We’re in Isla Holbox, Mexico right now with new groups of writers who are exploring, creating, discovering and encountering. Each of our retreats includes a series of prompts, often in question form, designed to get our minds going, to dig deeper and to tap into that river of authenticity that takes us to an open place. We try to write in a stream-of-consciousness kind of way, in a limited period of time. to eliminate the inner editor and just get some words down on paper. In Tuscany 2016, one of the presented questions was ‘What’s my story of praise and criticism?’ Below is my response.
It’s the thing that goes on, the thing I can’t control in other people’s heads and barely in my own, the one that tells me, Good Lord, Woman, haven’t you learned how to pack a suitcase yet? The wonderment at somehow convincing myself that squeezing all of the air out of a space would make it easier to carry, when, in fact, it’s like that thing they say about the Earth, how if you squeezed all of the air out of everything then the planet would be the size of a soccer ball but still weigh the same. And sometimes that’s what I carry. But these things are no longer the driver, but simply the screaming kids in the back seat. I long to be elegant, to never clatter my silverware or trip over my own feet, and if there are lessons to be learned from these distractions, I don’t know, but that’s all they are, distractions. Because age is good for something, and that’s knowing that most things are silly and that there are no somedays. That all you really have is to be here now, and some years are more prone to remind you that it’s time to use the good china and the pretty linen and to wear that dress. You learn that you can’t avoid the dark, and in fact, it’s long past time to seek it out. You learn that sometimes pain is least painful when you crawl inside it, become it, to find the smallest origin of it and expand inside of it until it bursts. To look under the bed and say, hello, monster, come out and play. You begin to see the beauty in the whole, to understand that painters seek the right kind of light not for the light itself but for the play of light and dark. You begin to dust off that heavy trunk in the corner that carries the carefully folded and preserved statements and lessons passed along for the sake of safety or good intention or not such good intention, the collection of proclamations, yellowed and frayed but very carefully kept, the ways you still convince yourself you’re not enough just as you are. You begin to unfold them and see them as silliness, too. Maybe you actually find something in there that can be spun into silk. You invite the shadow on the other side of the mirror to laugh with you, and maybe it does and maybe it doesn’t but you see it for what it is. You cry for the ones who won’t be convinced but then you let it go. You see the falseness and have no patience for it and maybe now that you’ve unfolded some parchment from the trunk and it’s not so heavy anymore, you start to let your impatience show a little more. You stop hiding your crazy. You start seeing through the veil, you start seeing more clearly what is real, what is life, what is love.