, by piecing together a puzzle so all the edges fit and make sense, the way real life never does, never can.
This morning, I was wearing headphones, listening to my “Run Fast” playlist. Missy Elliot was playing. But I could hear the birds.
(As I ran on, up that hill and turned down a very dark stretch, and the birds kept coming, all I could think was: Please don’t poop on my head!)
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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?