What I Read This Morning

11 | Lost Cat | Granta 107 | Magazine | Granta Magazine

This morning, I woke with yesterday’s story in my mind. I am writing all this week, and Kevin is looking after the kids (they are headed on bicycles to their first summer swim lesson this morning–and the sun is shining).
I did not mean to start my writing morning by reading a long essay by a writer who has lost her cat; but if you have time, consider reading it, too (link above: “Lost Cat,” by Mary Gaitskill). It is about much more than losing a cat, of course. It is about how humans attempt to love and to change each other, out of love, or out of what we interpret as being love; and about how we are haunted by our childhoods; how our patterns establish themselves and persist; and about so many other small and moving things: the difference between sentimental and sentiment, and where our real feelings intersect with the feelings we use to hide from ourselves our real feelings.
In a paragraph that made me laugh out loud, the author begins to ask random people, strangers, even, whether they have a psychic feeling about where her lost cat might be, and she writes: “I am still amazed by how many of them claimed they did.” Which made me wonder, would I claim to have psychic feelings about a stranger’s lost cat, if asked? I probably would. I would probably appreciate being asked, and entirely believe that my feelings on the subject were as legitimate as anyone else’s. Wouldn’t you?
Well, anyway. The essay is not primarily about the cat, but about other relationships, of the human variety. I won’t give it away. The pleasure of this essay–like the pleasure of so many experiences–is letting it unfold without guessing in advance what it will reveal. (Don’t get me started on those movie trailers that spoil a good movie by revealing all the best lines).
Now I shall hang laundry in the sunshine, and mull the effect of this essay, and its effect on the story I am writing.
And then, I shall write.

Archeology 101

Fooey (to me): Were you alive 89 years ago? … Oh right, 89 years ago was when there was dinosaurs.

Soccer Saturday

So, the soccer season is over. Albus’s team played hard and performed better than anticipated, but it wasn’t quite enough to send them on to the semi-finals tomorrow. Watching from the sidelines kept me happy; Albus is not the strongest player, and I felt less of a sense of responsibility and investment, and could enjoy the ebb and flow of the game more as a result. I was relieved that his performance wouldn’t make or break the outcome of the game. No one was counting on him for big goals. Kevin experienced an opposite effect, finding Albus’s games harder to watch than AppleApple’s, seeing all the missed opportunities that a bolder player would have taken. Maybe I should go to Albus’s games, and Kev should go to AppleApple’s, and we’ll all live happily ever after.
I see more soccer sidelines in our future. The grass is fine, there’s a big sky, and the non-playing kids entertain themselves with snacks and play. I’m almost–okay, not even almost, but actually–looking forward to next season.

Meta-Musings

In answer to Krista’s comment yesterday, asking why I’ve decided not to write about writing … well, I have at least one defensible reason, along with several indefensible ones; and fully expect none will matter anyway, and my vow will prove an entirely temporary whim, because writing about writing, for a writer, is kinda like enjoying several glasses of wine when you know you should stop at one. Sometimes, it’s just too damn pleasurable and you don’t care about the inevitable hangover.

Here is one good reason not to write about writing: It’s a procrastination technique. I fear becoming a writer who neglects her writing while writing about the process of writing. And the process is fascinating–for writers, if for no one else–and the corollary of this is becoming a reader who neglects fiction and poetry and memoir to read essays about writing.
But here is one not-quite-so-good reason not to write about writing: When you’ve put something down on the page (or into the ether that is the internetten), it stands as if it were truth. But I am the kind of writer more interested in experiment than truth; in flux, in a transitory moment. At the same time, I write with conviction. I am entirely committed to the transitory experiment I’m placing on the page; even while I’m aware, underneath, that this too shall pass. How does one express that duality to a reader without appearing insincere or downright fraudulent? I play with possibilities. I am hyper-aware that everything I write down here, every scene that I paint, is constructed and subjective, even when it points toward an essence that is true. It would be terribly annoying to remind a reader of this at all times; besides, I think we’re all aware on some level that this construction is going on, even here in Blogland (or perhaps especially here in Blogland) where we present ourselves and our families and our lives in a very particular way, through the lens of the blog, to the world at large.
It isn’t a perfectly accurate picture, in other words. It cannot be. It’s impossible to capture the mundanity. We are constantly making choices, conscious or un-, about what to keep and what to forget.
When I write about my writing, especially in the midst of a major project like the one I’m currently hurtling through, all I can see afterward are the flaws in my logic, the mistaken paths down which I enthusiastically trod blindly, and the many ways in which things did not turn out how I’d intended.
In writing about writing, in other words, I create a record of my own failures. It can be, frankly, a little disheartening. I need to believe absolutely in the thing that I am creating, or my courage would fail. If I were reminded, too bleakly, of how often a creative idea does not bloom to fruition, or grow as hoped, I might fear the work ahead. Except, even as I type this out, I think, TOTALLY NOT TRUE!
Because of course I’d do it anyway–I do indeed do it anyway–even knowing the inevitability of failure–failure to realize fully the original vision; rejection letters; a bad review; the variety of opinions and personal tastes and the impossibility of pleasing most; my own wish to be just that inch or two more accomplished at my craft. I am intimately acquainted with all of that knowledge. It does little to impede my attempts.
But, in truth, I’d rather no one else knew. That’s the indefensible reason.
Heavens. I’m in a confessional mood. I had a neighbour, an older woman, when she heard that I was a writer, tell me that it had once been her dream to be a writer, too, and that she had in fact written a book for children, sent it to one publisher, and received a letter of rejection. “So I knew I wasn’t a writer,” she said.
I’d say it’s quite the opposite. You know you’re a writer when you receive a letter of rejection, and with blissful or dogged or determined optimism, you send out your manuscript again. And again. And you rewrite it. And you edit it line by line. And you seek the opinions of others. And you throw it out. And you write another. And you send it out. And through it all, though you question and doubt and your energy dips from time to time, you are filled with purpose and hope.
But you’d rather no one else knew too much about the naysayers.
And that’s why I am not going to write about writing. So help me.

Don’t Be Frightened, It Won’t Last

This is Kevin’s story, not mine. Yesterday evening, while I was out exercising (mental health), Kevin was home with several extraordinarily grumpy children. He set them up with a movie, went outside to water the plants, came back in and sat down with the newspaper thinking he’d grab a minute of calm for himself. He had just read the “thought of the day” in the Globe and Mail.

“There are moments when everything goes well; don’t be frightened, it won’t last.” – Jules Renard

As those words hit his eyeballs, he heard crying from the basement. The movie was over (though he hadn’t realized, it was a very very short movie). The older children were complaining vociferously. And CJ was covered from head to toe in permanent marker (his own doing). He was the one crying. Kevin said he just stood there in horror. Then he popped CJ directly into a bath and the permanent marker proved not so permanent after all. He introduced me to the subject by having me read the quote, then showing me the photo (above) and saying the words “permanent marker.” Needless to say, all my zen calm went out the window till I’d heard the end of the story.

Seriously. I was imagining that child striped with permanent marker ALL SUMMER LONG.

A couple more things, unrelated to permanence.

1. I’ve decided (for now) not to write more about writing. It’s too risky; I’m too superstitious. Everything that I write about writing has the potential to be a complete lie. In the moment, or immediately afterward, I might feel that something I’ve written is wonderful–or terrible–and time might prove it to be quite the opposite.

2. However, I will say that writing and yoga/exercise go together extremely well. I was in a muddle over a story that wasn’t working (there I go, writing about writing), and instead of giving into anxiety, I thought, hey, I’ll take this to yoga. For those of you sick of hearing me blither on about yoga, you can insert the word “meditation” instead. It’s where I go to find meditative space. I haven’t found a more effective method of removing the self from myself than through guided movement that is challenging to breath and body. So, I took the story to my meditative space. And then I didn’t think about it for the entire practice. And at the end, I had a calm reflective observation to take home again: the story wasn’t working because it was trying to do too much. And it was expressing something that I didn’t want expressed through my character. So I scrapped it, and started over completely afresh. It was a relief not to waste more time muddling.

3. Meditative calm: is it a selfish pursuit? Sometimes, when I leave behind a pile of frantic children and kind generous husband, the impulse to go off on my own feels hideously selfish. But here’s what yesterday’s practice brought to me, in calm reflection: self-knowledge is not the same as selfishness. If I did not take time to recognize my own motivations and know my own desires, my boundaries would be muddier, my actions murkier; I would risk carrying anger without knowing why, or bitterness, or fear. I would be more likely to blame my circumstances and my loved ones for anxieties of my own creation. There is no perfection. I might come to know things about myself that are uncomfortable and unflattering. It’s not a route to happiness or contentment, either. What it brings me is access to calm.

4. I’m still looking for ways to find calm within noisy moments. The other evening, this is what worked: I said, “I am not going to start shouting.” No one could hear me saying it, because in order to be heard over the cacophony, I would have had to start shouting. But when I start shouting, whether or not it is in anger, my body interprets it as distress. Even if I am shouting in a calm way, just to be heard, my body hears upset, and emotional escalation is inevitable. So. I just repeated over and over that I would not start shouting–as much to remind myself as to inform the kids. Eventually, I found a break in the sound, and was able to communicate: time to brush your teeth. The evening progressed with remarkable calm (Kevin was at soccer; those evenings on my own are evenings when I really do need to remind myself not to shout).

5. What I like most about meditation is something I resisted strongly at first. Stop telling yourself your stories, my favourite instructor told us. I was like–yah, right, that’s my job, that’s what I do. I’m not about to stop. Slowly, with practice, I got braver. I realized the stories weren’t so fragile that they would get lost; though in truth, they do change. I began to let go of the stories, the interior narration, during the practice. Madeline L’Engle, in one of my favourite books for teens, A Ring of Endless Light, wrote about letting go of “very me,” to make room for “very God.” In other words, make space for illumination. The mind is a miraculous place. Just because you’re not consciously thinking about a problem or a worry or a story doesn’t mean your mind isn’t sitting with it somewhere deep and low. When I practice emptying my mind, afterward amazing unexpected observations (I hesitate to say solutions) come flooding home. There is space where before there was not. And the space is compassionate and open and loving, so there’s room for ideas that I might not accept at other times. How often have I refused an idea out of fear or laziness?

For example, I wanted that story to work and kept muddling over it because it was a story already mostly written (an older story) and it seemed easier to work with something that already existed than to start from scratch. It was a barrier impossible to recognize without calm reflection.

6. I know yoga isn’t the only route to calm, though it happens to be mine, right now. Kevin says he finds that kind of quiet, deep, meditative thought while gardening. I wonder where you find yours?

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About me

My name is Carrie Snyder. I’m a fiction writer who dabbles in many forms of storytelling. Certified in conflict management & mediation. Embarking on an MA in Spiritual Care & Psychotherapy. I believe words are powerful, storytelling is healing, and art is for everyone.

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