One of the hardest things about creative writing, as far as I’m concerned, is the pervasive sense of getting nowhere. Sure, I might have a productive morning and crank out a few thousand words, but tomorrow I’ll cut half of them, and even if I don’t I’ll likely wait years before those words see the light of day. If I see them in print I’ll do a little jig. But I’ve published enough to know that publishing isn’t ultimately satisfying. What does satisfy is the creative journey itself and any journey my writing gives readers—but even this I rarely see. (more…)
Recently a friend who is going through a prolonged stretch of care-giving asked me how I understood the tag line at the end of my email. For years this quotation has traveled with me, guiding my work and ending my every correspondence:
Aliveness springs from our making something of what we experience and receiving what experience makes of us. –Ann Belford Ulanov
Genealogy held absolutely no interest for me up until three months ago. When friends waxed enthusiastic about their lineage, my eyes glazed over. When my memoir students are passionate about their ancestors’ stories, I’ve responded with impatience; the past means nothing if it doesn’t change the present, and what defines memoir as a genre is exactly this dynamic interaction. Your great-grandmother’s experiences are interesting enough, but how do they impact you? (more…)
The old joke goes like this: A visitor stops a local on the streets of New York and asks, “How do I get to Carnegie Hall?” The New Yorker replies, “Practice.”
Every morning before school, Gwyn practices piano. She’s a musical kid; when she was four she begged for lessons and we made a family commitment: Piano would be our means for nurturing Gwyn’s natural interest. But Gwyn’s enjoyment of music, her inherent musicality, and her fantastic ear don’t add up to a love of practice. Practicing is hard, so we routinely endure the pre-practice, baby buffalo huffing with arms crossed. Practice is Gwyn’s means to screen time (read: bribery), and most days she needs our physical proximity on the piano bench in order to stay there.
Why bother with all this effort? (more…)
“A complete novel in a trunk in the attic is an order added to the sum of the universe’s order.” Or so Annie Dillard believes. This is a peculiar metaphysical statement: Creative work makes a difference regardless of audience. How is this possible?
Sometimes a theme rises up from our days, uniting otherwise random events. Consider these, from my last week:
- I’m at a parenting class on how to use nonviolent communication with our kids. Like many parents I use coercion and shaming—instinctively, impulsively—and only recently am I coming to see this. The instructor draws a flow chart: Your kid does something that stimulates you. You can go down the path of control by judging the situation, thinking up a strategy, and demanding action, or you can go down the path of connection by observing, feeling your response, identifying your need, and requesting action. I’m amazed by how hard it is to take this second path.
- I’m reading my church newsletter. The interim pastor has written a column challenging us to ask ourselves during this time of transition, “What do we notice?” Our habit is to see a change and jump to an opinion or judgment. He encourages us to first simply observe.
- I’m leading a class in a tried-and-true writing exercise: Begin with an object from childhood. Describe it in detail. Only once you’ve brought it fully onto the page, allow it to lead you to other memories. The class, as always, is profoundly moved by what emerges.
- I’m doing Centering Prayer, my candle lit, my knees on the floor. Ideas for this column pop into my head. They’re good ideas, but I remember Thomas Keating’s advice: Even should the Virgin Mary Herself tap me on the shoulder, I’m to say, “Not now, dearie; I’m doing my Centering Prayer.” I observe my thoughts then let them go.