hope

I have been on the verge of tears all morning. Not for any particular, concrete reason, but more for the cocktail mix of circumstance and conversation.

I'm at the Centre today. I haven't been here much this summer and my residency ends next week. I am one for being nostalgic for times while I'm still living them, and this morning has been infused with missing my time here. Only a few more days I get to spend in this wonderful office with such a lovely view. I've already seen one stag galloping across my view and I hope I see more.

There about half a dozen fellows leaving the Centre at the end of August and this morning I spent chatting with a couple of them. We spoke of Gaza, Ferguson, First Nations rights, death, birth, middle age, and health, all within an hour. Then we went to the Coffee Talk where we talked about the rights and safety of sex workers in Canada along with those who seem to have an interest in them--for good and bad. I teared up during this talk, partly fueled by this morning's nostalgia and conversation, and partly thinking of the girls (yes, mostly girls and not women, sadly) who worked the stroll near my home in Edmonton, as well as Amber Dawn's incredible memoir How Poetry Saved My Life.

There is so much in this world that feels helpless, that feels futile. But there is hope. Sometimes hope is all there is. It doesn't seem like enough. It isn't enough, but if we don't have hope we have nothing.

It's been an exhausting morning, and I haven't really done anything yet, but talk and listen.

I have three full days left in this office, and one of them will be used cleaning it up, getting it ready for the next Artist in Residence. Oh, I'm going to miss this place, this space, these people. But I'm also looking forward to the next chapter in this life adventure. What's next, I wonder?

deer and stones

Today is the fifth anniversary of the deaths of three very special people. On the first anniversary, I was by myself at the Wallace Stegner house. I went for a walk and came across three young deer. It was, of course, just a coincidence, but I longed to give meaning to their sighting. Also on that day, I read Louis Glück's Autumnal and threw three stones into the stream that ran behind the house.

Yesterday, I was at the beach with two of my children. I also threw three stones in the water, saying my lost friends' names in my head as I did so.

This morning, as I entered the parking lot at the university, I saw three deer. Again, I know this is a coincidence. Deer at UVic are like pigeons in almost any other city. But. But, still. Of course my mind makes connections.

I pulled Louise Glück's Collected Poems from my shelf and reread "Autumnal." That poem, deer in triplets, and stones in collections of three now, and probably always will, remind me of my young friends and have become symbols of their loss.

We can't help but make connections. We create narrative, find symbols to comfort, to ease ourselves through difficulties. It may be irrational, but we do what we can, don't we? I count deer, read poems, throw stones for this loss.

There are other losses, though. One only months old, another impending. I don't know yet what I'll reach for to guide me through their grief. But something will, won't it? Something must.

the fears of reading

As I mentioned earlier, I’ll be reading from my The M Word essay on Thursday night at Russell Books. I’ll be honest with you, I’m fairly nervous. Nervous because, while usually I love to read my work and know I can give a good performance, I’ve only ever read poetry. Not only this is prose, this is memoir-prose. And it’s not funny, or light. No, the essay I’m reading, “What Can’t Be Packed Away” is about loss.

Here I am in the airport, writing this, after a rush visit with my parents in my home town. Rushed, because my father was brought to emergency late Thursday night with heart failure. He’s home now, much better than the when he went in, but I will tell you that when rereading my essay to see what sections to read on Thursday night, I have a pang of guilt.

In the essay, which is largely about the fear of loss of my children, I wrote:

My father has been diagnosed with a terminal neurological condition. He is seventy-six. I know I should feel sadder than I do, but I can’t help but think: yes, this is how it should be. We hate to use the term, “old,” but yes, he is old. He is elderly. Of course, we would like another ten or twenty years with him, but I can’t help but whisper gratitude to the universe for choosing him over one of my children. This is how my superstition works.

And now, here I am, leaving from seeing my father so close to his own death to read to a group of strangers from this essay, I feel uneasy. It will be difficult reading an essay that explores the death of children I knew and the imagined deaths of my own children with this paragraph and my recent experience with my father so fresh. Frankly, it feels like I’m tempting fate.

I’m not shy about death. I think we need to talk about it in the world much more than we do, that we need to open about grief and loss. It is the only thing in life that unites us—we will face the deaths of those we love, we will die ourselves.

I’m reading Wallace Stegner’s All The Little Live Things right now and there is a lot about death in the book, a lot of talk and philosophizing. There are about two pages worth of quotes I’d like to copy out for you, but I’ve chosen this:

“It’s right there should be death in the world, it’s as natural as being born. We’re all apart of a big life pool, and we owe the world the space we fill and the chemicals we’re made of. Once we admit it’s not an abstraction, but something we do personally owe, it shouldn’t be hard.”

I don’t agree with Stegner’s character Marian, here. I think it death is always hard (though hard isn't the right word, either), but I think there should be more ways in this world to help us with death. Death doulas, choices, and more rituals/ceremonies, but this is a big topic and one for an essay, I think.

Now, I hope I haven’t scared you off coming to the reading tomorrow night. The M Word is an exceptional anthology, so many important essays in it. Please come and join the conversation.

"when we talk about mortality we are talking about our children"

On Reading: Blue Nights by Joan Didion

I read Blue Nights by Joan Didion over the last two days. A deceptively slim book, it is rich and heavy. Last summer I read her The Year of Magical Thinking when I was devouring grief narratives. I had bought Blue Nights at the same time, but The Year of Magical Thinking was so devastating, I didn't think I could handle this one as well so soon.

The Year of Magical Thinking is considered a memoir about the death of Didion's husband, while Blue Nights is considered a memoir about the death of her daughter, but I don't think this is true. Yes, Quintana's death is an important part of the narrative, but Blue Nights is a meditation on mortality and Quintana's is used as a lens through which Didion views her own.

Didion's realization that her own death is coming, that her body is failing her, that she is becoming frail is beautifully revealed. A slow dawning, and perhaps an acceptance, to a degree, in light of her daughter's death.

There is much circling in the prose, returning to phrases and images, that makes Blue Nights feel almost like a long poem. I felt very much like I was privy to Didion's thought process, they way her mind now works, something that she's figuring out now.

The Year of Magical Thinking was so clearly about death and grief, while Blue Nights is more elusive. It's about mortality and mourning, which Didion clearly shows, is not the same ad death and grief--it's a fine line between them, but it is a line.

It's also about parenthood, while YOMT was about a marriage. The former messy and rich with loss, the later idealized. Perhaps it's not fair to compare the two books this way as they are much more different than they appear on the surface, but it also seems impossible not to. Blue Nights is an incredibly intimate book, but I didn't find it devastating. I had expected to, and am thankful that I didn't, but I'm also not sure why. Is it because Didion's revelations are my own? Or they are so removed from my own? I'm not sure, but I know I'll return to Blue Nights, probably sooner rather than later.