The Rich and Sensual World of Scent

Tags

beauty, Creative Nonfiction, culture, Deborah J. Brasket, Fragrance, inspiration, obsession, Perfume, personal, sensuality, the senses

Lately I’ve become obsessed by scent.  Perfume, to be more precise.  I seldom wear it, which is why this obsession is so strange.

It all started with the quest to find the perfect perfume for my daughter’s bridal shower.  I wanted something intimate and earthy, something that would literally become her.  A signature scent that would be all her own. It had to be perfect, like her–warm and rich and exciting, and deeply satisfying.  Something that made you want more.  That you would never forget and never forget wanting.

And in this quest I tumbled down a rabbit hole into a rich and sensual world where one single sense seldom privileged—smell—was given full rein to romp and roam and sate itself in scent.

We humans rarely give ourselves that pleasure.  We privilege sight, touch, sound, taste, and the feel of things.  Poor scent is a step-child to the other senses, neglected, forgotten.  Not so for other species where the sense of smell is primary with a full palette of colors and a symphony of sounds.

Often when I sit on our front patio overlooking the surrounding hills and valley below, my little dog sits with me, looking out as if as mesmerized by the beauty of the landscape as I am. She seems totally enraptured, her nose raised, nostrils quivering, her whole body trembling in delight.  But she’s reveling in smell not sight.  She’s drinking in that delicious flood of scents flowing uphill from the valley below.

I imagine her savoring each scent the way we savor each note when listening to a symphony, carried away by the trill of arpeggios, deep thundering drums, long sweet notes like violin strings, the soft low moans of cellos, blasting trumpets, cascading piano keys, all washing over her, tumbling together, fading away, like movements in a symphony of scent that I am deaf to.  How I envy her!

We’ve long known how smell and taste are intricately connected—in fact, we can distinguish far more flavors through smell alone—inhaling and exhaling—than we can by our tongues.

What’s new and interesting is how scientists are discovering a similar interconnection between smell and sound that gives rise to a new sensory perception quaintly coined “smound.”  If this new science bears out it will only confirm the old science.  In 1862, the perfumer G. W. Septimus Piesse noted how “Scents, like sounds, appear to influence the olfactory nerve in certain definite degrees,” and he developed an “octave of odour” to measure those scents.

Musical metaphors are used in describing perfumes, which are said to have three sets of “notes” that unfold over time, each interacting with the others to create a “harmonious scent accord.”

As I wandered along countless cosmetic counters in the search for the perfect perfume for my daughter, spraying sample scents on slips of paper and waving them in the air, or daubing them on my wrists and forearms and inner elbow, knowing how scents change when applied to skin, mixing with our natural pheromones and warm pulses, I was savoring those musical notes: light florals steeped with sandalwood floating on a musky base.  Amber and lotus blossoms with a hint of peach.  Cardamom married to rosewood.  Lavender and rosemary.  Vanilla and violets dampened by oak moss.

But there was more to the whole process than scent–the name had to be perfect too, evocative and mysterious, lyrical and alluring.  The shape of the bottle had to be sensual or simple, daring or dreamy, as fitted the fragrance and the name.  It all had to flow together.

I finally found it, amazingly. The perfect perfume for my perfect daughter.  She loves it, and her lover loves her in it. So I’m happy.  But still hungry.

Still wanting more. More of my own to daub on earlobe and wrist, to line along the window sill like colored glass or exotic orchids.  Scents to soothe and stir, arouse and savor.

I want to collect scents the way I do books.  To sit quietly, alluringly, on my shelf, its richness and beauty and promise in full display, just waiting, waiting, waiting, for the perfect moment when I take it in my hands and lift the stopper and let the initial scent rise, and all its sweet layering, lingering notes play over me again and again.

I want scent to light up every neuron in my body.  To flow through me, light and airy, like champagne bubbles. I want to hear it taste it see it feel it popping all about me.

I want, I want to be, sated in scent.

This was first posted five years ago in a slightly altered version.

Right, at Last, and Wide Open

Tags

Aging, Creative Nonfiction, memoir, mothering, Mothers, Parenting, personal essay, personal growth

Women Combing Their Hair, 1875-76, Edgar Degas (French, 1834–1917).

I’m letting my hair grow out. Like a girl again. It’s past my shoulders already, still mostly brown with a few shimmers of light woven through.

I don’t feel old. Few of us do, even while seeing the signs.

When I was young, I always felt young. Too young. Young in a lost, vulnerable, deer-in-the-headlights sort of way.

I could never understand how other children, teens, young women, seemed so confident, sounded so sure of themselves. When everything about me felt tentative, like I was only half-made, not fully formed, still waiting for some sense of wholeness to emerge.

I felt too-young even when I wasn’t.  When I should have known better. When others were counting on me being full-grown. Like my children.

Other young mothers seemed so secure and self-assured in their mothering, in their interactions with the adult world they inhabited. It was always a mystery to me, how they did that, how they could slip so comfortably into something that was clearly beyond me.

With my own children, at one level, we were one. When they were in my arms, on my lap, when we rocked and thrummed together, they were more me, more mine, more us than anything I had ever known. The circle was complete. I was all womb then. Part of some great mothering movement that wound round us. We were one, not two.

But when they stepped away, when we stood face to face, two again, these little people, staring back, startled me. They were like exotic flowers from some distant land who had been plucked and placed, amazingly, in my hands. Under my care. A person who had no idea what she was doing, who was improvising all the way, first this, then that, no gut-level knowing to clue me in.

Not a mother at all. Just this over-grown girl play-acting at best. Even my children, I’m sure, knew. But they played along.

I’ll be the mother and you be the children, we agreed. Sort of. Sometimes. The line blurred. Lots of give in our roles. But we grew into them eventually.

Somewhere along the way I became mom. The sense of wholeness I had been waiting for settled around me and I can’t really point to the moment I knew I was fully grown, at last.

I do not feel young now. But neither do I feel old. I feel somewhere in-between, swaying cozily in some hammock strung between the two. It feels wide open. I don’t feel the years bearing down. I don’t feel something precious slipping away.

I feel right, at last. And wide open.

Touching & Being Touched, Why We Blog

Tags

art, Blogging, blogs, Creative Nonfiction, creativity, humanity, inspiration, life, sharing, touching, writing

 

“The function of language is not to inform but to evoke . . . responses.”  So writes Jacques Lacan, the French philosopher and linguist.

But perhaps the same could be said of art, or music, or dance. Any creative endeavor. Certainly it’s true of blogging. We create what we do with the explicit purpose of evoking responses from some largely unknown Other. It a very human thing. The desire to touch and to be touched. To share what we love, what evokes responses in us, with the hope of evoking similar responses from them.

I wrote about this some time ago in Blogging and the Accident of Touching.  But I wanted to revisit it, to reassess why I put so much time into blogging. What is its value, to me, to others? Why do I persist?

What I love about blogging is being able to share the things that are meaningful to me with others–art, music, poetry, literature, nature. But also discovering from others new art, new music, new ways of looking at and being in the world. That reciprocity. That sense of connection. What do they love that I may love too? How will it deepen and broaden and enrich my own experience of life? Every day is a new discovery, a new love, a new insight into what it means to be.

In that original post I likened blogging to “those conversations we have in the wee hours of the morning . . . ”

“. . . when the party is over and all have left except for those few lingering souls who find themselves opening up to each other in ways they could never do when meeting on the street or over dinner. Those 3 AM conversations, you know.

That’s how blogging often is done too, late at night when we can’t sleep, or after we’ve put our novel to bed, or when we wake early and are seeking the company of other early risers, or those living half-way round the world from us.

We can share our thoughts and evoke responses in our own time, and others can respond in the same way, with a quick “like” or a longer comment. And we can respond in return.

It’s a way of reaching out to others that for some feels more comfortable than the spoken word. I feel I may be getting “the best” of them in those wee hour revelations, as they are getting the best I have to offer, a side of myself I seldom share apart from the written page.

There’s another part to all this, why we write, why we blog, which a woman who would not be forgotten wrote about a thousand years ago:

“Again and again something in one’s own life, or in the life around one, will seem so important that one cannot bear to let it pass into oblivion. There must never come a time, the writer feels, when people do not know about this.” —Shikibu Murasaki, Tale of Genji (978 – 1014 AD)

Touching and being touched, yes. That’s part of why we blog. But also passing along to a larger world something of ourselves that seems too vital to pass into oblivion. In some small way, perhaps, this blogging about our lives, our loves, our insights, our art, is a way of passing on through the minds of others a part of our larger self. Letting it echo out there in the universe for a wider while.

 

Naming a Painting, “Like Two Lovers in Conversation”

Tags

abstract, abstract art, art, Creative Nonfiction, creativity, Mixed Media, painting, the creative process, watercolor

“Warm and rich, rich and warm, which is which?” Like a mantra, these words echo through my mind as I stare at my painting, trying to discover its name.

I’ve hardly bothered with naming other paintings. They seem content with brief descriptive titles: “Sea Cave as Seen from Highway 1,” “Blue Bowl with Dancing Poppies,” “Landfall, the Marquesas.” Some I never name at all, or having scribbled something on the back of the painting before framing, have since forgotten.

But these recent abstracts seem to want more. Or maybe it’s me that wants more. We have a complicated relationship.

It began with a playful intent, the desire to enrich myself with color, to see what these two vibrant colors in juxtaposition had to say to each other, and how they made me feel as they danced across the page and spilled down the edges.

It started with oil pastel, a ribbon of red, a ribbon of yellow, swirling across a blank page. Then a line divided them, not evenly, but generously. Each color sat side by side, like lovers in conversation. But what they had to say swirled around them, crossing lines, and mirroring each other.  Each crossing enriched, lighting up and warming the other. They seem separate and distinct, yet the swirls of pastel beneath them, the patterns that play across the line, unite them.

They seem two but are many. On one side, first vermillion, then scarlet, then crimson, each layer texturing and deepening the other. On the other side, cadmium yellow,  quinacridone gold, drips of vermillion. Streaks of French ultamarine blue on the left, then a swathe of it at the center washed away. More gold on top of that. A glittering of yellow oil pastel at the center creates a single, subtle eye.

The whole process is like a conversation between myself and the painting that emerges on the page. The paint and brushstrokes, like words we use to speak to each other. Do you like this? Not so much. How about that? Better, but I need something more. No, not that. Yes, this. I love, love love this! Big smiles all around.

Making, erasing, dripping, glacing, washing away. On and on it goes, not knowing when to stop, where to stop. Then stopping.

Once it’s complete, the question comes. How do I know it’s done? What makes it complete? Is there simply a sense of resolution? Of satisfaction? Or the sense that any new mark-making will be its unmaking? A made-thing would be undone, so therefore, no more making? I do not know. The painting itself seems to tell me it is done, and I cannot translate the words.

But now the naming. How do you name such a thing? Can it go unnamed, untitled, a mere number? Why not? In truth it is nothing. Paint, paper, play. It’s not even art. Who is to say it’s art? Who can proclaim with absolute authority, this is art, this is not?

There is but one creator. One I. It spills through each of us, every day, every moment, each time we pick up a pen, a brush. Each time we walk into the kitchen and pour a cup of  tea, a cup of coffee. What is this? A new thing.

I am the only one who can name this new thing. It came from me, or at least through me. It swirls around me. All that crimson and gold, warm and rich, rich and warm, but which is which?

All that spilling together, washing through me as I view it, as I take it in, this painting, this new-made thing. A part of me, speaking to me. Creation to creator. What is it saying?

“Like two lovers in conversation.”  It speaks and I complete its thought, I speak and it completes me. And so we name it.

 

 

Water with a Razor’s Edge

Tags

beauty, Creative Nonfiction, cruising, Essay, inspiration, liveaboard, memoir, Nature, ocean, paradox, sailboat, sailing, sculpture, water, waves

Photograph by Sebastião Salgado

One of my favorite pastimes when we were sailing was watching the wake the boat made slipping through still waters. The glassy surface of the ocean rose up creating a razor-sharp edge as it continuously slipped along beside us, like a wave that never breaks.

Not every wake was like this and so fascinated me. It came only under perfect conditions. When the sea was clear and still, smooth as a mirror. When the wind was non-existent or so light it was like a baby’s breath. When we were sailing lightly on a zephyr’s breeze, or motoring through calm, still waters. When the wind rose and rolled, the wake would change, shot over with foam, its curl not so distinct, its edge not so transparent.

I’ve searched everywhere for a photo of a wave or boat wake that captures what so fascinated me, but the closest I can find are images of sand dunes with that razor-sharp edge following the undulating line of its crest. Sand dunes have their own haunting beauty and they too shift over time, but even so they don’t do my memory justice, for the wake I watched was alive, vibrant, constantly moving, a steady companion.

It was sculpture in motion, the way it  curled up continuously creating that sharp, transparent edge. A slight undulation along the lip as it held its form was mesmerizing. Watching it, I thought, I never want to be anywhere but here. And, I never want to lose this. I sought to etch it in my mind so it would always be part of me.

Of course, it wasn’t just the sight of that never-ending curl, that razor-sharp edge trembling in the sunshine that moved me. It was the whole experience. The still sea stretching out forever, the soft swish of the hull parting the seas, the whisper of the wind against the sails.  It was the tang of the salt in the air and the balmy breeze stroking my skin with silk gloves. It was me, bare-legs stretched out against the warm teak decking, sitting absolutely still in a sea of motion.

It was my family tucked away with me within our living, moving, breathing home, miles and miles from anywhere, safely embraced by the sea and sun and breeze.

If anything clearly captures the essence of what it was like to live aboard La Gitana all those years, it was the poetry of moments like this, repeated over and over again, like glittering pearls strung along a string.

I think now what fascinated me then was how this was such a clear example of the ever-changing changeless: The constant subtle variations in the wake’s shape that made it so mesmerizing to watch and yet changeless in its constancy, it never-ending formation. And while it lasted for hours, it was ever a new thing, newly created moment by moment.

I wanted to reach out and touch that razor’s edge, but I knew if I did it would  dissolve beneath my fingers.  How could water, so malleable that it melts through your fingers, create such a sharp, clear edge and hold it so long?

These things fascinated me then as they do now and fed my interest in the sublime ambiguities and paradoxes that underlie this beautiful world we live in.

“Writings from Wild Soul”

Tags

Blogging, blogs, books, Creative Nonfiction, Nature, nature writing, poetry, Wendy Sarno, Writings from Wild Soul

The first blogger I ever followed and the first to follow me back was Wendy Sarno.  What drew me at first was the name of her blog “Writings from Wild Soul” since the word “wild” is also featured in my blog.

But what made me follow her and keep on reading her all these years was the deep, soulful, way she writes about her encounters with nature, which are always rich with detail.  When I read her posts I am swept away to a green, lush, world that humbles and excites me, and I always learn something new. A new way of seeing, a new way of being. I come away feeling blessed.

She calls herself wrensong, and says:

I am a poet who collects stones. I am a wanderer of creek beds and forests, canyons and high desert who, coming home, sometimes finds words to tell the story. I am a companion with others in the search for Deep, Wild Soul. I shape containers in time and space for others to come together to write, to tell their stories, to hold each other in the telling. I am a grandmother and the companion of a cat named Alaya. I often travel out into open country with a man who calls himself Dunewalker who has hung his hammock in my heart.

She has now collected her storied essays and poems in the book “Writings from Wild Soul.” She writes of this experience:

A friend just wrote to ask if I felt a glow of accomplishment. Well, not exactly.

Years ago I remember reading about Pueblo potters, mostly women, and how after they had made a pot and were preparing to put it in the fire they gave thanks to the clay and to the newly formed vessel saying simply with honor, “Now you are a made thing”. That’s how I feel when I hold this book. Not a glow exactly at all but a simplicity of wonder “My goodness, now you are a made thing”.

Here’s just a taste of the kinds of rich, satisfying meals she serves.

From “Into the Silence”

My husband and I just got back from the Pacific Northwest. We spent two weeks nestled under those great tall trees on Bainbridge Island and went off roaming the region. One day, out on the far side of the Olympic Peninsula, we hiked into the Hoh Rainforest over a rooted and winding trail along the Hoh River.

There the Sitka Spruce grow eight feet in diameter, two hundred feet tall and the great Western Cedar even larger. In that damp world everything grows thick with lichens and moss. The forest floor is strewn with moss covered fallen nurse trees, licorice fern, sword fern, lady fern, salmonberry and huckleberry. The huge big leaf maples cover their trunks with epiphyte mosses and drip with long beards of moss. It is a lush, moist realm of old tree life blessedly preserved from the ubiquitous clear-cut logging fields.

We went in search of silence, one square inch of it. No, really, there is one, sort of. On Earth Day in 2005 Gordon Hempton, an acoustic ecologist, dedicated this spot he had chosen in the Olympic National Park as a sanctuary to silence. He calls it One Square Inch of Silence.

I was thinking about this invitation to silence this Sunday morning in July when I looked out and was struck by the intense green of the neighbor’s tulip tree against an intensity of blue sky, the etch of brilliant green against that fierce, endless deep blue. I was struck with my instant need to put words to it, to find words to say it, this meeting. I think it was Annie Dillard who said something like “God imbues the world like color”. This I have faith in, this imbue-ing god, the one who looks out at me from your blue eyes, from the red cherries, the gold finch, the grass, the moss covered Sitka Spruce. This god who offers the god-self as beauty, intensity, tenderness, who meets me silently the way the sky meets a tulip tree, the way an ancient rainforest holds its moist, mossy self. And for a few moments I’m enthralled, held in a large, sweet order to things, belonging to this encounter between tree and sky. All the while the sunlight spilling thru in silence. All in silence.

From The Bones of Winter

I had the sense all morning on this day between winter and spring that I walked at the edge of life and death. Wandering up the luminous green of a grassy trail that snaked thru the prairie blackened from a winter burn with its charred grasses and woody stems, I saw flocks of robins browsing listening to what stirred under the flattened mat of an old season. Here and there shoots of green emerged from thick tangles of old root hinting at the tall grasses that would wave here in a summer wind. It was there I found the bone -white shell of a box turtle lying belly up on the ground. Part of the lower plate was gone and it lay there like a mouth open to the sky where season by season it collected seeds and leaves and fallen petals and rain and snow and dust. The yearly stories shed by the land into this waiting cup.

All winter I fed the small birds from bags of old seed and I was as hungry as they were for something fresh and moist and alive. When I walk I tell my story. I whisper my hungers and my hopes to the grass and the wind. I share whatever arises in my wandering mind, memories or dreams. Sometimes poems. Sometimes tears. On this Sunday, as I leaned into the rising path and the wind, I felt my good, deep breath, muscles warming, a flicker of joy at the sight of green, and a sweet pleasure in the gift of a broken turtle shell like an offering, offering its stories and offering to hold mine. And as the hours moved my slow steps along this trail or that, I began to feel the gift that wild places always offer us, an easefulness rising thru my bones out of the moist earth, something around my heart unclenched, made room for delight in a pond chorus of frogs in their spring song.

From her website Listening to Stones which features her poetry:

Rain Like Fallen Grace

I’m cutting daisies in this rain falling over the quiet morning like Sunday Grace.

I’m holding utterly still breathing the scent of water and flowers

The cups of the small roses reaching up

Every leaf trembling

 green prayers

answered.

-wrensong

The Seeing

I’m on the phone with a friend who

is gazing out her living room window when

she notices a dead branch has fallen

across a live branch in a big pine

and formed a perfect cross.

In the center of the cross is a nest

and in the nest is a dove who is feeding

her three nestlings.

We were talking about how to keep

our souls alive in these difficult

political times and suddenly in

this seeing, and in her telling me

of what she sees, and in my seeing

thru her words the branches, the tree,

the nest and the doves,

we know.

This is how.

-wrensong

This is how we know, in the seeing. This is why I read her writings: that deep seeing, that deep knowing.

I hope you feel as blessed as I do today after tasting her rich offerings to the world.

 

A Cranky Reader: What I Crave When I Read Poetry

Tags

Ars Poetica, contemporary poetry, Creative Nonfiction, critique, Emily Dickinson, modern poetry, poetry, reading poetry, T.S. Elliot, Wallace Stevens, what is poetry

I was invited to write a guest blog post about poetry on Luanne Castle’s Writer Site. The following was first published on her site in a slightly different version.

I’ve been thinking a lot about poetry lately, how some speaks to me and some not at all. While reading recent issues of prestigious literary journals, I was surprised to find that not one poem—not one—moved me. Amazing!

Most seemed like intellectual exercises or obtuse offerings of random thoughts and images. None engaged me intellectually, or stimulated my sensibilities, or even challenged me—let alone invited me—to a second reading. Instead they were studies in disappointment. I left them unfulfilled, still hungry and, admittedly, cranky.

Is it me? Is it them? (Sigh).

Just what is it I crave from poetry?

Wallace Stevens once famously said: “You can’t get the news from poems, but men die every day for lack of what is found there.”

That’s what I want: The thing we die from lack of. That’s why I read poetry. What I look for in other works of art too—in prose and painting and music that rise to the level of poetry.

I want what Emily Dickinson referred to when she says, “If I feel physically as if the top of my head were taken off, I know that is poetry.” Something that tickles the hintermost parts of my brain, where I feel the synapses stretch and snap, reaching toward something just past my grasp.

I want what T.S. Elliot meant to when he writes that “poetry is a raid on the inarticulate.” Something dark and dormant, lying just below consciousness, rising into the light: a curved fin, a humped back, gliding momentarily along the surface of thought before dipping below again.

We have all felt that, I’m sure. Something deep and delicious, once known and now forgotten, woken momentarily. Something within us re-ignited, flashing briefly before dissolving into darkness again.

In “Ars Poetica,” Archibald MacLeish says: “A poem should be palpable and mute / As a globed fruit.”

He says: “A poem should be wordless / As the flight of birds.”

He says:

For all the history of grief
An empty doorway and a maple leaf.

For love
The leaning grasses and two lights above the sea—

Reading his poem, I’m with him. I’m saying: Yes!

But then he almost ruins it with the last two lines:

A poem should not mean
But be.

Pointing to something static. Not in motion. Art for art’s sake. An artifact showcased in a museum.

Gwendolyn Brooks writes:

Does man love Art? Man visits Art, but squirms.
Art hurts. Art urges voyages–
And it is easier to stay at home,
The nice beer ready.

If it doesn’t make us squirm, if it doesn’t hurt, if it doesn’t urge voyages, is it art? Is it poetry?

Stevens calls modern poetry “the poem of the mind.” It’s “the act of finding what will suffice.”

He says:

It has
To construct a new stage. It has to be on that stage,
And, like an insatiable actor, slowly and
With meditation, speak words that in the ear,
In the delicatest ear of the mind, repeat,
Exactly, that which it wants to hear, at the sound
Of which, an invisible audience listens,
Not to the play, but to itself, expressed
In an emotion as of two people, as of two
Emotions becoming one.

A poem must construct something that it inhabits, that speaks to the reader, in the “delicatest ear of the mind,” “exactly, that which it wants to hear,” what the reader, that invisible audience, wants to hear—which is not the play, not the poem, but “itself.” Itself “expressed / In an emotion as of two people, as of two emotions becoming one.”

It must
Be the finding of a satisfaction, and may
Be of a man skating, a woman dancing, a woman
Combing. The poem of the act of the mind.

Stevens is saying that a poem can no more “be” than “mean.” Rather, it must act. It must unite poet and reader in the act of finding what will suffice.

It is not static: It is “a man skating, a woman dancing, a woman combing.” It is always moving. It moves us to capture it in its passing. It moves us beyond ourselves, where the top of our head lifts away and there we go unbounded, grasping for a brief moment what lies always, already, just beyond our grasp.

That which suffices. That which the lack thereof we die of every day. That’s what I’m looking for when I read poetry.

I want to feel my synapses snapping.

Dialogue with Annie Dillard on “The Writing Life”

Tags

Annie Dillard, Creative Nonfiction, Deborah Brasket, emerging writer, inspiration, The Writing Life, writers, writing, writing process

I read Annie Dillard’s book “The Writing Life” years ago and reread it recently.

It was a huge inspiration to me then as now, full of practical advice about the craft of writing—its how and why and what–as well the thrill of writing, and the mystery that lies at its heart.

Below, you will find a “dialogue,” if you will, between Dillard and me on the practice and art of writing. Mind you, it will be a dialogue between master and novice. While I’ve been writing all my life, I haven’t done much with it, until recently. For all my years, and all my years writing, I’m still what you might call an “emerging” writer.

Still, from a very early age, I’ve always thought of myself as a writer. It’s what I am. Nothing else I could say about myself rings as true. How else could I identify myself?

As teacher, activist, community leader? I was all that, once upon a time. But it was what I did, not what I was. And besides, even then, even in those roles, writing was the way I made my biggest contribution to those fields. I taught writing, I wrote as an activist, I let my words and the passion of those words drive the work.

As a mother? Maybe. Although my children are grown and no longer need mothering, or at least need less of it than I have to give. I mother my writing now.

As wife? Perhaps. Although my husband and I grow more apart the older we grow. We still connect, but sparsely. Our marriage is mostly skeletal now: bone, little flesh. But it still provides a kind of structure for our lives, shapes our days, a spare drawing: a few lines, lots of white space. The space that holds my writing, or waits for it.

As lover? Oh yes. I am that. My life is shot through with love. I cannot lift my head without finding something to love. I could sit still and do nothing all day but love. I dither away my days loving sky and oak and bird and bee. Loving rock and rose and river. But the writing is all wrapped up in that. The loving and the writing are so closely intertwined, it’s hard to tell them apart sometimes.

Truth-Seeker? Without a doubt. My reading is endless, and the thing I am looking for in my reading is that nugget of truth, the thing that pierces me with its truth, that hits me full in the face, that I taste and say, yes, salt. That I taste and say, yes, bitter. That I taste and say, yes, sweet, and I feel that sweetness spreading through me. And I know then, this is true.

But the truth-seeking is all wrapped up in writing, the reading and the writing wrapped together, and all of it is tied up in love. A big, bright bow of love.

I seek the truth of the things I love, and writing is the instrument I use to do that.

So how does one write? How and when and what?

Let’s see what one master has to say on the subject. Below are a few nuggets of wisdom drawn from Dillard’s book, and my responses to them.

Learning to Write

At one point, a student asks Dillard: “Who will teach me to write?” She answers:

The page, the page, that eternal blankness . . . ; the page, which you cover woodenly, ruining it, but asserting your freedom and power to act . . . ; the page, which you cover slowly with the crabbed thread of your gut; the page in the purity of its possibilities; the page of your death, against with you pit such flawed excellences as you can muster with all your life’s strength: that page will teach you to write.

Practice and persistence are her answers. And perhaps, too, simply having the will to write, and the courage to face a blank page, to “ruin it,” knowing that so much you write will be thrown away.

It’s sitting down, again and again and again, and simply doing the work. We learn from that. Like practicing scales on a piano, over and over again—monotonous but necessary. Doing so, we learn something about the simple mechanics of writing as well as its rhythms, its flow, its necessity. And if we are lucky, the very act will carry us into the flow. We will no longer be practicing. We will no longer be playing those notes. We will become the music, and feel it pouring effortlessly through us, as us.

This more than anything may be how we learn to write: When we learn to love it, love being the writing, love letting it flow from us. This is what brings us back to that blank page, again and again. The chance to experience that, to let the writing flow through us as mere instruments of the muse.

It doesn’t happen often. It’s not what gets the work done, the novel written. But, for many of us, for me at least, it’s what fuels the desire to write, what makes me think I am a writer, that mind-soul-meld. When I’m there, in that, I’m home, in a way I rarely experience outside that, except, sometimes, in meditation, in mindful contemplation, in deep moments of love, when I’m all love, when there’s only love. That’s why I write. To be that. To be me.

What to Write

The passage below is probably my favorite in her whole book, because she’s saying something I had not heard another writer say in quite the same way. And it strikes me as “true.” It gives me license to pursue some of my own quirky interests.

A writer looking for subjects inquires not after what he loves best, but after what he alone loves at all. Strange seizures beset us. Frank Conroy loves his yo-yo tricks, Emily Dickenson her slant of light; Faulkner the muddy bottom of a little girl’s drawers visible when she’s up a pear tree.

Why do you never find anything written about that idiosyncratic thought you advert to, about your fascination with something no one else understands? Because it is up to you.

You were made and set here to give voice to this, your own astonishment.

My own astonishment, yes. To give voice to the things that seize me, that take me by the throat and shake me. Or is it me taking the thing by the throat and shaking it? Trying to shake loose its truth, the thing I want to know, the thing I know is there, but haven’t quite gotten it yet. The thing that must be seen, must be spoken. The thing I need to say.

When I look at the things I write about, that I’m drawn to write about, that seize me, here’s what I see, what I’m drawn to explore:

The gap between appearance and reality; between what’s real and what’s not, and how we can ever truly know for sure. If it’s possible at all.

The dark and the light, good and evil, beauty and brutality, the foolish and profound: how they play together, how they are all wound up in each other, how it’s almost impossible to tear them apart, as least in our ordinary, daily experiences. They lay side by side, or one on top of the other; they copulate over and over, and we, this life itself, is what they give birth to.

Mind and matter, nature and art, science and spirituality: They too seem rolled into one. It’s hard to separate the one from the other. They are shot through with each other. What fascinates me is how certain patterns emerge over and over. How they seem to tell us something about Life, about ourselves, about what this whole world stretching out beyond the cosmos is all about. If you pay attention to the patterns, to the fractal self-similarities, you taste something that smacks of truth. Of what we were created to discover.

When to Write

This is my great failing, my falling, my torment.

One day when I was a young mother, I decided that I would put off my writing. I would wait until my children were grown. I found when I wrote I worked myself into such a torment, into such a heated frenzy, that when my children came home from school or needed something when I was writing, I could not tear myself away. Or if I did, I was in a rage, and I resented them. I did not want to spend time with them. I wanted to write. That’s all I wanted.

And I hated that. Hated being that way, feeling that way, toward them. I thought: they are little only a little while. I want to enjoy them, every minute I can of their young lives. I want to be here now, with them. So I put my writing away, taking it out only when I knew for certain I had the time to devote undisturbed, with the understanding that my children came first. My writing was hidden away in a drawer like a caged beast. It growled at me. It said: I will make you pay for this.

So I wrote less and less. And the years went by, and the children grew up. But there was always something more important than writing to devote myself to: teaching, social justice, community work, politics; saving the world, preserving the environment, protesting for peace, for a living wage; helping the poor, the homeless, the disenfranchised.

And the years went by and all the writing I had done was work related: political, social, economic.

Then I retired to write full-time. And here I am. But do I write full-time? No. There’s beds to make, and floors to shine, and gardens to weed, and windows to wash. There’s non-stop news on cable aabout wars and scandals and school shootings and missing planes and police brutality and social unrest. The whole world, it appears, spinning out of control, and I must witness its unraveling.

There’s the internet too, Facebook and Twitter and Google and a thousand interesting stories, important stories, must-read stories, calling me like Odysseus’ sirens, driving my boat onto those rocky shores, turning me into a grunting boar, rooting for the latest news; or turning me into a statue of myself, frozen, unable to move.

I let my fierce beast out of its drawer at long last, and it curled up like a kitten and went to sleep.

So now I must wake it, shake it, make it roar again. And then I must tame it. But how, how?

I read what Dillard says about taming the beast. And I cling to it like a life boat.

What then shall I do this morning? How we spend our days is, of course, how we spend our lives. What we do with this hour, and that one, is what we are doing. A schedule defends from chaos and whim. It is a net for catching days. It is a scaffolding on which a worker can stand and labor with both hands at sections of time. A schedule is a mock-up of reason and order—willed, faked, and so brought into being: it is a life boat on which you find yourself, decades later, still living. Each day is the same, so you remember the series afterward as a blurred and powerful pattern.

So I create my schedule. I cling to it like a life boat. And someday, someday soon, I hope to climb all the way inside. I hope to inhabit my life boat. To live there. Waiting for the writing to emerge as a “blurred and powerful pattern” stitching my days together.

There’s more. So much more from Dillard’s book I want to share with you. Next time.

But today, today I must shake out my schedule. I must return to my novel. I must resist the news and internet and beds and gardens. I must be a shut-in. I must shut myself into my novel. I must do the work of writing.

READ PART TWO OF THIS DIALOGUE

More on Writing with Annie Dillard

OTHER BLOG POSTS ON MY WRITING

Selling My Babies: Where’s the Joy?

Writing on Writing

A Writing Milestone

On Herds, Husbands & Riffing on Writing

Tags

Blogging, Creative Nonfiction, husbands, Julia Shipley, Marriage, poetic essay, riffing, riffing on writing, The Toast, Willa Cather, writing

Serendipity, it’s sometimes called. Those happy coincidences that lead to some unexpected pleasure or insight. Or synchronicity. Those meaningful encounters that, touching tangentially upon something you’ve been musing upon, spark a new way of thinking about it. Then off you go, riffing on the topic the way jamming jazz musicians will do.

Here’s how it happened recently. I was grazing on Twitter and found a link to an essay that sounded interesting, taking me to new site called The Toast. The essay that drew me there did not pan out, but I found a link to something else that sparked my interest: “Some: Poetic Essay” by Julia Shipley. So I went there.

Now the essay starts out talking about horses and cows and the poets who write about them. Normally I’m not much interested in barnyard animals, but once when I was looking for a particular poem by Hayden Carruth, I came across his “Cows at Night” which I loved so much I blogged about it. (Another example of serendipity.)

Hoping that Shipley’s essay on cows might provide a similar unexpected pleasure, I continued reading. That’s when I came across these lovely lines and immediately tweeted my pleasure to others.

“The names of the herd tell a story, the way a group of stars makes a constellation.”

As I continued reading, the essay took an interesting turn, morphing from a mediation on cows, to a mediation on men, or on prospective husbands, to be exact.

A line about how some couples “pull together” in a marriage “like a pair of horses working in a synchronized pace” caught my attention. I’d been musing a lot lately about marriage, how it goes through different stages, and how while my husband and I still pull together in the same direction from time to time, more often than not we wander off in different directions. It’s becoming apparent how little we have in common.

While we both took early retirements, and we’re both home bodies, we seldom see each other and do little together. We eat at different times mostly, take walks at different times, swim at different times. We watch different shows on TV and pursue separate hobbies. Our paths cross only intermittently throughout the day, and while those crossings are pleasant enough, they are usually unplanned.

Sometimes I worry about us. Our marriage. Do we spend too much time alone? Is this healthy? Should we try to find ways to spend more time together? But then I realize: I’m quite content this way. As a writer, I like having time to myself. I like knowing he doesn’t need me or feel neglected when I’m off by myself. We’re alone, but not lonely.

I’m coming to think of us like the lines in a sparse drawing. We rarely touch, but we cross now and then, and our crossings shape our days and our lives and fills up the space that surrounds us in meaningful and comforting ways. Spare lines and plenty of white space, but pleasantly so.

Shipley writes about all the men she met over the years and cultivated relationships with, but who never turned out to be the husband she was looking for. She thought perhaps she was in love with the idea of love more than in wanting any particular man.

I wonder that myself sometimes. I like having a husband, I love him deeply, but I’m not “in love” with him. I am, however, “in love.” It’s just not with a man, or perhaps, more truthfully, it’s with so much more than the man. It’s the man and the life and the kids and the cows at night and names like constellations. And the walking and swimming and writing. Just this, right here, right now. Riffing about the things I love.

Her essay ends with something similar:

“Once I approached another heroine, former dairy farmer Gertrude Lepine, who never married or had children, but farmed with her sisters in a Vermont hinterland called, Mud City. I asked if she missed her cows. Her herd was famous, her registered Jerseys attracted buyers from as far away as California when she retired. Sure there were some favorite cows, she told me, But it’s The Land that I love the most.

The Land.”

Yes, I’m in love with The Land too. The Land, and all it holds.

Just before her essay ends Shipley quotes a passage in Willa Cather’s O Pioneers :

The passage describes Alexandra, who took over her father’s Nebraska farm and coaxed it to glorious success, and who is now a single middle aged woman.

“ . . . she lay late abed . . . luxuriously idle, her eyes closed, she used to have the illusion of being lifted up bodily and carried lightly by someone very strong. It was a man, certainly, who carried her, but he was like no man she knew; he was much stronger and swifter, and he carried her easily as if she were a sheaf of wheat.”

What held her lightly “as if she were a sheaf of wheat” was something so much more than mere man. I feel that way too sometimes. Like I’m being tenderly picked up and carried away. By life. The joy of living. These unexpected, serendipitous pleasures. By the act of writing–taking chance encounters and spinning them into something else, tossing them out into the universe, watching them drop down into a poem, a painting, a song. A blog post perhaps.

Here’s wishing you today many serendipitous pleasures that pick you up lightly and carry you away.

“A Strange and Beautiful” Entanglement

Tags

Creative Nonfiction, deep ecology, Francis Weller, grief, healing, Nature, spirituality

Recently, when most needed, I came across the essay “A Beautiful and Strange Otherness” by Wisdom Bridge founder, Francis Weller.

I love how he opens his essay:

“When we open ourselves and take in the sorrows of the world, letting them penetrate our insulated hut of the heart, we are both overwhelmed by the grief of the world and in some strange alchemical way, reunited with the aching, shimmering body of the planet. We become acutely aware that there is no “out there;” we share one continuous presence, one shared skin. Our suffering is mutually entangled, the one with the other, as is our healing.”

In the second part of his essay he lists four ways we can reconnect with this “continuous presence.”

• An Apprenticeship with Slowness
• Uncentering the Human
• Drinking the Tears of the World
• Entering the Storehouse of Myth

Each is beautifully articulated, and I urge you to read his whole essay.  But the third resonated most with me that day, and I’ve extracted it here.

Drinking the Tears of the World. How can we fail to love this achingly beautiful world when we are so completely jumbled together with it all? It is our myopia, our species-centric blindness that cuts us off from the actual world. To love this world, however, is to also know sorrow. Our grief is intimately connected to how far we allow our love to reach into the world. Think of those indigenous tribes willing to fight to the death to protect their homelands from being destroyed by mining or oil companies. They know their lives are inseparable from the animals, plants, rivers, spirits and ancestors of their lands. Our love was also meant to spill out into the world, into the forests, the rivers and cloudbanks. It was not meant to congeal in a single person or even a single species. As Thomas Berry said, “We have become a singular species talking only to itself.” When this happens—when the arc between our bodies and the great body of the earth breaks—we fall into an attachment disorder of epic proportions and everything suffers. Grief work is the third way we restore the bond with the world we inhabit.

The good news is we are supremely crafted to feel kinship with this breathing world. We are giant receptor sites for taking in the blue of the sky, the taste of honey, the caress of a lover, the scent of rain. Paul Shepard said we are more like a pond surface than a closed system: We are permeable, exchanging the vibrancy of wind, pollen, color and fragrance. Life moves into us and through us like a breeze, affecting us and shaping us into a part of the terrain. We are inseparable from all that surrounds us. To mend the attachment disorder, we simply have to step out of our isolated room of self and into the wider embrace that awaits each of us. When we do, something magical happens. As we build our capacity for transparency and allow the world to enter us, our feelings of love blossom and an erotic leap occurs, bringing everything close to our heart.

One of the reasons this essay resonated with me is because this idea of a “larger Self” is a theme that has been developing in my writing and my personal narrative, something I’ve been playing with for ages.

I see it everywhere now as I review my life and examine my writing. You can find it here on this blog as recently as “Us, Ancient” and “Infusing I and Other” and “La Gitana, Our Larger Self” and in so much of my meditative poetry.  Even in my revamped writing website traces of this thought can be found.

I think I return to it again and again because it reminds me to move beyond a personal, limited sense of self and experience myself in a larger, more expansive way. A way that rings more true to me.

It is certainly not a new idea, this sense of connecting with nature, with others, of an overriding, embracing Oneness. But I’m experiencing it in a new, more personal, more immediate way.   It’s become a lens through which I see my personal and public history writ large.

I’ll be writing about this more in future posts.