Sick Day

Sickly characters hold a certain romanticized (sickly) appeal.  Mary Lennox in The Secret Garden.  Mary Ingalls (once she went blind) in the Little House books.  Jane Eyre’s pious childhood friend Helen Burns.  Beth in Little Women.  Joan Didion in her essay about migraine, “In Bed.”

I thought of them all this morning, as I lay propped up with an ice pack on my forehead.  Husband slept solidly next to me, dawn light edged the curtains, and I had to throw up.  Yes, a migraine—though not nearly as severe as Didion’s.  Mine was banished with a pill, a trip down the hall, and (finally) sleep.

When I woke up able to lift my head, it was 8:15, not so late but late enough to feel indulgent.  Why not spend all day in bed?  The vision passed before me, tempting and luxurious, and with it the memory of my mother’s cinnamon toast and a pile of books at my side.  I stayed home from school a lot as a child. I had a lot of sore throats and ear aches, but I often exaggerated my case.  I stuck thermometers next to the light bulb and forced pathetic coughs.

My mother knew when I was faking it, but usually let me stay home.  “Only you know how you feel,” she’d say, which went straight to my conscience, but I stayed home anyway.  Was I trying out for some martyr role?  I didn’t even like Little Women, and had always preferred Laura to Mary.  But the opportunity to stay in bed and read all day—TV was forbidden on a sick day—trumped any guilt I felt.

There’s nothing romantic or luxurious about real illness, of course.  Mary Ingalls didn’t choose yellow fever in a ploy for attention, and Mary Lennox, once she landed in England’s green and pleasant land, perked right up—and became more likeable, too.  The worst I suffered was strep throat and a brief bout of mumps when I was too young to read.  Most of the time I stayed home to hide out, to avoid whatever unpleasantness lay in wait on the playground.  I read as escape, as salve. And, soon enough, I wrote, too—usually detailed alternate realities involving a popular girl named Kim who attended boarding school.

When a migraine has passed, it leaves in its wake heightened focus and clarity, as though the brain’s wires have been recharged.  The person who got up at 8:15 this morning was not the person who had stumbled, groaning, into the kitchen for a glass of milk with which to take the migraine pill at 5:05.  Once I’m up and making coffee, the vision of a sick day has faded.  Still, it remains, no longer the only option but one that’s handy to keep in reserve.

What about you? What’s your guilty “sick” day pleasure?

 

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A Utility Porch Of One’s Own

Like many writers I know, I’m lucky enough to have an office at home.  For years, I wrote at a desk in a corner of the living room in whatever apartment I had at the time. (I wanted to keep the bedroom free of clutter, at least in theory.) When I moved into the flat where we now live, I felt like I’d graduated to writer heaven. No more hiding pages when company came over by throwing a colorful Guatemalan blanket over the entire desk.  I could close the door!

Since then, I haven’t needed to go elsewhere to write.  Sure, a month-long residency in one of those cool new cottages at Djerassi or Virginia Center for the Creative Arts can always appeal.  But a room across town, even at a good rate?  Why would I need that?

Here’s why.  At the end of the previous paragraph, I got up to shower.  Then I applied a facial peel, followed by a mask.  I filed my nails, trimmed my cuticles, examined last week’s pedicure for signs of slippage.  I carried the damp towels to the laundry line to dry in the sun, I tossed the bathrobes in the washing machine.  I watered the plants on the deck.

A shower, OK.  But the rest?  Optional, at least when it comes to the morning hours, aka writing time.  But when I’m at home, too often, these duties present themselves.  It’ll just take a minute.  I’ll be right back.  I’ll keep writing in my mind as I do the dishes, scrub the tub, trim the potato vine.  Uh-huh.

A few months ago, on a hike with other writers, I heard about a possible sublet available in a flat of writers’ offices on Sanchez Street.  I pushed aside the little voice saying Indulgent, indulgent and decided to give the sublet a try.  On the days I go to Sanchez Street, I often don’t get there until 10 or 11.  By the time I get dressed, pack up my pages and my laptop and a lunch, drive across town, and park, the morning’s already halfway over.

Ah, but here’s the thing:  I keep writing past when I’d stop at home.  Duties do not present themselves.  Laundry, dishes, grocery-shopping, nail-care…all of it fades away.  The UPS man doesn’t ring the bell and ask if I’ll sign for my neighbor’s delivery of new golf clubs.  And not just those external distractions.  At the sublet, I feel, in a way I don’t at home, an inner spaciousness that lets me focus for longer amounts of time.  I hunker down, just like (come to think of it) residencies in the past.  I get a lot done.

The space at Sanchez Street is small, decidedly unglamorous–a former utility porch, but with windows onto a sunny back yard.  Other than that?  A plank desk, bookshelves, a lamp, a chair.  That’s it.  I arrive, note the time (so I will remember to get up in two hours to move my car to avoid a $65 parking ticket), and get to work.

Sure, I notice the peeling paint on the wall, but I don’t stop there.  I don’t think Uh-oh; water damage? What’ll that cost to fix?  The jagged holes made by long-gone screws don’t send me to the closet for spackle.  And when I go outside to move the car or get a coffee at the corner shop, I feel anonymous.  I never knew this block of Sanchez Street before, and I enjoy the feeling of blinking, like a mole, upon emerging.  I recognize no one, and no one recognizes me.  I’m here for only one reason.

Some years ago, Ron Carlson told me, “When I ask to read your novel, I won’t care where you wrote it.”  Perhaps that’s one reason I’ve always felt slightly indulgent paying good money (as my mother would say) to rent a work space when I already have one.  Kind of like throwing out limp carrots when so many people go hungry.  Where I write doesn’t matter as much as what I write.

And yet, being in a place where no one can find me has improved the material.  (Or so I think; we’ll see what my readers have to say). The other day, on my two-hour break to move the car, I phoned my husband.  We were still talking when I entered the sublet space.  Talking there felt weird, invasive.  I went outside into the sunny garden to finish the call.  “I love you.  Talk to you later.”  And then I pushed the power button, went inside, got to work.

Speaking of which, it’s already 11 a.m.  I better get going.

What about you?  Where do you write?  How do you shut out the world, wherever you are?  Or do you?

 

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The Moral of Pierre

Most people think of Where the Wild Things Are, appropriately enough.  But this week, hearing on the radio that Maurice Sendak had died at the age of 83, I thought first of Pierre, the petulant child of the eponymous “cautionary tale in five chapters and a prologue.”  Pierre, at 48 pages, was my favorite book as a pre-schooler.  I’m told I carried it everywhere, evidence of which shows itself in the tiny book’s ripped jacket, signatures loose at their sewn bindings, a few spots of discoloration (spilled apple juice?).

Pierre made up one of four slim books, each the height and length of a playing card, which comprise the Nutshell Library.  I still have my set, in its little box, fetchingly illustrated with the books’ characters, decorative acorns, and smiling gargoyles.  Chicken Soup With Rice.  Alligators All Around.  One Was Johnny.  Pierre.  All I need to do is pick up the box, open one of the books, and I’m back in 1964.  More vivid than Mad Men, and with rhymes and illustrations.  Mix it once / mix it twice / mix that chicken soup / with rice. The yellow lion held upside down by the doctor and shaken, Pierre tumbling out onto the floor.  Alligators looking snooty, snouts held high. And my favorite, Pierre pouring syrup on his hair.

All four Nutshell books teach.  One Was Johnny is a counting book; Alligators All Around presents the alphabet; Chicken Soup With Rice teaches the months.  Pierre teaches a moral.  And the moral of Pierre is:  Care.

I think I loved Pierre so, took it everywhere, because its teaching didn’t happen with numbers and months and letters (which I already knew), but through story.  Instead of a list (of numbers, letters, or months), we get narrative development.   Yes, the story has a lesson, but first, there’s all that good stuff.  Pierre being a glorious, bratty kid.  I knew what it felt like to pout.  I knew how irrelevant my parents could sound with their adult statements of cause and effect.  And sometimes, like Pierre, I just didn’t care!

In absorbing Pierre, I lived vicariously.  What child doesn’t fear abandonment and death?  I’d never had my parents leave me home alone or a hungry lion stop by and ask if I’d like to die.  But Pierre does, in a turn as dark as that of any Grimm tale.  And Pierre’s reply?  You got it.  “I don’t care.”

Mom and Dad come home, find the lion in bed with indigestion, surmise what has occurred and rush to the doctor, where Pierre is shaken loose and intact, like Jonah from the whale.  And, like Jonah, Pierre has learned his lesson.  Mom and Dad do love him.  Even the lion—death itself—is tamed, brought home to stay.

At two or three, I found some solace in this happy ending.  At two or three, I must’ve read the book over and over to see, once again, how it happened.  Not only Pierre’s lesson but Sendak’s story.  Conflict, crisis, resolution; reversal straight out of Aristotle.  And all in 48 pages, five chapters and a prologue.  No wonder I took it everywhere.

Yes, I like the Wild Things.  But I love Pierre.  Godspeed, Mr. Sendak, and thank you.

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No Trees Felled, But a Terrific Evening

If you read this blog last week, you know that my story “The Art of Fiction” was read last Friday at Stories on Stage in Sacramento.  What a wonderful evening–and I’m not saying that just because my story was featured.  Of course that was a treat.  But what really made the evening special?

Interesting, friendly people gathered in a room on a warm valley night to be read aloud to.  Valerie Fioravanti welcoming us all as if to her own living room.  Terrific performances by Pam Metzger and Benjamin Ismail.  Meeting Julia Halprin Jackson, soon to graduate from the UC Davis graduate program in creative writing (where I studied sixteen years ago), and hearing Julia’s terrific story “Big Dog.”  Picking up some of Julia’s postcards with 100-word stories on them.  Reconnecting with a friend from college whom I hadn’t seen since 1984, who came to the event with her husband.  Meeting Tim Foley, editor of the literary magazine Farallon Review.  Dark chocolates with sea salt sprinkled on top.

On my way to I-80 west and home, I drove past sweet Victorian houses (complete with large trees and lawns) and fantasized about moving to midtown Sacramento.  Images of walking to story readings every month in a summer sundress floated through my mind.  Homemade lemonade anyone?  It’s amazing how quickly those grass-is-greener fantasies take root, isn’t it?  And yet nothing felt fantastical about the warmth and community spirit last Friday evening at the Sacramento Poetry Center–people who care about words gathered to celebrate the primal pleasure of hearing stories read aloud.  I drove home wearing a smile. Stories on Stage, thank you.

Click here to watch Pam Metzger read my story “The Art of Fiction.”

 

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If I Gave a Reading in the Forest, and No Tree Fell, Would Anyone Buy a Copy of My Book?*

While in grad school, some seventeen years ago, I taught my first class and gave my first public reading.  Both were nerve-wracking—I practiced for days, reading aloud  from pages marked up with little arrows and accent marks.  You know, slow down, look up, even take a sip.  I’ve always been one for preparation.

When the time came, though, once I’d quelled the butterflies and got through it live, I discovered my inner exhibitionist.  After years of being the shy girl, the quiet bookworm, guess what? I loved to talk to a room of people, loved to hear myself read my own words aloud.  Over the years, I’ve stopped practicing as neurotically as I once did, though I still make tick marks in the margins of what I read.

I’ve never, however, heard someone read my work aloud.

Until tonight.  Tonight, in Sacramento, at Stories on Stage, as part of a series in which professional actors read stories by (mostly) local writers, Pam Metzger will  read my story “The Art of Fiction.”  I’m honored to have my work chosen, and I’m eager to meet Pam and the other featured writer, Julia Halprin Jackson, and hear her story read by Benjamin Ismail.  I’ve posted updates and invitations to my Facebook page, emailed writer listservs, and tweeted the event.  I’ve bagged copies of my books and decided what to wear, jotted down a few words to introduce the story (an abbreviated version of what I blogged a few weeks ago.

Now what?

Drive up there, smile, listen.  Easy enough.  It’s thrilling—and a bit nerve-wracking—to anticipate hearing someone else read my words.  Will she get it?  Will she know where to drop her voice, where to speak up?  C’mon, Lindsey, I tell myself; she’s an actor.  She was a radio announcer for twenty years.  She knows what to do with words.

We know, when we publish a piece of writing, that it’s going out into the world.  We know that others will read it.  Some will like it, some will love it, some will hate it, some will be bored by it.  I’ve had the experience, during a reading, of watching people walk out mid-story and of seeing others look almost alarmingly engaged.  Our words take on a life of their own.  They no longer belong only to us.  And that’s a good thing.

Last night, walking home from class with my husband, I mentioned that the event showed a low number of Whose Coming names on the Facebook invite.  “What if only two people show up?”

“You have to be zen about it,” he said.  He is not someone who often speaks in new-age platitudes, and I bristled slightly.  Where was the coddling?

“I’m just telling you I’m nervous,” I said.

Years ago, I attended a reading by a published, not-very-famous-but-respected novelist, the kind of writer referred to as “a writer’s writer.”  The event was scheduled for 7 p.m.; by 6:55, only a handful of people had showed up, including the store rep and a local publicist.  The novelist cast baleful looks at the store rep, who tried to maintain composure and a “let’s make lemonade out of lemons” attitude.  The novelist wouldn’t have it, canceled the reading.  I bought her book anyway (which wasn’t very good), and felt embarrassed on her behalf—but not just for the poor showing.  Whether two people or two hundred show up, they’ve made an effort to be there and they deserve to be treated accordingly.  As Alan Jones, former dean at Grace Cathedral, used to preach, Embrace a theology of abundance; reject the theology of scarcity.  And he wasn’t talked about number of seats taken.

So I’ll be zen about it.  After all, it’s not my event.  My story will be read, yes—but so will Julia’s.  And two actors will be performing.  However few, or many, people show up, we’ll make a community.  A community that values words and storytelling and bringing characters to life.  It’d be nice to sell a book or two, but that’s not why I’m going.

As a reader or a listener, what public readings have you most enjoyed? Dreaded? Found excruciating?  Walked home from on cloud nine?

*with thanks given where thanks are due

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