Distractions

The past week I have been distracted by the possibility that my country would once again go to war in the Middle East/Central Asia—in Persia. The thought transfixed me and kept me up at night. I have no control over the policy of my country—besides the meager franchise I exercise. Who, after all, is going to listen to a 59 year old English teacher? That said, I have little doubt that policy, even policy set by people with greater expertise than I possess, has been ramshackle and reactive over the past 50 years. Longer. Without a clear and positive vision of what we support—say, the spread of human rights—my country ends up defining its mission in terms of what it does not want—not communism, not Islamic Fundamentalism, not terrorism. When a positive goal is enunciated—we want the free flow of oil—that goal tends to be acted on only in a self-serving and too often militaristic fashion.

Too often this misses the point. Those with the oil want to sell the oil. Naturally, they also wanted to possess the oil first, and then, of course, to sell it.

But this is true of any commodity, or anything one has that is valuable, whether that is a resource found under the ground or made by the work of hands. And even if one does not wish to sell—to escape the cycle of commodification—one wishes control over that which one possesses or makes.

I am sitting in a museum while I write this. I am surrounded by works of Alexander Calder. They are gifts, but he also sold them. There is a fabulous photograph of his workshop in this gallery.

I wonder what distracted him, if he was distracted by the world around him?

When I look at any of the works of art at the National Gallery, I do not immediately think of the dates and the events that were taking place in the world at any given time. Art is timeless in a way. And it is not. I am reminded that horror in the world was never limited to acts of overt war, but that it proceeded—and proceeds—in an endless stream of cruelty and misfortune. And yet, in all times, there has been art.

Maybe we keep art in a box—even when it responds directly to the events of any given era (as contemporary art more pointedly and more often) does. Artists (and writers) also have something which they make. Maybe they need to stay in a box, to ignore the world and engage in the process. This seems like a fairly effete vision of art. While there is something self-serving about making art (my vision!), art only lives when it enters the world, partakes of the world, and reflects the world in all its grizzly terrible presence. The horrible beautiful world.

So, I am reminded while I am distracted, to include the world in my work, even as a reflection in some fragmented shards of a broken mirror. This too.

The Reader

While I like to write while surrounded by people, once my eyes are on the page, and once my fingers are working, a kind of wall goes up. Writing is solitary. And it is not.

The whole point of writing is for there to be a reader.

Every time I write, I am thinking of you. You could be sitting right behind me at this coffee shop in Gainesville, VA. Or at an internet cafe somewhere in Pakistan. You could be someone I have known for years. Or someone who has stumbled into my work on a whim.

When I write, I imagine myself as that “you.” I am the woman writing about transformation in her blog and that man who took a break from writing about horses and Johnny Cash. I am my daughter, who, perhaps, will look back at this years later when she decides she wants to know something more about her father. And I am you, unknown and unknowable, reading this now. And even you, who I have known, once—maybe for a few glorious months—are still unknown.

These days, I wear reading glasses when I write. The glasses give the letters on the screen crisper definition. When I look up though, the world is blurred. I cannot be focused on the there that is twelve feet away from me and the here that is a ranged configuration of black shapes. Letters. I think of all the alphabets and how arbitrary those shapes are—they stand from left to right or right to left. We see a sequence that shapes the way we read and understand the world as much as the simple shapes try to define that word. Why am I watching those random shapes when other human shapes drift in and out of my blurred vision?

Sometimes, I write for me—not to express my thoughts or feelings, but so that sometime later I can become my own reader. I will remember this person who sat in fairly comfortable, if strange, surroundings, among people who spoke my language and people who spoke other unfamiliar languages. I will remember those who sat with me while I wrote or those who slept in rooms nearby. The strange shapes that I decipher will point me to another time, another me. I will treat whatever is contained in these words as properly strange, belonging to someone who is not me, any more than you are not me.

Plate PlateThere is a plate at the Freer Gallery in Washington DC. Around the rim are an elongated set of letters in Arabic. Even if you knew what those letters meant, would you know about the person who wrote them before the platter was fired in a hundreds of years old kiln? Or what to make of the carved insignias on a Neolithic disc from China? Sometime, 5000 years from now, will these shapes still make sense? Will they point some future reader back to me? Or to anyone else who writes now?

I write to be in the moment. I love the process of getting lost in the words, in trying to connect thoughts and feelings to this electronic scrawl. I loved diving back into the world of the djinn day after day and discovering what he—and all the characters in that book—saw and heard and felt. Writing took me out and away from my self, and gave me a place to visit and revisit.

I  know all too well that the moment does not last. I write ensconced in both the past and the future. Everything I know—59 years of experience—and everything that will open before me—another 59 years?—balances on the self that writes here. Each time, the words bring me back to the self who wrote that fragment, and I keep returning to that self while I work on a particularly long piece of writing. But that self never remains static—returning requires an effort.

The self that writes is almost more like a mask—something and someone stopped in time. I write in and on that mask, but underneath, on my face, in my hands, and in my heart and mind dreams of change and something I have not imagined continue. Last night I dreamed that I was making dinner—a recipe I did not know with someone I did not know. My mind invents and travels and changes. I long to remove the mask, but I accept the part I play. For now.

There will be another mask, just as there will be another dream, just as today’s experiences will shape me. The mask-maker. The writer. The man. And you, also, always. Perhaps you will find your way to here from wherever you are, and you will find your way back to some unknown place. And write.

The Promise of London: A Writer's Promise

A year ago I was in London. My first night there, it was cold and rainy—the worst weather of my short trip. In spite of that, there was a walk to take—a walking tour of locations connected to Dickens and A Christmas Carol. Only a handful (6? 8 at the most) came out for that walk. At some point in the night, I was recruited to help read from The Pickwick Papers. The walk ended at The George with mulled wine, and guests out of doors in the cold singing.

The memory is happy and sad. I had traveled to London with a woman whom I deeply loved. I had traveled with some amount of trepidation; I knew she had other stars in her eyes, or, at the very least, that she doubted that I was star enough for her eyes. However, London was a promise I had made to myself long ago, and I was fulfilling that promise, or, again, at the very least, making the first steps toward that promise. The trip was a dream and reminded me of why I made that promise years ago.

One part of the promise involved travel. When I was a graduate student, I had been accepted to travel to London to help with a program at my school. I did not go. I had met a woman and thought we were going to be married, so I reneged on my duties and planned a wedding and a life. The marriage did not happen. I stayed in Binghamton for the spring instead of traveling. I promised myself that I would go, and go beyond.

The other part of the promise was to write.

I had gone to Binghamton to be a writer. I began grad school at 28 with only a thin idea of what I wanted to write. To be honest, my idea of myself as a writer was entirely romantic—in that way Shelley’s idea of the poet from In Defense of Poetry is romantic. Such an idea, without a steadily glowing ember of practice, is not sustainable. My writing, though full of hopeful ideas, had not taken proper root. I was a dilettante—determined, but without that obsessive drive that propels most writers. While I was in grad school, I delved into the academic side of my studies—the ideas were thrilling, and it was easier to make headway there.

My first writing workshop focused on short fiction. Although I had written a couple of short stories and read some, especially when I was younger and gobbled up anthologies of supernatural stories, I came to writing because of novels, especially the magical realism of Gabriel Garcia Marquez and Mark Helprin. I wanted big strange things to happen in my work, and for my work to reflect a world in which the impossible was ever-present—if stalwartly and stupidly ignored. I wanted to shine a light on that world. Did I know that then? I do not think that I could have made a clear statement of exactly what I wanted, besides to “be a writer.” That is hardly enough.

I struggled with short work. I wish I could say that I had ten dozen ideas waiting to spring Athena-like from my forehead. I did not. After two years, I somehow cobbled together enough work for a Master’s Thesis, but the work relied too much on retelling stories from my life. I invented nothing. It wasn’t until my third year that I began to find my footing, and then only in the shortest of pieces, prose poems.

While academic writing can flourish jumping from George Chapman to Virginia Woolf to Charles Dickens, from Michel Foucault to Alice Jardine to Judith Butler, creative writing needs a steady—almost boring—focus. You have to sit at the grindstone. You have to want to sit at the grindstone, putting the millstone around your neck the way someone else might blithely doff a silk cravat, tied while running toward a morning meeting, or an afternoon assignation. It’s a damned heavy tie. And there must be something magical and transformative. The words must have the power to change the world.

And here’s the thing—as I have written in some of these posts, obsessive drive was antithetical to my idea of how I wanted to live. I had seen too much obsessive drive and distrusted it. Where some saw vision, I saw blindness. I felt it in myself, especially when I was “in love.” I distrusted the way I experienced romantic love and doubted whether I would be able to love anyone. At 28. I may not have had a clear idea about my writing, but I did have a clear—if wrong-headed—idea about my heart. I had much to learn. Now, I feel called to write every day, and if I do not, I feel the bite of old dogs. If days go by, the dogs grow younger and hungry.

And, I had given up on magic. Are the two things, love and writing, all that separate? Sadly, or happily, for me, they are not.

What happened? Well, this, for one. In January of 2018, I started reflecting on lost bits of my life. I had something to reclaim. It started with reflections on love and what I learned from a selection of movies—some obscure, some well known. Then I started musing on happiness and moving and beginnings and, of course, writing. I had something to reclaim. I explained to a friend that my newfound sense of urgency was the result of losses around me and my own gnawing loss of self. I felt my life slipping away.

What am I to myself

that must be remembered,

insisted upon

so often?

Robert Creeley

One of the early writing lessons was that one had to fight against insistence on anything other than the artistic integrity of the work. Art was all that mattered. Everything else was selfish preoccupation. There is a nascent Buddhism in this practice. Writers must not crave; they must simply let the perfect “be” and then get the hell out of the way. Great writing was, at some level, an act of self-erasure—the presence of absence. Especially when I was a young romantic writer-to-be, this appealed to my innate perfectionism and idealism. In a world full of corrupted motivation and suspect morality, attempting to make something beautiful was honorable. This is part of the elusive call of writing, and of all art. Everyone else must live reined in by the art of the possible: politics and compromise. Writers and artists strive for the unobtainable. Even when we engage the flaws in our work, as often as not we are performing some subtle—or not so subtle—sleight of hand. We are like the carpet weaver adding the imperfection because the perfect is reserved for God alone. Or for Shakespeare.

Which brings me back to London, a city in which Shakespeare’s famous theatre was rebuilt through the efforts of an American actor. When I went to London, I was a month and a half into a novel, and I knew that it would be a novel. I had imagined other work as long as novels before, but this was different. I had never felt drawn into the writing as I had with my book about the djinn. I knew it was going somewhere, and I did not know how it would get there. I was not simply writing about characters who were magical and from the world of enchantment; I was enchanted by the work. I researched djinn as I wrote, and would go back and revise whole sections to suit what I learned while I wrote. I let myself be out of control and let the book go out of my control.

The closest comparisons I can make to this were the feelings I had when I was at the crest of a wave—either on my father’s boat on the Atlantic Ocean or when I was body-surfing off the coast of California. In both cases, I was out of control and exhilarated. I felt the same way in London—that the waves of history, of literature, of streets, of unknown alleyways, and yes, of love could all come crashing down. They could, and some did, and I had to go ahead and throw myself into the waves anyway.

I wonder how this last novel came about so easily, but, really, it did not come easily. It began ages ago and I did not know it. I made a promise. As I gear up for the next, I am surprised that I am finding enchantment. Again. I am also pleasantly surprised that I know, a little, how to uncover enchantment when I need it. I have not needed to travel back to London. And yet, on this day—and if I am honest, every day—I feel the call. I have promises to keep. And miles to go…

What is Enchantment?

At the outset, it is only liking, not understanding, that matters. Gaps in understanding … are not only important, they are perhaps even welcome, like clearings in the woods, the better to allow the heart’s rays to stream out without obstacle. The unlit shadows should remain obscure, which is the very condition of enchantment.

Andre Breton

Enchantment only happens when one is uncertain—when one is drawn to the obscure. Otherwise, there is no spell. Affirmation shines a light on what we already knew. Or, at the very least, what we thought we knew. Enchantment takes us into the shadows.

Yes, some will call confirmation or affirmation by the name of “enchantment.” They mistake the feeling of returning home with walking, almost asleep, into the unknown.

The condition of enchantment requires that we are pulled out of our shoes toward something on which we will walk bare-footed, but cannot see. Will our feet be cut or burnt? Yes. Will the road be rough? Yes. Or will we float, unable to touch the ground, yearning for the familiar in spite of our flight? Yes. We will like the flight, but will not understand how we suddenly sprang out of our shoes. Who untied our laces? Am I still wearing socks? Do I have wings? Look down and behind yourself and be prepared for an answer you did not imagine.

Enchantment calls you out of yourself, possesses you, and makes the world new and strange. And in doing so, makes you new and strange to yourself.

Who would dare enchantment? Who would step out into the unknown, girded only with some semblance of a suddenly out of date idea of oneself? By slips and stumbles one finds something—or is found by something. Either way, because without a self to cling to—why hold fast to the raft when one might grow gills?—the world becomes the self. Enchantment makes me match the call of the world. Be all of this.

And so, I take the obscure way. Enchanted. It waits and welcomes me.

Breaking Up with a Novel, Falling in Love with the Next One

So, your brain works like this when you begin a relationship: a steady stream of oxytocin lasts about two years and gets you through the infatuation stage. During that time, you are giddily in love, and you do the due diligence (or you don’t) that gets you to something more lasting, something, possibly, permanent.

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Oxytocin

Here’s the trick. If you are still working on a novel after two years, it is time to throw it overboard. No, seriously. Part of what gets a reader to pass into the dream you wrote is a similar flood of hormones. Reading requires infatuation. Yes, you can pack a novel with drama and with exotic wildness, but somehow, somewhere the depth of infatuation a writer feels for his or her work will emanate from the page and enchant the reader. Or it will not–keep in mind that each reader will be enchanted with something different. But we tend to fall in love with willing partners. Enchantment breeds enchantment.

Novelists are oxytocin junkies. We fall in love—or we fall in love enough—to write and write against all expectation of a result, daftly believing in what we are doing in spite of no promise of permanence. And then, when we finish, we move on—or try to. Some novelists visit and revisit characters, unable to move on. There are a number of reasons: security (this stuff was published once, so why not try again?); habit (I already know these characters, this time and place); anxiety (how will I find another novel to write? I’ll just do this again—sort of).

Great novelists work the same material over and over. Think of all the orphans in Dickens, or all of his switched and hidden identities. Or all the women negotiating lives surrounded by powerful if vision-impaired men in Woolf. Faulkner built Yoknapatawpha County and then inhabited and re-inhabited it again and again. Maybe J.K. Rowling knew that she was beginning a 7 volume world at the start, but how could commercial success not have impacted that world? I could go on.

I could just as easily line up novelists who produced one, maybe two books and then stopped. Might I suggest that they were not prepared for the jarring and harrowing experience of finishing a book—of feeling bereft, broken up with? Their lives were intertwined with that book. It had been the one (as it should be, as it must be!). Yet, once the flow of oxytocin stopped, that’s where they were. Done. And done.

Would falling in love with the process be a solution? You get the oxytocin for two years, it doesn’t matter what—or who—you fall in love with. After the infatuation, you have to learn another way to love. Something more indelible. Love your process like that. I have been writing every day for years—fits and starts, fiction and nonfiction. I used it as a base on which I found a more fiery, single love (that book). After finishing it, I crashed hard, but I also had the writing, some kind of writing, to propel me forward.

I will find another, brighter love as I go forward. Another novel beckons. Before I berate myself too much for the difficulty of beginning the next, I must acknowledge that I am still haunted by the ghost of the last. My brain misses the rush of turning to those words, those characters, those places. So to will your brain. Be ready. It’s just the oxytocin. Just.

And so, I revisit places—the Calders at the National Gallery of Art remind me of the value of clean lines, whimsy, and balance (always balance!). In spite of the heartache, there is beauty—beauty made by hands, not simply discovered in nature. Although that beauty too—the changing fall colors, the scent of the season even as I walk on the National Mall—fills my sails with new wind.

I take my iPad to bed and write as I imagine Proust did, propped up among the pillows. If only the cats would bring me coffee. I have a table in a library on which I arrange my materials, and where I make progress. I wait for the next rush of crust-breaking hormones, chipping away with sad hands until that day arrives—when the glimmer becomes a fire again. I am ready.

500 pages

I graduated from SUNY-Binghamton with a Ph.D. in English Literature/Creative Writing in 1994. Before I went to graduate school, I did not know what I wanted to be. I had written a little earlier in life, and had taken a fiction workshop while I was an undergraduate, but my sense of myself as a writer was hazy at best. Still, I had done some work and I applied to writing programs in the spring of 1988. I was accepted at Binghamton.

While I was in graduate school, I wrote stories, a novel that I shelved, some poetry, and essays. I also wrote a slew of academic papers. Mostly, I read furiously and widely, delving into a world of literature and philosophy that had not existed for me before I began this turn in my life. I still have many of the books that I read in those six years and they are either a bulwark or an anchor. Now, they seem more like part of a wall that divided my life into the time when I did not write, the time I discovered writing, and the time I stopped writing.

That time ended in 2018 when I considered moving away from family and the jobs I held in Norfolk. I had been separated and divorced for four years. Calamity at one of my jobs resonated in my life. I was at sea. I needed to find a ground that was not defined by the needs and desires of other people. I needed, frankly, to be selfish and directed. I do not believe that it is a surprise (to me at least) that my colleagues sent me packing with the book, The Subtle Art of Not Giving a Fuck when I left in August of 2018. Message received.

Because I did give a fuck — too many fucks — not just in my professional work and personal life, but in my writing. Unlike some of my one time classmates, I felt called to writing not so much because I had a need to express myself, but almost in spite of any need to exclaim, “Here I am!” I was obsessed with getting at some ineffable and intractable truth that existed outside my narrow sense of self. I wrote with an evangelical zeal. Can I say that art motivated by such a keening has little easy air to breathe? It does not. My stories, even when they were fantastic, needed to tread more often on the ground.

When I started writing this blog in 2014, I was in China to adopt my daughter. I started to write about simple human truths that were grounded in my simple human experiences. I hoped that my observations would have some resonance with others, but I wrote without too much of a concern for an audience. The work proceeded in fits and starts after that initial push. And then it flared into this—a daily practice of reflection and direction. That fire lit the flame of the novel I finished in August and has carried me into a second.

My writing projects since May of 2018 have produced over 500 pages of words. Some are good. Some are better. My nonfiction has been largely about my writing and writing in general. My fiction has just been a story about a Djinn, almost a retelling of an older—much older—story, with some of my preoccupations thrown in for good measure.

Writing (fiction and nonfiction) has felt revivifying. I have enjoyed the deeper reflection and playful invention. The writing has come more easily and far more consistently than anything else and at any time I have ever written. Ever. I have looked forward to the task and have left it—whether I write for an hour or the better part of a day—feeling replenished. More will—and does—come.

When I shared this insight—500 pages! More is coming!—with a friend, I did so with the proviso: “in spite of the past year.” She corrected me: “Because of it.” Perhaps so. Perhaps I spent the past year and a half knocking myself off my moorings just so that I could get this work done, just so that I could reclaim all that I had feared was lost.

I told another friend that I felt a kind of urgency to write. She worried that I was ill or distressed. Yes, I have been distressed. Old wounds have haunted me and focused my attention. I have allowed them the space to heal. And have used the writing to help me heal.

While the writing has helped me gird myself against that distress, it has also allowed me to wrap myself in joy. I feel that joy more profoundly now than when I was starting out some thirty years ago. The old uncertainties have fallen away. I do not ask, “Is it good enough? Will there be another? Do I have the right?” Instead, I take solace in a more durable method that suits my heart and mind. I go this way.

Why the Djinn?

A friend asked where I got the idea for the Djinn. Here is the long story.

I wrote poems when I was in ninth and tenth grade. They were lengthy works with regular rhythm and rhyme. They told stories. When I asked my school to allow me to do an independent study in poetry writing, I was turned down, but one of my teachers suggested working with him to write sonnets and other formal verse. Stung by early rejection, I refused his offer.

I started writing fiction in college, and was accepted into a workshop in my senior year. After graduation, I started writing an espionage novel that had something to do with Monet’s Haystack paintings in the Hermitage, in St, Petersburg. I started work on a story about a baseball player. I started something about two friends who decided to go to college and pretended that they were ten years younger than they were.

I had a sense of the novel, and novel length stories, but at this point in my life, I had only read a few hundred novels—and many fewer short stories. Even though I started writing with poetry—blame A.A. Milne and Dr. Seuss for the sounds in my head—I had been enchanted by folk tales, fairy tales, and mythology at an early age. I took out book after book of myths (Greek, American—Native American and regional folk tales, Indian, Chinese—I was only limited by the selection on the shelves) from my the local and then elementary school library. My other interests in the library were the Rod Serling or Alfred Hitchcock anthologies of horror stories, atlases and encyclopedias.

I did not start reading adult novels until I was in 7th grade and a friend lent me his copy of The Guns of Navarone, after which I read everything that Alastair MacLean wrote. I made a mad dash through Kurt Vonnegut in 8th grade. I read all of Ursula K. LeGuin’s books before 9th grade. All this is a fairly slim bit of literature. My parents were not big readers—we had collections of Reader’s Digest Condensed Novels on our few bookshelves. My mother did read to us, sharing Beowulf and Poe stories. But we were not a bookish family. My brothers and I found what we looked for with relatively little guidance.

I was an able enough reader in high school, but short of Billy Budd, little of what I read stuck with me. On my own, I read all of Neil Simon’s plays, and other plays, and took up with science fiction and fantasy (Asimov, Tolkien, and a little known writer named Zenna Henderson). I read and reread Robin Graham’s account of his trip around the world, Dove. Mostly, I spent long hours listening to progressive rock, watching old movies, swimming, and driving the family car as far and as fast as I could.

In college, I discovered William Blake, James Joyce, Thomas Hardy, Henry James, and Gustave Flaubert. It was also when I read all of John Le Carre’s spy novels, The Joy of Sex, and the only Daniell Steel novel that ever passed my way—The Promise. The main focus of English Literature courses was exposure to more—and I share the story of having a short novel assigned between a Tuesday and Thursday class with my students now. I read widely and gleaned what I could as quickly as I could. In my junior year, I switched focus to Art History (same deal: memorize as many works of art—in order and with an understanding of importance—as fast as possible), which, fortunately included a Cinema class that greatly expanded my limited knowledge of film.

So, what does any of this have to do with Djinn? I suspect that strains of all this—and of all the events of my life to date—appear in this work. Mainly, there is the myth, the early fascination with and appreciation of the fantastic as a genre, and the long interest in things that were away from here.

I encountered the djinn—as genies—in Sinbad and the Tales of the 1001 Nights. This book re-entered my life while I was in graduate school, in large part because of John Barth’s insistence on non-western sources of and for stories. But also because, once I encountered the djinn (or jinn), I was impressed by their wiliness and cruelty. I wondered—right or wrong—whether they had been mis-portrayed by the writer of the 1001 Nights. Why would such power need to be cruel? To refer back to Blake—“…what shoulder & what art,/ Could twist the sinews of thy heart?” I wondered. But I did not pursue the djinn, not yet.

I wrote in other ways. Although I have a set of prose poems set in Philadelphia that delve into the fantastic, I followed the realist tropes of my time. Perhaps this is what kept me from finishing—I was writing away from the story in my heart. Last year, when I dropped everything to take on new responsibilities—to myself and my work—I set aside the piece I had feverishly labored over for over ten years. During that ten years, I had written down a brief thought about a character who was keeping a secret (secrets will be something I grapple with forever). Five years ago, I was waiting for friends in a Mexican restaurant, and dashed out to buy a composition book, wrote a couple of pages before they arrived , and promptly forgot the book at the restaurant.

That story became the story of the Djinn.

I was dating a woman who shared my appreciation for the 1001 Nights—you have a copy too?—and that was enough of a spark to light the fire in this book, because the kindling, and the logs, had been waiting all these many years. Suddenly, I had a character whose secret was so closely held that he did not even know he was keeping it. He had forgotten that he was a Djinn.

There are other connections to other parts of my life and my studies that fueled this fire. Some of those will remain secret. Others are perhaps too obvious for me to mention here. For those of you who wonder how novels—or anything—gets written—by others or by your own hand—the short answer is that we tell the stories that enchant us. The shorter answer is that we sit down and write every day. No matter what. Perhaps because we are enchanted and under some infernal command—I wish that you write a novel, Djinn. So be it.