Dormancy

Definition from: https://www.biologyonline.com/dictionary/dormancy

I have been thinking, for weeks, about dormancy. And writing. And habits. I’ve been thinking about the weekly notification I get of how many hours I spend each day on my phone, which does not equate with hours spent on social media, but still. It’s a lot. An astonishing amount, really, especially when I consider how many decades I lived without a cell phone and all it contains. What did I do with the hours I now spend using a phone?

I’ve been thinking about how I spend my days, which, as Annie Dillard told us long ago, is how we spend our lives. Since June, there has been a great easing in mine. September and October, when I re-entered the classroom after a decade+ absence, had its rough days, and I know there will be more of those, but on the whole there has been so much easing. I’ve opened a space, but too often I have not filled it quite as I think I’d like to.

I have been thinking, for weeks, about how often I pick up my phone when there is a quiet moment. Or an uncomfortable one. Or an exhausted one. I’ve been thinking about how it has become difficult for me to sustain my way through the reading of a print book, and how astonishing that is. My father once told me, when I was a young woman, that when he thought of me he pictured my younger self sitting at the kitchen table with a book propped up behind my plate, reading as I ate. There was a time that I never truly ate alone, because if there was no flesh-and-blood human with whom to share my meal, there was always a book with its other voice to keep me company. I can’t remember the last time I consumed a book with a meal. I often want to, but I have no book I’m reading. I remember when I always had a book I was reading (usually more than one).

I start many books, but I finish few. I’m not sure why.

Sometime back in November, I went to the library to graze the stacks, one of the best ways I’ve found to tune into what the universe (or something that “the universe” is our shorthand for) is saying to me. That day, I found Julia Cameron’s It’s Never Too Late to Begin Again, a version of her classic The Artist’s Way, written especially for those “at mid-life and beyond.” Hers is a 12-week program of creative recovery, which is just about the length of a season. I read enough of it to decide to buy my own copy, thinking I would start working through its program at the beginning of January.

Instead, I began it this week, on the first day of winter. I have been thinking about winter since the day I listened to a Story Corps episode on the way to work in which Suzanne Valle talked about life in terms of seasons. She said that the winter of our lives begins at 60. Four days before that, I had turned 57.

Time is infinite, and the universe is infinite, but an individual life is not. I have been thinking about that, too. A lot. Despite what Cameron might have us believe, sometimes it is too late to begin again–because we have ended.

I have been thinking about Words of the Year, the choosing of which is a practice that some I follow or interact with on social media engage in. I tried it a few times, but it didn’t work for me. It still doesn’t, but I’ve been thinking about what I want more and less of in the coming year. “Scrolling” isn’t going to be anyone’s word of the year, is it?

As I’ve been having all these thoughts, I’ve been more mindful of what I’m getting (and not) when I engage with social media. I love Kate’s Instagram stories, because she so often shares things that are funny, wise, or visually gorgeous. Sometimes she shares words that seem to be just what I needed to hear at the moment I read them. I love being in the company of Dave Bonta’s Poetry Blogging Network. I love interacting with those of you who write to me here.

I have been thinking about June, when I might be in the position of needing to make a decision about teaching for another year. I have been thinking about all of the reasons I have never written in the ways I’ve said I would like to, in ways I gave up trying to more than a decade ago. I’ve been thinking about how, if I were to make a different space for writing in my life, I don’t know what I would fill it with, and how I am so often tired of the sound of my own voice. I’ve been wondering if the writing I do here is the writing I need to do, or if it is something that keeps me from the writing I need to do. I have been wondering how I want to spend my minutes, hours, days, life.

There have been a lot of thoughts rattling around in my (increasingly) old head, and I haven’t even started with the feelings.

So I keep returning to dormancy, and how that might work for a large mammal who cannot sleep underground for 12 or more weeks.

I’ve decided to take the winter off from things that make up too many of the hours I spend on my phone. I’m taking the social media apps (other than Messenger, which I use to communicate with folks) off my phone and I’m not going to write here again until Sunday, March 20th, the first day of spring. I’m not going completely off-line, but I intend to be much more intentional about being on. What I want is to clear some space and be purposeful about what I let into it. I think I need some arbitrary restrictions and some public declaration to make a necessary quiet happen.

I have been wary of writing that last paragraph because there are things I know I will miss, and because writing here has become a thing I count on for several different kinds of good things. I have been avoiding it because if I didn’t write it I could more easily change my mind about the whole thing. I was avoiding it because there’s some fear in this for me.

But I’m saying it and am going to do it because last week, when I went into Powell’s, a bookstore that covers an entire city block and was once one of my favorite places, I felt overwhelmed by the cacophony of voices shouting at me from the shelves. There is so much clamor in the world, and so often lately all I can hear is a grating din. I want to see if I can create a pocket of quiet within it, if I can make my way back to some part of that young girl who loved to make a grilled cheese sandwich and a bowl of canned chicken noodle soup and eat them slowly at her family’s kitchen table in the company of a book, able to hear nothing in her mind’s ear but the voice of one other person speaking to her. I don’t know if this experiment is as much about becoming some other kind of writer as it is about becoming a different kind of reader. All I know is that somehow, I’ve lost my way, and I want to find it again.

Hope you’ll check back in here come spring. If you’re not yet a subscriber, please consider signing up (top of right sidebar) and you’ll get an email when a new post goes up. (I don’t do anything with the subscriber list. To be honest, I don’t really know how to.) Wishing you all a good season of whatever it is you need from it.

How to write a poem

First of all–and most importantly–you can’t go looking for it. (Except, of course, when you do, as I am here.) You will go looking, most likely, because you want it and you’ll get tired of waiting for it to come tapping on your shoulder one day when you’re in line at the grocery store or strolling the library shelves or walking the dog, as if your writing life were a romcom and you are a young Meg Ryan (if she were weightier, somehow, and far more deep, like you) and the poem is Tom Hanks or Billy Crystal (but smarter and more handsome). Honestly, you can go about it either way–looking or not, purposefully or not–but the best ones happen upon you, usually when you’re engrossed in some other pursuit, in being alive.

While you’re doing that–being alive, living a life–the true ones will come at you sideways, catch your attention for a moment through a fragment of memory, a snippet of language, a scent that takes you home. It’s such a balancing act, you know? There you are, immersed in some experience or another, and then, this other fascination comes along and you have to decide if you will follow it.

Let’s say you do. (You’ll have to, if you’re going to write a poem.) You turn to follow what beckons, to see where it might take you.

From there, well, things can go so many different ways. (Isn’t that part of the thrill of it, that you can’t know how it will all go?) It’s the beginning of the dance, and it’s different for all of us, really. It’s different every time, even though it might feel like you take the same steps over and over again. The more you write, the more you’ll come to know and hone your moves, develop your way of being with words. Some of us rush in, stripping ourselves bare before we’ve hardly gotten through the door, while others peel layers slowly, savoring each new revelation before reaching for the next. Either way, surprises abound, things we couldn’t anticipate when we started.

So many think it’s all about that first draft and getting it on the page. They think the passionate melding of your senses with your language with your hands with your memories is the heart of the matter, the most important thing; they think that’s what writing a poem is. Sometimes, rarely, maybe. But write long enough and you know: That’s only the beginning, that initial tumble into the sexy potential of it all. The next day (or week or month), when you open your eyes to light and see not a grand passion but crumpled sheets and stale metaphors and the mess of your feelings strewn across the page: That’s when you decide if where you’ve gone is worth a longer stay.

Sometimes it is, sometimes it isn’t.

Sometimes that heady frenzy is the point, and it’s enough just as it is. Maybe you’ll walk away from it, grateful for some thing it helped you see or know or remember. Maybe it was just an itch you needed to scratch. Maybe it was nothing, and you can see that and it’s fine, just fine. It was what it is. You go back to walking the dog and buying groceries and picking up library books, perhaps more primed to notice the world’s glances that come your way, that spark that could turn into a real poem.

Sometimes, though, you know it’s the beginning of something more than words scrawled through some feeling’s heat. It’s something you could sustain, that could sustain you. So you turn toward it and hold on.

This is where the work begins. (All poems are work, just as everyone says.)

At first you tackle the easy things, a word here or there, a phrase, a clause. You begin tentatively, seeing where things hold and give. The more you come to know the poem, the deeper you’re able to go. You add, delete, and combine with confidence. You trim the redundancies and the modifiers that are about nothing but nervousness or bravado or fear. You might write or cut whole stanzas as you realize what the poem is going to be, to mean. The more you polish, the more clearly you see, and you keep only the parts that work with the whole. The poem begins to gleam. You do, too.

Sometimes, it’s as easy (and difficult) as that. Other times, you get snagged or stuck. You do and undo, do and undo in futile loops. You might come to doubt yourself. You might tell yourself that you’re a shit writer who’s never written anything worthwhile and that you’re probably not capable of writing at all. Get over that. It’s just early life trauma coming around to have its way with you. Don’t let it.

However, if you try and try and try and can’t get anywhere, it’s time to take a step back and consider radical revision. It’s time to look hard at the frame you built in that first coming together, to see if the way you began allows for a structure that holds. Do you need to let someone else be the speaker, change the tense, impose (or tear down) a form? Oh, how hard it can be hard to realize that what you’ve written doesn’t work, that to save any of the poem you will have to rebuild from the ground up. You might hate doing this because you’ll feel as if it won’t even be the same poem any more.

Maybe it won’t. It might not be worth saving, the thing you’ve turned your beloved poem into. You might have to let it go.

If you’re not ready to do that, you could try just putting it away for awhile. Go about your business and get some distance. When all you can see is weakness, when you can’t remember what you ever saw in the poem anyway, when you’re sick of the sound of its voice, when the poem on the page just can’t become the one in your head, maybe give it a rest. Just put it aside. Let it be. (You might even try writing some new poems for awhile.)

One day, when there’s a chance the words might sound fresh again, pull it out and see what it is to you now.

Sometimes you’ll realize you were an idiot, that you were just too close to the whole thing to see what you had. Other times you’ll realize it was as doomed as you thought, or that even though it’s not all that bad, it just isn’t and can’t be what you hoped for. Let it go, if that’s what’s true. Do so with peace. You learned something from it, you know. You always do.

None of your words are ever wasted.

*****

These words grew from an exercise from The Daily Poet, by Kelli Russell Agodon and Martha Solano. It’s a book I picked up last summer, when I was strolling a bookstore and imagining what the coming fall would be. I thought I would be fully retired, with lots of time to write. As I had no ideas about what I might want to write, I thought a book of exercises might be useful for building a consistent writing practice, a good way to discover what you want to focus on.

As this week turned toward its end and I realized I hadn’t written anything (again) or (again) felt the pull to write anything and knew I didn’t want to write about any of the things that had been yammering inside my head, I pulled out this book that I’d done nothing with (so far) but put on my shelf.

The book contains a writing prompt for each day, and I chose the one for the day I’d be publishing this post, November 14:

Teach Us: Write a poem that teaches the reader about something….Have this “teaching” happen through the poem, but have it be about something else entirely….See what you can teach the reader when you write the poem about something other than what is being taught.

Feel free to let me know what you think the true subject of the writing is. 🙂 I did not write a poem, and you don’t have to, either. The beauty of a book of prompts is that the whole point is just to get you started. You can do what you want with them, and this was a week in which I needed to do more of what I want and less of what I think I should. It was nice to shut the yammering up for a bit.

Survivor Guilt

Mary Oliver got it right, you know:  
You need not repent your survival 
as if it were a sin. 

I know, I know 
(believe me, I know): 
You feel it is your duty–
your burden, your privilege, your gift–
to rush back into the building full
of beams rotten with flame,
air fouled with smoke,
to pull out as many others as you can.

Maybe it is, for a time.
It can be hard to know
what we owe others.
It can be hard to know
if the cause is lost and collapse
–no matter what we do–
inevitable,

but I’m here to tell you,
one survivor to another:
We never have to burn with it,
our mouths filling with smoke,
our limbs turning to ash.

Imagine your mother,
what she would say if she could see you
in the second-story window, 
your mouth a wilting O through a smoky pane.

Imagine what you would say
if it were your child up there,
flames under her feet:

Run 

Love yourself as your mother would,
as you love your child.

Save yourself. 

Not so you can run back into that building,
or into some other one so far gone
it cannot stand.

There will always be buildings on fire. 
There will always be others trapped inside.
Your death won’t change that.  

Maybe, some other time, 
you will be one of them, but
this time, you aren’t. 

Don’t waste the gift of your second chance.

Go find yourself a solid structure
and tend to it. 
Do your best to keep the exits clear,
Extinguishers near. 

And this time, if you smell smoke
and shout fire and no one listens, 
if you start beating at sparks with blankets
only to have others accuse you of fanning flames, 

get out before you get so turned around 
you don’t know which doors lead to closets
and which to stairs.

Let yourself go
love what you love.

****

It’s so hard to know, isn’t it, when you should stick with something and try to save it, and when you should walk (or run) away from it because nothing you might do will. It is hard to know when quitting or leaving is weakness and when it is strength.

So many times in my life I have been unable to truly see and understand a situation until I’ve been able to get away from it. We become acclimated to what surrounds us, and we tell ourselves things we want to be true or need to believe in order to be OK where we are.

When I left classroom teaching in 2009, I had a nearly-finished poetry manuscript, plus a folder with about 20 others that I named “divorce poems.” Since 2011, I may have drafted 2 or 3 other poems. (Maybe. It might have been fewer than that.) I think I have a hard copy of the manuscript in a box somewhere, but I’m not sure where the box might be. The folder was digital and its poems are trapped on the hard drive of some long-discarded laptop.

That’s OK. We can’t save all our darlings, can we?

This week I got to go and browse the shelves of my local library for the first time since March 2020. I knew I had missed it, but I didn’t fully feel the missing until I was back there, running my hand along spines back in the stacks. I took a “greatest hits” of Ted Kooser volume home with me, and later, sitting in my living room with late afternoon sun filling the room, I remembered what I first loved about poetry. I remembered that poetry can be made from simple language, about simple things. I remembered that it doesn’t have to be such a big, hard, artistic deal.

I also took a walk with a friend this week, and we talked about survivor guilt. I found myself continuing the conversation in my head long after we finished, and it came out of me as a poem, not prose. What you see above is a draft. It feels a little clunky, too didactic. But this blog, it’s just a notebook. This is what I scribbled in it this week. Words haven’t been coming easily to me lately. There’s a lot of shifting going on. I’ve been happy. The world still feels on fire, and I still care about that, but I’ve been happy, too. I don’t quite know what to make of that.

it’s just past 8:00 on Sunday morning, so I’m going to hit publish on this one. I have food to cook and lessons to plan and some library advocacy work to do. I hope you all have a week that’s good to you.

Washing the dishes

“It’s too late to reverse the damage done to the Earth’s climate. It’s not too late to change course right away to prevent things from getting far worse.

That’s the scientific consensus presented this morning to world leaders by the Intergovernmental Panel on Climate Change. It’s the most complete synthesis of climate science available, based on a review of thousands of research papers assessing how the combustion of coal, oil and gas has altered the Earth’s climate and with it, human destiny.” “The Morning,” The New York Times, August 9, 2021

The dishwasher broke sometime back in late June, when we were so busybusybusy with everything. Over the 4th of July we did some half-hearted appliance shopping, but all options seemed to lead us down a path that would require kitchen renovation and we weren’t ready to go there. We talked about trying some repairs, but that was half-hearted, too. After a few weeks we bought a drying rack–just a small one, it would be good for the things we handwash once the appliance is fixed or a new one is bought. Toward the end of July I suggested that we could use the empty dishwasher as a drying rack for big things. I was joking, mostly, but I know I put a serving bowl in there. It’s probably still there. I’ve gotten used to washing the dishes by hand.

I remember my family’s first dishwasher. My dad bought it for my mom as a birthday gift. You had to roll it over to the sink and connect a hose to the faucet. I remember before that, my dad once setting up a plan in which I would do the dishes and be paid for it. There was a chart. I loved the idea for about a week, and then I stopped doing the dishes. I had choices like that. I became used to having choices like that. I assumed I’d always have them. I couldn’t imagine a reason I wouldn’t.

More than a decade ago, not long into single-motherhood, I got to spend a week in residency at Soapstone, a retreat for women writers on the Oregon coast. For a week I got to live by myself in a beautiful cabin in the forest and do nothing but eat, sleep, walk, and write. And do dishes, of course. A significant part of the Soapstone mission was stewardship of the property on which the writers’ cabins were located; I remember a sign encouraging us to use the dishwasher. It said that it was better for the land than handwashing, which felt counter-intuitive. It said it was better to run a half-full load than to use the water required to wash by hand. Sometimes I washed by hand, anyway, when I wanted just one cup or a particular bowl.

The first house I owned did not have a dishwasher. I bought it with my first husband. We were trying so hard to be adults, but we really had no business being married or owning a home. He was working as a lab tech in a research hospital and studying for the MCATs. I was in my first year of teaching. We were both floundering, in different, separate ways, which is to say: we were in our mid-20s. The sink was often filled with dirty dishes.

Last week I broke 3 glasses, two bowls, and a plate. My husband had stacked the drying rack with too many things, and when I removed a plate the balance of it all shifted and I could not stop the falling. I tried, but I realized almost instantly that there was nothing I could do to stop the shattering. The floor was covered in crystalline shards. It had a kind of beauty to it, and I was a little awed at the sheer amount of damage and at how quickly it happened. I’ve never seen so much broken glass in a kitchen. The bowls and plate are from a vintage set, Franciscan earthenware; they are lovely, but fragile: We’ve now broken at least 7 pieces this summer. We recently bought plates from Target for everyday use. They are not lovely, but they will do the job and I will not feel that I’m losing a tiny piece of history each time something breaks. Our glasses are from Ikea. “I guess I’m glad we got those cheap ones from Ikea,” I remarked to my husband, reflecting on the carnage. This week I wonder if, instead of buying cheap things that we can easily lose, we should buy only precious ones. Would we be more careful if we didn’t have the idea that there’s always more we can afford?

It’s a bit amazing to me now, that my first husband and I were able to buy the home we did, 31 years ago. It’s in a neighborhood that young couples like the one we were then could never think of buying in now. We moved to Portland from Seattle just so that we could buy a house; renting felt like throwing money away, but Seattle had already become unaffordable. Or so we thought. We wanted to live close-in to the city. We wanted an older home with character. We couldn’t have those things in Seattle, but we could in Portland. We left the place that had given us each other to move to one that we thought could give us more. “We can always move back,” we told ourselves. It took us more than 9 months to remove the wallpaper in the living room and paint it. It took 27 for our marriage to end. I have wanted to move back for decades, but I am still here. We had no idea what we were doing.

Washing the dishes recently, I realized I’ve come to like washing the dishes by hand. Something about the soap and warm water, the ritual of it. While the chicken finished baking in the oven, I washed all the things I’d used to prepare it. I’m learning to do this, to wash as I go, in small batches. I like the small, neat stacks on the bamboo dish rack, the cups that fit perfectly on the bottom shelf. I’ve realized we don’t need as many dishes as I once thought. We wash so frequently that we don’t run out of them in the cupboard.

My Soapstone experience was transformative, but not in the way its founders and board hoped it would be. For an entire week, I did nothing but write. I had no children to feed or bathe or stimulate or soothe, no papers to grade, no partner to answer to or tend. I had only to feed myself and write, and by the end of the week I understood in new, deep ways why I was having such a hard time getting anything written. I concluded that writing was something I was going to put on a shelf. I could always come back to it later, I told myself.

I remember being so frustrated by the stacks of dirty dishes in the sink of that first house. I tried to wash things as I used them, but my husband did not. He preferred to let them pile up and wash a big stack at once. He was reading Thich Nhat Hanh, and I remember him telling me something once about being mindful, and how washing dishes was an opportunity to practice mindfulness. I remember wishing he would practice it more. I remember my mind then feeling like a Habitrail, full of thoughts scurrying along plastic tubes and spinning a metal wheel in a mad dash to nowhere. I did not care about mindfulness. I just wanted someone to wash the damn dishes so I could go grade the stacks of essays piled up in my school bag.

I need to say this about my first husband: I was terrible to him, and he did not deserve it. I could tell you the reasons why I cheated on him, all the ways in which I was broken that I now understand and did not then, but none of that matters. I was wrong, and I did damage, and although I can understand why I did what I did and can feel for my younger self the kind of love one has for a child who hasn’t understood the impacts of their choices–I can never fully absolve myself for what I did. I was not a child. I broke something others loved and that I loved, and there was nothing beautiful in it. I would give so many things to be able to go back and choose differently. Do differently.

I remember, after my twins were born, needing to wash the breast pump paraphernalia by hand; the plastic couldn’t go in the dishwasher. I remember my second husband, my children’s father, telling me that he didn’t like me leaving them on the counter to dry. He was afraid they would make his first son, a teen-ager, feel uncomfortable, because, you know…. I remember looking at him blankly, dumbly, numb from sleep deprivation and soreness and constant physical need. I remember looking at him and saying nothing and blinking very slowly, a thing I did with him when I felt overwhelmed. It wasn’t something I did consciously or deliberately; it took me a good long while to even realize it was something I did. I remember him, later, telling me how much he hated it when I blinked slowly. Sometimes things break silently, or so quietly you don’t realize they’re breaking until it’s too late.

“Can we have an agreement to dry the dinner plates immediately, and not put them on the drying rack?” I ask, after the night of shattering. My husband concurs, and that night we wash the dishes together, placing small items on the rack and drying the larger ones immediately.

Sometime in the midst of the first year of the pandemic, I began to feel that home is my holy place. I wondered if I can find something I’m looking for if I devote myself to it. I wrote on my blog that I want to “become a grown-up in ways that I previously have not.” A full-blown book I wanted to write took shape in my mind. I remembered my first husband and his ideas about mindfulness when washing dishes. I reached out to ask him which of Thich Nhat Hahn’s books he would recommend as a starting place, and he replied kindly and gracefully. (We have found our way to a place where such a thing is possible, a miracle I never expected and probably don’t deserve.) He spoke again about dishwashing. “If you find yourself washing the dishes, and you’re thinking about anything else, then pause until you are experiencing everything in the moment. It’s like sitting under a freeway in your mind. Like cars, thoughts will pass through. But if you’re present you won’t get in and go for a ride.” I think of this months later, after the night of broken dishes, when I am cleaning up from a meal, and I want to focus on the washing–the warmth of the water running over my hands, the viscous texture of the soap, the beauty of the pattern on the worn plate–but all I can think about is how this life I’ve lived is so beautiful and fragile I sometimes feel my heart will shatter from it.

***

This is mostly a rough, first draft. I don’t like to share rough, first drafts, but that’s all I’ve got this week. This week was full–of heat, smoke, and dire news (climate, Covid). We went north to visit my parents, so we escaped Portland’s 100+ temps, but it was smoky and still too-warm, even there. I got to have a lovely visit with an old friend and her parents. I had good, long conversations with my parents. My brother looks well. While we were away, the glass top of our patio table shattered. My son, our house-sitter, has no idea what happened. Neither do I; could it have been the heat? Who knows. Some of my patio plants appear to be dead, but the dog is still alive. I take what I can get, grateful for it.

On the edge of the cusp

The morning light shining at the end of the dark hall, a pull to the garden.

Birds twittering, chittering, beating, swooping. Tomatoes swelling on their vines and branches laden with pears. Dusty lavender dotted with bees. Trumpets vines blaring red siren songs to the hummingbirds. The holes where rats come into and out of our yard. (Who does “our” contain?) The hot noon hour when, from the bedroom window, changing out of my gardening clothes, I watch two of them run up the branches of the blueberry bushes and eat our fruit. Brazen. 

Watering the hostas. The ones with pale, thin leaves are fragile, always wilted, their edges constantly crisped. We vow to buy only the ones with thick green leaves now. I consider reserving my water for the strong and letting the needier ones wither to papery remains I can toss without compunction into the compost bin.

The compost bin loaded with thorny sticks, dried up blooms, bristly thistles I pull from the vegetable box: Things I deem weeds, or overgrown, or dead. The sickly sweet scent of rotting kitchen scraps–cantaloupe rinds, probably–wafting upward. I shut the lid. 

Hermiston cantaloupe slices I present to my son at dinner, telling him that I don’t buy the other kind now, the ones shipped here from faraway places, so the time to enjoy these is now. “I don’t like how hard and tasteless they are,” I tell him, speaking of the ones we can buy during other months. “I like cantaloupe firm,” he tells me, and I mumble words about nature and carbon and footprints because I can’t find the right ones for what I feel. I know he’s only expressing a preference for texture but I despair a bit for the future just the same. He’s acclimated to his time, which isn’t mine. He’s never eaten watermelon with black seeds. He’s never spit them out at his cousins, laughing, while sitting at the kids’ table in his grandmother’s kitchen. 

My grandfather cutting cantaloupe on a summer morning as he readies for work, the light shining through the sink window’s short curtains. He sprinkles his melon, soft and vivid as the Hermistons I offer to my son like jewels, with salt. Paul Harvey’s voice is tinny through the radio, and my grandmother is still sleeping in their bed upstairs. I like not needing to say anything, having him all to myself, being cared for only by him, who makes me a piece of toast in the toaster that now sits on a shelf in my mother’s kitchen. He dies of a heart attack at 63. The night he dies, I sleep in that bed with my grandma, in his spot. 

I sit at my kitchen table and read a piece my friend Sharon is writing about grandmothers and canning and writing. About preservation and sustenance. She writes that she cans with words, not food. Then I read my friend Bethany’s piece about doubting the purpose of writing, she who writes multiple books through decades of mothering and teaching. I consider my history, the jars of applesauce my great-grandmother sent to our suburban house every fall that she made from apples grown on the farm, and how three generations later I am only just now, well into a sixth decade of living, beginning to learn how to grow food. I consider the tomatoes ripening in a bowl on the table, the literal fruits of my labor. I consider the one book of poems I cultivated, now nearly 20 years ago, and I wonder if the writer in me is a pale hosta. Maybe she is. Or maybe she is a rat, scratching at survival through blog posts and Instasnippets. Maybe she is an invasive, drought-resistant perennial with deep, woody roots. Maybe she is none of those things and all of those things. Maybe she is everything in the garden–the hostas and rinds and rats and tomatoes and trumpets and weeds and bees, being fed by whatever they can find there, wherever they can find it. It’s a conceit that brings comfort, here on the edge of the cusp of autumn, these brief weeks of both harvesting and fading. 

******

This is another bit of writing that grew from exercises for my class on the braided essay. One exercise was about a journey (my trip down the hallway and into the garden), and one was about using sensory images of a place (or series of places), and I was feeling behind (my own arbitrary and self-imposed deadlines, as the course is self-paced), so I combined them.

I appreciate assignments that require me to pay close attention to my life. It’s been a pretty nothing-special week, on the surface of things, one that I might easily forget. I like that the simple act of listing concrete things I notice took me to a place I wasn’t expecting, and cemented memories I’m sure I’ll return to in the future. (Maybe that, alone, is reason enough for any of us to write.) Time is feeling quite non-linear these days, so present-tense seemed right for the entire piece.

I remember: Elementary school edition

I remember the radiator clanking on a winter day as rain slid down the panes of our second-story classroom windows.

I remember the teacher who kept a monkey in a cage in his classroom. He was never my teacher. 

I remember Mrs. Anderson, who was old and had a crippled foot, playing hopscotch with us at recess, dragging her foot behind her as she hopped.

I remember sitting in a small circle at the front of the room, reading about Dick and Jane and Sally, the most boring children I’d ever met.

I remember Mike, the boy who only drew cars. No matter what we were supposed to be doing, Mike drew cars. 

I remember wondering about Mike, marveling at Mike, envying Mike. He disappeared early in the fall, to go to “a different school.” (No, he hadn’t moved.) I didn’t want to disappear, so I knew I could never be like Mike. 

I remember the lunch cart rumbling down the hallway’s wavy wooden floors. I remember waiting for it to stop outside our classroom door, lining up to push our plastic plates along the cart’s metal counter, and hearing food thunk onto plates. 

I remember salty gravy laced with stringy chicken over a snowball of mashed potatoes, watery green beans dull and flat from a can, wiggly red jello squares, tiny cartons of lukewarm milk. I remember loving the salty gravy.

I remember loving Mrs. Anderson, and knocking on the door of her house one time with my friend Sandy, who lived down the street from her, and how she gave us each a cookie but wouldn’t let us come inside. 

I remember being moved to Mrs. Smallwood’s class in October, and being scared, and meeting Kimberlee and Ellen, and how small the playground looked from the second-floor classroom, and how wonderfully amazing our mail cubbies were, and how glad I was that the grownups had moved me, even though I didn’t really know why.

I remember that happiness was a warm puppy.

I remember coloring a picture of Snoopy while listening to a scratchy record singing about a land where children were free. 

I remember my body tensing when I had to walk to the board to do a math problem, my silent panic every time we raced to do 100 math problems in one minute.

I remember not caring about when the train would arrive. 

I remember the reading corner, with carpet and low shelves and pillows, and reading and laughing and talking there with Kimberlee and Ellen when we finished our work early.

I remember Laura and Mary, Henry and Beezus and Ramona, Freddy the Pig, and Mrs. Piggle-Wiggle.

I remember Mrs. Diefendorf telling Kimberlee and Ellen and I that we wouldn’t be friends when we were adults, and how we called her Mrs. Beefenbarf when she couldn’t hear us.

I remember using jump ropes as halters and being sometimes the horse, sometimes the rider, my hair flapping like a mane the recess I cantered through puddles again and again and again.

I remember sitting through the entire Christmas assembly with wet pants, soaked in Mrs. Smallwood’s disapproval. I remember getting very cold. 

I remember Miss G.’s eyes, narrow slits in a puffy face, and her mean mouth.

I remember Miss G. scolding me in front of the class for reading my own book on my lap under my desk during her read-aloud time.

I remember using stubby nubs of pencils because Miss G. hated them.

I remember sitting on the playground with friends and reading books during recess. I remember Margaret and Dinky Hocker and Alice and Harriet the Spy.

I remember racing the boys on field day, flat Keds slapping hard dirt. I remember winning.

I remember Mrs. Hoffman leaving the classroom and Butch and Mike standing on top of their desks and dancing and giving the finger to the ceiling. I remember laughing, and I remember the principal walking in. 

I remember hating the principal. 

I remember fearing what the principal would do to those boys as he pointed at them from the door and glared at all of us as though we were equally culpable. Maybe we were. Maybe he was, too. (He had a paddle and used it.)

I remember Mike saying he wanted a BJ and I didn’t know what that was and when my friend whispered “blow job” I still didn’t know what it was.

I remember my friend telling me what a blow job is.

I remember hating fifth grade. 

I remember my school closing, the one with two stories and tall windows and clanking radiators and the classroom with the monkey cage, and I remember walking two blocks further to what had been the junior high but was now our new elementary school. It had breezeways, not hallways with wood floors, and my 6th grade classroom was a long, chilly walk away from the library. It had new kids from another closed elementary school. We still ate lunch in our classrooms. Mine had cinderblock walls with only one window next to the door. (Maybe. Or maybe I just remember it that way.)

I remember new girls who wore lip gloss and kissed boys and said mean things about highwaters.

I remember missing the days we played horses at recess. 

I remember asking Allison what highwaters were, and her pointing to the hem of my corduroy pants. I remember wondering how she knew that and why I didn’t.

I remember the boys snapping our bra straps, and no one saying anything about it. I remember craving their attention and hating it. 

I remember asking my mother for a bra, not to support the buds emerging from my chest, but to flatten them.

I remember my mother re-making new pants because any that fit my torso were too short, but my hips weren’t wide enough to support any that were long enough to cover my ankles.

I remember the principal I hated calling me to his office to accuse me of things I didn’t do, to tell me I was nobody, to shame me. I remember feeling shame even though I was innocent.

I remember being guilty. I remember leading a pack of girls in making Donita cry in the bathroom. I remember hating Donita and not knowing why, and hating myself for making her cry, and hating the other girls for following me, and hating Donita even more for crying behind the locked door of a bathroom stall while we taunted her from the sinks.

I remember going to the library every Saturday and consuming books like they were candies. I remembering reading all weekend long to go numb, to pass time, to dream, to escape.

I remember my friend Toni developing full breasts when the rest of us wore training bras, and I remember the day Mr. Buer had us vote on whether or not he should throw Toni’s beautiful map in the garbage because she’d turned it in without her name on it, and my despair at things I couldn’t name as I watched it slide into the wastebasket while tears rolled down her cheeks.

I remember my dad, years later, telling me that it was so hard to watch me lose my confidence as I became a teen-ager and what happened, anyway? 

I subscribe to a weekly email from Creative Nonfiction, which means that I start my Sunday mornings with a usually fantastic read of a short literary essay. If I were going to commit myself to writing in any genre, it would likely be creative nonfiction, as it combines prose with elements of poetry. That’s always been my sweet spot as both a reader and writer.

Creative Nonfiction offers classes, and I recently saw one on writing the braided essay, a subgenre of creative non-fiction that is probably the closest to poetry. It was self-paced, online, and inexpensive. Interaction with others is completely voluntary and can be as little or as much as I’d like. Sold. (They aren’t paying me to promote this. Just sharing something I like.)

The class began this last week, and our first exercise was to do some “I remember” writing. This is something I used to have students do a lot in the early stages of writing because “I remember” freewriting is an easy way to generate material to work with. It’s a way of getting things out without thinking too much, making it more likely that happy accidents and surprises can happen. We had a mentor text (an excerpt from Joe Brainard’s I Remember, a “book length memoir in prose poem form” and now on my TBR list), and the writing above is what came of my exercise.

Although I tend to dance around the question of what I’m going to do if I’m not working as a full-time educator (I don’t want to feel tied down and I truly don’t know yet), I know I want to write more. I don’t have anything I’m burning to write, but I’m pretty sure that if I dedicate some regular time to it, things will start to happen. I suppose I don’t want to publicly declare writing as a Thing I Will Do because that can quickly feel fraught with expectations (from myself and others) and I don’t want them. At any rate, I knew this class would be just the right thing to kick-start me; I do better with a little structure and something to respond to. I think it will prove to be a good use of $30.00. (Enrollment is still open.)

Everything I needed to know about house-staging I learned from writing

OK, not everything. But maybe the most important things?

Cane and I have spent the past few weeks staging his house before putting it on the market. He bought the house three years ago, and if the house had been a metaphor for a manuscript, it was one that would have never made it out of the slush pile. I didn’t see much potential in it, but he did and has slowly turned an unloved rental that had been stripped of any charm into a sweet little cabin/cottage that’s still kinda wonky, but now in a good way. Staging it to realize its full potential has been a labor of love, a project that flexes a different set of creative muscles for me. (It was also a crap-ton of work, as all serious creative endeavors are.) At some point I started thinking about overlaps between the staging process and the writing process, and I realized that things I’ve learned from writing were guiding my actions as a would-be home stager:

Read, study, imitate. I don’t know any good writers who aren’t also voracious readers, of all kinds of texts. And writers read not just for the experience or information of a text, but also to learn how to construct it. We look under the hood of them to see what makes them run, so we can better understand how to build our own vehicles. As a novice house-stager, I gave myself a how-to crash-course primarily by “reading” other staged homes. I stalked Redfin listings to study the photos and dissect the features of both those that appealed to me and those that didn’t. I followed house design hashtags on Instagram and did the same thing, noticing particularly those things that were different between staged houses and those designed for different purposes. Cane and I binge-watched Unsellable Houses, an HGTV show about Seattle-area sisters who transform houses that haven’t sold (even in the hot hot sellers’ market of the past few years). They smash some of the conventional staging wisdom I learned from more conventional sources, and it was instructive to think about how they break the rules and why.

Keep your purpose at the forefront. Even if I’m just writing for myself, I have a clear purpose, and that drives everything about what and how I write. When composing a house, the same principle applies. A house (or any space) is a text of sorts, and what we choose to put in or take out should be driven by what we’re trying to say and why. Cane’s house is a funky little old thing with some features that would be definite negatives for many buyers. It’s also a (now) charming piece of history. (It was originally built as temporary housing for shipyard workers during WWII.) We know that no one is going to buy this house entirely with their head; we need to appeal to emotions. “What’s the story we’re trying to tell?” is a question we asked ourselves repeatedly as we made decisions about what to put it and take out. Closely related principle:

Know your audience (and yourself). The importance of knowing both yourself as a writer and who you’re writing for can’t be overstated. I’ve never aimed to be a writer for the masses (clearly), and we haven’t staged this home to appeal to the masses. That’s partly because it’s just not in us. We don’t know how to do that well, and we wouldn’t really want to even if we did. (We think it would destroy the best parts of this house.) If we had different goals for this project, this aspect of ourselves could be a big liability, but we’ve told ourselves multiple times that we don’t need a lot of people to like the house; we just need a few who love it. We talked a lot about who these people might be, what they might care about, how they might live. Once I realized that I was never going to be a big best-selling writer (for a multitude of reasons), it gave me permission to be the writer I am. We staged this house to be the best version of both ourselves and it that we can create, rather than trying to make both of us be something we aren’t—and we think it’s turned out all the better for having made that choice. (For more on these ideas, check out the work of Seth Godin.)

Draw from a variety of sources. Also, everything is a source. When I’m writing here, I draw upon all kinds of material: memory, experience, other peoples’ stories, poetry, memes, photos, songs, video, etc. Even if I’m working on something that is composed only of words and is based primarily on my own life, I typically cast a wide net and catch everything I can in my first drafts. Some staged houses look as if everything in them came from the same place, but the houses I see that create longing (for me, anyway) have a different kind of look. They’re more layered. There’s a richness you can’t get from a single Ikea run. Much as I usually avoid such places as Target and HomeGoods, I did use those for staging materials. I also used thrift stores, vintage shops, and my own house. I used things in ways they weren’t originally intended to be used. (A shower curtain hides a hot water heater, and an espresso-machine pitcher is a toothbrush holder.) It’s not unlike using a line of someone else’s poetry as a kickstart to your own, or pulling a passage out of a failed draft of something you wrote a long time ago and using it in a whole new way in a new piece.

Edit ruthlessly (and start with more than you need). When I’m writing a first draft, I throw in everything that might work. I try to write without any internal editor whispering in my ear. The real writing—and joy of writing—comes in revising and editing. Although I really know nothing about sculpting, I imagine it to be somewhat like that: first drafts create a block of text, and I carve and shave away at it until its shape emerges. My process for creating a space works much the same way; I am not a person who can start with a finished vision and simply execute it. I have to see how things look before I know if they will work, and I have to try out lots of different things. I brought many things to the house knowing I might not use them. Some of them I really love, but if they don’t advance the purpose, they don’t make the final cut. Also: Less is often more. (Is this last sentence redundant? It might be. I have a problem with overstating points I want to be sure are clear.) I bought rice and beans and flour to fill the jars on the shelves in the kitchen, and then I realized I didn’t need to do that. The purpose of the jars was to help a buyer see how the shelves could work, and the jars alone did that. Adding contents to them would add visual clutter that wasn’t necessary and might detract from the purpose of staging by being too specific. (I’ll spare you a detailed description of my paralysis in the dry goods section of the grocery store, wondering if my choices were screaming “white people food.”)

Three is a magic number. Or, repetition is a friend. And, the magic is in the small things. Lots of people have the same big ideas, and we can all pour out words that express them. What elevates a piece of writing for me, though, is how they are expressed. For me, good writing is like poetry or song; it uses balance, repetition, refrain, and rhythm to create something that is more than the denotative sum of its words. These principals helped me in understanding why something was or wasn’t working visually, and gave me ideas for fixing something that felt off. In writing I pay attention to sound, words, sentence lengths and structures, and metaphor, and in staging the elements were color, size, shape, and texture. As with a verbal text, I had to be careful about how I applied these principals; too much repetition of obvious sounds is sing-songy, and some extended metaphors can become tortured. I had to think about how to avoid that in the visual text of the house’s rooms.

Consider both the whole and the parts. Cane and I generally agree when it comes to design decisions, but we never did agree on a curtain that hides the hot water heater in the kitchen. When he lived in the house, the curtain (sewn by me as a birthday gift) was a gingham-checked number in a bright red, white, and blue. It was totally him, and it fit the kitchen—but I didn’t like it for our new purpose. I thought the red wasn’t the right shade considering the palette that was emerging in the other rooms of the house, and that it created a different feel that (to me) was a little discordant from some of the things we want to say about and through the house. It also didn’t work with some other details in the kitchen. He thought I was over-thinking it. Maybe so, but I think it was my writer-brain taking over. I remembered the writing instructor I had my freshman year of college who helped me understand that each sentence has to lead to the one that follows it, and each paragraph has to do the same. I began to see the house as a novel or essay collection or epic poem, and each room as a chapter or essay or stanza. The details in the rooms were like sentences or paragraphs or lines, and I wanted each part to work not only on its own, but also as parts of a cohesive whole. For me, the original curtain brought to mind the advice that writers have to be willing to kill their darlings.

Collaboration improves the work. And, know your strengths and weaknesses. In my first post-college job I was an editorial assistant, where I learned that nothing we published was ever edited by only one person. “No one can ever catch everything,” my boss taught me. That, along with a writing group I was once lucky to be part of, helped me understand that although the things I write are of me, they are not me. They are a thing in their own right, and their meaning comes from an interplay between my mind and that of readers. To really know if a piece is working or not, we need readers! While there’s definitely a stage in composing where I need to work alone, a finished piece requires feedback from a good reader and further refinement. The same was true in staging this house. Cane is my trusted reader and co-writer, and everything we design is better when we both contribute to it. (It’s also more fun.) We aren’t doing this alone, though. We began with a consultation with our realtor, who knows far more than we do about staging houses to sell, and we’ll be working with a photographer who can do a much better job of creating the images that convey the story of the house than we can. (Sorry I don’t have any of those photos yet to illustrate this post!)

You need a good hook. Many readers—especially now, with our reading habits shaped by online texts—aren’t going to stick around if we don’t grab them in the first few lines. Same with a house. We spent as much time and money on the front yard as we did on the inside of the house. We wanted the story we are telling (cozy, comfortable, down-to-earth, clean cottage/cabin) to be clear (and compelling) from the very first view. We painted the exterior, added a window box, painted the Adirondack chairs, added a trellis, moved/removed/trimmed plants, and added flowers. A lot of flowers, in the same palette we used in the interior.

It will be another week or so before the house goes on the market, so it could well turn out that all this wisdom of mine is bunch of romantic rubbish, but our realtor was fairly wowed when we asked her to give us some feedback this week. It was satisfying work, in a way that I haven’t felt for a long time. It’s worn us out and we’re glad to be finished with it, but it feels like a good kind of tired—which is a welcome change. I’ll let you know how it goes. (And if you know anyone in Portland in the market for a funky little cottage, point them our way. Listing should be live in a little more than a week.)

Just popping in with a quick note…

This week, I was sent a video to watch for work. I was extremely busy, as I have been for weeks now. I clicked the link, a task in a long list I had in front of me for the day, not knowing what it was going to be about.

Halfway through the opening montage of images–visual clips that triggered memories of all we’ve lived through in the last year (schools closing, hospitals overrun, masks, protests over masks and police violence, wildfires, the election, the insurrections of January 6, the ice storm)–I started shaking. Then I started crying. I cried through the whole video. I cried after the video stopped. I rewatched it just now to see if it would have the same impact, and I’m typing these words with tears running down my face.

I was astonished by my reaction. If you had asked me, in the last few weeks, how I am doing, I would have told you that I am fine. Just fine. Busy, but with lots of good things. I might have told you that the pandemic was feeling strangely like something in the past, even as I know it’s still happening. Sure, I’m still wearing masks when I venture out, but I’m venturing out more and more. I’ve been vaccinated. I’ve been back in school buildings. Next week, I have to get up and get dressed and be at work by a specific time because students will be returning to physical school. The events of the past year have been taking on a dream-like quality. Everything is starting to feel and look “normal” again, and the reality of a year ago, or even four months ago, feels unreal. Was it really that bad? I’ve thought.

Once I calmed down, I did a little Googling about responses to trauma, which got me thinking about numbness and my emotional state the past few weeks. When our governor announced, on the heels of the ice storm that had closed schools again, that all schools in our state would be required to re-open on the governor’s schedule, despite any plans we might have been making/implementing, I first felt overwhelmed with anger and anxiety–my typical responses to loss of control–but that quickly changed to what felt like calm. “It is what it is,” I said, and turned myself to tasks at hand, determined to think only about those things over which I do have control.

I also stopped writing here, which felt like relief. It was relief. I did not think it had anything to do with that last blow following on the heels of a torrent of them in February. I thought it was just about wanting to focus on different things for awhile. I’ve been spending my weekend mornings in practical, necessary tasks. And if not necessary, enjoyable–taking walks, puttering in the yard, planning upcoming happy events. I haven’t missed writing at all. I also stopped most interactions on social media, which I haven’t missed at all, either. I enjoy a quick scroll through Instagram (which I’ve curated to be a happy place), but when I’ve gone on Facebook I’ve felt none of the old pull. I remember a time when I wanted to be there, but lately that’s felt unreal in the way the early days of the pandemic have been feeling unreal: I know I had the feelings I had at one point, but I have none of them now, and it’s hard to understand in any sense but an intellectual one why I ever had them. I took it off my phone and feel no desire to put it back.

It had never occurred to me, until I watched the video and reflected upon its impact, that what I’ve been (not) feeling is another variation on impacts of the past year’s events. I thought I was moving on. Instead, I was just getting through.

What I know of grieving is that we have to feel all the feelings to move through it to some better place. Not back to the old place, but a better place than the one our losses have us currently in. I hated how I felt watching that video. I don’t have the capacity, right now, to feel those feelings. I have a lot of things to get through in the next 7 weeks. The morning I watched the video the first time, I didn’t get as much done as I would have if I hadn’t.

Still, there is this: This morning, for the first time since I wrote my last post, I felt like writing. Not this post; I worked on an essay I abandoned more than a year ago. And it felt good, which made me want to write to you, here.

I might have to think more deeply about what really needs getting done by June. In the meantime, what I want to say today is, I hope you’re all doing OK. It helped me to realize that I haven’t been as OK as I thought, and I wondered if sharing my experience might be helpful to you in some way. I’m understanding in a new way that coming out of this pandemic is going to be a process, and likely a long one. At least for some of us.

Two springs ago I planted a vine in my backyard. Last spring, in the early weeks of the shutdown, I was afraid it hadn’t survived the winter. Weeks after everything else had shown signs of coming back to life, the vine was still a network of bare branches clinging to the fence that supports it. I’ve had the same wonderings this spring. As my willow burst into pink buds and my blousy tulips opened wide, the vine showed not even the signs of buds, and I worried a bit. I reminded myself of what I know to be true: It did this last year, and it was alive, even though it didn’t seem to be. But this week, it gave me this:

That’s enough to go on, for now.

I’m still on haitus (or going back on it), but you can think of me as being like the vine, getting ready to bloom again when I’m good and ready. We’re all on our own timelines, and that’s OK.

On hiatus

Because for a few weeks I’ve been thinking about how I haven’t wanted to write lately, and a few days ago I gave myself permission not to write this week unless I wanted to, and then I spent Saturday morning cleaning floors and talking with my daughter and eating German pastries with Cane and taking a long walk in the sun and it felt really, really good to start my day that way, and I’d like to have more spring Saturdays like the one I just had.

Because getting to the end of the school year feels like rounding the last corner of a 440 (as it was called back in my track days), where you somehow have to sprint even though your legs have turned into hot plastic and it feels like you’re about to vomit your lungs.

Because I need a different kind of space and energy, for awhile, as we emerge from our pandemic lives and make our way not back to our pre-pandemic lives but forward into whatever our post-pandemic lives will be.

Because I have three consuming and life-changing projects beginning, and I need to make a lot of things happen in a short period of time.

Because writing, my whole life, has been marked by fallow periods that are just as important as the ones in which words bloom.

Because I can still connect with far-away folks through their blogs or through email or social media.*

Because too much heat and light will kill the seeds of whimsy before they sprout.

Because white space might be the most important element of design.

Because the days are getting longer but life is getting shorter.

Because sometimes even I need a break from my voice.

Because right now I want to listen more than talk.

Because a hiatus is a pause, not a stop.**

I hope you enjoy the spring, whenever and however it comes to you. Take care.

*I have a Twitter account, but I rarely use it. I’m on FB less and less. I’m liking Instagram and accept follow requests from those I don’t recognize unless: a) you’re a guy who likes to post pics of yourself with no shirt on and/or only pics of yourself; b) you’re following 300 gazillion (or so) but you have only 3 followers (like, literally only 3); c) you only have 3 posts; d) you somehow otherwise smell like a bot; e) any of a-d and your account is private, so I can’t investigate further to get a sense of you are.

**I am 99% sure I will resume writing here, and probably sooner than later. If you want to know when a new post goes up, please subscribe so you’ll get an email notification. There’s a place to do that at the top of the right column. I won’t spam your inbox or sell your address or do anything that’s otherwise nefarious or intrusive. Aside from the fact that I find such practices gross, to do those things I’d have to figure out again where in WordPress subscriber addresses are, and I’ve got way better things to do with my time.

Of stories and self-care

This week I received a survey from the State Library and my state’s school library association, with a long list of questions about how the pandemic has affected library services and my work. After inquiring about ebooks, budgets, programming, teaching, safety, staffing, learning management systems, instructional technology, and more, there was this question tucked in near the end:

What is working for you for self-care?

The first thing that came to mind: binge-watching Schitt’s Creek.

I first tried watching it a few years ago, and I hated it. Didn’t even finish the first episode. I tried it again last spring because everyone was talking about it, and I kinda hated it again. I just didn’t like those people, the Roses. They felt like caricatures more than characters, and were of people I’d never choose to spend time with.

“You have to get past the first season,” people said. “It gets better in season two.”

So, last fall I went back for a third time, telling myself I would get through season 2 before giving up.

Now I’m in season 4 and doling out the episodes so they’ll last longer. Somewhere in season 3 it occurred to me that the Roses’ story is a perfect one for this time, when so many of us felt our lives turn upside down almost overnight. (I think March 13 will, like September 11, be a date I never forget.) Can’t we all relate, at least a little, to a family who lost almost everything they took for granted? And can’t we all take some comfort and pleasure in watching the process of them acclimate and put down roots in a place they never would have seen themselves in, much less chosen? It’s already clear to me (if not them) that they are far happier than they ever were in their old life. I hope that by the end of the story, it becomes clear to them, too.

I’d say the same is true for me, as well, living in Pandemic Land. This week, I was in a long Zoom meeting with a colleague/friend I’ve hardly “seen” this year but who was in the school I worked for last year. We had a lot of conversations before March 13 about how to manage the challenges of our jobs and lives. “How are things going?” she texted me afterward. “You look much less stressed somehow.”

I answered: “Sometimes reaching a point of awful you really can’t do anything about gives you a permission to let go that is freeing.”

That night, I fell asleep in front of Netflix’s The Minimalists, but not before hearing and thinking about its primary message: We are so consumed with having physical things that we forfeit the intangible ones that make us truly happy–time, community, creativity, meaningful accomplishment, rest, health (personal and global). There are some things in my life that are hugely challenging–more challenging than they’ve ever been, maybe–but my friend was seeing something true: I am less stressed. I have fewer obligations and fewer life chores and more time than I’ve ever had for long conversations, leisurely meals, neighborhood walks, and serious contemplation. I’ve begun moving through my days at a slower pace, doing what I reasonably can rather than what some unreasonable voice is telling me I should. (No one seems to have noticed or, if they have noticed, to have cared.) That voice has gone mostly silent.

My life–not unlike the Roses’–is much smaller than it once was. There are people and places I deeply miss, but most of what has fallen away I do not. My connections to what and who remains are deeper. I don’t know that I am happier; the departure of Busyness made it easier for Hard Things to come in. But on the whole, I am calmer. I am finding that letting some of those hard things claim space has been easier than fighting to hold the door against them.

I’m glad I went back for a third try with this story, and I’m glad I watched it from the beginning. As is always true, you need the dark to more fully appreciate the light. I’m beginning to love these characters it was easy to hate before I got to know them. I love them more for seeing how they’ve grown. I love the reminder that stories and time have to intersect in the right way; 2017 wasn’t the right time for this story for me. I love, too, a corollary reminder about story: That you just need to tell the story you need to tell, wherever and however you can tell it. The Levys were developing and shopping this story well before the time Roses’ fall might be seen as metaphorical for so many things that have fallen in recent years, and they had a hard time selling it. Once they started telling it, it took a good while to catch on. They just kept telling the story, though, trusting (I imagine) that it was reaching who it needed to.

So, in addition to listing “holding boundaries” and “reciting the Serenity Prayer” as self-care that’s working for me, I also listed “binge-watching Schitt’s Creek.” Spending time with this story is good for me. I hate to think of it ending, but I suspect that by the time it does, I won’t need it in the same way. It’s already imprinting upon and shaping my own. It’s clear that they will never go back to what they once were, and over the past few weeks, as vaccines and political pressure on schools are harbingers of another set of new changes coming my way, I’ve realized that I won’t, either.