On Suicide, And Life

My grandmother knocked on my bedroom door.  “Your mother’s on the phone, she wants to talk with you.”

I was asleep.  I rolled over and looked at the clock.  It was a little past 2:30 in the morning.

“Huh?  She wants to talk with me, now?”

My mother was a nurse and worked graveyard shift.  She was calling me from work, the hospital.

I got out of bed and went to the kitchen phone, trying to wake up.

“Hi.”

“Do you have Susan’s phone number?  Do you know where her and the girls are?”

Susan was my best friend Lynn’s mother.  Susan had left Lynn’s father Rob a few days before, because of his rampant alcoholism.

“No.  I don’t have their number.  Why, why do you want their number.  And why are you calling me now,” I insisted.

My mother didn’t hesitate, never considered the consequences of what she then said.

“It’s Rob.  He’s shot himself.  They’ve brought him into the emergency room.  It’s not good.  He needs surgery. They need Susan’s permission to go in.”

My best friend’s world had changed forever, and I knew it in that moment.  Like the way I knew the world changed when I saw American aircraft dropping bombs on Baghdad.  The morning that I watched shock and awe on CNN, I knew that world had changed forever, and that there was no going back.  Something permanent and palpable had taken place, and the world was different.

I had the same feeling when I received my mother’s morning phone call, my junior year of high school.  I  knew that Lynn’s world had changed, that nothing would ever be the same, and there was no way to go back.  I didn’t understand what that meant, I simply knew that something had irreparably exploded, that everything was now different, none of it for the good.  My mother’s call was a psychic gunshot, leaving me numb and dumb.

There was another layer of devastation in this information, because I knew that Lynn’s world had imploded before she knew it.  At fifteen or sixteen, there was a God-like knowing that had been unwittingly bestowed on me, because I knew that something horrific was about to visit my closest friend, one of the kindest, most generous souls that I have ever known, someone who would give you the shirt-off-her-back if you needed it, someone who didn’t play games like so many in our small high school did, and someone who never spoke with malice about another person.  She was kind and fun and smart and cool.  I loved her, trusted her, and envied her in the way the best friends often do, thinking her the better of us.  We never once quarreled, never bickered, and we both avoided the catty, shallow people who overpopulated our school and town.  My mother’s call was like watching a movie in which you know from the set-up that a guileless protagonist is going to suffer a terrible fate, and there’s nothing to do to stop the tragedy.

Only this was life, it was real, and the violence and destruction would irrevocably change her life, the whole of it.  In that moment of knowing, my life changed as well.

“No.  I don’t know the number where they’re staying at.  I think the Walkers might.  If someone at the hospital knows the Walker’s phone number, call them.”

I hung up.

*******

Lynn’s dad didn’t die.  The gunshot managed to blow the cognitive part of his brain out, while leaving the parts that kept him a shell of a human.  When I write, “blow the cognitive part of his brain out,” I am not being metaphorical.  He lived for ten or so years with a large chunk of his head missing, a deep hollow in his skull existed where Rob once lived.  He stayed in a long-term care facility, until his death.

The family rarely visited him.  I think it was too difficult.  Susan had lived for years with his alcoholism, and now there was this.  I think, though I don’t know, she decided to salvage the pieces of her life, with as little guilt as possible, which probably took a long time.  Lynn and her sisters couldn’t bear seeing their father wasting in a nursing home, seeing the man they loved existing as he did.  He had been a gentle and generous man, a caring father, not abusive or violent, by all accounts and evidence.  His drunken sin was melancholy, not violence.  He was a sympathetic person for whom the excesses of self-medication had long ago quit working, and whose psychic demons got the best of him.

It wasn’t until we were out of high school, three years after the attempt, that Lynn finally visited him.  “I went and saw my Dad,” she told me.  In telling me of her visit, I knew that she was confessing to me her failure to visit him before this, and unburdening herself of what she saw.  “It was so strange.  The doctors say he doesn’t know anything, but I swear he knew me when I talked to him.  There was something in his eyes, I would swear he knew it was me.  It was weird.”

I didn’t tell her that I suspected she was correct.  No, I never said that her father might be buried in there somewhere, happy to hear his oldest daughter’s voice, after so long alone in that bed.  I wouldn’t give her a hint that some consciousness might stay in that shell of a body, forced to live knowing, in some way, what he had done to himself, and his family.  I don’t know, and no one ever will.  But I know that science is learning that a part of us often remains intact when the doctors pronounce that our minds have checked out, declare us brain dead.  It’s emerging science, but its persuasive and resonates with the wild imaginings that many experience when they believe that, “there is somebody in there.”  Until science catches up and gives us a new story, empirical research trumps experience.  But I trust Lynn’s perception, and I believe that Rob’s heart or mind, something deep and residual, related to consciousness, jumped when she said, “Hi, Dad, it’s Lynn,” and took his hand in hers for a few minutes.

I wouldn’t tell her that.  I said, “maybe he did, and if he did, I’m sure it made him feel better.”  I then listened and understood when she told me that she couldn’t visit him again, for a while.

*******

When I write that “my life changed forever” because of Rob’s failed suicide attempt, I am not, again, being metaphorical.  For the only thing that stopped me from killing myself for over a decade was the phantom that Lynn relayed of her father in that bed, after failing to kill himself.  When Lynn described the scene of her visit, my mind created an image of Rob in that bed, part of his skull missing, which I elaborated and built on as time went on.    One summer I worked in a convalescent hospital, and all the sights and smells and sounds of the half-dead and dying allowed me to add details to a picture that was already horrific.  In my imagination, I saw Rob being turned, saw the oozing red bed sores, imagined the daily diaper changing, smelled those smells that long-term facilities fill your nose with, smells that rot memory’s fragrance of innocence.  All the sorry particulars about what kept him going, I filled in with excruciating detail.

I imagined that he was living out every day alone, in that shell, suffering a fate worse than the one that he had tried to escape.  I conflated the story of Dalton Trumbo’s “Johnny Got His Gun,” with Rob’s nursing home existence.  Although Rob was brain-dead, because of Lynn’s description, and the flicker of life that she thought she saw, I imagined him trapped in a body, with enough memories remaining to plague him, a person with enough brain left to know that he needed changing and turning.  I imagined him waiting for years on end for a visit, a timeless steam of days, endless and empty.

I developed this prolific embellishment from Lynn’s relatively brief story.  But if I excessively ornamented her story, it’s because my psychic demons tormented me to excess.  “To be or not to be” wasn’t a philosophical question, but my confrontation with a logistical reality: will a plastic bag work, how deep does a razor have to go, are there legal poisons that kill fast and quick.  Immediacy is important, because it’s the overwhelming pain that needs remedy, without worrying about extending one’s life a day longer than necessary.  The “what if I tried and failed” propelled an alternative narrative rich in sensory detail and emotional projection, a part of my psyche warning me to think this thing through.

Failure was not an option, so when it came to taking my life, the fear of failure proved a valuable ally in the will to survive’s beleaguered battle.  When you’re in the throes of depression’s debilitating darkness, nothing really matters but finding a way to rid the mind and body of that crippling stranglehold.  Sometimes in a movie, there is a character who gets gangrene, and must cut off their own limb to save their  life.  Suicide is similar, only to cut one’s psyche from one’s self, the whole of life must go.  Suicide seems unerringly logical, for the rotting, debilitating thing needs ridding.  For those who have never lived in depression’s fathomless depths, selfishness has nothing to do with it.  It’s the pain.  Day in, and day out.  There’s no escape.  Day after day, a relentless beast that consumes everything you have and then demands more.  When the pain goes on for years, it’s like living with the infectious invasion of a gangrenous limb: though you know that poisons are spreading through you, know that the prices you are paying are too high, you don’t know how to make the thing go away, other than cutting it off.  The weeks  — no, months of my life —  that I spent researching possible ways that I might permanently rid myself of the pain, and not merely fantasize about living without it, are incalculable.  Researching my death, with a kind of scholarly ambition, was at times a part-time hobby: the idea of living without the oppressor was itself a hope, a medication.  But Rob’s failure was the story that kept me from slashing my wrists deeply enough, consuming poison, putting a plastic bag over my head, for I learned early that I needed to get it right, needed to infallibly carry out whatever method might relieve me of the unbearable torment that was my life, the existence that I lived in.

I don’t know if the fear of failure is a good reason not to kill one’s self, but it’s the one I had for too many years.

*******

Manic-depression was the diagnosis.  At my worst, I was on five medications, twelve pills a day.  The doctors incrementally increased my Prozac dosage, until I reached the maximum dose of 80 milligrams, four 20 milligram capsules a day.  It didn’t put a smile on my face, a bounce in my walk, or make me feel like life was worthwhile.  Every few months involved a new medication, a different color to add to the assortment: meadow green, pale pink, baby blue, white, sunshine yellow.  They discussed putting me on lithium, but I couldn’t take lithium, because, I believe it was the blue pill, and lithium were potentially dangerous when taken together.  There was a quasi-lithium medication, a salt related to lithium that they thought would act like lithium, while taking the blue bill.  Or that’s how I remember it.  The blue pill was important for some reason.  I had been on it for some time.  It took time to reach therapeutic levels.  It required a managed, protracted withdrawal.  They wanted to keep me on it.  Instead, they would start me on lithium’s blue-pill friendly cousin.  This pill, they assured me, would do the trick, and I could stay on the needed blue pill.

There was a story for every pill, and none of the stories translated into psychic relief.

I don’t know how long the insanity to cure the craziness went on.  Those days are lost in chemical soup.  Eventually, I felt absolutely nothing.  I was as dead inside as Rob had been in that bed, alive but not living.  I barely functioned, struggled to complete life’s basic tasks, take a shower, brush my teeth, do the dishes.  I usually had the groceries delivered.  Shopping, some people’s medication of choice, overwhelmed me when things were especially bleak.

One day, I went to my apartment balcony, picked up my cat, held him, and looked out the balcony doors.  Bleu was the new player in the unconscious will to survive.  I doubted that anyone could cherish him as did I.  I found him, because the clerk at out-patient psychiatry was talking about his Persian cat who was pregnant.  I overheard him, and  I told him that I would like one of the kittens.  He agreed, and Bleu became mine before he was born.  The horrors of the Rob narrative had weakened, from too many years of recycling, and too many years of psychic torment.  Bleu was real, and he brought a new story into my life, because I wouldn’t leave him.  My care of this little creature, despite my personal pain, affirmed something deep about me, and life.  I replaced the picture of failure, the image thwarting my darkest demons from having their way, with hope, although I didn’t know it until writing this essay.  This was the truth waiting to get out in this writing: I began a long process of psychic healing, when I replaced the image of failure with love.  This was a deep shift, a meaning that I hadn’t comprehended until this moment.  Caring for myself was onerous, but my invariable morning ritual was cleaning Bleu’s box, changing his water, and feeding him, the first thing every morning.  In these simple daily acts, I touched something beyond the pain, however briefly.  As I held Bleu and looked outside the balcony doors, stroking him and listening to his soft motor, I told myself, “I am going to live, or I am going to die, but I am not living like this anymore.”  I then did what every psychiatrist tells their patients not to do, and I got rid of my medications.  I didn’t simply quit taking them — I flushed one bottle after the other down the toilet, hundreds of dollars of meds, flushed.

I’m not suggesting psychiatric patients dump their meds.  A friend recently pointed out that it’s miraculous that I didn’t die within days, from the physical shock of withdrawal.  This never occurred to me.  I simply knew that if I were going to live, I refused to live as a member of the walking dead.  I don’t know how long I had been on meds, I think several years by this time.  Presumably, one doesn’t quit taking potent psychiatric drugs, for as long as I took them, without supervision.  So they say.  My inner voice, a voice that is perhaps documented somewhere as “hears voices,” called me to life.  The sound was the faintest whisper in my soul, but I listened.

I’m certain that a professional would scold me for being careless, for implying that seriously ill patients get a kitten, go off meds, and find happiness.  I am not.  Everyone differs.  For me, because this is my story, my life, and my truth, I write that this was a powerful day, one that stays in my memory as pivotal, on an unconscious level, a really important seed planted itself in my soul.  I gave myself a choice, to live or die.  I chose to live, and somewhere, somehow, the message took hold.  There’s no immediate happy ending to this story.  I didn’t suddenly see the light, do the happy dance, and then go live in sunshine and flowers.  The pain didn’t stop, nor did the suicide ideation disappear overnight.  The road has been long, hard, and full of major setbacks.  Including the Thanksgiving day that a too young Bleu unexpectedly died, and the crippling months following his death.  I didn’t think that I would survive.  But I did.  Because that day that I looked out of my balcony doors, held a sweet creature in my arms, and dumped my meds, I affirmed life as a reality worth living, and that I was willing to work for, despite myself.

Because this is my story, it’s my truth, as I know it today.

If you’ve never struggled with depression, my great insight, that life is worth living and working for, is obvious, and my epiphany may sound obtuse in the extreme.  For those of us with a skewed emotional lens, it is not.  That’s the disease.

The Buddhists, positive psychologists, and William James talk about habits of mind.  Meditation.  Awareness.  Finding the good in every situation.  Saying affirmations.  Writing affirmations.   Finding a truth that resonates with goodness, hope, love, and our most generous human sentiments.  Culling for the good in every situation and every person.  Appreciating nature.  Focusing on life’s abundance.  “There is no way to happiness, happiness is the way” may sound like tripe to those who haven’t been to hell and back on a nonstop loop from which there seems no end.  But for those of us who have, it is perhaps the most precious gift that life offers, to simply be, and from that, to be happy, a little at a time.  Building on being, day by day, working on self-love, fostering a loving, soul centered consciousness, that’s freedom and peace.  Life does the rest.  A little at a time.  Day by day.

I believe that I now live where I live, because of the work I’ve done for the past decade.  Listening to the trees, the birds, seeing the seasons change, all of this life everywhere, I see and feel and hear, because I have known the other side more deeply than most.  Life presented the opportunity to thrive, and I took it.  There’s a synchronicity when you’re doing what you should, and listening better than before.

There’s no simple explanation about how I got from point A to point B: the road has been a lot of trial and error.  I have no answers.  I also know that I have shortchanged an important topic, one fitting for a book, into a truncated essay with a cat and some platitudes for its ending.  That’s not the point.  The point is my personal progression from a grim and firsthand knowledge of debilitating psychic pain, to a life in which I appreciate life’s most simple gifts a little more, and feel their profound happiness, here and there, as life goes on.  I call that thriving.

My experiences seemed important to write on given last week’s headlines, not because I know someone else’s story, but because I wanted to share mine, however briefly.

I have done so.

Lessons From Art Books

When I lived in Cambridge, I had seven large wooden bookcases, stuffed with books.

Mostly philosophy, literature, mythology, poetry, and world religions.  And art books.  Oversized, gorgeous, collector’s editions.  Some I picked up at museums — I had publications from American and European museums — and others I bought simply because I couldn’t resist their beauty.

Some of my favorites were on the Uffizi, Van Gogh, The Louvre, Kandinsky, Leonardo.  And Giotto.  I loved the volume on Giotto, a magnificent publication that received glowing reviews, for it celebrated the father of the Italian Renaissance in remarkably accurate, color saturated reproductions.   The oversized edition had sumptuous fold out plates, and detailed images in which you could see the master’s brush strokes, dabbles, accents, photographic close-ups whose beauty brought me to tears.

When I left Cambridge, in the whirlwind of change and dissolution, I sold or gave away most of my books.  I didn’t mind getting rid of my other stuff, but getting rid of the books was something I never imagined I would do.

I remember crying to a friend in the middle of my bankruptcy, pending eviction, moving to the middle of nowhere chaos, “other women have children, and homes, and whatever it is that those women have.  I have my books, they represent my life, and I have to get rid of them.”  I was blathering as though I had been given a diagnosis of terminal cancer with only weeks left to live.

My victim narrative was in overdrive, my books tethered to something that needed to be excised at the root level.

I can’t tell you how much it pains me to write that, now.  How transparently silly and self-indulgent I was being.  But as I spoke those words to him, I started realizing that is why the books had to go.  I was too heavily invested in an identity that wasn’t working, and I needed to let go so that I could dive into deeper creative waters.  I also needed to embrace parts of myself that I had too long-buried, under work and study and self-loathing.

I didn’t know it then.  But I do, now.

Getting rid of the books was transformative, because it meant letting go of one identity to embrace another, and I began understanding that all of this dissolution was the destruction before an inevitable creative resurrection.  My choices, however radical they may seem on the surface, were an affirmation that I was willing to do what needed to be done to get to where I wanted to go.   Which is what I have always done, with a kind of unflinching resolve when my back is against the wall.  Ironically, where I wanted to go was exactly why I had all the books: I wanted a bold, creative, meaningful life, full of a spiritual, emotional, and intellectual richness.

“She who would find her life must lose it.”

I was getting rid of the unnecessary to get the meaning that I sought.  The books were central to my intellectual search for meaning.  But I needed to shift my perception.  I was beginning an exploration in which I crafted meaning from the inside out, not the outside in.

For this reason, although I didn’t understand why, once I started getting rid of the books, they couldn’t go fast enough.  I packed them up into suitcases, called a cab, loaded the cab with the suitcases, which I then hauled down to the basement of Harvard Bookstore, that is, their used book buying department.  Sometimes someone offered to help me get them down the stairs.  Sometimes I was on my own lugging a hundred pounds of books down to the basement.  Trip after trip after trip, it took several trips a day for days to carry out the heroic task.

I won’t say that it doesn’t still sometimes pain me to realize the tens of thousands of dollars of books that were swept from my life in a matter of days.  Other women have children and homes and cars and whatever it is that they have.  I had books.  And I had an extraordinary library.  As I went through my life’s exhaustive hoarding, I appreciated what great taste I had, the breadth and scope and intelligence that I managed to stuff into my collection.  Some of civilization’s finest written works, lovingly sitting on my shelves, row by row by row.

I also had a fairly extensive collection of Folio editions, beautifully bound and illustrated classics, that lined several shelves like the kings and queens of the collection.  No used books on those shelves, just classics elegantly bound and sitting in embellished slip cases, looking grand and stately.

It was a library that I would have coveted.  I had made it mine.

The art books were the last to go, sold to the book store just days before my move.  While everything else in my life I let slip through my fingers with relative ease, the art books were precious, for they represented my life’s treasured adventures.  They represented not just beauty for its own sake, but visits to some the world’s great museums, that I had managed to tuck into visits here and there.  There was a gorgeous, red slip cased, double volume on Van Gogh that I shipped to myself from The Louvre.  The complete catalog of Camille Claudel, bought at the Musée Rodin.  Catalogs from exhibits that I made the time to visit, Kandinsky, Picasso, Brancusi.

The search for meaning lay most conspicuously in the art books.  Travel, adventure, beauty, spiritual longing, stored in two shelves of gorgeous books that circumstance dictate that I leave behind.

It took three cab trips of several suitcases, but they were gone in one day.

The several hundred dollars helped pay for my move.

 

****

I don’t have room for books, now, though I have managed to collect a couple of stacks in the art supply littered living area.    I ask for a lot of interlibrary loans from our small community library, and I sometimes access the New Hampshire public library’s online system of electronic content.

Our library is right down the road from me.  Out my front door, over the river’s bridge, down the road a couple of hundred feet.  Our librarian is incredibly helpful, always making sure I get my idiosyncratic requests from larger libraries.  She once even went to the trouble of borrowing from a New Hampshire university, though they were somewhat begrudging in filling the request.

The pubic library here is funded mostly through community efforts.  This weekend there were bake sales and book sales through the “Friends of the Library.”  These events coincided with Old Home Week, a rural fair celebrating the old historical homes in this area.  The weekend draws a lot of tourists — there’s a large craft fair held in the elementary school, the library has several events, and both our community store and our library generate a large chunk of their annual income from Old Home Week’s visitors.

I normally don’t attend bake sales or community book sales.  I rarely eat sweet baked goods, and I usually doubt that any of the books will be to my liking.  But something told me to go to the book sale.  I just knew to go.  I walked down the street to the library, and on the front lawn stood a large white awning, covering the bake sale and rows and rows of boxes of books.  Three smiling women volunteers greeted me.  Most of the boxes were of contemporary best-selling fiction, which isn’t my interest.

“Do you have anything that is pretty and colorful, maybe some photography books?”  I asked, thinking of my art journals.

“Nonfiction,” the volunteer said, “is in the library, downstairs.”

I walked in, and at the top of the stairs were two boxes of books.  On the top of one box was a book bearing Leonardo’s famous angel from “The Virgin Of The Rocks.”  The angel got my attention, immediately.   I started digging in the box, and there were old art history books.  Varying degrees of quality, but lots of books with color plates. Color plates for art journals.  I was ecstatic.  A book on Giotto.  A book on works in The National Gallery.  A book on Leonardo.  A large color book on the Uffizi.  A beautiful small book on The Louvre collections.

“Hey, are these for sale,” I asked.

“No.  Those aren’t for sale.”

My heart sank.

“Oh, wait.  One box isn’t.  Let me look at the other box.”  Our librarian walked over.  “Yes, the books in that box are for sale.”

I dove in with abandon, “Oh my goddessess,” I sang outloud.  Book after book contained plates that could be used in my art journals, a luxury I never would have allowed myself with my other art books, but here they were sitting and waiting for me at the top of the stairs.

Waiting for me, in this box, not even shelved with the other book sale books.  Art for my creativity.  Not art to sit on a shelf, but images I could use to develop my own voice, my own creativity.

I dug in deeper.  “How To Draw A Horse” found its way into my fingers, complete with illustrations and sketching instructions.  I smiled from a place of quiet if ebullient joy.  “The Year Of The Horse,” my year.  My promise of creative adventure.  (Search for “The Year Of The Horse,” if interested in reading the backstory.  The book was nothing less than Providential.)

There’s a time for simplicity.  Then there’s a time to go all in.  This was a moment to go all in.  Restraint wasn’t called for, this was a time for Blakean excess.  “The road of excess,” wrote Blake, “leads to the palace of wisdom.”

All in.

Two large stacks of exploitable art books made their way into my grateful arms, for twenty dollars.

******

I awoke last night drafting this essay in my sleep, going in and out of dreams, remembering my life as it was less than two years ago.  For it was about this time in 2012, that I was hauling books to Harvard Book Store, selling my futon and bookcases, giving away porch loads of stuff to The Salvation Army, having no clue about where my life was going.  Leaping into the unknown, yet again, with a vague idea of becoming a writer, as though it wasn’t something I didn’t already do, all of the time.

I thought of my beloved art books, and my treasured library.  I will have a library again, larger and even more voluptuous in its excesses, I believe.  But now is not that time.  Now is the time for embracing my voice, with clarity and conviction, and writing about why it was important to abandon other people’s ideas to craft my own.

Perhaps most important, I know with certainty, not the certainty that blinds you, but the knowing that’s been earned from living one extraordinary experience after another, and  learning to listen a little better to that inner voice, that there’s always another side to our darkest days, if we let life slip easily through our fingers.

We can get better at it.  We may never arrive, but a life well lived means letting life flow through you, instead of reaching for it over and over, grabbing onto something as permanent, then getting upset when it slips through your fingers, as all of life does.

“Other women have . . .” such a powerful reflection of where I was and who I thought myself to be.

Last week, I returned some books at the library, and entered a raffle to support the summer reading program.  The volunteer said to me, “Well, if you’re lucky, you will win.”

“I’m one of the luckiest people I know,” I said, with an understanding of how many in the world would look at my life and say “blessed.”

“Well, you’ve made good decisions.”

Yes, I have.  And no, I haven’t.  I have made disastrous decisions, mucked things up big time in so many ways that I’ve lost count.  But that’s not the point.  It’s always what you do with yet another inchoate draft, a seemingly irredeemable art journal page, and a major bad decision that gets you closer to where you see yourself headed, if you’re willing to work a little more with it, and then give the mistakes over to imagination and grace.  Over and over again.

This is creativity’s essence: the vision to see through failure after failure, blunder after blunder, and let the beauty emerge.

Creativity isn’t economical.  Creativity’s full of thousands of pages of wasted words, journal pages decorated in expensive mediums and then covered up by gesso, in the need to start over again.  Creativity’s full of excess, as Blake understood, an excess that is as necessary to our creative life as air and water are to our physical life.  Formula only takes us so far.  This is what religious dogma doesn’t understand, and where science fails when it demands unremitting skepticism.  The artist’s adventure, and life’s adventure, is in breaking from the formulas into failure and perseverance.

We may touch mystery in the process, learn more than we ever imagined possible for ourselves.

This morning, I remembered my beloved Giotto art book on the bottom shelf in my living room in Cambridge.  It was such an indulgence when I bought it, but I had to have it.  The closeups, the thick black lines, the vibrant pinks and blues and greens, the brilliance and passion and tenderness with which Giotto painted.  I then remembered my first visit to D. C., and my visit to The National Gallery.  I turned the corner, and there was my first Giotto.  I didn’t know The National Gallery had a Giotto, but there it was, and I immediately knew it was a Giotto.  There was no mistake, the way the infant grasped the Madonna’s hand, the unmistakable break from religious iconography into Renaissance humanism.  I gasped, and almost cried.  My first Giotto in person.

One day, I will visit Italy, and see the Giotto Saint Francis cycle, I will view his works around the churches in the Italian countryside.  But this morning is not that morning.  This morning, I took a book on Giotto that I found in a box of old books that inexplicably failed to make it to the shelves for a community book sale, and I lovingly tore out details from one of his great frescoes.  I glued the fragments on an art journal page that I’ve been working on, glued them over an extravagance of metallic blues and Caran d’Ache pigments and various lines that I created with a French curve set, obliterating some fine work, so I could cut up Giotto and make his work my work.  I gilded the page’s edges, and then I gilded the fragments.  I thought how fortunate I am to be living this life, creating this art journal page, listening to the birds, and seeing the sunlight bathe the room.

I am the luckiest person that I know, to be able to document this experience in writing, an entry that could not be written had I not given up a life that was not worth hanging onto, while embracing the uncertainty of the one waiting.

In giving up the Giotto on the shelf, I got the one I could use.

It’s a good day, and I’ve come a  long way.

Journal page in progress, with cut outs from Giotto, and the Leonardo angel who lead me to the treasure box.
Journal page in progress, with cut outs from Giotto, and the Leonardo angel who lead me to the treasure box.

On Truth, Part II

Yesterday I read Brenda Ueland’s classic, “If You Want To Write: A Book About Art, Independence, And Spirit,” and it’s one of the most profound books on art and life that I have ever read.  It’s basically an affirmation and exhortation to write until you hit your truths, and keep writing, stripping your writing of all pretense.  Write until you hit your authentic voice, from that place deep inside you, and continue mining, without posturing, without worrying about grammar or word choices or style.

I won’t summarize it all here — if you want to read it, if the time is right, you will.

Ueland managed to psychologically untangle me from too many years of academic study in about 2 hours: the actual practice may take longer to be realized.

In my first entry “On Truth,” I discussed my reservations about truth in writing — not just believably framing my life’s shipwreck, but how much of all this revelation is necessary.  What Ueland emphasized is the absolute need for the writer to sink into her truth, with reckless, passionate, sloppy abandon.  Over and over.  Getting it right in clean sentences elegantly hewn is less important than honestly connecting with that thing squirming around inside waiting for discovery.  That is writing.  That’s the art of writing.  So while I questioned the importance of all this truth, Ueland told me yesterday, “just do it.”  The writer or artist doesn’t know what that thing is, until they connect to it.

I recently stumbled on a Joan Didion quote, “If I had any access to my own mind, I wouldn’t have had to write.”  We don’t know our truth until we connect to it, can’t see it.  That’s why I’ve chosen this path.  For a consuming need to know and the selfish need to thrive have shaped my life, and my every major decision, including this one: to touch my truth.  I may not do it well, but it must be done, no matter the costs.

We don’t arrive at any myth building — for that’s what the writer’s engaged in, building  a myth of self and the world, based on everything and everyone that they have taken in, reorganizing it, and creating something new — until we fearlessly throw it all down, struggling with the muse as we push on, while descending into our psyche.

The revelations offered by  Ueland resonated with another epiphany I had earlier this week.  There’s a great and growing culture of internet policing and thought patrolling that quibbles over every word spoken.  It’s numbing and dumbing.  What a creative waste.  Yes, let’s get this clear, creative genius is the fire and passion and abandon of patrolling what is right and wrong on the internet.  Too many of us ceremoniously lambast people for what they say, and then govern how they apologize.  None of this smacks of allowing growth or the interchange of ideas that foster a better world.  The internet police don’t give people the opportunity to speak their truth, and then revise it as they move along.  “Once it’s on the internet, it stays there forever.”

What poppycock.  What myopia.  What lack of personal freedom we are imposing on each other.  We kill creativity, because everyone’s policing and the fear of being wrong, much like higher education, stifles the process of connecting to a deep, inner creative well.  Unlike higher education, which at least on the surface practices some freedom, even if deeply political and biased in its practices, the internet is all a twitter (allusion intended) with sound bite criticisms that offer little in substantive reflection.  I am one of the worst of the reactionaries and offenders, but I like to think I’ve given myself a little distance, recently.  (“The Shallows” by Nicholas Carr is good book on how the internet is changing our brain, and, effectively, dumbing us down.)

What we do when we write is touch a truth buried inside, at that moment.  We may not hold to that truth tomorrow.  But we must first touch it, connect to it, and reveal it to our own minds.

This is freedom.  The ability to make mistakes.  “The artist,” I wrote in my journal this morning, “must assert freedom, no matter the controversy — it’s the prophetic vision that keeps us human and alive and the individual in tact.”  I’m not entirely certain what I meant by all of that, and it’s certainly ripe for unpacking.  For the boldest among us, the artist must assert controversy, because it’s the truest act of freedom, especially when too many seem to be falling prey to policing in the name of the greater good.

And I’ll make another leap, in this brief and uncensored and unrevised entry — the less we censor ourselves, the more likely we will be to touch on the greater truths buried in us.  “My truth” may eventually take on resonances of the big truths, the grand human truths, the truths of life that extend to our place in the universe, the deep mythologies that bind us, the experiences that make us all storytellers, make us all geniuses, players on earth who are also just part of an overwhelming cosmos that we’ve yet to comprehend.  When we are willing to face the fear of being wrong, and edge our way inward, exposing that flawed human creature making her way on the page, one word at a time, that’s when we’ve connected to truth, however imperfectly.

A Sort-Of Prayer

Thank you for

the sparkle of cheap glitter glue,

the fuzzy stems on cucumber plants, and their massive leaves that grow and grow,

the colors purple and green,

the old blue blanket’s soft velvet nap,

the big red cardinal singing in the lilac tree yesterday,

the smell of cut grass and basil warmed by the afternoon sun,

the scars on my arms,

the holes in my heart,

the split ends that need trimming,

the chipped white porcelain mug filled with green tea,

the sweetness of Super Hit incense,

the candle flame burning next to me,

the rain’s melody,

the brightly decorated card in the mail this past week, reminding me that others think of me more than I often realize.

Thanks for this moment, these few words.

May I disappointment myself less, live deeply, love selflessly, dream boldly, create effortlessly, and give without thought, better than I’ve imagined, for however many days life gives me.

May I be a little more practical and a little less foolish.  Or a lot more foolish, with the courage to make foolishness farsighted and wise, even if I never know it.  So long as the world is more beautiful when I leave than when I arrived, having recklessly lived my days loving generous and well.

 

 

7/6/2014

 

 

 

Charlotte

“It is quite possible that an animal has spoken to me and that I didn’t catch the remark because I wasn’t paying attention.”  

—  E. B. White, Charlotte’s Web

Several years ago, a cream and yellow striped feline visited me in the early morning hours, during Cambridge’s oppressive mid-August swelter.

Charlotte, as I came to call her, introduced herself about five a.m. under my window with a hoarse, insisting cry.  I looked outside, she saw me, and when our eyes met, I knew that she wasn’t going anywhere, soon.

I didn’t jump with joy to play surrogate mama to a lost cat so early in the morning.  Despite my grogginess, I pulled myself out of bed and went outside to find the creature needing help.  There she was, skin and bones, coat dull and shedding, skittish and frightened.

I went back inside, opened a can of food, put it in a bowl, grabbed another bowl, and filled it with water.  I returned to the back steps where she was waiting for me.  I put the bowls down, and Charlotte gorged the food in under a minute, which I took as my cue to go inside and grab another can.  Finished with the first can, she greedily lapped the water, until I came back with more food.

She was too anxious for me to pet her, so I simply sat on the back steps and talked with her.  This went on for about thirty minutes, me talking, her eating, drinking water, calming down, looking around and orienting herself, checking me out, until she finished the second bowl.  I went inside for a third can, but she was gone when I returned.

The next morning she came back, about the same time.  I again met her at the back door with a bowl of water, a bowl of food, and an extra can, certain that she’d eat two.  She wasn’t as hungry as the day before, and her attention was as much on me as on the food.  I talked to her in soothing tones, and asked if I could pet her.  She nervously froze when I put out my hand, so I withdrew it and spoke my reassurances.  She finished the first can, and attentively watched me as I opened the second.  She again took her time with the second bowl, drank water, walked around, walked close to me, but she couldn’t bring herself to let me touch her.  She wanted affection, but her frayed nervous system was all defense.  She walked in big circles and small circles, went from bowl to bowl, moved toward me a little at a time.

I finally put my fingertips  to her body as she lapped water from the bowl.  She didn’t pull back.  I touched her dry, dirty coat.  She accepted my touch, and her tail’s tip curled a little and shook, like a faint smile.  Two strokes.  Three.  She pulled away.  She circled around again, came near me, looked up as I talked to her, let herself get close, then pulled away.  It took maybe another half-an-hour before she decided that we were okay, and she finally let me caress her head, stroke by stroke.  When I sensed a calm in her, I reached my fingers for her body and she moved close to me.  I slowly stroked her, and a delicate purr hummed in her throat.  We enjoyed each other’s affections for a while, before she moved on.  When she walked away, I saw that her paws were bright red, and she put her feet to the gravel surrounding the yard as if to broken glass.

She didn’t stop by the next day, but she did the day after, announcing her arrival under the window, with the sunrise.  She was friendly and calmer.  On her third visit, I named her, believing that her sweet, resilient soul deserved my first literary hero’s name.  She craved my touch as much as food, and she struggled between a desire for affection and her stomach’s demands.  Conflicted she moved back and forth between me and the bowl, purring, rubbing against me, rapidly eating from the bowl, until, apparently, she ate enough to quiet her hunger.  Then, after eating most of the first can, while I sat on the stairs, she stepped into my lap, nudged my face with hers, and purred as I stroked her.  She stayed in my lap for a few minutes, then returned to her food and water.  She looked better than her first visit, but she was thin, filthy, and her coat was in miserable condition.  I got a better look at her paws, which were tender with abrasions.  She had obviously traveled some rough roads.  We spent the morning together, and when she had her fill of affection, company, food and water, she left.

I wanted to bring her in, soon, but there was Leonardo.  Leonardo was curious about her, pushing his nose against the balcony screen when she appeared at the back steps, and squawking when I talked with her.  He enjoyed being “The King Of Everything,” as I had nicknamed him, and I doubted that he could share — share me, share his toys, share his home and the privileges of his kingdom.  He was older when I adopted him, and he quickly settled into his kingship after too many homeless days.  I gladly spoiled him, knowing that someone had dumped him, not caring if he lived or died.  According to the shelter, he had been homeless for a long time, because it was difficult for the volunteer to trap him and bring him in.  I wasn’t certain if bringing in a one-to-two year old female was fair: he wouldn’t be aggressive, he was a gentle creature, but at his age and with his temperament, he was ill-disposed to happily adapt.  I called my friends at the no-kill shelter, his home before ours.  “You have to have her tested for FIV first,” Joan told me, “you need to catch her and have her tested, do the FIV testing before you allow her in.”

I didn’t know about this FIV protocol for strays, and the information bought me some decision time.

I researched how to lure Charlotte into the cat carrier — I didn’t want to scare her by trying to trap her, but I now knew that I had to get her in for the FIV testing before I could consider letting her into Leonardo’s dominion.  This bred in me another anxiety, for I knew that I may have to give Charlotte to the shelter.  I felt responsible for her getting the home that she deserved.  Though the no-kill shelter vetted applicants, if I gave her to them, I had no way of knowing if her home would be a good one.  My nurturing instincts were in overdrive, fretting about Leonardo if I decided to keep her, fretting about Charlotte’s long-term well-being if I gave her to the shelter.

“We have time,” I told myself.  But Charlotte’s visits over the next weeks were irregular, and timing proved difficult.  Her only predictable behavior was that she preferred visiting between five to five-thirty in the morning. My brain rarely worked that early, as I was on a late night schedule.  Catching her meant cajoling a stray into a cat carrier in the early morning hours on the day of her choosing, while triumphing over my morning brain inertia, without notice.  Or caffeine.

During the day, I often saw her in the neighborhood.  Wandering the streets near the American Academy of Arts and Sciences, near the Graduate School of Design, darting in and out of yards on Irving Terrace.  This deeply troubled me, for the neighborhood is deceptively tranquil, with its red brick side walks, old New England homes, flourishing trees, and Harvard owned buildings.  Irving Street, the street I lived on, is a residential one-way shortcut to reach the Cambridge Street Mass Pike exit — cars illegally speed up to seventy miles an hour down the quaint, narrow single lane road during morning and evening rush hours.  Kirkland Street, right around the corner, is a rambunctious thoroughfare for semis and delivery trucks avoiding Harvard Square’s traffic.  Not many in the neighborhood let their cats wander outside for long.  To do so is asking for heartbreak.

Seeing Charlotte run from yard to yard made my stomach ache.  I had to catch her.  Another concern murmured in my thoughts.  We were now well into September.  Soon the weather would cool.  I wanted her safe before the cold arrived.  All preparations were in place for what I hoped would be a gentle, safe trapping and cab trip.  I hated the idea of trapping her, but I had to for her welfare.  Food, carrier, cash.  If she showed on a Tuesday, Wednesday, or Thursday, I would take her into the shelter for testing.  Any other day, expect Sunday, I would take her to the vet, pay the bill myself, and figure out what to do from there.

Oddly, Charlotte quit visiting.  Mid-October arrived.  No Charlotte.  I feared finding her body on the street, hit by someone racing to work or dinner, her excoriated paws not fast enough to avert their speed.  A few years earlier, a neighbor found her cat Maggie dead in the street near the Science Center, hit by a car.  I imagined finding Charlotte in a lump of open, rotting flesh left for dead.  I didn’t want that for her, and I didn’t want to remember her that way.

November.  December.  No Charlotte.  I didn’t see her around the neighborhood.  I left the window opened even as the temperature dropped, so I could hear her if she announced herself.  The first snow came.  There were no cries outside my window.  Winter was brutal that year.  Snow drifts covered my basement apartment windows after a record-breaking Nor’easter.  For two months several feet of snow pack covered the tightly shut windows.  In my heart, I had buried her.

As the days grew longer, the ice and snow melted.  Spring came and the world dissolved into greens and flowers and singing birds.  The windows were again open.  One morning, late in June, about five in the morning, I heard a familiar if too long absent cry outside my window.

I jumped out of bed, grabbed a bowl of water, a bowl of food, and an extra can.  I ran for the backdoor.  There was Charlotte.   Her coat shined, she was clean, and she had gained weight.  She looked up at me, brushed up against my legs, and her tail curled.  I put down the food and water, but she refused both.  It seemed deliberate.  She ignored both bowls, as if to say, “that’s not why I am here.”  I sat down on the porch steps.  She stepped into my lap, rubbed her face against mine, and melodically purred as I stroked her.  I asked her where she had been, told her that I missed her.  I looked at her paws, they were pink, soft, and healthy.  Even though she didn’t have a collar on, I understood that Charlotte had found her home.  I kept offering her food and water, but she wasn’t interested.  She had come by to say thanks.  She didn’t stay long.  She seemed eager to get back to where she had come from, as though she needed to get back home.  You may think my imagination has trumped my good sense, be amused at my anthropomorphic indulgence, find my need for sentimental embellishment running roughshod over intelligent narrative decisions.

I think not.

I think I was paying attention.  Charlotte visited that day to say hello and thanks.  She left, perfectly happy.

I lived on Irving Street for at least another five years.  Charlotte never again visited, and I never saw her in the neighborhood.

*****

Many humans suppose that because nonhuman animals don’t have language, they don’t speak, and because they don’t speak, they don’t communicate.  In this view, reason and language show our superior intelligence, presumably because of either God’s will or evolution’s privileges.  And we’ll continue to live in this privileged position until Jesus returns, or we get the research done that proves otherwise.

I believe that this hubris is wrong, be it a sacred or secular dogma; I also believe that the dogma has it backwards.  Language doesn’t give us better communication: I believe language’s most common uses lead us into an intellectual and spiritual deafness that we must unlearn if we are to listen, again.  This insight runs through the world’s great mystical teachings.  This is why the mystics tell us, “Be still and know.”  Meditate.  Learn to listen to the whispers in the trees.  Listen to the voices that aren’t heard with the ears, but are found in the heart.  Life’s deepest communication comes from listening, not from language.  Language seems to me something that we’re stuck with because we’re human, a tool as beautiful as it is dangerous, full of metaphorical darkness and light.

There’s a telling moment in the movie “Being There” when Melvyn Douglas says to Peter Sellers’s character, Chauncey Gardiner, “. . . there’s something about you, you don’t play games with words to protect yourself.”  Chauncey is a simpleton, but everyone mistakes his simplemindedness for wit, understanding, boldness, and honesty.  The story brilliantly and hilariously maintains a difficult premise: a simpleton catapulted into power and privilege through dumb luck and projected interpretations onto nothingness.  “Being There” is one of the darkest, funniest comedies ever made.  Written by Jerzy Kosinski, Kosinski was a Polish Jew whose family narrowly escaped being sent to the camps during the German occupation.  (Itself a fascinating story.)  The movie, based on Kosinski’s own novella, is a penetrating critique of the media, language, and interpretation — his insights obviously came from living during Germany’s propaganda fueled genocide.  But Kosinski’s critique goes deeper than political satire.  He distrusts language’s created realities, he questions our unassailable trust in this flawed tool, and he shows how we fall prey to the beliefs given by our uncritical dependence on language.  We may do language, as Toni Morrison writes in her Nobel lecture, but in doing language, language does us.

Chauncey emerges at the story’s end a free man, unperturbed by the world.  He doesn’t read.  He doesn’t write.  He is.  He doesn’t do language: therefore, language doesn’t do him.  The movie famously ends with a shot of Chauncey walking on water, as a voice tells us, “Life is a state of mind.”

We mistake language for communication, but it too often obscures communication, because it’s slippery.  We believe that language is concrete and necessary, think that it reflects permanence and reality, and that’s the illusion, because nothing is permanent, and reality’s a strange and strained construct.  There’s a more problematic conceit in everyday language use, though.  We use language to hide ourselves from ourselves, and from others.  We unconsciously play the mythologies, the stories, the unquestioned traditions, the denials in which we’ve created comfortable niches.  Consequently, habits of mind bestowed by language and engrained by life’s inertia deafen us.   Unless we work at unlearning, we don’t control language, it controls us, limits us, and keeps us from hearing what we would otherwise hear, if we weren’t domesticated to hear in ways too convenient for our own good, ways that keep us from listening to the world’s infinite voices.

That sunny spring morning in June, Charlotte said thanks to me, without saying a word.  And she did it better than many of us who have this thing called language.

The philosopher Wittgenstein wrote, “Words only have meaning in the stream of life.”  Words may need the stream of life, but the stream of life doesn’t need words.  The stream of life needs us to listen.  Then, if we’re paying attention, we can hear speech where we would least expect to, although it’s taken me almost twenty-seven hundred words to convey that point.

 

Official trailer for “Being There.”

[https://www.youtube.com/watch?v=FcPQ9gww_qc]

Random Thought — June 24

My landlord moved out about 8 months ago. In getting rid of his unwanted stuff, he offered me an old dictionary, it didn’t even have a binding.   “I’m going to throw it away, otherwise,” he said, “but I thought you might like it.”  The implication is that geeks and writers like dictionaries, and how could I not love receiving a dictionary.  I reluctantly accepted the gift, not having a clue as to what I would do with it. I thought I’d do him the favor of taking it off his hands so that he could get on with his moving, and then secretly trash it at some point.

Besides, people like to give things to other people, especially when it acknowledges that they know a bit about you (“writer” and “dictionary”), it makes them feel good, so I didn’t refuse.

This dictionary is old school, and, as the binding and frontispiece information are missing, I don’t know the publication date. I’m guessing the 1930’s, maybe even 1920’s. It’s almost like an encyclopedia. Weighs no less than 15 pounds, the pages are delightfully fragile and yellowed and tattered. The main body is the dictionary, and the back pages are a trove of those small, detailed antique botanical, zoological, and entomological illustrations.  I wonder: who created these unsigned illustrations, artists without a name, selling their meticulous skill without recognition or glory?  And who transcribed the illustrations for printing, what hands made sure that these images were properly detailed onto a plate — I assume — for the printing press?  Hundreds and hundreds of small illustrations of flora, fauna, animals, fish, insects, butterflies, bats, as much of the natural world as the editors could stuff into a dictionary, given their publication restrictions.

There are also world and U.S. history graphs and charts galore, and tens and tens of pages of historical illustrations and maps, all printed in those beautiful antique fonts and in the stark simplicity of black on yellowed white.

I received this gift before I undertook my art journals, and hadn’t a clue that I would be doing them with pleasure and perseverance.  This morning, while puttering between writing and Facebook and feeling sorry for myself because of the mountain of stuff that I seem always to take on, I was thinking about an art journal page that I was working on. It needed something — well, it needed more than something — but I had to take the next step. I had already gessoed over the first attempt, which was an epic disaster. There sat the page, a mess of gesso covered failure, a haunting metaphor for my life if I didn’t do something to the page.

The dictionary. Stuffed in the corner of the front bedroom, the answer came to me from nowhere, “the dictionary.”  All these illustrations and maps and graphs and words waiting for me to cut-up, embellish with indigo blue gouache, splatter with black acrylic, line with magenta and pine green washi tape, etch with white watercolor crayon, and layer with the soft velvet of oil pastels. All this stuff waiting for me to lovingly exploit, reworking it into something that makes my day centered, and more hopeful for creating beauty from waste.

The page that was a horrific failure became something better than myself, for it encompassed giving, receiving, and creatively using what might have otherwise been put into the dumpster, without its value being recognized.

And now, someone else’s art silently lives on, having traveled down time’s stream in an old dictionary, and into my art journal.

Today’s random thought.

A Few Words On Gratitude

(Please note:  I wrote this entry in two hours.  It may show that investment.  I hope it offers something useful.)

Your beliefs become your thoughts, your thoughts become your words, your words become your actions, your actions become your habits, your habits become your destiny.  —  Gandhi

 

Since moving to the outskirts of civilization, I’ve done a lot of “spiritual work.”  I don’t know what else to call it.  I’ve experienced a shift in consciousness, how I see myself, and how I see the world.  Stuff that I thought that I knew, I now understand better as a way of (B)eing.  I previously posted a piece on loving myself, “A Love Story,” but there’s a bigger picture that’s unfolded: understanding myself as part of life’s beautiful play is finally sinking in.

The myth of separation dissolves.  For today, I’m simply throwing that out there, do as you will with it, for brevity’s sake.  Perhaps by the entry’s end, it will be clearer.

The past year, I’ve worked through many conscious and unconscious stories that governed my beliefs, and I’ve left the worst of them behind.  And, yes, I do believe that these things can happen that quickly, when one is ready.  Therapy wasn’t my answer, but committing to my creativity and spiritual path has unleashed insight after insight, in remarkable and demonstrable ways.  Friends tell me of the changes they see.  I smile.  Nature is instrumental.  I’ve come into myself by realizing how simple and magical life is without trying.  Spring arrives, flowers bloom, tress grow.  All this will pass, there will be a deep sleep, and the spring will come again.

I am one with the forces I see in the seasons, and I’ve merged with life and (B)eing, because life exists everywhere, here.

Education, for its many gifts, really fucks up life’s simplicity, on a fundamental level.  We’re taught wonderful ideas, learn to ask better questions, and learn to answer with more sophistication, but self-love, awareness, and (B)eing are conspicuously missing from the curriculum funded by the incredulous student loan debt that I incurred and have since given to the Powers That Be to worry about.  I am unlearning not only my stories, and my family’s stories, but the intellect’s hubris for its works and artifacts.

Last week, during an early morning walk, the world grabbed my shoulder, and got my attention.  The sun hung low, a glowing ball shining through a perfectly clear blue sky, surreal in its clarity and depth.  The valley and hills exploded with life, innumerable greens, birds, butterflies, insects, all the critters that remained invisible to my eyes.  “I am the sky,” I heard myself think, “when light passes through me, life grows as it should, it happens without question or worry, and it will happen with or without my attention.”

God is a label.  Gratitude another label, a way that language limits lived beauty and power and grace, the ineffable experience of being alive, and being part of life’s magnificence.  “Gratitude” is how the mind places its attention, a practice that we can submerge ourselves in.  It then becomes a loop, the more we do it, the better life gets.  Beauty, joy, nature, poetry, the body’s strength, a good meal, a glass of clean water, a bird, whatever meaningfully grabs the mind and heart, no matter the circumstances, whatever feeds the soul and makes it feel alive, that’s where life presents itself.

I admit, it’s easier here and now.  But during my psychotic break while living in Manhattan, I remember focusing on a pigeon nest across from my window, as I lost my mind, my family,  faced eviction, had no food, and feared that I had entered mental nether regions from which I would never return.  The wall between myself and the forgotten homeless living on the streets was a rent controlled building that I hadn’t paid rent on in months.  For hours, I simply watched pigeons cooing and caring for each other, because I could do little else.  They gave me serenity and a connection to living.  Those hours in which I watched cooing gray birds, their nest tucked in between concrete slabs, affirmed life.  And, therefore, myself.

I’m blessed with good friends, many who have had charmed lives.  Truly charmed lives.  Money, travel, life experience, prestige.  Prestige with a capital P.  While I was cleaning houses, they were traveling the world, making medical breakthroughs, starting NASDAQ companies, the list goes on.  Yet, their lives are full of problems.  Whenever we talk, I hear of some new crisis, some new problem, some melodrama occupying the most precious real estate on the planet, their mind.  Relationships and circumstances always resolve, but you wouldn’t believe it from the way they talk.

Materially, they have more than 99 percent of the world’s population, but they believe they have nothing, believe themselves broken, believe something is wrong with them, see problems that don’t exist everywhere, and therefore create problems that do.  They scream this reality with every-other-sentence out of their mouth, in their judgements of themselves, and of others.  Instead of allowing a sunset to sink into their skin, or water’s music to slowly connect them to themselves, they fully inhabit their perceptions of the world’s failures.  To look at, touch, and smell a flower, and radically experience it for a moment, eludes them, or leaves them far too quickly.  Instead, they allow somebody’s annoying behavior or some situation rental space in their sacred mind, where we make and create the world we wish to live in.  Nothing happens in the world, without it happening in the mind, first.  I see them give away their life sentence by sentence, unconscious of where and what their attention is doing, at that moment.

This is the voice of experience writing, not the voice of judgement.

In the middle of nowhere, without a car, with a bazillion dollars owed in back taxes, student loan debt, and living, by some folks standards, a terribly uncertain future, I find myself the wealthy one, grounded and flourishing.

If I could give them gratitude, I would.  But we have to find it inside ourselves, for ourselves, if that’s what we want.  We’re free to do so, it’s all in front of us, with or without our attention.  When my friends get tired of slamming their heads against that wall, when they realize that the pain they’re living isn’t worth the prices they are paying, they will come around.  For those of us who know the talk, but struggle with the walk, it looks something like, “yes, I am grateful for x, y, z . . . but, [insert problem or complaint or whatever horrible thing that is happening far away, over which have very limited or no control over],” followed by more emotional engagement.

Most of this is fear.  Fear that life will abandon them, fear that they can’t do it themselves, fear that they’re not worth what they say they want, which is presumably peace and happiness, which costs nothing.

It’s impossible to talk about accomplishing and doing wonderful things, then dive into melodrama.  Most of us say we want all of life’s great things because we want peace and happiness, but the peace and happiness are already there.  I finally get the platitude, “there is no way to happiness, happiness is the way.”  I also believe it’s the quickest way to stop violence and hate, because when you’re really connected to radical love and happiness, you do less dumb shit.  I didn’t write, “no dumb shit,” just a lot less.   At some point, some of the dear souls in my life will realize that love does it’s job, and surrender to it, because they know they deserve to.  That’s it.  That’s why we’re here.

That’s when gratitude, no matter life’s heart breaks, disappointments, and setbacks, becomes a way of life, for those who want to live as fully as possible, and not practice gratitude as a period at the end of sentence filled with anxiety and doubt.

You don’t do it all at once, but you can get better at it.

This is how it looks to me, today.

 

*******

Video:  Children’s Orchestra Plays Mozart On Instruments Made From Trash

“Impoverished” children whose homes are built on a garbage dump see the world different, and create a better one.

[https://www.youtube.com/watch?v=yiYFcuIkBjU]

This Morning’s Rhythm

This morning I awoke about 4 am or so.  Stayed in bed until 4:45, doing my lazy woman’s I-don’t-want-to-get-out-of-bed meditation (“thanks for my life, thanks for this breathe, thanks for these moments, thanks for another day  . . .  [ a drift into silence] . . . thanks for this silence”), giving myself another 45 minutes under the covers.

Pulled myself out of bed, remembering Rumi: “The breezes at dawn have secrets to tell you, don’t go back to sleep.”  Okay, I’m up.  Barely.

Open the front door.  Smell the lilac.  Listen to the birds and bugs.  Watch the trees play in the morning light.  Put the herb garden on the patio.  Water and talk to them.

Chug a pot of yerba maté, made the night before so that I don’t have to think.

Check email.  The Universe, that is ‘Notes From The Universe,’ tells me in today’s note that “There was a time in the life of every hero, champion, master, and tycoon, when they said to themselves,’I will not wait any longer.'”   Yes, that’s it.  Just do it.  The note’s better than the yerba maté, I’m feeling awake now.  Believe.

Meditate.

Write in my journal.  Ask about having my self-imposed limitations dissolve, quickly and permanently.  “Maya Angelou inspired confidence, in my way and my time,” I write.

Make another pot of yerba maté, for when I come home.

Wash my face.  Brush my teeth.  Throw on my sweats and sneakers for today’s excursion.  New route the past two weeks.  The hills are more arduous than the ones I conquered in April, and I am loving this route more.  The first 15 minutes are a fierce, unforgiving incline.  I’ve nicknamed it “Everest.”  The views at the top are breathtaking, and my reward: a vista overlooking a valley of flourishing woodlands, and a panoramic view of The White Mountains’ outer edges.  Only 4.2 miles today, 2.1 to the main road and back.  The 5.4 loop tomorrow.  Listen to Gould on the iPod.  Listen to affirmations.  Listen to the trees and the birds and the brooks and nature.  Listen.

Back into the village.  See my little friend, who waves and says my name with a sparkling smile.

Home.  Check phone messages.  Check email.

Make a large salad: one fresh avocado processed with fresh lemon juice and salt, a package of baby arugula, a few raisins, a couple of chopped dates, a chopped gala apple.  Slowly devour in gratitude, while the stream and birds supply the meal’s background music.

Log into Facebook.  Stumble on an NPR article about 91-year-young Harriette Thompson who is a cancer survivor and just set a world record for a woman’s marathon time in her age group.  Remember this morning’s journal entry on dissolving limitations.  Synchronicity abounds.  Keep showing up.

Sit down.  Listen to the birds.  Smell the lilac.  Watch the light dance off the tree tops.  Write a brief blog post.  Think of the things on today’s list, some of which I see as challenging and unpleasant.

Not so much.  Attitude is everything.  Just ask Harriette Thompson.

Live life vividly.  V-I-V-I-D-L-Y, the word keeps making its way into my journal pages, highlighted, decoratively boxed, boldly scripted in greens, purples, pinks, reds.  Live vividly, or it’s just existing.  “Let everything else go,” I remind myself.  Harriette Thompson would no doubt smile if I told her about my problems, and I do so with her when I see them from a 91-year-old’s record-breaking finish line.  Vividly.  She seems to know about that topic.

This morning was like many mornings, but I wanted to chronicle today’s unique and beautiful rhythm, and I wanted to remind myself that “when I get over that finish line, that’s the best part.”

 

[http://youtu.be/5vlGKyxl22M]

[This entry was originally sent to subscribers with Ms. Thompson’s first name misspelled.  The above reflects the correct spelling.]

 

 

 

 

Thank You, Maya Angelou

“I believe the most important single thing beyond discipline and creativity is daring to dare.”  —  Maya Angelou

I never met Maya Angelou, never hugged her, never kissed each cheek, never told her “thank you” in person.  I hoped that I would someday, but knew that I would not, given her fragile health these past years.

Though I never met her, I considered her a mentor.  More than a mentor, through her unique love and hope and creativity, she’s helped me believe in myself and my choices.

There was an interview with her that I found on YouTube many years ago, and in it she tells a story.  The interviewer asks Angelou about her days working as a prostitute.  The interview seems to have been deleted from YouTube, because I haven’t been able to find it for sometime.  In lieu of posting that now lost interview, I am liberally paraphrasing Angelou in the following, but the story’s heart and main details remain intact:

“I was at a book signing for [her latest book] and there was a long line, going nearly around the block.  It was during the day, and I noticed a girl in the line.  She was obviously a working girl.  Her nails were long and painted brightly, she had the false eyelashes, bright lipstick, her clothes were a working girl’s clothes, but there she was standing in line, probably after working most of the night, to have me sign her book.  I smiled to her when she came to the front of the line.  She handed me her book and said softly, ‘you give me hope.’  That’s it, right there.  That’s the whole of life.  If I gave this one girl hope, I knew I had done well during my life.”

Angelou’s voice broke as she recounted the story, and her eyes teared.

Angelou brightly shone her faith in life and love through selflessness, and, from what I have read and seen, she never buried the working woman’s narrative under shame, or lied about it.  Of all the tales she could have told about her years as a prostitute, she chose this simple story of hope.  I believe that some of Angelou’s strongest moments as a writer and a human confident in her creativity may have come specifically from her work experience, in which her originality, sexuality, and ability to love deeply were expressed.

Her poem “Phenomenal Woman” seems to me to have emerged from those years, for it is a singularly redemptive expression of self-worth, and the radiant power of the creative self in the world, no matter the world.  Though the poem can be read as a black woman’s affirmation of herself against a white class system, I believe the poem touches on deeper themes and realities, and it seems more akin to Whitman’s “Song of Myself” in its spiritual orientation and celebratory grandeur.  Whereas Whitman locates his epiphany’s source in nature (“The Leaves Of Grass”), Angelou boldly locates her epiphany in her own being and body.  In its deceptively simple swagger, Angelou fearlessly seizes self-splendor, the shining self that we bring to the world, when we’re connected to the mystery in ourselves, the transcended self beyond limits, the self beyond the “I”.  Her life’s wounds dictated that Angelou dive into a profound center of love and spiritual luminosity, and spiritual beauty exudes from the poem’s seductive details, a work of singular grace and inimitable style.

Angelou will teach for decades to come, her courage echoing as a celebratory song to those finding their own voices.  This past week, bemoaning my proofreading shortcomings in ‘Simplify, Simplify, Simplify,’ Angelou encouraged me to love my writing, embrace it wholeheartedly, and continue confidently, without second guessing myself.  For a few hours after my posting my entry, I remembered the following line:  “Success is liking yourself, liking what you do, and liking how you do it.”

Thank you, Maya Angelou.  Two kisses, and a hug.

And thank you.
 

[http://youtu.be/VeFfhH83_RE]

 

Simplify, Simplify, Simplify

Thoreau admonished “Simplify, simplify, simplify.”

Emerson responded, “Don’t you think one simplify would have sufficed.”

As I go back and scan these entries, I cringe at their tediousness.

Simplicity isn’t making its way on the page.

That’s okay, for now.  This entry is an apology, and an acknowledgement that fiction and nonfiction are entirely different animals from expository writing, no matter how lyric and luminous an expository essay may be.  For too many years, I earned kudos for my writing, because I mastered the formula and stuck to it.  I was like James Patterson, I knew exactly what my audience wanted, and invariably used it: introduce the topic, ask a question, form a hypothesis, succinctly state the thesis, develop an argument paragraph by paragraph, nod to the alternatives, summarize the argument, then give the conclusion, usually in a clever or nearly poetic summary.  Wow them.

I did well at that formula.  Really well.  So well that I created a comfort zone that was impenetrable, as I knew how to work the formula without failing.  Much of my adult life was spent hacking out sentences in the wildly exciting craft of revision.  Revision, revision, revision.  There’s no simple way to an elegant essay, other than revision.

I succeeded in my academic studies, not because I was brilliant, but because I was willing to put in inordinate hours revising.  Sentence by sentence, I was a workhorse of wordsmithing.  I was also good at close reading, good at synthesizing the seemingly disparate, and good at interpreting metaphors, which when served by the excessive labors of revision, earned me my coveted rewards.  I aimed to please, and I knew how to impress my audience of one, my professor, if I could hide behind the work of others, use my handy dandy formula for success, and spend sleepless nights and days revising.

I’ve abandoned that model, to draw from a deeper creative well.  Those years gave me extraordinary writing practice, but now I’m dealing with my own voice, my own stories, my own narrative construction.  The consequent prose often flounders, struggles to find its way in this new landscape, isn’t always certain of itself, and the excesses of that exploration are repetitive and strained.

A criticism of the blogosphere is that there’s little editing done.  I agree.  We rarely see our work’s shortcomings without distance, and social media’s immediacy fails to recognize the space needed for writing’s refinement.  No matter how much I edit these entries, they aren’t what they should be.  They are blog entries.  They are cumbersome.  They are redundant.  They are poorly proofread, that is, with the eyes that wrote them.  They are me thinking out loud much of the time, trying to tie big disparate life elements together in a little package, and I have yet to master that creative bent without the expository essay formula.

However, I am doing what my “About” page states I will be doing here, flushing out ideas, honing my voice, and discovering more about this new territory.  In this regard, I’ve been successful.  More than successful, for these forays have richly informed my evolving narrative choices.

Simplicity is work until it becomes habit, in life and in art.  In life, it’s both discipline and awareness, daily choosing what works over what doesn’t, until habits are lived without thinking about them.  In writing, simplicity and elegance mean making every word matter.  That’s the practice of writing, and the craft of revision.  Sometimes, it’s better to throw down as many words as possible, muck around in the ideas, polish the prose as much as time allows, and then move on, having gained experience in what works and what doesn’t.

In an Ira Glass interview that I posted earlier this year, he exhorted writers beginning their career to produce as much as possible.  Just produce.  Throw it all down.  Make the mistakes.  Learn.  Move on.

In artistic terms, I think that means that the burgeoning writer will be Thoreau like, saying the same thing over and again, when one word would have sufficed.

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