Adventus

It’s the season of waiting at church, the Christian season of Advent, the four weeks leading up to Christmas.  For those of us who put up our trees on the 23rd or 24th and leave them through Twelfth Night, waiting has about it a sweet, welcome reprieve from the hustle of the season.  In face of the lights and the piped-in carols (which I can get into as much as anyone, in the right mood), we tell ourselves that we’re marking the season right.  We’re waiting.

But not for too long. This is active waiting, after all.  We don’t want to be caught like the bridesmaids without oil for their lamps.  For several weeks, even before the church calendar clicked over into Advent, the appointed Sunday readings have been concerned—even preoccupied—with waiting, with anticipation, with preparation, with anxiety over what, exactly, we’re waiting for.  And when.

Now I’m conflating here—mixing Advent, with its turning toward Christmas and the birth of the baby in the manger, with eschatology.  But I’m conflating because the lectionary has led me to do so, with its selection of readings for the last few weeks of “ordinary time”—the half-year since Pentecost, the season before Advent.  Just how does this week’s selection—John the Baptist’s call for repentance—fit with the previous weeks’ narrative of Jesus’ talk about the destruction of the temple and coming disaster?

Not chronologically, that’s for sure.  Advent marks the beginning of the church year, so we’re back at the baby, back at the baptizer’s call to repent.  Makes sense.  But in terms of waiting, at least, and preparing a way for the Lord, John’s words seem to herald not only the birth of the Christ child but that grown-up child’s words about what will follow later.

Back in November’s readings, Jesus responded to the disciples’ anxious questions about when, exactly, the destruction he predicted (“not one stone will be left on another,” Luke 21:6) would happen.  He didn’t respond the way they wanted, by telling them a specific date or sign.  Rather, he gave them something more complex.  He warned them to watch out for false prophets (remember all those Y2K scares?) and for earthquakes, famine, and nation rising against nation, and kingdom against kingdom (Luke 21:10).  Before all that will happen, though, he tells them that they will experience persecution and adversity and betrayal.

Then, a week ago, as we turned the corner into Advent and a new church year, into beginning all over again, Jesus was still answering the “when?” question (Matt. 24: 36-44).  This time, by comparing the coming of the Son of man to the coming of the Flood, which “took them all away” as they were “eating and drinking, marrying and giving in marriage.”  Very rapture-esque: “two will be in the field; one will be taken and one will be left.” Stay on your toes, in other words.  After all, the man wouldn’t have had his house broken into if he’d known the time of the break-in.

So, why—if you’re still reading—is this  blog, never particularly heavy with scriptural references, addressing the end times and the Advent season?  Maybe because I’ve become (slightly more) comfortable going public with writing about messy faith.  Maybe because this stuff fascinates me, and in the solipsistic blogsphere, I can write as much as I want.

But I think the real reason—at least the one that came to me first—is that I’ve been revising my novel, sneaking up on a scene I need to write, a scene I’ve been avoiding, a scene I can’t avoid much longer.  “Bear fruit worthy of repentance,” John the Baptist tells the Pharisees and Sadducees as they approach.  Counting on Abraham as your ancestor won’t cut it.  Calling yourself a novelist doesn’t cut it.  I’ve got to write that scene, and make it cry out. 

Bear fruit worthy of repentance. 

What does this mean, should this mean, can this mean, for a writer?

For me, some hesitation at the implied connection.  Is it dangerous to imply that writing can have about it something of repentance, something of grace?  Or, rather, to claim that  it doesn’t?

Every year since 2002, I’ve spent part of Advent on a silent retreat.  Twenty-four hours a day, for up to six days, of silence.  Complete silence.  At first, it took getting used to, especially at meals.

I’ve never brought my writing with me.  It’s a retreat, remember?  And writing is work.  Instead, I’ve brought along books, knitting, Christmas cards to write and address, my bicycle and hiking boots.  Last year, I spent the most memorable afternoon of my four days sitting in a chair watching the light move across Fitch Mountain as a hummingbird busied itself in the bushes.

This year, though, I’m considering bringing some work.  I’m excited at the idea of waking at 7 to write for an hour before walking to the Refectory to eat delicious oatmeal that someone else has prepared.  I’m thinking that, this year, my preparing the way for the Lord might just happen on the page.

And I’m scared, too, nervous that this line of thinking is too self-serving, too indulgent, that waiting should have more of the hair shirt about it.

Hold on.  Writing worthy fruit is the hardest thing I know.   I can’t be like the Pharisees and Sadducees, or the bridesmaids who run out of oil.  I need to make sacrifices, to kill my darlings.  It might not be what the writers of Matthew and Luke had in mind when they cautioned readers to “Keep awake,” but it might mark a start. I can’t wait.

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Back In the (Blog) Saddle

I know.  I’ve posted this before.  And no one likes an excuse.  Tedious, really, and ultimately who cares?  So I’ll just say:  I’m back.  Thanks to Meghan Ward (of Writerland), I’m sitting down this Friday morning to post here.  “Are you still blogging?” she asked me yesterday at lunch at the Writers’ Grotto. “Every time I go to your blog, it’s the same post.”  (She said this in the nicest of ways, really.)

It is, indeed.  Imagine having a friend repeatedly drop by for a visit and never being there!  That’s a little how I felt.  Plus, I realized that Meghan’s question had reminded me how much I enjoyed blogging before I stopped.  I didn’t mean to stop.  I just did, because too much else was going on.  Oh, wait, no excuses, right?

So here we are.

Now I just need a topic.  (And don’t worry, I won’t go on for 600 words without one.)  I’ll grab at what feels foremost right now:  Gratitude.  That’s right.  It’s an overused concept, and not in the right way.  By that, I mean:  it’s all over women’s magazines, self-help books, polished rocks carved with inspirational words.  But the real thing?  How much of it do we see, feel, embrace?  We can all use more, right?

I am grateful to Meghan, for the nudge.  To The Grotto, for community and laughter and Fred’s damned good coffee and Stephanie’s loaning me The Goldfinch and Ethel’s wonderful reading last night and several people’s support in a tricky, potential icky professional situation.  For Ethel Rohan, for writing Goodnight Nobody.  To Monica, for being excited about teaching a class with me next winter.  For K, too, a student who worked hard on his manuscript and placed it with a national literary magazine. For my nephew, who just left a voice mail asking for the details on Grandma’s (that is, my mother’s) Brussels sprouts–do you brown the butter before adding the nuts and sprouts?  For Leslie, for inviting four of us to Mexico with her for her 50th birthday.  For my husband, C, who tells me how much fun he has with me—and for, after three-and-half years of sharing love and life with him, the fact that I actually believe him.  It’s not that he’s not believable; it’s that the lifelong pattern of being told I can be something other than fun has taken its toll.  For the fun we had last month on the Circle Line boat tour of Manhattan.  For visiting a national park during federal shutdown and not missing a thing.  (We took ranger on his advice:  “Just be smart.”)  And for each one of you who reads this.

It’s good to be back.

Lady Liberty from the Circle Line:

Lady Liberty from the Circle Line

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Stealing

As you can tell if you regularly read this blog — and if you do, you have my undying gratitude! — I’ve been remiss in my posting.  Vacation; a week of teaching; deadlines…and well, here we are in August.

I’m gearing up for my first Grotto class this weekend, What We Talk About When We Talk About Stealing.  The name, of course, is stolen from Raymond Carver’s classic, and I’ve had such fun re-reading it (again) alongside Nathan Englander’s masterful “WWTAWWTA Anne Frank.”  And revisiting gothic retellings of Red Riding Hood and Bluebeard in Joyce Carol Oates’ and Angela Carter’s stories. 

What makes a successful steal in writing as well as on the infield, of course, involves stealth. Yes, the best examples make their homage clear—by title or obvious re-use of a line of dialogue or character situation.  And then they move past mere stealing to make a new point of their own with resonance and originality.  We’re not talking about plagiarism here.

It’s difficult to steal.  I’ve tried, for years, to write a late-20th-century version of Edith Wharton’s “Roman Fever.”  How closely do I adhere to what transpired between Mrs. Slade and Mrs. Ansley?  Or is just the situation–two women in a foreign city with a secret between them–rich enough?  I made headway when I could use the “staging” of the original but infuse the friendship with a tension particularly to my characters and not Wharton’s. 

What fun to plan a new class!  And yes, how anxiety-making, too.  But it’s the “good kind of anxiety,” as a therapist friend calls it.  You know, where I wake up wondering if I’m trying to cram too much into a five-hour workshop, or not allowing enough time for students’ sharing their work aloud, or if I’ll have to face 12 faces staring at me blankly.  Where I’m excited, too, hoping for the magic that can happen in the classroom.  I’ve had some bad teaching days, but many more good ones, and as I pull my notes together this Friday morning, I’ve reminded of the joyful surprise I found in my first-ever class, all those years ago at UC Davis:  I love teaching!

A short list of “steals”:

Blue Beard—”The Bloody Chamber” (Angela Carter)
Red Riding Hood — “Where Are You Going, Where Have You Been?” (Joyce Carol Oates) & “Company of Wolves” (Angela Carter)
“The Overcoat” (Gogol) — “The Overcoat II” (T.C. Boyle)
“Hills Like White Elephants” (Hemingway) — “Good People” (David Foster Wallace)
“What We Talk About When We Talk About Love” (Raymond Carver) — “What We Talk About When We Talk About Anne Frank” (Nathan Englander)
“Parker’s Back” & “Everything That Rises Must Converge” (Flannery O’Connor) — “Idols” (Tim Gautreaux)
“Lady with a Pet Dog” (Chekhov) — “Lady with a Lap Dog” (Joyce Carol Oates)

And, of course, novel versions such as Wide Sargasso Sea, Ulysses, Grendel, East of Eden that make use of literary forerunners.

Please:  Add to the list!

 

 

 

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How Revision Brings Us Closer

This first Friday in July, I’m thrilled to offer a guest post by my friend and colleague Monica Wesolowska. Her memoir, Holding Silvan, will blow you away.  And she’s got some nifty insights here, too. 

Thank you, Monica!
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At a recent reading from my memoir Holding Silvan, a friendly young man in the audience asked how I’d managed not to be angry or bitter in the book about the people who’d failed me while Silvan was alive. I had to laugh. I could have said the memoir just came out like that because I’m naturally a lovely person, but catching my eye from the second row was Lindsey Crittenden. Lindsey’s in my writing group.  She read my rough draft.  She and I both know it wasn’t that easy.

Holding Silvan is a love story, one that I couldn’t write for years. Silvan was my son. He was a beautiful baby—physically perfect with his olive skin, long lashes—but he was severely brain-damaged during birth. My husband and I chose to remove him from life support and let him live his brief life in our arms. It was an agonizing loss, but a beautiful death. That is the raw material, the true story, upon which my memoir is based.

For years, Silvan’s story remained just that: a private memory. Sure, I talked about Silvan to the people in my life. And I had the diary I kept while he was alive. But those versions seemed too raw, too sad, too angry for strangers. When the story did come popping out, a terrible silence usually followed as if I’d given, as they say, too much information. And that only made me sadder and more angry.

So what compelled me to make the leap from personal to public story, to reveal all to strangers? As a writer and a mother I suppose I felt that Silvan’s story belonged in the world. We never could have made the choice we did alone. And I wanted to test it again, to ask ourselves these questions: Did we really love Silvan well? Was his death a “good death” for him as well as us? And would revealing the hidden story of choosing to let our son die really benefit the living?

One day I was ready. Eight years had passed when the rough draft rushed out. With the strength of distance from my story, I sat tight as Lindsey and my writing group went through that first draft line by line. They teased me for writing about Silvan as though he were the most beautiful baby ever. They chastised me for writing as though I’d behaved better in crisis than anyone on the planet ever had. They questioned me as a narrator, someone who’d been changed enough by my own story that I had the wisdom to come back and tell it. They did all this by crossing out a word here, a word there, asking me to be more and more specific.

OK, so maybe they weren’t really teasing or chastising, but it felt that way.  At first.

Writing is a solitary act, but language itself puts us into communion with others. The more closely I worked with my own language, the wider my world became. And that, I told the young man in my audience, is one of the gifts of writing. I wrote myself right into compassion. I saw how closed we all can be. And I realized the power in my story was less my grief and rage and more my love. Here, my book says, is Silvan. You can hold him. Come on. Don’t hesitate. Now’s your chance. Hold him the way we’d all like to be held in the end.

—Monica Wesolowska

 

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Formula One?

Before beginning the post itself, I’m happy to report that my piece on agreeing to disagree on matters of faith is in the July/August issue of Spirituality & Health, hot off the presses!  As I write this, the piece isn’t yet online, but I hope it shows up there soon.  Otherwise, you can look for it the old-fashioned print way.

Here’s the post:

Saved cats.
Two pillars.
Four themes.
Three juggling balls.
Eight points.
A snowflake.

No, it’s not a found poem, though it could be.  What these six items have in common?

They’re all formulas for story structure.  I put out a call yesterday at the San Francisco Writers’ Grotto, where I have an office, for advice on what to do.  I’m stuck.  Stuck.  Stuck.  Stuck.

Plot-structure-wise.

I’ve revised my novel (not for the first time) and have about 75 pages go to.  I’ve written those pages already, but I know they’re not working.  I need to think outside what’s already written.  I need to try big changes.  I need a formula.  As wary as I am of reductive  formulas, I’ve decided one or two might help.

I’ve tried outlines and timelines and index cards and flowcharts.  Now I envision scattering them in the air, like playing cards in a game of 52-Pickup or Smoke, Smoke, Fire.  Seeing where things land, seeing if new connections form.  Does the queen have to follow the jack?  What does she look like next to the 2?

I’m holding my deck, ready to fire. My Grotto colleagues have come forth with quite a few good recommendations—the Plot Whisperer, Robert McKee’s book on screenwriting, Blake Snyder’s book on screenwriting, and others.

I’m not starting from scratch. I’ve got my story, my conflict, my characters, my anguished question (what all successful fiction starts with, Wallace Stegner reportedly said).  What I don’t have—yet—is a clear, compelling climax and resolution. I’ve got several ideas for one, and it’s hard to see past them to something new and clarifying.

Part of the problem is that I’ve got more than one protagonist.  I’ve got four characters with “death stakes,” four characters with their own discoveries to make.  Yes, they’re interrelated, but still.  Every see a ball of tangled yarn?

But here’s the thing:  I’m convinced that the solution lies in that tangled yarn.  That the cat’s cradle of Eileen & Jeremy & Chris & Naomi will, once I find the pattern, knit together the right ending.  So I’m looking at pattern books.

I’d love to hear what’s worked—or not—for you.

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