What amazes me is how something doesn’t exist, and then it does; and when it does, it seems always to have existed.
I want to write something about this writing week, but all I can think of to say is that I’m done. I’m done with the writing week. But I’m also done with the bulk of the writing. I stayed up late working last night, pausing only to dash out to a yoga class in between daytime writing and nighttime writing. And today, a really amazing story came.
So, I’m done.
Tinkering, up next.
Writing about writing while writing. I’ve struggled with this over the years. I want to shout: Great day! or Terrible day! or Day of massive frustration and doubt! I guess that’s okay. But it can be misleading. The creation of a project stretches over such a long period of time that the emotions on an individual day say very little about its overall progress. It’s like taking your temperature and trying to extrapolate from one reading your health for the next six years.
Yesterday was frustrating.
But I begin today with hope. The process is so full of walls–slamming up against them, full stop, bewildered, is this it? And then checking out the terrain. Hang on, I could dig under, or build a ladder or a flying contraption, or blast through, or turn and see where that little path in the grass is leading, the one I hadn’t noticed before. The process is full of mini-breakdowns and heartbreaks, followed by mini-revelations and renewed committment.
I was up till after midnight, fomenting ideas. I wonder what will come of them today.
Writing week. This is the official week of writing, planned many moons ago. Last week, I started the new year with an extra day and a half of writing, and a brand-new story, and inspired energy and spirit; which was quickly subtracted by losing a day and a half of writing at the end of the week due to a mild stomach virus. Thankfully, only the youngest succumbed, and it was never terrible (and when it comes to stomach viruses, I know from terrible, let me tell you; or, rather, I’d best not tell you).
Where was I?
Up and down, that was last week. I ended the week feeling low indeed, struggling with a story that has plagued me since its conception back in June. I’ve been telling myself (very helpfully) that the story is more ambitious than my talents. And it may be, that. Or, it may be that I’ve been shovelling into this one story far too much; stories can only hold what they can hold. I spent the weekend in a grumpy panicky state, distracted, anxious, wondering whether I’d lost my nerve here at the last minute; because the damn book is so close to done. This story is the last major story that needs to be written. After this, it’s tinkering and chink-filling and trim.
I did what I could. I tried to remember what works. I did not curl up in bed under the covers (though it was awfully tempting). I prepared for this upcoming writing week the only way I know how: in the kitchen. I baked a batch of granola, filled a container with oatmeal cookies, converted four litres of milk into fresh yogurt, cookied up a batch of tomato sauce for quick meals this week, and finished my Sunday evening by baking four loaves of wholesome bread. I also ran errands, restocked the pantry, went for two long runs, to church, and to a kundalini yoga class. But “class” isn’t the right word for this semi-regular event, led by a friend and shared with other friends; it’s more like a religious experience. It’s pretty much impossible to put into words. I just tried, and erased my attempt. But I think the feeling that is shared in that warm dimly lit studio room is of collective joy: individual effort that somehow becomes shared effort, appreciation, compassion.
I left that beautiful room believing myself capable of finishing the book. I also left knowing I’d scrap the story and start from scratch. I trust yoga to open me to big/simple ideas: that was my big/simple idea. I also understood the image this new story will revolve around.
I think this weekend was good for me. It was unpleasant in a lot of ways: hard not to be writing, hard to bide my time, hard to live with such uncomfortable anxiety and to be around others; but I’m proud of myself for slogging onward. It’s really all that can be done when staring down doubt. In the past, I might have holed up and gone even more interior. It’s difficult to talk to friends, to reach out, or even just to be out and about when in a state of anxious distraction; but that’s exactly when it’s so important to keep on keeping on. It’s not about faking it. It’s about continuing to feed yourself even when you don’t feel hungry.
My writing week started yesterday, with a bang: a brand-new story to fill another chink (though not the major story). Today, I attempt it. The big one. It’s going to be a whole lot smaller. Maybe it will be small enough to fit into a dimly lit warm room crowded with friends. Who are chanting. We’re all chanting.
I am starting off the new year with a writing push: this week and next. Yesterday was one of those terrific and productive writing days, which means it was also overwhelming and I got lost and could scarcely drag myself out to fetch a glass of water. I’m not sure there’s another way to do it, however, not if I want to get deep into the really good stuff, the access to the underground.
When I finished writing, around eleven o’clock, I was a restless ball of nervous energy. So I picked up a book. I gave it to AppleApple for her birthday (age 8), signed by the author, who is local: Plain Kate, by Erin Bow. Erin warned me that the book, written for young adults, is too dark for younger children, and should be read only by more mature adolescents and teens, but AppleApple is an avid and wide reader, and she wasn’t frightened by the Harry Potter series, which seem pretty dark to me. So, AppleApple started Plain Kate, and got nearly the end, absolutely devouring it; and then suddenly stopped, shut up the book, and could not go on. It was too scary, she said. Since she’d obviously been taken by it, I wanted to know why it was so scary. She couldn’t articulate it. When I picked up the book, I understood why.
Plain Kate is a gorgeously written evocation of a dark imaginary world that nevertheless feels not invented but real: the setting is vaguely Eastern European-feeling, and the time is time past, when superstition flourishes, and magic is real and feared. Kate, the protagonist, is an utterly unprotected and orphaned child with a gift for carving, an outcast accused of witchcraft who must flee the only town she’s ever known. I won’t give away more. (I should also add that, inspired by Kate, AppleApple requested “carving tools” for Christmas, which we tracked down, along with protective leather gloves, so she now has her own carving kit; one evening, while she was reading Plain Kate, we found her sitting outside, in her coat, in the cold, on the back porch, whittling a stick; let me tell you, I love this child!).
So, a dark world; and having now read it, I do understand why AppleApple was too scared to go on (my plan is to read her, out loud, the last little section, because, not to give too much away, the book ends with cathartic brilliance). (And to quibble with the young adult designation, please know, adults, that this could just as easily be a book for you).
I was most intrigued by the author’s conception of magic: a witch possesses true power, but has to give of him or herself in order to receive or use the magic. In the book, the giving is quite literal: there is blood, and a lot of it. And as I read obsessively to the end (staying up till all hours), I thought about the magic that I attempt to access, when writing; I know it’s there, and I know I can get to it, but not without sacrifice.
In order to open my mind to the words, I have to open all of my emotional self: it feels, when I’m going through the process, that I am raw, that by opening my mind, I am exposing myself to the darkness and danger depicted in Plain Kate’s world. Margaret Atwood writes often, especially in her poems, about going underground, going down, and that’s what it feels like to me, too; that the underworld of the Greeks is more real than not. That the passage between here and there is always waiting. I don’t mean that I write about horrible and sad things, or that underground and underworld are synonymous with a kind of hell or darkness, only that so much of human experience sleeps under the surface, and we all know it’s there. Is it something to be feared? Maybe, sometimes. Anything powerful can overwhelm, for good or for ill. Power/magic/the divine isn’t to be sought out lightly. But anytime you’ve been moved by a ritual or a work of art, you’ve been touched by something under the surface, a powerful human connection held in common. Someone has gone under to bring back a piece of light for you.
That’s what Erin Bow has done in Plain Kate.
As I work today, I recognize what it takes to do this work: that in order to receive, I have to give of myself. I’m making it sound perhaps more exalted than it plays out in reality: sitting still and thinking and searching around for the words and placing them and then going back and replacing them, many times over, rinse, repeat, repeat, repeat. The toll it takes is on my body (restless, cramped, and still), and my relationships (my children miss me: “You’re working again?”; my husband misses me; I’m largely shut off from the outside world); and on my mind. I staggered down last night for a glass of water, finally, and I thought, good grief, I could not live like this. Imagine having all the time in the world to write: I’m imagining a nightmare. But I’m not a magician of brilliant creative powers, I have a more modest gift: I aspire to be a healer. I hope I remember this when writing time is short, and I am complaining about the ordinary everyday: folding laundry, feeding children, exchanging hellos in the schoolyard, racing to meet the demands of routine. That is where life happens. Just because it happens up here, out there, on the surface, doesn’t mean it’s superficial. I couldn’t go under, from time to time, without all the spirit-feeding everyday to sustain me.
Now. To see what’s waiting for me today.
Sometimes it’s the smallest of changes that make room for a happier daily life; it’s also easy to forget the small changes, and assume that life has always been just like this. But as I puttered around my kitchen this morning, in the pre-dawn, I realized, no, life has not always been just like this. This would have seemed unthinkable a year ago. What’s changed?
1. Sunday night scheduling. Sounds dull. But how incredibly helpful it is to sit down with Kevin and discuss what’s on the menu (literally and figuratively) for the week ahead. I jot down meal ideas for each day. We plot out car use, and any blips in the routine. No longer am I stuck for meal ideas. And we find or make extra time.
2. Exercise. Guess what I do with my extra time? Some of it is spent going to yoga, or running. I am currently holding steady at two 90-minute yoga classes each week, and two 6-8km runs. This would be unthinkable were it not for advance planning. And because it’s scheduled out, I’m much less likely to skip the chance to go, knowing what I’d be sacrificing.
3. Date night. Part of our problem, typical of partners working and raising young children, is that we are often like two ships passing in the night (is that the phrase?). Kevin plays hockey and soccer, both fairly late at night. My yoga classes are over the supper hour, so on those days, he runs in the door, and I run out. I also schedule evening outings, occasionally, with my siblings, and, about once a week, with friends. So when do we get together to be ourselves and not just to talk about schedules and kids? Earlier this fall, we began booking a regular sitter, and committed to taking one evening a week just for the two of us. Marriage is for the long-haul. We need to stay connected beyond schedules and kids, because before we know it, it will just be the two of us rattling around our house, reminiscing about these crazy busy days.
4. Getting out of the house. This could have come first, actually. It’s a huge change for me, not really a small one. During my early years of motherhood, I was a hard-core stay-at-home mama. I could go months without leaving the kids for an evening (and, no, that is not an exaggeration). I wanted to do it all myself. I loved that time with them and did not resent it. But this new stage is good, too. I think the rule of thumb is: to thine own self be true. And know that part of being true is recognizing shifts and changes within one’s own self, as they happen. The kids have become so accustomed to me getting out of the house, without them, that it’s old hat. I kiss them goodbye, and they know and trust that I will come back. No drama. No fuss. (And no, it wasn’t always like that; and all the fuss and crying and drama made it so much harder to get out).
5. Nursery school. As a hard-core-stay-at-homer, I didn’t even consider nursery school for my oldest kids. I provided them with crafts, puzzles, baking projects, singing, playdates, regular trips to the library, park, Children’s museum, and swimming at the rec centre. But after eight years, or so, I was growing weary. I realized my interest and enthusiasm were flagging. Those two youngest were not getting the enriched childhood they deserved. Almost exactly a year ago, I landed on the idea of nursery school. It was a HUGE leap for me. CJ started a year ago in January, one morning a week, which by April I’d upped to two mornings. And this September, I cheerfully threw him into three mornings a week. I would consider sending him daily next September when Fooey heads off to first grade. (She’s also gotten to tag along to the nursery school experience, going every other Friday when she’s not at kindergarten). And here’s the thing: CJ loves it. I’m not saying the older kids were deprived. But I would be the last to judge or criticize either version of early childhood: either/both can work.
6. Spirit. My word for this year. Bless that word. I don’t know whether I would have necessarily turned down experiences were it not for that word (turning down experiences is not in my nature), but I may not have sought out so many experiences related to the spirit. I don’t know why I need permission or nudging to move me in certain directions. Maybe I don’t. But I like having projects. Especially projects that spread over a long period of time, and require regular attention. The 365-project falls into that category. As I approach this solstice season, and Christmas, and my birthday, and the coming new year, I want to take time to reflect on the projects ahead: small and big, new and old. What word will come to define this year?
7. Confidence. As I walked past my own reflection in storefront windows yesterday evening, I realized my self looked unfamiliar to me: older, probably. I looked like a grownup woman, occupied, on her way somewhere. And I thought to myself, how interesting that as I grow older, I am becoming more and more known to myself on the inside, while on the outside, I know myself less and less. Maybe that isn’t entirely true, given the 365-project. Or maybe it’s just this: the outside seems to matter less. I’d like to believe that who I am shines through, and always will, no matter how much I change on the outside.
8. Portfolios. One last small change. This brilliant, brilliant, brilliant idea, which I may have mentioned before, came from friends of ours, who split up the household tasks, and call them “portfolios.” Bathroom cleaning would be an example of a portfolio. Dentist. School lunches. Kevin has taken over those last two portfolios, and what a difference it’s made in my life (and maybe in his, too).
Must must must link to this provocative and well-argued piece
, by Kerry Clare, on women’s fiction, and how it continues to be viewed by critics as being of lesser value than men’s fiction, even now, long after Virginia Woolf wrote about the issue in A Room of One’s Own
: “This is an important book, the critic assumes, because it deals with war. This is an insignificant book because it deals with women in a drawing-room. A scene in a battlefield is more important than a scene in a shop–everywhere and much more subtly the difference of value persists.”
In her essay, Clare posits that the gestational approach to plot in a book like Lisa Moore’s February is indeed very much unlike the conclusion-driven fiction that we consider to be traditionally male; but that the layered and continual sock-folding nature of “feminine” fiction should not and cannot be dismissed simply because it approaches time and human transitions differently.
I guess my question is: do women really understand time and action differently than men do? Is this a feminine quality, or does it relate more to the fact that more women than men, even now, spend time folding socks, and completing repetitive daily tasks? Do our bodies call us to observe and reflect upon repetition and a less linear understanding of time, are women by nature gestational beings? Just asking. I don’t know.
Read the article. And then comment, because I really want to know what you think (… as I sit here, writing what seems to me to be a prototypically feminine book).