The longer I teach, the more I learn.
If I were to write a dissertation, now, my subject would be the short story. I would take a scalpel to the form, carve three-dimensional paper sculptures to show how beautifully various the short story can be. My focus, as a reader and a writer, has long been on Canadian literature, but the more widely I read, the more I wonder what Canadian literature stands for. Where are we right now? What are we lacking? Are we constrained by our Canadian-ness, because our patron is the state? Our violence is secretive and shameful. We don’t dare feast or riot. We would never burn the house down, and if we did, we’d make sure no one knew it was us. Also, outwardly, we appear reasonably satisfied with this state of affairs.
I could be wrong. I could be entirely very very wrong. Generalizations are almost certainly wrong, at least to some degree.
But here’s what I’ve learned, from teaching. For the past five years, I’ve assigned Canadian short stories for my students to read and discuss, and my students’ complaint has been consistent: why are these stories so similar? At first, I was baffled: the differences between the stories were so clear to me; subtle, perhaps, but clear. But as I’ve started to read and assign stories from international writers, some in translation, I’ve come to understand that my students were more perceptive than I. This is not to dismiss my beloved Canadian stories. But I see, now, that there is a world of stories out there that are different and not just in subtle ways, but in juicy, technically audacious ways: stories that are ugly, ungainly, colourful, lawless, unconventional, impolite, rowdy, hungry. Imperfect. Stories that dare to be disfigured, furiously cryptic, ridiculous, structurally untidy, fascinating, open, broken, big. Stories that can take the criticism, because they’re out there doing the dirty work, and they’ve got more important things to worry about.
The world is waiting to be read.
I can’t pretend to know what Canadian literature stands for, nor what it lacks, nor what it needs. I think we are in troubled waters, troubled times, but I’ve been devoted to CanLit for my whole life, steeped in the stuff, and this is my trouble, too. Times of transition are always troubled times. I believe this. Transition is what gets us somewhere new. Truth and reconciliation: painful. It’s painful to be wrong, but how much more painful is it to be a child of 12 for whom suicide is the answer to their pain, how much more painful to be this child’s family, community. This is our country, right now. This is Canada. And somehow, I think it’s our literature, too. Now is not the time to turn more inward, to hide away, to ignore, not listen, not try. It feels imperative — to try. To pay attention.
I want to write stories like the ones I’ve been reading from around the world, and I can try. I may not be able to, but others will. If I’m a very fortunate teacher, maybe my students will. Meanwhile, I can keep learning, listening and reading.
Something rather odd about my life right now is how much time and energy I devote to doing things that are outside the realm of my natural inclinations (and, I might add, training and talents). As someone who could happily hole up for hours and days, reading, researching, thinking, writing, completely in my own head, alone, I find myself surrounded by people almost constantly, and often in a position of leadership, influence, or decision-making. Writing is almost about absence, about sublimating the self to the work, but teaching, coaching and parenting require presence — and not only that, they require a presence. I can’t merely observe and reflect, I have to express my observations verbally, often immediately, without time to weigh my words, in response to whatever is happening in the moment. It’s like doing improv. Some people are born to express themselves in this way. I’ve had to learn it. I’m still learning it. I will never stop learning it. I was a shy child, a tongue-tied adolescent, happy in the company of a best friend rather than a crowd, and I’ve always preferred the scripted scene to the unscripted one. I wish I were a bigger personality, sometimes. I wish I liked tap-dancing in the spotlight.
But what can I say? I’ll just have to go on being myself.
One of my favourite professors in undergrad was so painfully shy that you almost had to strain to hear him. He lectured to a spot on the floor, or gazing out the window over our heads, caught up in his train of thought. Yet I remember him well, his gentleness and humanity. So maybe being a presence is inconsequential in comparison to simply showing up, simply being present, being yourself. Why yearn endlessly to be who we are not? Why not, instead, accept, embrace, trust and marvel at who we are, and how even with our limited capacities we are able, nevertheless, to do and be more than we could have imagined?
You who let yourselves feel: enter the breathing that is more than your own.
I’m trying to write the draft of a new novel, but I’ll be honest with you—I feel no urgency to finish it. What I feel instead is a desire to keep it hidden away, like a secret treehouse where I can go to play and think, and where I feel safe. If I do finish it, it feels like that secret treehouse will vanish. Writing a novel requires time and solitude and there aren’t many moments available to sit and write, due to other things going on in my life; there aren’t many moments when my mind can rest, when I can trust that there won’t be an interruption. So I’m mostly writing at my office on campus, on days when I teach. I write by hand. I don’t seem to care whether the pieces match up, from day to day. I keep finding bits of the story written in random notebooks, forgotten. Who knows what these add up to? The story is a cocoon.
Just because I’ve published books, doesn’t mean publishing more is in my future.*
I’m strangely at peace with this. It is easy not to publish, after all. What would be impossible would be never to write again. I think that I will always write; whether that makes me a writer isn’t my business to decide. Right now, I am someone who tries to teach others how to write. It seems like a way to respond to the insularity and parochialism of Canadian literature—to nurture new voices, to make room for new stories.
The words from an Ann Patchett essay jump into my mind: “People like to ask me whether writing can be taught, and I say yes. I can teach you how to write a better sentence, how to write dialogue, maybe even how to construct a plot. But I can’t teach you how to have something to say.”
This seems to get at the essence of something that matters to me. I don’t want to publish unless I have something to say. Maybe it takes years to gather up something worth saying. Maybe it just does. Life has to be lived, experiences accrue, layer upon layer, and with time these turn into compost. A richness is turned over to feed new growth. I’m at a point in my writing life when I’ve got the skills I need. I know how to write a sentence, how to write dialogue, even how to construct a plot. Now I wait to see whether I have something to say; something worth sharing.
I am trying to memorize a poem, but it’s slow going. My mind can’t seem to hold the sequence of these words and images, maybe because my post-concussion brain is not the powerful instrument it once was (this is something I worry about, even though I tell myself not to worry). I would like to embed this poem into my being. Once you’ve memorized a poem, it becomes a part of you, it enters your cells. Lines of poetry flow from me at odd moments of the day, like mantras.
Part One, Sonnet IV
You who let yourselves feel: enter the breathing
that is more than your own.
Let it brush your forehead
as it divides and rejoins behind you.
Blessed ones, whole ones,
you where the heart begins:
You are the bow that shoots the arrows
and you are the target.
Fear not the pain. Let its weight fall back
into the earth;
For heavy are the mountains, heavy the seas.
The trees you planted in childhood have grown
too heavy. You cannot bring them along.
Give yourselves to the air, to what you cannot hold.
-Rilke, translated by Joanna Macy (with one small word change by me, because I didn’t like the original)
Whoa—I didn’t think I’d memorized it, but without referring to the text, I typed it out here, from beginning to end. I will check it over now to make sure everything is accurate, especially the line breaks and punctuation.
Hope is the thing with feathers / that perches in the soul, / and sings the tune without the words, / and never stops at all. -Emily Dickinson (I haven’t memorized all of this poem … but these are the words that popped into my head as I realized that I’d memorized Rilke, above.)
Hope is the thing with feathers. Hope is the thing with feathers.
This is not a bad time, or a sad time, I want to be clear—being at peace, escaping to my cocoon of fiction. I trust that if and when the season changes, I will recognize it. For now, I give myself to the air, to what I cannot hold.
*My kids’ picture book, Jammie Day, comes out this fall; but publishing a children’s book is not the same as publishing an adult book, for many reasons, which I won’t detail here; a discussion for another time.
I realize, coming into my office this morning, that my reading life is a mirror for my actual life, and at the moment both appear scattered, reflective of broken or partial attention. I have never in my life had so many half-read books stacked all around me, on my bedside table, the dining-room table, a stool in my office, in my purse (the big one), on the staircase. Here is a list:
On the stairs, with the intention of being carried up to the bedside table (already totteringly tall): Elena Ferrante’s My Days of Abandonment, abandoned early on; American War, by Omar Al Akkad, which I started yesterday while sitting on these very stairs.
On my bedside table (this includes only the books at the top of the pile): Jesmyn Ward’s Salvage the Bones, which I was enjoying, but that was last month, and I’ve only just remembered that I was reading it; Being Mortal, by Atul Gawande, of which I read the last few chapters, then tried to start at the beginning, probably a mistake. Both of these are buried under the Rachel Carson biography, not yet finished—my interest waning, perhaps unfairly, with her growing success.
Beside me in the office on my rocking chair, we find Margaret Atwood’s Negotiating with the Dead. The folded-down page corner informs me that I’m mid-way through, but as I skim through chapters apparently already read, I realize how little I’ve retained and long to read them again, as if gazing upon fresh material. Also on the rocking chair, tucked into my purse (the big one): The Middleman, by Bharati Mukherjee.
Over here on the stool, on the other side of my desk: Monstress, by Lysley Tenorio; In Other Rooms, Other Wonders, by Daniel Mueenuddin; Etger Keret’s Suddenly, A Knock on the Door; and Haruki Murakami’s The Elephant Vanishes.
Out there on the dining-room table: Lydia Davis’s Collected Stories, with a pretty red ribbon repurposed as a bookmark, denoting where I stopped in the middle of story (almost impossible to manage, given that so many of her stories are breathtakingly brief). Also on the table, Destination Unstoppable, by Maureen Monte, bought after hearing her interviewed on a sports podcast, thinking it might make me a better soccer coach; but it’s a self-published book with the obvious self-published problem of not having been edited, a flaw that kills the transmission of most decent ideas, at least those presented in book-form.
Is that all? I also have some re-reading to do for my creative writing class, and 125 poems to read, comment on and somehow apply marks to, as of tomorrow at midnight.
In the bathroom, there are New Yorker magazines with many half-read articles marked with folded pages. On my phone, I have access to even more articles, including in-depth ones that I want to read, such as an interview with Lydia Davis in the Paris Review (see book waiting on the dining-room table).
Rare photo evidence of this child reading a book.
What of this is my addled brain retaining? I dip in, with pleasure and surprise, images flicker through my brain, some hold, briefly alight; and I am interrupted, pulled back out. What am I accumulating to use, to inform, to enjoy?
Where is the through-line in this mess of partially digested images and voices? What am I keeping? What does this tell me about my life, right now?
This past winter, I developed a 12-week course based on Lynda Barry’s Syllabus (it’s a book), an idea that came from a chance conversation with the woman who camped next to my friend and me at the Omega Institute in New York last summer; we were all there to take Lynda Barry’s workshop. Our tent was an enormous embarrassing behemoth that towered over her one-person marvel of efficiency. Of course, she’d just hiked the Appalachian Trail. And we’d just driven in from Canada in a Ford Fiesta. Let’s just say, we didn’t exactly bond. But one afternoon, we all found ourselves in the swimming hole together, paddling back and forth through the muddy weedy water, and she mentioned that she taught Syllabus as a course (and that she was an English professor). I wondered how, exactly, she taught Syllabus as a course. But we didn’t paddle long enough for me to ask.
At some point, over the fall, I decided to try to figure out how I would teach Lynda Barry’s Syllabus as a course. The result was a 12-week creativity course, which I ran over the winter with a handful of dedicated volunteers, who answered the call-out on my blog, and who stuck with it. And let me tell you, sticking with it was a lot of work. I designed the course to fit within the parameters of a 12-week university term, which would include approximately three hours of in-class time per week, plus homework. All work was done by hand, writing and drawing, in notebooks. My volunteer students did not live nearby, so we couldn’t recreate the energy that would be found within a classroom; nevertheless, they did the work. They sent me samples of their work every week, and at the end of the course created a final project: a short book that combined drawings and text. I can’t express how much joy this brought me.
Of course, I did all the work, too. (To tell the truth, I wanted to invent the course so I could take it!)
Reflecting on its effect, I’ve stumbled upon several unexpected discoveries and insights.
So, here are two BIG THINGS I discovered through my creativity course.
One. External motivation bolsters internal motivation. Inventing for myself a tougher-than-strictly-necessary challenge allowed me to achieve what I set out to accomplish. I must stress that I did this instinctively, not deliberately. In other words, I made the task harder than it needed to be, by increasing the stakes: I involved other people. This had the effect of keeping me on track. Even during weeks that were stress-filled and busy, I continued to create course curriculum and to do the work, because my students were out there, doing it along with me.
What I learned is that a certain level of stress and challenge makes a task more meaningful, and therefore more achievable. We probably all have different thresholds for what would constitute a useful amount of stress, but my takeaway is that I must turn toward challenge and difficulty, rather than away from it.
I also re-discovered the value of creating an external reason for doing something, a goal, an excuse, even if the reason is an invention of your own making. It’s why runners sign up for races—the goal keeps them honest (and keeps their loved ones from questioning why the heck they’re spending a beautiful Saturday morning running 28 kilometres). We need tangible goals, and it helps for these goals to be connected to timelines and deadlines. A goal gives us permission we wouldn’t give to ourselves: Without the invented excuse of the course, for example, I wouldn’t have had the guts to sit in a public place sketching strangers. But the goal is also there to be completed, an accomplishment at the end of all that effort: without the course, I also wouldn’t have made the rough draft of a short graphic novel.
Two. Broadly speaking, creation has two different stages. Both are valuable and necessary. And both require different kinds of time.
The first stage is gathering. The second stage is synthesis.
At the gathering stage, you may feel like you don’t know what you’re doing. You’re making things, but you don’t know how they’ll fit together; they may not seem to fit together at all, in fact. If you can let yourself relax and enjoy this stage, it’s the most fun you’ll ever have. You have to give yourself permission to make what you’re making without judging its ultimate point or purpose. You’re making it because it’s an adventure. You have no idea what’s going to bubble to the surface and emerge, and you’re constantly surprising yourself. This work takes up a the bulk of the creativity course.
The wonderful discovery is that this work can be done in bits and pieces, spread out over the hours of your week. All winter, I got up early and wrote from 6:30-7:30AM, for example, never getting to finish what I’d started, and simply picking up where I’d left off when I returned the next day. It’s comforting to know that a great deal of work can be done in this way—that it can fit into lives that are otherwise occupied.
Synthesis is a totally different stage. Synthesis is when you weave your material together to make something bigger than the sum of its parts. Synthesis requires an intensive span of uninterrupted time. It is much more difficult (I would say impossible) to do in fits and starts. You also need the capacity to be ruthless and focused. During this stage, you analyze your gathered material for a theme, or repeated images, and you build a coherent narrative around your theme and images. You enter the synthesis stage with an open mind. Your focus is structural. During this stage, you become inventive in terms of fitting disparate pieces together. You also throw out a lot of excellent material because it just doesn’t fit the larger purpose. This is less painful than you imagine it will be in advance because the larger purpose takes precedence. And also because you know the rest of your gathered material may be used for purposes and projects you haven’t yet imagined.
At the synthesis stage, you’re making something bigger, something that will ultimately feel complete (and also, inevitably, imperfect).
In practical terms, you need concentrated time at this stage: a writing week, I would call it. But the good news is, your material can wait for you to make this time.
The other good news is that once you’ve got your structure firmly imagined, you can return to creating the missing pieces using the same strategies you used during the gathering stage.
Here’s my takeaway, and it’s big. When we’re approaching a project, large or small, too often we expect ourselves to start with synthesis: with the big idea, the overview, the unifying theme, the purpose. We start here, even though we have only the vaguest notion of what we might find in our explorations. It actually makes no sense: our ideas haven’t yet been gathered—how could we synthesize them? The pressure can feel crushing. And nothing destroys creativity faster than pressure (and expectation).
What if we gave ourselves permission to start with the gathering? What if we let our ideas accumulate slowly over a long period of time? What if we let the story—the bigger project—find us, lead us, guide us, rather than trying to control and determine it by force? What if we found joy in the process of creation? What if the process was truly joyful, surprising, adventurous, kind of amazingly awesome, in fact?
So that’s a summary of how I spent my winter. It would not be an exaggeration to claim that the discoveries I’ve made through my creativity course have been huge, even life-changing. My gratitude goes out to that fellow camper in her hyper-efficient tent, for sparking the original idea. But most of all, my gratitude goes out to those adventurous volunteers who did the work along with me, and kept me honest. I can’t thank you enough.
I love my blog most of the time. I love that it exists and that I can come here to pour out ideas and wonder and dream out loud. But my blog isn’t always useful or helpful. Sometimes it’s like a window on which I just want to pull the blinds.
Sometimes, a simple old-fashioned journal works better. Or a walk with a close friend. Or family time.
“I don’t really know what you do all day, Mom,” said one of my children recently.
A few days later, there was a detailed discussion, involving all my children, on the subject of all the books I should be writing, mostly revolving around riffs on Girl Runner. Sequels, prequels, spin-offs. A great deal of laughter.
I got so depressed, I finally asked them to stop. It has been years since I’ve written a publishable novel. A person starts to wonder, you know.
The work goes on. It’s what I do all day.
This is not an uncommon story, to be sure.
“You have to be able to stand not knowing long enough to let something ALIVE take shape.” -Lynda Barry
I don’t know how long I can stand not knowing, but, aha!, there’s my word of the year, standing right there inside that sentence, firm and strong and useful, if a bit itch-inducing. It never occurred to me that I would or could use it in this way, but I can and will.