for Mom

My mother kept a diary about her pregnancy in a small pink book with a baby bear on the cover. Once, when I was twelve or thirteen, she let me read part of it. It recorded her increasing weight (she gained only twenty pounds), a list of possible names (Casey for a boy, Mandy or Ashley for a girl), as well as her trip to the hospital, but she closed the book abruptly before we got to that part. “But it’s about me,” I protested. “You can read it when you’re older,” she said.

A few years later, when I was home alone, I slid the book out of the cabinet in my parents’ bedroom and flipped to the pages recording the delivery. In tidy handwriting with a blue ballpoint pen, my mom had written about the moment of delivery and about my dad’s blue eyes filling with tears. “We have a baby girl,” she recorded him saying.

As I type out this old memory, it seems fairly mundane. The page from my mother’s book could describe any birth, any blue-eyed man, any baby girl. But at seventeen, alone in my parent’s bedroom, I’d felt my face grow hot and my intestines squirm. The intimacy of her girlish scrawl, the careful record of her husband’s words–it had never occurred to me that the story of my birth might not be about me.

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I was born two months after her twenty-second birthday, two weeks early, just over seven pounds, and long. “You were real long,” she says. “That’s what the doctors all said. You were small, but had these long, skinny legs.” I came out with my mom’s spindly fingers, and I grew into the same skeleton, with pronounced wrist and ankle bones and poky, asymmetrical ribs. I have my mom’s nose and sometimes her laugh. When I wash my face before bed and lean in close to inspect my pores, her face haunts my mirror.

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On CWILA, writing, and raging feminism

Last week I told my friend Erin that, when I grow up, I want to be a raging feminist. Of course I’m already grown up, but I’m starting my part of the CWILA count today and I am increasingly convinced this is important work–that I can’t teach or write without being aware of the larger literary world. This instinct is reinforced when my male students protest that they can’t identify with a female protagonist and I worry that I don’t have the credibility (I’m another woman writer after all) to effectively critique their myopic views. I don’t want to be angry in my feminist rage–that’s the easy part–I want to plow through the assumptions that underlie such comments.

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The Globe and Mail in 2011

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my CWILA assignment

When I was a kid in rural Virginia, it was easy to accept that feminism had swept through a decade before and accomplished its goals. As the daughter of both coach and cheerleader, I played rec-league flag football on Tuesday and stood by the varsity girls with my kid-size pompoms on Friday nights. At eleven, I was deemed old enough to drive the tractor so I could help with yard work, but I was not yet allowed to pierce my ears. My sister and I modeled our ambitions after both parents, playing school (like Dad) and office (like Mom–who earned more and worked longer hours). I could see that most administrative assistants were women and most doctors were men, but I believed this would change by the time I reached adulthood. The plan was working.

But now, twenty years later, I am less sure.

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The Next Big Thing: what I’m working on

One whole month ago—honestly, we’re probably closing in on six weeks at this point—my friend (and talented novelist and poet) Lisa Pasold tagged me in the literary-blog-chain-letter called “The Next Big Thing.” The premise is simple: a bunch of writers all answer the same questions about their most recent project. Though I don’t go in for many internet trends, I thought it might be a good exercise to take a big-picture look at this project, so I happily agreed to do it.

But I didn’t do it. I don’t know why exactly, but every time I looked over the questions, I felt myself wither under their expectant gaze. They wanted answers. I wasn’t sure I had any, especially after reading the articulate musings of my colleagues around the web. I wanted to read all of their books. But I’d spent the previous two weeks feeling slightly nauseous every time I opened my own project—how (or better yet why) would I convince someone to read something that was making my own stomach turn? So, in the grand tradition of writers everywhere, I postponed.

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A retreating glacier. Wait for it…it’s relevant.

Then last week something unexpected happened: a bunch of strangers started reading this blog. When I began blogging a year and a half ago, my only goal was to establish a small but public home for the book I’ve been working on. The surprising side-effect of keeping a blog was that my friends and colleagues began asking me about my writing. Their interest and curiosity was motivating, reminding me that the very solitary act of writing also has some community-minded goals. I write to understand something about the world, but also to connect with readers—both friends and strangers.

Until last Monday, most of my readers were friends, and, when I got an e-mail from WordPress saying they were “Fresh-Pressing” my blog post and that I should “get ready to welcome some new readers,” I didn’t take it too seriously. (When it comes to internet-ing, I tend to know only what I need to to get by.) So I was pretty shocked to discover, when I logged on a few hours later, that hundreds of people had visited my blog, and they were reading and commenting and subscribing. (!) It’s a bit strange and a lot exciting to see your audience quadruple over just a few hours. And while I’m with it enough to know that, in the wide world of blogging, these numbers are actually quite modest, I’m f-ing thrilled. I am.

The comments are thoughtful and kind. And the interest seems genuine. Isn’t the internet supposed to be more hostile and embittered than this? Reading the comments, I sometimes find I don’t always know how to respond in a way that seems genuine rather than hollow. I don’t know how to convey warmth I feel toward a stranger who is represented only by a few pixels and a few words. But I’ll say it again here. Thank you, good friends and total strangers, for making my writing world just a little bit bigger. If there was ever a time to buck up and answer a few questions, this is probably it. So here goes: Continue reading

“Your Story is Not New”: On attending a memoir retreat

“The amazing thing about a memoir retreat,” I said to my friend Claire yesterday.

“—is that they exist?” she finished.

“No.” I laughed, then paused. “Well…maybe. I was going to say the amazing thing about a memoir retreat is that, in the course of a few minutes you get to know someone in a way that otherwise takes months or years. You say, ‘What’s your writing project about?’ and they tell you their big story. The thing they haven’t figured out yet. They thing they can’t get over. The most difficult experience they’ve ever had. It’s instant intimacy. And everyone—I guess because they’ve already made the decision to write about themselves—is just incredibly open.”

Many people, I think, will be quick to dismiss the idea of a memoir retreat altogether. And while no one has said this to me yet, I can imagine what they might say: “Why on earth would it seem like a good idea to bring together a bunch of narcissists and say to them, ‘Write more about your own trivial experiences! Publish them!’ Why would we—in the era of blogs, and Facebook, and Twitter—encourage even more oversharing? And why would we dare imply that that oversharing could be literature?”

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the view of Icicle Creek from Sleeping Lady Resort

The amazing thing about this particular memoir retreat–Wild Mountain–was that everyone I met had already asked that essential question: “So what?” And even if some folks didn’t yet have an answer, everyone understood, implicitly, that they needed one. No one seemed interested in what Susan Shapiro termed “upbeat anecdotal slices of life.”

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Lately I’ve been struggling with a minor revelation regarding my own writing: I’ve got to be more honest—to bare more, to be more vulnerable—if I want people to read it. And being more honest requires more me in the book. It means, like it or not, that what I’m writing is a memoir. There’s just no way around it. Continue reading

On sleeping with people

Nathan was the first boy I ever slept with—and I mean that in the most literal sense: for a few hours we slept side by side in a king-sized hotel bed. I was in ninth grade, he was a year older, and we were on a school trip to Gatlinburg, Tennessee—a town of airbrushed t-shirts and kettle corn and laser tag, the kind of place where, at fourteen, you could run around safely and the world might seem open to you for the first time.

Some kids were hanging out in his room and Nathan had to be up early the next day, so he knocked on our door and asked if he could stay. I said yes, thrilled. I remember the next few moments like a scene from a movie: He neatly folded down the blanket, leaving the top sheet in place. He told me he would sleep on the sheet and I should sleep under it. Then he pulled off his shoes and climbed into bed, still in his jeans and t-shirt. I shrugged, as if whether he slept in our room or his, above or below the sheet, were minor details to me, as if I already knew what it was like to lie so close to a boy with my eyes closed.

I didn’t have a crush on Nathan, at least not before he knocked on our door. And any lingering attachment I might’ve felt after quickly reverted to friendship. The real thrill of that night was in the domestic intimacy of the moment, the way it was both taboo and comforting to lie there beside him. Even now as a card-carrying adult, I still love that—the warm mass of another body under the covers, a companion in the ordinarily solitary act of coming to consciousness.

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Growing up, friends were only allowed to stay over on school nights if their parents were away. These sleepovers seemed special, better than the Friday night pajama parties, as if it was the most extraordinary thing to go about picking out clothes and eating cereal and catching the bus—all in the company of a friend. The mundane rituals of morning were somehow transformed by the presence of an outsider.

I’ve always wondered why “to sleep with someone” is a euphemism for sex, when so often sex has little to do with sleep and sleeping is very unsexy.

One night when J and I had just met, he called and said, “You should come over.” Continue reading

January roundup: love and memoir

It’s ten degrees celsius in Vancouver and today I saw a woman drive through the alley behind my apartment in a sea-foam green convertible with the top down. Convertibles tend to stand out in a city where most people buy rain tires, but what made the woman particularly remarkable was her chinchilla fur hat and her passenger: a chihuahua in a chihuahua-sized baby blue Snuggie®. His erect posture and casual gaze made the dog look like he was accustomed to being chauffeured and the two of them made a funny picture idling beside the butcher-shop dumpster.

In my Vancouver literature class, my students and I have been talking about Vancouver as a postcard city, and the discrepancy between the real and the ideal. The woman in the convertible struck me as someone who somehow hadn’t noticed she was in the city of gore-tex and yoga pants and Subarus, a character in a story set in a different Vancouver than the one I live in. It was a few hours later that I wondered if anyone who writes about her own life can really criticize someone for making herself a character (even if said character purchases dog Snuggies). If nothing else, the book I’m writing is about my inherent tendency to narrate my life as a way of making some larger meaning out of it.

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postcard city

With that in mind, here’s your late January early February (I’m behind) round-up of love and memoir:

  • I really love this essay in Modern Love about the postcard kiss and the difficulty of letting a good story be nothing more than a good story:

He walked me to my car, and we kissed in the parking garage, under orblike yellow lights. It was a still kiss, a postcard kiss, a Disney princess kiss, the kind of kiss that makes blue cartoon birds chirp and swirl in the sky, their beaks holding garlands.

And this is exactly where the story should end. It should cut to credits, and the music should be triumphant but soft. Your last image should be of the young girl and the handsome poetry-writing boy frozen in a movie kiss. You should brush the popcorn off your lap and leave the theater smiling because everything worked out the way you knew it would. You can leave remembering that time when you were young and lovely, and things like that could happen.

(From “When the Words Don’t Fit” by Sarah Healy) Continue reading

the terror of gay marriage: my favorite love story of 2012

Ever since reading Zadie Smith’s essay “Joy” in the New York Review of Books (if you read no other link I post, read this one), I’ve been thinking about her definitions of joy and pleasure and how each relates to love.

Smith begins:

It might be useful to distinguish between pleasure and joy. But maybe everybody does this very easily, all the time, and only I am confused. A lot of people seem to feel that joy is only the most intense version of pleasure, arrived at by the same road—you simply have to go a little further down the track. That has not been my experience. And if you asked me if I wanted more joyful experiences in my life, I wouldn’t be at all sure I did, exactly because it proves such a difficult emotion to manage.

(I so love how she essays.)

I’ve been thinking about my dog, Roscoe, who is my most regular source of joy, which Smith describes as “that strange admixture of terror, pain, and delight.” I was nervous about this when I decided to adopt Roscoe: that committing to care for and, by inevitable extension, to love another creature would open me up to all sorts of uncomfortable risks. I rationalized this to myself by hoping that by the time Roscoe reached old age, I’d have a child, and this child’s existence would somehow make the death of a dog more bearable.

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Maybe the timing was right for contemplating my dog’s mortality because on the morning I read Smith’s essay, Roscoe had awoken with a cough. He’d never had a cough in the three years I’ve had him, and when you wake late with a foggy, New-Year’s-Day headache and hear an unfamiliar deep hacking sound, you can’t help but panic. At first I was sure something was caught in his throat. I had no idea what it could be or how it might’ve gotten stuck there during his sleep but I nonetheless pried his jaws wide and shoved my hand in. Sticking your fingers down a dog’s throat must be an act of love. That tongue is the same tongue that licks dumpster juice off the pavement on rainy mornings. That is the mouth that chews chicken skin and cat feces with equal gusto.

I don’t know why, if it makes my heart shudder to hear my dog cough, I’ve ever imagined it would be a good idea to have a child. My relationship with Roscoe is mostly uncomplicated. He eats and sleeps and walks and gnaws on a cow femur. And I sit on the floor by his mat when I have papers to grade so he will rest his chin on my lap and make the work just slightly less tedious. Sometimes I ask Roscoe if he loves me, and he responds to the over-emphatic, joyful tones of my voice with a floor-thumping of the tail. Surely, it is not so easy to trick a child into such a display of love. Even now, with my sister and me well into adulthood, our family holidays accurately reflect Smith’s picture of joy: there is a small measure of pain, and terror, and delight.

It seems that joy, by its very nature, must contain the possibility of loss. And the greater the risk, the greater the joy. Smith’s distinction between joy and pleasure reminds me of the distinction Continue reading