Tiny Stories, Tiny Tales

taking a siesta

I've been using all my brain cells for the fiction I've been writing. Now's the time to sit down and write here. It's an off day for me today. I have no scheduled writing program for myself.
I'm starting to learn the habits of writing. It's funny how hard it is for me to do the things I most desire. But that's how it is. I'll easily give up my writing time and process by saying I'll go to lunch with a friend, or I'll go and do a chore- get clothes or food. I haven't yet figured how to balance all this out. With a normal job, you'd say, I have stay here, I can't go out and spend a few hours in the middle of the day with a friend. No, you work. And you wouldn't say…hmmm…we really need milk and this and that and I'll just go out and do this and then come back and do my job. Nah-uh. Because no matter how many times I promise myself that I'll get back to my writing after I do all these things, I can't. I mean, I can but it's like dragging ten dead oxen to their burial ground ten miles away in the burning heat (like that metaphor, huh?). Writing is hard enough. Why add ten dead oxen in the burning heat that you have to drag single handedly? Right. So.
This is my process without the oxen. I get up (the earlier is always better) and I go downstairs, get myself some breakfast and proceed to read something. I always have novels and biographies and somebody's letters going on so I read one of those. Then I take my shower, dressed, etc. So okay, I've eaten, I've read, I've cleaned myself. Sometimes, after I clean myself, I have to clean my house just a little! So I sweep or vacuum or wash the dishes. Then I leave. I take my keys, shut the door behind me and go out on my walk. Sometimes, I just meander through the neighborhood. And it's a pretty nice neighborhood. It's old and well cared for and I haven't even walked to the end of it. Everyone has flowers out and lawns trimmed and trees trimmed. The neighborhood is old enough (before 1900) that every house is different. Different architectual styles, different renovations, different landscapes. So I meander all through this. I meander past the fascinating houses that tell all sorts of curious possibilies about their owners and I go past the ship-shape ones and the ones where people live so intensely in them that there's barely time to do yard work.
And that's where my mind chatters to itself. I try to get myself to think about what I'll write next but lately I've stopped doing that and just let my mind think about whatever it needs to. I just tell my sub-conscious to simmer on things. “You, think about what to write next about so-and-so,” I tell it. And since it's my sub-conscious, I don't get a response. But it's there because everyone has one, simmering on whatever…sub-consciouses simmer on. I walk for about an hour, or I go down to Fabyan park, next to the Fox River, take some knitting and take a walk that ends up on me sitting at the base of a very large sculpture. Sculpture? It's some conconction of Fayban's. He lived around the turn of the century and was a whacky millionaire. He left scatterings of sculpture all through his property and the one I sit on is one of the few that still stands. It's a tall pillar with an eagle on top. Very ugly, very huh? But it makes a perfect seat. And I sit on that and it sits on an island. So I look out at the river and knit and people jog and bicycle past. There are moments that I spazz out thinking, “OH MY GOD, I NEED TO RUN/BICYCLE/JOG/WORKOUT TOO!” but that simmers down and I just think about my characters in the shade and knit row after row.
Then it's home and time to write (minus the ten dead oxen).
Obviously, this process takes time but it's really the process that works. If I don't take a walk before I work, I find myself getting all twitchy in the middle, with the attention span of a gnat. So I just gotta walk. And if I don't eat before I do anything else, I get to feeling pretty strange and dizzy (don't worry kids, I know why I get dizzy if I don't eat) so I just gotta eat. as for the reading…well, it's a way to get a jump start about all sorts of interesting thoughts!
So there you have it. Catherine's writing process. A day of. It's so damn easy to split the process up and to go and do other things. And that happens more than I would like it to. But I'm getting to know what works, what doesn't. And the morning really does work. The morning is a fabulous free time and I'm growing to love it more and more. The panic I used to wake up with every morning is receeding and I'm finding if I get up in the morning and go to bed at night, then I don't need naps. Novel, right? Hah. It's sad to give up the night-life but I do so love the mornings.

It's been good to chronicle this. Thanks for reading.

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I Have Wine and Moon and Flowers: Reading Su Tung-P’o During a Pandemic

As we watch spring growth overtake last year’s dead bracken and grasses, there is both consolation and brutality. This year’s greenery melds with disease: the emergence of flowers entangles with the blossoming of a pandemic.

While the novel coronavirus rages through communities, our lives have shrunk down to fit the small rooms and little neighborhoods that we must now be still in. What do we do in this diminished space? What do we see?

 

6th Moon, 27th Sun: Sipping Wine at Lake-View Tower

 

1

 

Black clouds, soaring ink, nearly blot out these mountains.

White raindrops, skipping pearls, skitter wildly into the boat,

 

Then wind comes across furling earth, scatters them away,

And below Lake-View Tower, lakewater suddenly turns to sky.

 

2

 

Setting animals loose—fish and turtles—I’m an exile out here,

but no one owns waterlilies everywhere blooming, blooming.

 

This lake pillow mountains, starts them glancing up and down,

And my breezy boat wander free, drifts with an aimless moon.

 

Su Tung-P’o (trans. David Hinton)

 

As the great poet Su Tung-P’o knew so well, we see our own natures in everything. The outside world becomes a reflection of our own states; though if we can still ourselves enough as we gaze out, a depth opens and time becomes immaterial.

A master of reflection and stillness, Su Tung-P’o 苏童 lived nearly one thousand years ago and is considered one of great poets of the Song Dynasty. He led a brilliant and varied career as poet, politician, writer, calligrapher, painter and aesthetic theorist. Due to his outspoken and opposing views on the government, he was jailed and sent into exile on three separate occasions.

After his experience in jail and subsequent exile, his poetry evolved and deepen and his surviving work reflect his delicate, painful relationship with loneliness and desolation.

 

Moon, Flowers, Man

 

I raise my cup and invite

The moon to come down from the

Sky.  I hope she will accept

Me. I raise my cup and ask

The branches, heavy with flowers,

To drink with me.  I wish them

Long life and promise never

To pick them.  In company

With the moon and the flowers,

I get drunk, and none of us

Ever worries about good

Or bad.  How many people

Can comprehend our joy? I

Have wine and moon and flowers.

Who else do I want for drinking companions?

(trans. Kenneth Rexroth)

 

To help alleviate the sufferings of a difficult life, he became the devotee of Zen Buddhism and his poetics reflects the practice of the “beginner’s mind,” the ability to meet each experience with equilibrium and a “spontaneous and crystalline responsiveness.”

 

At Seven-Mile Rapids

 

A light boat one loan leaf,

a startled swan two oars—

 

water and sky are pure clarity

reflecting deep. Waves smooth,

 

fish roil this duckweed mirror

and egrets dot misty shorelines.

 

We breeze past sandy streams,

frostfall streams cold,

moonlit streams aglow.

 

ridge above ridge like a painting,

bend beyond bend like a screen.

 

Here I think back to

Yen Tzu-ling’s empty old age,

 

lord and recluse one dream.

Renown’s empty then as now,

 

just mountains stretching away:

cloud mountains erratic,

dawn mountains green.

 

Out of his poetry emerges a beautiful balance, the ability to look at both joy and sorrow with gentle tranquility and wry amusement.

 

At Brahma-Heaven Monastery, Rhymed with a Short Poem of Crystalline Beauty by the Monk Acumen-Hoard

 

You can only hear a bell out beyond the mist:

the monastery deep in mist is lost to sight.

 

Straw sandals wet with the dew of grasses,

a recluse wanders. Never coming to rest,

 

he’s simply an echo of mountaintop moon—

light coming and going night after night.

 

(trans. David Hinton)

 

Su Tung-P’o’s poetry illuminates the beauty and loneliness running throughout ourselves and Nature. His work becomes a sort of map for this strange new world we find ourselves in: isolated yet surrounded, weary but still observing, cut off but yet deeply involved.

 

After T’ao Ch’ien’s “Drinking Wine”

 

3

 

This little boat of mine, truly a lone leaf,

and beneath it, the sound of dark swells:

 

I keep paddling in the depths of night, drunk,

pleasures of home, bed, and desk forgotten.

 

At dawn, when I ask about the road ahead,

I’ve already past a thousand ridges rising

 

beyond ridges. O where am I going here,

this Way forever leaving ever returning?

 

Never arriving, what can we understand,

and always leaving, what’s left to explain?

 

(trans. David Hinton)

 

Tides of Snow and Ice

This winter has been a continuous series of freezes and thaws: it’s the warmest winter on record, the tenth one in a row. A more usual winter starts with a deep freeze and then stays cold for months. Instead, snow falls, piles up and vanishes; rises up again and retreats, now falling as rain, swelling rivers and creeks. Rain and snow mingle together until everything runs with water; hillsides and flat-sides are coated in a deep, dark mud.

I stopped on my walk today, halted by a sudden flash of gold. The sunset rays were falling into a tiny puddle spanning the space between the root and trunk of a maple. The puddle reflected gold and silver on top and below was dark mud, black and brown, full of microorganisms and other tiny creatures unseen by the human eye. I briefly considered putting my hand to the shining surface. It beckoned, winking like a diamond, but pull of my walk was irresistible and I continued forward. 

Mud is for March and April, mud so thick and heavy that it can pull shoes off and make them disappear like a magic trick beneath the solemn and still brown. Mud in February is a strange slight, an awakening that shouldn’t be occurring yet. It’s all the more cruel because even though the temperatures rise, they inevitably dip into the single digits and everything freezes solid. Many times I’ve spotted squirrels and tiny birds on the creek’s ice, searching for openings to drink from.

During this particular thaw, the creek casts off ice, it’s center opening like a dark cut. The water sings as it cascades over the rocks, proclaiming it’s momentarily relief from the grip of winter. In Scandinavian folklore, there is a belief that given the proper offerings, a creek could teach a human how to play the most bewitching music. I crouch down near the creek, record a video of it singing on my phone and replay its music in the evening while lying on the couch. I should give something in return for the pleasure of its song and I consider. Perhaps some lavender buds I have stored away for a certain recipe, or a small pinecone I keep on a shelf to admire, or birch bark I retrieved from a favorite tree cut down years ago. 

The next day I return, and after waiting for a few dogs and their owners to pass by, I crouch next the side of the creek and sprinkle lavender buds into the small, clear stream. The buds vanish as soon as I drop them into the water– as if they never existed. I drop some more in and the same occurs; they’re gone before I can blink. The current flows by, washing over stones, fleeting by banks of mud, until it vanishes around the bend where the pine trees tower overhead.

As I gaze at the water, first downstream and then upstream, my own self quiets, stills, and momentarily dissolves into the landscape. The relief, though short, is palpable. Alone becomes together and perhaps that is what’s this practice of thanking the creek has been about all along.