Come see about me: graduation day

First “Can’t Hurry Love,” now this? Must be something about The Supremes that keeps me coming back. But this is the song that my blog’s been singing to me, sometimes pleading, sometimes mournfully, over the last year or so—it’s a song that online writers and bloggers know well. The frequency, the immediacy, of online writing is a difficult siren song to ignore.

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It’s been almost four years since I started Kikugirl, and a lot’s happened to me since then: most of it surprising and unexpected and wonderful. I am still so grateful to this blog. It’s been my Batsignal, a homing beacon—to my surprise and delight, it’s brought me into contact with women I never met but who knew my dad very well. It’s been my playground, where I’ve been able to run around and climb different structures and spin around until I’m dizzy. It’s been my laboratory, where I’ve been able to experiment. It’s been my yoga mat, which keeps reminding me that process and practice are just about everything in the writing life: the labor and the reward, the despair and the joy. It’s been my megaphone, and brought me into conversation with other writers and other platforms like Discover Nikkei and Avidly. It’s been my place to store pieces of my book project, to muse about this new writing life. And it’s been my life in the fourth degree, the MFA degree in English that I’d never had the guts to pursue until now, but perhaps the degree that I wanted the most after all.

I’m still here, I’m still writing, but most of my writing is now published elsewhere. How amazing is that?

This summer I’m going to turn this site into an author website, with the blog still attached. I’ll update the blog still, especially as I turn back towards the book project this fall. I’ll be, as my dear friend Renee said, an author with a blog as part of my online presence. Typing that sentence, just now, makes me think that though I haven’t finished my book project—the “own private MFA” thesis?—I’ve written my way into being a writer, which is just about the only way it’s done. It doesn’t feel or sound strange to say that I’m a writer anymore, and I don’t feel the need to introduce myself with a preface of what I was.

Hooray for commencement, then: it’s graduation day. I’ll be back. Thank you again and as always for reading.

 

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On writing and braising

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One of my happy places: Elliott Bay Books in Seattle

“If I were reading you like a novel, it makes perfect sense.”

My friend Megan was trying to comfort me; I’d been lamenting about not-writing, again.

“You reached a solid point with your book, and right now you’re taking a break. Things need to percolate. Or maybe think of it like this: it’s like braising. You’ve seared the meat, and sealed in the juices, and now it’s time for the long, slow braise.”

She was speaking in terms of books and food, which helped.
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Over the last couple of months I’ve stepped away from the book, and I’ll probably be away from it for a little longer. I took a day job, a short-term contract gig for a few months. It’s a big project, but it’s interesting, and it uses my skills and background from higher education. I’ve been lucky enough to only take freelance gigs for organizations and causes that I support, and this is no exception. The job is flexible and remote—meaning, I get to work from home, or a cafe, which is where I am now. It works particularly well with our family life now, where Josh is working in Seattle, the girls are at various schools, and I’m at home keeping domestic and culinary wheels running. I get to work with the college staff, who are clearly dedicated to the college’s mission. As I think many community colleges do, this college walks the talk of accessibility and diversity. Though I’ve had to step away from my own book, I’m also comforted a bit by the prospect of bringing in a paycheck, as small as it might be. I didn’t realize how much I wanted to contribute to our household income, and how that contribution satisfies part of me.

And yet. I haven’t been working on my book. I’ve been collecting links for the book again, about how we read on the page versus how we read on the screen; about how the jail at Tule Lake (where I think my grandfather may have been held for a time) is being renovated and restored. I’ve added a few book-related books that I want to read, especially Deborah Miranda’s memoir, Bad Indians, which works with some of the issues in my book: intergenerational trauma and revising history. (I recently got to meet Deborah and it was wonderful.) Not much writing, though.

The good news? My dreams have been working hard in the emotional territory of the book.
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When I say “my dreams,” I mean the kind that happen when you sleep, not the fluffy pink and gold dreams that appear on inspirational posters. I’ve been dreaming again. I’ve been sleeping the kind of sleep that’s less interrupted. I’d always been a pretty good sleeper until things started to fall apart a couple of years ago. Then I began to expect my 3AM wakeups, lasting for at least half an hour or more. Eventually, I’ve started sleeping better, and I’ll tell you this: better sleep has meant better dreams.

When I say “better dreams,” I don’t mean happier dreams, necessarily. But they’ve been vivid dreams, realistic dreams with a dash of fantasy, where I can see and hear, and where I’ve told people—within the dreams!—that I’ve had dreams about them. I’ve woken up trying to remember enough to write them down.

Each time I wake up from these dreams, I am scared or surprised or shaken, and sometimes all three. Each time I wake up from these dreams, I find the same message blinking in my mental inbox: my subconscious creating dreams is a path to writing fiction. Dreams contain elements of what might and what might not happen, based on familiar characters and unfamiliar settings. (Exhibit A: a dirigible appeared in one of these dreams, followed by a record store. Nope, ventolin tablets I’ve never been in a dirigible. Unfamiliar. But I haunted Tower record stores for almost 10 years while Josh worked there. Very familiar.)

The subconscious piece explains, at least in part, why I’ve been terrified of writing fiction, even though writing novels represent my ultimate fluffy pink-and-gold dream. To write fiction I will need to venture into territory that’s even more frightening than memoir. This vivid place, this subconscious place of the visceral, the physical, based on a combination of real-life scenarios (scenes, details, conversations) and what may never be…that is where I am already writing fiction. If I am stuck thinking about stories as moments, just moments, rather than the series of moments which lead up to moments…well, maybe that’s the trick to rethinking my approach to writing fiction.

If my subconscious is already writing fiction, surely my conscious mind can write it too. I am terrified of writing it—I’ve never taken a class in writing fiction, although my friend Ann insists that my reading novels has been my class in writing fiction. I am terrified of the necessary, repeated failure that is bound to come with creating something new. I am terrified of the inevitable gap (as Ira Glass puts it) between the quality of what I want to write and the flabby, shitty first drafts that will emerge as I write fiction.

I am going to disappoint myself, over and over. I just need to keep my head down and commit to the work. Fiction is writing based on endless possibilities—which terrifies me the most—and it’s writing with the most freedom.

If I had a new career goal, that might be it: to write, and embrace that kind of freedom.

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Latest Writing News and My First Giveaway!

Since I last wrote a post, one of my essays was translated and reprinted in a few countries—an unexpected and lovely gift, thanks to the Discover Nikkei Project of the Japanese American National Museum. I’ve also been reprinted over at Avidly’s series about the writing life, a wonderful online magazine about loving things “with intense eagerness.”

Last but not least, I was happy to write a blurb for the latest edition of New California Writing 2013, where the nice folks at Heyday Books called me (squeal) an “author and food writer.” As a thank you for the blurb, Heyday sent me two copies of the book, one to keep and one to share. So, I can give one away. It’s a wonderful collection of some of the best recently published writing about California. Here’s what I said about it:

This edition of New California Writing has so many things that I miss the most about my home state: a vision of beauty from the redwoods and Point Reyes to the desert; an awareness of the abundance and the human costs of agriculture, through winter deserts and peach orchards; a wicked delight in probing the geographies (and faultlines) of diversity, from Mojave Indian Barbies to sushi and black-eyed peas. Established writers like Joan Didion, Robert Hass, and Julie Otsuka inhabit the same space alongside emerging voices. Each page-turn gives us another rotation of the maddening and breathtaking kaleidoscope that is California.

Giveaway rules: Leave a comment below if you’d like the “to share” copy and I’ll draw a name via the Random Number Generator on May 15th. Fill out your e-mail address in the form–you do not need to include it in the comment box, though. For now, I need to limit the giveaway to the US. If you are under 13 years old, please ask your parents to fill out the comment form. One entry per person. The deadline for entries is May 15th, 2013, 12:00AM PST. I will post the winner (and contact them for a mailing address) on May 16, 2013. I was not compensated to give the book away.

It’s all about the reach

When I moved to Seattle in 1998, it wasn’t the rain that bothered me. It was the light, or the lack of light, especially in midwinter. (It was a particularly bad winter, the natives told me: an El Niño winter with hard rains. But the winters after that never felt very different, to be honest.) See, all those years in California, I used to time my dinner prep by the setting sun. Then I found myself finishing my Seattle dinners in November by 4:30PM. And oh, I missed the sunlight. There’s a reason Josh calls me a kitty—when the sun’s out I will close my eyes, stretch, turn my face towards the warm light, and all but start grooming myself, it makes me so happy.

It’s taken years for me to adjust to the Northwest light, but I think I got closer to fine this year. We bought full-spectrum light bulbs, and I started using them to help me wake up at my bedside table in the mornings. We painted our living areas sky blue and cheery yellow.

More importantly, the grayer the skies became, the harder I looked for color in my everyday life. Looking back at my photos from this year’s autumn,  I can see the patterns that a windstorm will create in the fallen leaves on the ground. I can see how luminous the dahlias are in September, how the pumpkins in October just glow in my daughters’ arms, how the filtered sunlight enlivens the red and yellow maples, just so.

This year’s photos showed me color, light, life. You couldn’t really see how gray and dark the skies had become.

Or, since color is relative, the colors were that much brighter because the skies were so gray and dark.

This year I finally learned the lesson of the solstice: it’s not about raging against the dying of the light. It’s about reaching for as much light as you can, every single day. When mid-December arrives, It’s about welcoming the return of the light, each minute by sunlit minute.

I’ll be back next year. I hope you will too.

(P.S. My essay about my family’s sukiyaki recipe was chosen “a very close second” in Discover Nikkei’s Itadakimasu series. You can read the essay and the generous comments from the Editorial Committee here. Happy New Year, everyone!)

What do I want out of writing?

It’s like the proverbial lonely tree falling in the forest: if you write an essay and it’s not published anywhere, does it count? (For what?) What does publication mean in a digital age where publication can be as easy as hitting a button?

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A few weeks ago, I wrote something, and showed it to Josh. He knew that I was still doing my song-and-dance around the scary stuff, around the difficult and true place where I have to go for the book. I knew that I’d have to go farther. He was right. So I did. I went farther down the path where I was supposed to go: towards the gut-clenching, the cold hands, all of that. I did it, and I think I wrote a good piece. It feels true.

Here’s another way I know it’s true: I had to detox afterwards, perform a sort of exorcism by doing things that make me happy: singing really loud to show tunes and 80s pop songs, baking some brownies, cleaning my kitchen. (I think cleaning my kitchen now actually does make me happy: it’s cleaning another workspace.)

While writing the essay, I kept thinking, “Nobody will want to read this.” “No one will want to publish this. It’s a niche-market piece.” There are things that I’ve written in the essay that I believe somewhere beyond what I consciously want to believe. There are things in the essay that scare me, and I think it’s because those things are true, but I don’t want to believe them yet.

And after that, I got stuck in the book process again. I wasn’t sure what I need to write next.

*****

Writing the essay, but not publishing it, or even sending it anywhere to be published, made me think hard about what I want out of this writing process, really: do I write just for the publication, so someone else can hear what I’m saying? Of course I don’t. And somehow…I’m in this funny place. I’ve written something, and I think it’s good, and it scares me, and I don’t know what people will say about it. In this age of near-instantaneous publication and reaction/comment, I wanted someone to read the essay. And yet I’m terrified at putting it up in a public forum. I did have some very specific people in mind can you buy ventolin without script while I wrote it. It is part advice column, part meta-narrative, part confessional, part literary game, part thank you-letter. I sent it to a few good friends, who liked it. But I felt stuck.

Then last week, Josh took a look at the list of what I’d written (or planned to write) so far, and we agreed. About a quarter of what I’ve written so far is going into another book. I may publish that material when I’m in a place that feels more emotionally healthy, where that particular grief is not as raw. It will take a few years, probably.

Yet I know the decision was right. I felt so relieved, ready to go back to the book about my dad and his book manuscript. I made yet another outline of the book, draft #5. Now that I’ve decided that my voice will be the primary one in the book, that it will be in the skull and the vertebrae and the legs of the project skeleton, I know where I’m headed.

(At least for now. It’s writing, after all. I’m learning that these pronouncements are, themselves, up for revision.)

Then something new happened: I stitched together a couple of pieces that I’d been working on for a while. I transcribed some of my dad’s book into the project for the very first time. I’d been transcribing his diary, but I never really thought that transcription could be so intimate. Typing his words on my laptop, thinking about him typing the same words on his typewriter: a daughter and her father, across time periods and technologies, meeting back on the page as writers. I dove back into the book.

I wrote the longest piece that I’ve written for the book, to date. I’m going to call it my first full chapter. Onward.

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Maybe it’s not trees I need to think about, but birds.

One morning I woke up and heard a small thump, saw the shadow of a bird silhouetted against our bathroom window. I don’t think the bird flew into the window, because it was still able to fly.  I remember hearing the raspy flutter of the bird’s wings, the urgency I felt when I saw it.  And I remember how beautiful it was in that moment: wings outstretched, scared and stunned and shaken, but flying away.

The beauty of visible grief

Out of all the griefs there are, a child’s grief may be one of the hardest to witness.

I’m not quite sure why that is. Maybe it’s partly because children feel emotions with naked intensity. If they’re hurting, they’re hurting badly. But I also think that as a culture, we often want to protect children from death, from grief, from feeling sad. There’s some strange unwritten agreement that childhood is supposed to be sadness-free, and that it must be innocent, even though we know (or forget) that these words would not always describe our own childhoods.

Childhood is part of life, right? And all life contains some slice of sadness. Why should childhood be any different? It may even hinder a child’s emotional growth to deny them the opportunity to learn what my friend Jeanne calls the “skill” of grieving.

And still, it has been difficult to watch my oldest daughter grieve. I’ve been watching my child, and many other children, grieve for the last two weeks. It has been hard. And this has surprised me: it has been beautiful.

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Maybe for you too, “principal” was a word to fear when you were growing up. You only saw one if you were in trouble. Principals were Grownup and Scary, and they stayed mostly in their offices. They were somewhat like hibernating bears: you didn’t want to see them, and you didn’t want to make them angry.

But C’s principal, Bob Dahl, was a beloved leader for staff, students, parents, and community members alike. He died a couple of weeks ago. He’d been sick and out of school since last October, but I think that many of us thought that he would recover.

So many people have Mr. Dahl stories. When C went to visit school one summer with Josh, Mr. Dahl was there, unpacking boxes of textbooks for the teachers. Mr. Dahl took them around the school, looked up her teacher’s name, and showed her what her classroom would look like. He did his very best to make sure that C felt welcome and at home. This was the summer before she started kindergarten. The last time I saw her with him, she was giving him a huge hug at her first grade back-to-school welcome celebration. C trusted him very early.

I’ve heard many other stories about Mr. Dahl, and they all say essentially the same thing: he was a kind, respected, and reassuring man. All this, and we’ve only been part of this community for two years. I can only imagine what it must be like for the families who have known him as their principal for ten or fifteen years, who have watched several children grow up in Mr. Dahl’s school. I can only imagine what it must be like for the staff who worked with him for the same amount of time.

As a parent, it was comforting to see Mr. Dahl each morning and afternoon at one of the crosswalks, where he did crossing guard duty. After the first few months of school, some of the older students joined him at the crosswalk to help. At first, I thought it was just charming—a way of saying that the highest administrator of the school had something to contribute to the small everyday workings of the school.

Upon second thought, though, it was clear that crossing guard duty was one of the smartest things Mr. Dahl could do as a principal. Crossing guard duty meant that he was there at the school: he was reliable, he was visible, and he was accessible. He greeted parents and students as we came to school and as we left. Crossing guard duty was more than his office hours, because office hours require the student go to the instructor. It was his way of bringing his office down to the crosswalk.

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The evening after Mr. Dahl died, her teacher called us at home. (I thanked her later for the call. Imagine what it cost her to break the news to twenty-four families, while still reeling from the loss herself. She’s worked for him for fifteen years.) Though C was getting ready for bed, Josh and I decided to tell her anyway, instead of waiting for the rush of morning activities. We sat her on the couch between us, and explained that Mr. Dahl had died. We had explained death to her when she was a toddler, in the simplest possible terms—that someone’s body stops working. (A flexible thinker even then, she thought that death meant that they needed to get new batteries.) A distant family member died a couple of years ago. A family pet had died a year before that. We’ve talked about my dad, and she’s now old enough to be a little sad about the grandfather she never got to meet. But Mr. Dahl was the first person that C knew who died. This is really the first death that she’s old enough to understand. When we told her she buried her face on her dad’s shoulder, and she cried a bit. “Why?” was her first question. We talked about it some more. And then we read her some extra stories, and tucked her into bed.

What I really want to tell you about, though, is how amazing it has been to watch this elementary school, this larger community, teach my child how to grieve.

*****
When I dropped C off at school that Monday morning, parents and staff were already weeping and hugging at the playground. But thanks to the school district, grief counselors were available the next day for the entire school, including parents, staff, and caregivers. The counselors had been pulled from other elementary schools that day. If kids became too sad to function in class, ventolin inhaler generic they went to the library, where they could talk to counselors, and do simple activities like coloring or doing math problems. Many classes did some form of activity to honor him, even the kindergarten classes. C’s class, which usually talks about kind words and deeds in a “kindness circle,” formed a circle to talk about Mr. Dahl and his kindnesses. They made a book of drawings and notes to give to his family.

And then there came the visible symbols of public grief, which have been equally heartbreaking and heartwarming. Two classes, whose rooms face the street, painted murals on their windows: “We love you Mr. Dahl.” Flower arrangements arrived from neighboring schools, and were placed on a table near the main school office, with a guest book to sign. That very afternoon, the school marquee changed to mark his passing. This week, students and parents have written on colored plastic memory flags, and tied them to the chain link fence surrounding the school playground. (You can see some of them in the first photo, above.) Many students wrote messages and traced their handprints onto colored construction paper, and someone made these into flowers to decorate the stage in the school cafeteria. The hallways are filled with the children’s letters and drawings for their principal. At the candlelight vigil that the school held this week, the school chorus sang a song that two students had written for him.

And for two weeks now, there has been a steadily growing pile of bouquets, handwritten letters, illustrated signs, and balloons at the northwest corner of the school. Members of the school community have laid these at the crosswalk where Mr. Dahl used to stand every day.

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At our house we’ve talked about Mr. Dahl off and on, whenever C wants to raise the subject. Though it makes C sad to talk about him, I think it is also comforting to her that she can talk about him. Yesterday she brought home two things: a wallet-sized picture of him, and a blue plastic bracelet that says, simply, “[Our school] loves Mr. Dahl.” After the memorial flowers have wilted, and the signs have come down from the hallways, the children will still have this bracelet that they can wear as a symbol of collective mourning.

Not so long ago, in Victorian England, mourners wore special clothes which were black, and (after a time) half-mourning clothes which were lilac or gray. Having to wear these clothes might feel somewhat restrictive now, I know. But I’ve been wishing for those outward symbols of mourning. If you’ve been reading here, you know already that I’m writing a book about my father, and his early death when I was ten, and that this book is partly my way of grieving. It’s taken me far too long—well over two decades—to learn how to grieve my father.

I wasn’t sure how I’d be able to help my daughter grieve, or if I could stand to watch her grieve. I think that if I hadn’t been writing the book, I would have wanted to detach from far too much these past few weeks. I would have avoided talking about it, asked her not to talk about it. And I probably would have avoided the school as much as I could. I would have stayed away from anything like a memorial service or candlelight vigil.  I think I would have sprinted towards full emotional retreat. Emotional detachment’s been my coping mechanism for far too long.

Now I wish that I’d had something like C’s blue bracelet to tell the world that I was in mourning when my father died. Sometimes I felt as though I was in a completely different planet than almost everyone else, and I couldn’t remember how normal life felt. Maybe because I was a child, I felt strangely important. I knew that this massive catastrophe had happened and I was one of the few people who knew about it. I wish I’d had a bracelet or a sign, even a sandwich board I could wear, that said, “My father’s just died.”

And yet I don’t know how many people would have talked to me if I had worn such a sign. Why is there such a silence around grief?

I’m thinking of so many people I know who have lost someone vitally important to them. I’m thinking of family members and friends who have lost loved ones to aging, miscarriages, illness, suicide, accidents, abandonments. Some of these deaths have happened under brutal and inexplicable circumstances. There are so many of us, walking around with so much loss, and we don’t really know each other. I bet we could have a sandwich board party, those of us in the Grief Club. I bet the membership would be larger than any of us would expect. But we don’t speak enough about our losses to each other. Shouldn’t we be able to offer more than “I’m sorry”’s to each other?

*****

These last two weeks have been hard. And they’ve been beautiful. My daughter’s elementary school community has taught her how to grieve. The teaching’s happened not through direct instructions or textbooks, but a tapestry of collective actions. And I’m so grateful that it’s happened in terms that she can understand:

It’s okay to be sad. It’s okay to cry. Crying might even make you feel better.
It’s kind to comfort other people who are also sad.

We are never alone in our grief, though it often feels that way.

Beauty is not only possible but crucial at these times. It unfurls when we need it most.

And finally, one of the best things to do with grief is to bring it into the light.

I take it back

The skies were cool and gray, and they’d been that way for weeks. At first these looked like red beads, or berries that had fallen from a nearby bush.  So when I walked towards the back of our yard, taking out the garbage, two red dots in the garden bed caught my eye. On my way back inside, I thought I’d check to make sure that the berries were still there.
They weren’t. They were tiny heads of rhubarb, getting ready to come back from the winter.

 *****

It’s funny, the hobbies I’ve picked up since I moved to the Northwest from California. Cookbook collecting. Jam-making. And, funniest to me, gardening. I’m terrible at houseplants, so cross your fingers for the two plants I’m managing to keep alive. (Jade and Ruffles, I hope your days are not numbered.)

And gardening’s something that I never understood. It sounded mind-numbingly boring, something I’d ranked up there with home decoration as Grownup Old People hobbies. For a very long time, I remember snorting and tossing away the gardening and home decor sections of the Sunday newspaper—who does these things? (People who have gardens and homes to decorate, I now understand. Along the same lines, I never understood the appeal of a yard with a lawn until I had one. It’s like a park….behind your house!)

When I moved to the Northwest, I thought it was quaint that the number one hobby here is gardening. It really does make us sound like a region of nice senior citizens, puttering around with our pruning shears and shaking our passive-aggressive fists at, I don’t know, the non-recyclers. Gardening! I take it back now, I really do.

Not a yard with ornamental bushes, though we do have some of those. I mean, a garden, with raised beds for food. Except for those dates in high school, food gardening is some of the most fun I’ve ever had outside. I’m not a hiker, I’m not a kayaker, I’m not a skiier….all those Northwest pastimes that I’m supposed to enjoy. But I do love having a garden.

Since we started our garden, we’ve had some amazing years and some not-so-great years. We’re nowhere near Barbara Kingsolver’s family in Animal Vegetable Miracle, able to raise and put up food for an entire year. We’ll be regular farmers market customers for a very long time. But we’ve had tomatoes, lettuce, zucchini, Rainier cherries, and blackberries, all from our own garden: from our own backyard. Summers have been quietly delicious.

(First, cookbook collecting, then jam-making, and now food gardening. Upon reflection, the senior citizen part of the gardening stereotype may not be too far off. I’ve turned into my grandmother, who loved all of these things.)

 *****

Last year wasn’t a great garden year. We had high hopes, since the Rainier cherry tree had snowballs of blooms that nearly covered the branches. The blooms weren’t pollinated enough, though. (We’re trying Mason bees this year, which are supposed to pollinate more than honey bees and aren’t as prone to stinging humans.) We planted some basil, lettuce, zucchini, tomatoes, and these performed modestly well. And for the coming year, we planted rhubarb and strawberries. With both of these crops, it’s recommended that you don’t harvest anything the first year (even down to pinching off the blooms of the strawberry plants), leaving the plants to conserve energy towards the next year’s harvest.

I bought a rhubarb crown, planted it, watered it but-not-too-much, and hoped. It obligingly grew several large leaves and stalks. And then at the end of summer it died, shriveling into a brown fist. Our next-door neighbors have an incredible set of rhubarb plants, and those didn’t seem to have died altogether. So I thought that was it. I’d let my rhubarb die.

 *****

And then: those drops of red in the garden that day. The rhubarb was coming back.

Northwest sap that I now am, I nearly cried. I had to look so closely at the plants, to make sure they were not berries dropped in the garden bed. These pictures are about as close as I could get to the crowns, and even then, they look bigger because I stuck my camera so freaking close to them. Those wood chips in the pictures? They’re probably no longer than a knuckle on your finger. I’m surprised they didn’t put up celebrity hands in self-defense—no papparazzi, please.

The color was just what I needed to see on such a gray day, after months and months of gray days. Our color palette here is mostly greens and grays and blues, and while I’m grateful for the greens, I also miss other colors during the winter. By the time spring comes back, glorious blossoming spring, I’m ready for the color.

Color may be one reason why we love to garden in the Northwest. But this year, gardening’s also about renewal, about second chances, about plain brown patience and rich green reward. I needed to see that, especially on a day like that day, after a winter like this winter has been. I’m still working through the occasional grieving, still driving through the uncertainty fog, and I still don’t know what will happen next.

The garden reminded me how to look, and what to see. “The rhubarb’s back! The rhubarb’s back!” I told C, and we ran to the backyard so she could see it, too.

Two steps forward, one step back

 

“Writing is like driving at night in the fog. You can only see as far as your headlights, but you can make the whole trip that way.” ? E.L. Doctorow

In the two steps forward news, I’ve written a little over two thousand words of the Introduction to the book this week.  I’m already feeling out ways that I need to develop myself as a “character” in the book. I’m feeling how I need to adjust my pacing for this longer work, something like a marathon might feel. Blog posts and other things that I’ve written this year are very short, and the high point of the action occurs pretty early.

I can feel how my prose and descriptions are stretching themselves out. In these posts, the descriptions can afford to be lush occasionally, but this quality might feel overwritten or overblown (or overwhelming) in a longer work.

I can feel how I don’t want to give too much away in the Introduction, but I want people to come into the room and stay awhile. I’m not sure buy albuterol online exactly where I’m headed next, but it feels like E.L. Doctorow’s headlights on a nighttime car trip–I don’t have to see the entire way, just as far as the headlights will let me.

And I’m trying to write at least a thousand words a day.

Last week, Anne Lamott told us to “write what you love to come upon,” or write about what you would love to read. So far, then, my invitation to the reader is about reading–which is no surprise for anyone who knows me.

****

In one step back news, this weekend marks the one-year anniversary of the tsunami and nuclear disaster in Japan. I’m humbled by the resilience of the Japanese, as I knew I would be. Look at these “before and after” pictures.

But I’m also aware that physical rebuilding and psychological renewal may not be the same thing. I’m posting a link here to my post from last year. The story of a tsunami doesn’t end when the wave breaks; in fact, for humans, that’s when the story begins.

My Father In A Facebook Age

Oh, I think he’d be all over Facebook.
Even if he died before e-mail, before cell phones,
before desktops or laptops,
before dot-coms, before the Web had a capital letter.
Our olive green rotary phone still had a bell. And a cord.
An Orwellian year, we thought, nineteen-eighty-four.
Who knew then what we would want to see?

But I can see him now.
He’d post pictures of his granddaughters,
narrate his online travel slide shows,
review The King’s Speech,
tell you about books he’d been reading,
rejoice over the latest Giants or Niners win.
I can see him writing status updates,
searching Epicurious for his dinner parties,
asking me about Twitter.
He’d still be playing all-night chess games
with my cousin, just on Facebook.
(A show tunes guy at heart, yes:
he might even DVR Glee.)

Before Dad died
he bought one of the first VCR’s,
the remote control still
attached to the silver machine
with a long black cable.
Over decades of photography
he took rolls of black-and-white photos,
carousels of color slides,
albums upon albums of Polaroids.

The film changed, but not
his love of holding on to the moment.
Dinners were for eating together,
houses were for gathering the family.

So I think he’d know what to connect, and how,
and why.
I think he’d know what all this noise is about.

 

(A bit of fun here, while I’m working on the introduction to the book. More on next steps in the next post.)

Beautiful

I am cringing as I type this word: beautiful.

Don’t get me wrong, I’m not against beauty. But I’m going to write this post about a picture that a friend of mine took recently. And the picture was of me.

(Squirm.)

We’ll get to that picture in a minute. For now, we’ll start in profile, with that picture above.

*****
I’ve written before about one of my favorite writers, Anne Lamott. (She is visiting Tacoma to speak next month. I squealed when I saw this announcement.) In her book about writing, Bird by Bird, she talks about the rewards of writing a present for someone that you love. And she’s absolutely right: I’ve written several short presents. I have loved writing them.

Writing presents put me in a kind of “flow” state (happy, focused, unaware of time passing). Doing this means that I am devoting myself to the task and loving it, and thinking hard about the recipient all the while. It’s the same state that I am in when I am crafting, just putting paper and glue or yarn and ribbon or other odd materials together. It’s one of the easiest ways to get me to create, and to be creative. (Side note: does this mean that I might write the memoir by making it a present? I’ve been rereading Isabel Allende’s memoir The Sum of Our Days, addressed to her daughter Paula who died young of porphyria.) It’s the act of giving and creating with someone very specific in mind.

So I wanted to write a present, to write a sort of longer thank-you note, to a friend who is going through a difficult time.

*****

Back to our original word, which I’ve avoided for a few paragraphs now: beautiful.

A few weeks ago, my friend and I were having lunch at a new restaurant in Seattle. We slurped up fresh (!) udon noodles and crunched our way through our selections from the tempura bar (!). Kabocha tempura is one of my very favorite Japanese foods. Hers, too. In line, we were both willing to wait for some more.

My friend’s a wonderful photographer and she was taking pictures throughout our lunch. We got to watch the workers make the dough for the udon, and run it through the pasta machine. And because my friend writes about food, she took pictures of our lunch. So it shouldn’t have surprised me when the camera came out again, toward the end of lunch.

“Could I take a few pictures of you?” she asked. “You just look so beautiful with your red sweater against that red wall.”

“Um, sure,” I must have stammered. Because then the camera with its impressive lens was clicking away at me, and while some folks know what to do when that happens, and revel in it, I have never really been one of them.

See, despite repeated reassurance from my parents and my husband, who are not to blame in this scenario, I have never really owned the word “beautiful” for myself. Cute, maybe. Pretty, maybe. Sometimes. But beautiful just takes it to a whole other level. And I’ve never been comfortable there. The picture up at the top of this post? Profile picture, most of me hidden. Much more comfortable.

Call it unresolved adolescent insecurity, perhaps. Call it a swallowing of so many magazines and movies and TV shows about a few selective types of beauty. Call it a not-fitting into any traditional, petite-Asian woman definition. Or call it not-fitting into athletic definitions, either. I’ve been practicing yoga for almost 4 years, but I don’t buy ventolin inhaler australia have a typical lithe and supple yoga body. I’ve been running for over a year regularly, but I don’t have a typical lean runner’s body, either. (I do have a medical condition that causes me to build up more muscle when I exercise, and thus makes it harder to lose weight.) Perhaps more accurately, call it a lingering unhappiness with myself, which—happily—seems to recede the older I get.

When I see pictures of myself, I tend to focus on some sort of flaw: my flat and wide nose. A double chin which, I am happy to say, seems to be in recession at the moment. Or my eyes, which narrow far too often in judgmental self-awareness and analytic self-consciousness. Or my round moon face. I am rarely happy with photos of myself, which is sort of sad, but it’s the truth. The best pictures of me when I was young are not usually ones when I am looking at the camera.

But there was my friend across the table, happily taking multiple shots of my face!—mostly just my face! I chattered nervously while she took more pictures. She had me look off to one side for a little bit, maybe to get a different angle, maybe to help me feel better again. More soft clicking from the camera. Then I looked back. Smiled some more. Sometimes I opened my mouth a bit to smile, sometimes I closed my mouth.

She sent me a few of the shots later on, and I loved them. I have needed a new “head shot” for a while, and I knew that I wanted something different on my Twitter feed, on my Facebook page, on LinkedIn, and here in this space. I especially wanted one for this blog, for readers who haven’t met me yet. So I added one as my profile picture on Facebook. Positive comments and “likes” came in—“radiant,” “stunning,” and there was that word again and again, “beautiful.”

I took all those words to my shy, bookish, adolescent, nerdy fat-girl heart. I cherished them like pop-song lyrics, repeating them to myself over and over again.

*****

In Tayari Jones’s compelling novel, Silver Sparrow, one of her two adolescent-girl narrators talk about what it is to be “a silver girl”: the beautiful girl who seems beloved of fate and fortune, who seemingly never has to worry about her looks or her life. Of course, we also read the novel partly from the “silver girl”’s point of view, too, and we know that she has just as many things to worry about. But despite so much evidence to the contrary, some insistent part of me has never quite stopped believing that physical beauty makes one’s life so much easier and happier. And, as a corollary, that same part of me has insisted that I would never be physically beautiful, and never have been.

My mother? Stunning. My daughters? Radiant. Everyone has said so. People might love me for my nice-girl personality, or for my enthusiasm to make them read something new, or for my baked goods, or for my fancy-menu writing that makes them drool. Me? Beautiful? No way.

But whose definition of beauty have I swallowed all these years? And what stops me now from reshaping that definition? Why should I care so much about physical beauty?

And yet I love the picture that my friend took of me. Because to see your own beauty as your dear friends see you—that is, to see yourself as your friends and loved ones see you—is no small gift.  It makes life so much more than easier and happier.

Maybe my reshaping of beauty starts here, with more words from Anne Lamott: “Joy is the best makeup. That, and good lighting.”

Thank you, dear friend.

Word for the Year

And a Happy New Year to you. We’re just starting the lunar New Year, right? So that’s about as good a time as any to come back to this space.

I’m not trying for New Year’s resolutions, but I am thinking about a word (or words) for the year.  Resolutions tend to set us up for failure or too-high expectations, and they remind me uncomfortably of diets—a lot of inflexible rules, a lot of can’ts and shouldn’ts, instead of encouraging permission slips.

Words for the year are different. If you work near a window (and I hope that you do), you might know something about what windows can do for you and your work. Working indoors means that you focus a lot on what’s right in front of you: your keyboard, your coffee cup, the stack of papers with their separate demands. Every once in a while, though, you glance (or stare) out the window. That glance reminds you that there are distances outside the rectangle of your desk, and that there’s a different quality of light besides indoor light bulbs.

Words for the year work for me just that way: windows that reset my vision, that remind me to refocus and expand.

Last year’s word was light. I wanted to focus on light—sunlight, for example, and it was a particularly un-sunny year. I wanted to run, but only if I didn’t take it too seriously. No agro mixes of Beastie Boys or Franz Ferdinand for most of the time—no, I wanted the Fleet Foxes. (Fleet: light: coincidence?) I wanted to write if it was light and fun. (It was.) I wanted to remember just how much love, and thus how much light, I have in my life. I wore a Larimar pendant almost every day, to remind me of the luminous sunlight and tropical ocean water of the Dominican Republic. Light got me through a lot. Somehow that worked, I think. I can go to intermediate yoga classes and keep up. I can run farther than I ever have, and running is not the torturous act that it once was. Though I used to hate being upside down for most of my life, I can rest comfortably somehow in a headstand.

Quick digression: I didn’t know what headstands meant for me until recently, either. I was talking to one of my yoga teachers about how I’d hated being upside down when I was little. Didn’t like loopy rollercoasters, or even somersaults, or even dangling over a couch arm. “Why is that?” she asked. “Is it a control thing?” Whoa. I stopped short. Oh, crap. “Y…eaah. Probably.” This feeling of being upside down is, like much of this uncertainty, probably very good for me. I’m starting to pick my way through the woods of uncertainty again. I am going off the comfort of stability and beaten albuterol no prescription paths and clearly marked trails.

So this year’s word? It’s closer to the intent of a resolution. It might be go.

I’ve got an artist statement in the works. Last year I tried to write one as part of a grant application, and it was terribly painful. I couldn’t even finish. The inner editor and critic had a field day. “I’ve always wanted to write and read ever since I was a little girl…” Bleahhhhh. Having been a professional literary critic for so long, it was humbling to have to write about my own writing. “Why do I write? Shouldn’t the writing speak for itself?” the writer-artist in me pleaded. No, that’s not what foundations (and publishers and agents, I imagine) want to hear.

So I had to look at what I do write, and what I have written. What are the issues that I write about the most? What do I want to accomplish as a writer? See, if you asked me what my teaching philosophy was, I could have told you about that easily. And really, the Nigerian author Chimamanda Adichie actually said much of what I would have wanted to say in her wonderful TED talk, “The Dangers of a Single Story.”

But as a writer? My hunch is that I will have to write more before I have a more developed writing philosophy. Nevertheless, given what I’ve written, just in the last year or two, I have a better idea of what’s important to me. I want it to be more like my teaching philosophy, infused with principles and politics and social justice. What I have so far is much more personal, but at least it is honest. So far it’s about loss and memory. I wrote a draft, but I’ll have to take another whack at the statement and get back to you. I just have to do it. I have to tell myself: just go.

Go can also be part of letting go. A few days ago, I recycled several bags of papers from my old life. That night, I had a series of dreams about being a published author, preparing for book readings. I had the excitement, the nervousness, and the adrenaline. I always woke up before I started reading, but I woke up happy.

Go means that I can probably go to more intermediate yoga classes, and that I can step up my time and pacing on my runs. Go reminds me to just apply for that writer’s grant, to publish the blog post, to revise the book proposal. I’m getting close to forty, and that’s as good a deadline as any for a first book. Go reminds me to write.

Go is the window that both reminds me to rest, yet pushes me out into the distance.

 

(What’s your word for the year?)