So here you go, folks. Presenting…Mr. Wayfarer.
So here you go, folks. Presenting…Mr. Wayfarer.
I can barely open the door before it throws itself in my face, rattling against its frame. I rein in my voice like I’m working a pulley, and talk to the door.
“I said hurry and eat, brush, and go to bed. I’m leaving the house.” I can’t help flipping the pitch at the tail: “You happy?!” Sharon Olds can keep me company over fish tacos. I make a note to grab my beloved copy, as my head makes it into his room on the last try.
He releases his weight on the other side and flops on the bed. “You wanna leave? FINE!”
“I’ve done nothing wrong. I just pointed out that you need to be more responsible when I’m not here. You can’t not eat all evening and then stuff your head in the fridge just before bed. You don’t want indigestion again. But you need something to be able to sleep.”
The words walk out of his mouth almost staccato, measured. The boy who still feeds and cuddles with his stuffed tiger cub suddenly sounds sixteen. “Mom, I didn’t have an appetite. I don’t need to eat now. It’s no big deal.”
“Do you know why I’m going?” The words are rocks, breaking apart. The tears burn. “I’m leaving because you hate me. I love you and you don’t want to be near me and I don’t want you to go to bed hungry.” Anger, love. They are one and the same passion. I storm down the stairs and he is above me, hands on the banister.
“I don’t hate you!” he yells.
“Of course you do. Your actions say you do. You said I make you sick.”
Somebody come collect the boy’s jaw off the floor. His brows are furious with indignation. “I never said that!”
“Yes, you did. And you blame me for everything.” For the backpack that throws up its contents on the floor, for the headphones you can’t find. For being your mother. “I’m going,” I turn, desperate for tissue, and he calls out, “Wait…I have to give you something.” He disappears into his room and as I blow my nose in the kitchen, I feel something hard being closed into my free hand. A ruby out of his treasure box, plastic and pretty the way it gleams, his most prized keepsake. It looks like the rock candy I licked down to a mound at his age. Something to remember him by.
He thought I was leaving for the long haul.
He’s gone upstairs. And my stomach is arguing and turning. It won’t survive a wait for tacos, so I scout the fridge when I realize he’s back, pausing behind me a moment like a long comma. He drops a piece of paper to the floor and finally goes to bed.
My eyes are sore and tender as the tears swell. Isn’t this the home we seek of our journey? We roll the dice, kick it up on the boardwalk and go back three spaces, or even go bankrupt. We hope we don’t perish in jail. We make our way along the edge of those wins and these losses, biding our autonomy. But at striving’s end, all we want is to lay it down, to say and hear I want you. I need you. Please stay.
If my life in books counted off the page, I could boast quite a social life. My diverse bibliodiet of fiction and fact includes Pulitzers I study, tracing the contours of the words for clues to their savoir-faire. Best thing is when I fall in, pestled upon a page of genius. I feel ridiculous. Don’t try to fool me into thinking it’s doable. High art is not five feet three. Art at its best shows me the by-ways behind the crags, bruises and cuts. In The Art of Memoir, Mary Karr shares some questions she asks to “help students diagnose their own blind spots” ~
1. What do people usually like and dislike about you? You should reflect both aspects in your pages.
2. How do you want to be perceived, and in what ways have you ever been false or posed as other than who you are?
1. My friends usually like me because I’m tenderhearted, blunt, salty, and curious. I’m super loyal, and I laugh loud.
2. People don’t like me because I’m emotionally intense and often cross boundaries….Small talk at parties bores me senseless…I’m a little bit of a misanthrope. I cancel lunch dates because I’m working.
She believes we are to bring to the page the best and worst of ourself, that is, our full and authentic self. Yes, I think you see me in clear color and dimensions, in fact more than the people in my life, at least those outside my family, do. One tempers into social roles and expectations, especially by middle age. These socks have to match. I also feel muted in the rituals we call socializing, not able to talk books or art in the circles that motherhood have circumscribed for me. I’m happier in company with the immortal dead and fellow hermits in the cave of their mind. When the tea party is over, I invite a wordsmith over for some wine – and days I need it, the scotch. Ah, the way good prose jolts, when it’s not a beautiful ache. I want to drive under the influence – and once I’ve stepped out into fresh air, start climbing.
I will blog this.
Am I going to get likes?
I’m gonna be famous.
The more I write, the more I am taken with it, the magic of the word. Turn the wrist, and hold out a balm. Flick, and you have a blade. To be able to put out one, two, three words for a title and draw people in; convince them to pause in their hurried steps and step inside, there is a power in that. They pull up a seat, and some linger and chat. Some cry a little; other times they walk out still laughing because it was the room of your childhood they had entered and they remembered. The window to your marriage you’d opened and they know. It was your messy soul they inhabited briefly, experienced from the inside out and they blushed a little. It was their one-minute confessional before they drew the door back out to the light.
There is something religious about writing for me. It calls for devotion, affection, discipline, even bloody sacrifice. And it’s redemptive, every word sacred. If you pile on the descriptors, especially those adjectives and adverbs you are so fond of, you reveal a lack of faith in the rest of your words, either in the potency of language or your own ability to cherry-pick its offerings. Your line must not be vivid enough, else why do you need four modifiers in a breath? Could you find one or two that do the job? I am full of faith. Let’s try this together.
The mountains were draped by black curtains of ominous storm clouds, portentous of trouble over marshy waters.
Sorry this is not sexy. But I am so grateful for the mercy of the missing adverb I want to cry.
For starters, we have the imagery of darkness replaying itself in the draped, black, curtains. Then the picture of something brewing duplicated in ominous, storm, portentous, trouble. As if the two ideas weren’t redundant enough, they are so similar as to feed each other (black and storm, for instance, serving both the gloom and imminence).
Let me illustrate how I see the writing process with a metaphor that is a religion all its own for many. In basketball, the three-pointer is one of the most impressive shots of course, made farthest from the basket. The ball, which we can liken to the word, spurns distance, flying with grace, muscle, surety. This is writing, the art of nailing it. The three-pointer holds an interesting success rate of about 35% in the NBA. The best players in America make it only a third of the time.
So an autopsy of our overclouded sentence reveals the problem wasn’t so much a superfluity of adjectives or even of ideas. That was merely the symptom of either an impotence toward a clear purpose or even a deeper mistrust in the authority of the word. I say it was a spiritual death. I usually build from the bone of meaning, combining nouns and verbs that I hope are crisp, on to relatable metaphors, rather than slather on the fat and spice from the start. If I can use a noun that’s picturesque or compelling enough, I hold back the adjective (just redemption, which I’d considered embellishing above). And when I want more, I go with the least possible number of modifiers unless I am inflecting other elements of communication. So in measuring my words like a child in wartime rationing her meal, it isn’t just economy I’m after but also meaning, style, tone, and depth. Conveying all these elements as efficiently as one can is simplicity. I am not saying you can’t describe the morning in three adjectives. Sharon Olds with her many trippy, hypothermic descriptives has had me in knots barely able to get through her pain-saturated poems. But let’s respect this thing we call language. That is the sacred.
Obviously I am talking to people who want to raise the bar on their writing. We have a huge pet aisle here on WordPress and if you mean only to keep up the anecdotes about your dog, you don’t have to hamstring yourself. But if you want to be writing better, cut sharper on the page than you did four years ago, don’t give yourself cheap praise. Question your choices and their motives. Whether you’re writing a travel journal, history, fiction, or poetry, ask yourself if every word is necessary. Is each one doing its thing, contributing something fresh to the picture? Fancy dribbling isn’t what scores your game.
If you have a better way – and the shelves are lined with authors who do – by all means have at it. But first, ask any man. A hint of perfume and he leans in. Assault me with it in the elevator, and uh, excuse me. I think I’ll take the stairs. The sin of gluttony abounds in all the arts. There is such a thing as too much salt in your sauce, too much red on the canvas, too much bling with that outfit, too much fills on the drums. Black clouds sat over the mountain.
Oh, but what’s that? You don’t believe me. You think I’m a blogging Grinch who’s out to steal your Christmas or keep you from your ebook sell-out. You think I didn’t catch that adverb in your clutch. Fine. I’ll leave you to your opinion of fine writing. But if you think me a pious know-it-all, at least close the curtains and on your way out, please remember the shoes you should’ve removed. Yes, thank you. In all fairness, no one made you enter my sacred ground.
[Poetry] is for me Eucharistic. You take somebody else’s suffering, their passion into your body and…you’re transformed by it, you’re made more tender, or more human. You’re more alive to your fellow human beings. I could literally read a poem and lift my head from the page and look out and my heart would just be softer. I think it kept me alive for a long time.
~ Mary Karr, 2011 Writers’ Symposium by the Sea
Poets are strange –
Why can’t they just call the spade
a spade? And what’s a rock but
rock: sandstone, shale from the tiredness
of weather? Coal and limestone, plant
and animal dross
— but nature wastes nothing.
Why do poets look for metaphors under
every rock, the walls that hold the creek, earth
that crumbled, forged resolute, and grew above
my grandmother’s rib, beat hard when she was
widowed with six children on the road
fleeing the Communists
fleeing the Communists
fleeing the Communists
and soldiers who ran out to drag their own
men screaming without their arm
back to the trenches in
too many battles and
and bald children in hospital beds who still
know how to laugh.
Why can’t poets be simple? They see
a crushing burial in heat and time:
marble, quartz, gneiss
— living, burnished beauty.
Poets. They think they can say it