Sunday School for Sentences #3: Object Lessons (from Kanye West and JD Salinger)

Our stuff tells stories.

(Which is why, when we’re trying to break free from the shackles of our personal narratives, we give it all away.)

Think about the TLC show “Hoarders“. The very premise of the show is that the mountains of belongings, collections – trash – mirrors a person’s mental state.

Design magazines share the same premise: the home you create is your life and the way you live. The objects you collect, keep, display (and hide!) weave a narrative about who you are – or perhaps, sometimes, who you want other people to think you are.

And then there’s fashion. We lump ourselves into camps: are we the yoga pants + fancy sunglasses Mommy? Uggs and skinny jeans and lattes? Red lipstick and fifties silhouettes for breakfast? We send signals and create personas with our shoes, our bags, our wristwatches.

And none of this means we’re shallow or superficial and ought not do these things. It means, with every breath, with every day and every dress, we’re storytelling.

(If you’ve ever despaired and thought, despite the leanings of your scribbling spirit, “I’m not a writer”, please rethink that: all day and every day, you are telling stories. Paper – or screen – is just another medium for what you already do.)

So. Stuff. We use it to define and redefine ourselves, to story our worlds, and sometimes it does.

Which means it is a delicious story-telling, sentence-illuminating tool. By calling out  the objects the use to define or redefine themselves, we can describe, sum, and level a character – which is exactly what Hannibal Lecter does with Jodi Foster’s young, going-places, female FBI agent character in Silence of the Lambs:

You know what you look like to me, with your good bag and your cheap shoes? You look like a rube. A well scrubbed, hustling rube with a little taste. Good nutrition’s given you some length of bone, but you’re not more than one generation from poor white trash, are you, Agent Starling? And that accent you’ve tried so desperately to shed: pure West Virginia. What is your father, dear? Is he a coal miner? Does he stink of the lamp? You know how quickly the boys found you… all those tedious sticky fumblings in the back seats of cars… while you could only dream of getting out… getting anywhere… getting all the way to the FBI.

And so the way we describe our bags, our shoes, our hair, our clothes, our homes, our gates, our gait, our gestures can be more than mundane – it can be devastating and delightful. We can elevate a seemingly factual, even cliched description – long blonde hair – into a metaphor for a failed marriage and the heart-achingly flawed humans in the centre of it.

JD Salinger is a master of this – which is why, in my own own recent Shedventure, his books survived and are holding their space in now lonelier shelves. (Eight eight boxes of lesser books were forced to find new homes).

In Salinger’s Catcher in the Rye, Holden Caulfield is seventeen years old with a shock of grey hair: and that juxtaposition tells us of his simultaneous naievete, optimism, and his world-weariness and human disappointment. Holden sees the shiny surfaces we project and the dirt we hide. His handsome, entitled, selfish room-mate’s “cruddy razor” cut his heart wide open.

And this, explains Elizabeth Gumport, is

what it is that makes Salinger’s writing so good. Salinger is acutely aware that we exist in the world – in cities, in apartments, in bodies that rub up against couches and church pews and cabs and other bodies in those cabs – and he is a master of capturing what it feels like, literally feels like, to live…

…The richness of Salinger’s fiction comes from his attention to objects, to the physical stuff of life, and from his understanding that the words that describe these things are things themselves. Words are their meanings and more than that: they are themselves, and in Salinger’s hands they are beautiful.

Salinger’s famous story, To Esme, With Love and Squalor, is the consummate example of how to tell a story with an object: after reading it, you can’t think about waifish Esme without thinking of her over-sized man’s – wrist-watch.

You know who else is great at this?

Kanye West.

Like Salinger, Kanye West is acutely aware that we live in a world populated by objects and we arm and defend ourselves with them. Our things are our personal mythologies – as a man who samples Muhammad Ali (I’m the king of the world!) and wears a crown of thorns well knows.

And Kanye does something with objects that I love: just like Salinger, he uses objects to confirm and protest our expectations. In Estelle’s American Boy, he raps about – of course – being a (young, black) American boy in London:

He crazy, I know what ya thinkin.
Ribena I know what you’re drinkin.
Rap singer. Chain Blinger. Holla at the next chick soon as you’re blinkin.
What’s you’re persona.
About this Americana rhymer
Am I shallow cuz all my clothes designer.
Dressed smart like a London Bloke.
Before he speak his suit bespoke.
And you thought he was cute before.
Look at this Pea Coat, Tell me he’s broke.

Kanye uses objects to sketch out what he knows we think about hip-hop artists – because with his lyrics and videos about money, limousines, gold chains, shiny watches and glittering women, he’s helped write that story – and to disabuse us of those notions. Just as he’s tackling – and refuting – stereotypes about young, black American men (“Look at this Pea Coat, Tell me he’s broke), Kanye’s telling us he’s not (only) a hip-hop caricature  - he just plays one on TV (and Mp3).

So that’s my lecture for the day on objects. Any time you’ve written a sentence in which you describe someone’s appearance, think about how to flesh out descriptions and layer meaning by turning objects into symbols or symbols into objects. That’s what I tried to do with “V8 hearts and hopeful cars” and what Siddhartha Herdegen did with his (character’s) “minimalist approach to undergarments”.

And it is what, in American Boy, Estelle does even better than Kanye West (which is high praise, since Kanye West is my hip-pop JD Salinger):

Don’t like his baggy jeans but Ima like what’s underneath them.

——————

Sunday School for Sentences will be a sixteen-part series. Missed one? Here they are:

  • Prologue: God, Sex and Dazzling Sentences
    1. Sunday School for Sentences #1: Explain the Expected in Unexpected Ways
    2. Sunday School for Sentences #2: The (Textual) Reverse Cowgirl
    3. Sunday School for Sentences #3: Object Lessons (from Kanye West and JD Salinger)
    4. Sunday School for Sentences #4: How to Give Good Quote
    5. Sunday School For Sentences #5: Why You Should Write Bad Poetry
    6. Sunday School for Sentences #6: Two Damn Fine Writing Tips
    7. Sunday School for Sentences #7: There Are No Magic Words
    8. Sunday School for Sentences #8: How To Execute a Climax or Series of Climaxes. I’m talking About Writing. Mostly.
    9. Sunday School for Sentences #9: Thread the Grommets, Lace the Corset, Feed the Rabbits
    10. Sunday School For Sentences #10 – Work It
    11. Sunday School for Sentences #11: The Pigs In Space Edition
    12. Sunday School for Sentences #12: Screw SEO. I Write (Wackadoo Titles) for PEOPLE, Not Search Engines. And So Should You.
    13. Sunday School for Sentences #13: How to Write an Intimate Cosmology of Cheesecake, Cheesecake Shots (or not) and Shoplifting
    14. Sunday School for Sentences #14: What Picasso And Dave Chappelle Know about Writing. For Realz. 
  • Love, Lust, Welcome, Sunday

    And on the second day we spent together, we had breakfast. At IHOP. I wanted to go somewhere with outrageous omelettes – Wendel’s in Fort Langley, do NOT make it your breakfast spot because I’m already enduring lines that are far too long - I’ve said too much already – but neither of us were up for a thirty minute drive. Five minutes was just about right. Less than five minutes was even better.

    The IHOP omelette was ok. IHOP is not famous for their omelettes. I order coffee and water and, as I knew he would, he orders orange juice. (“I always order orange juice,” he’d said at dinner on our first date, and writers and smitten kittens tend to note these things.) The coffee came in a carafe. Quantity over quality.

    So breakfast isn’t delicious but what is delicious is looking at him: he is beautiful even as he folds his long body slightly awkwardly into this too-tiny booth for two. This is a little awkward for me, too. I want to touch him, hold his hand, cuddle into his corners, sink into his skin. But. This damn table, this damn booth, all these damn people, and 10 am. And him. I can feel his shell hardening, his personal space expanding, his tenderness retreating. He is back in his own body and locked in his own narrative. He is in The World.

    I know the feeling. I struggle to escape that feeling.

    Maybe it is just early. Maybe we’re both tired. Maybe Sunday mornings aren’t the best times for second dates – even a second date that’s really still a first date because we spent the night together.

    Crossing the street, I slip my arm in his and lean into him. I connect with his arm, his side, his shoulder and feel the brush of his thigh against my hip as we walk. Even in three inch heels, I’m half a foot shorter than him and my head only reaches his shoulder. This thrills me.

    “What do you want to do now?” I ask him.

    “I need to make a stop,” he says. “Do you mind?”

    I don’t mind. But it’s not my neighbourhood so he’ll have to give me directions. He does. He knows that I don’t know my left from my right – that’s why I wear big rings on my left hand, so I’ll remember which is which – so he makes sure to point: left, left, left, right, left.

    The last left brings us into a church parking lot. “Is this right?” I ask him. “This is the stop you needed to make? Church? We’re going to Church? You’re taking me to your Church?”

    “Yes,” he says.

    We walk through the doors. The lobby has been renovated. It looks like Pottery Barn five years ago: chocolates and taupes, carefully abstract framed prints, tasteful neutrals punctuated by burgandies and greens. It looks pretty good if safe decor is your thing.

    Safe decor is not my thing.

    There’s an espresso bar on the left.

    “Oh,” I say. “Your church serves lattes? I’VE FOUND MY PEOPLE.”

    He laughs. We’re late so I don’t have time to try out the coffee. We slip into the very last pew, not noticing the “reserved for ushers” plaque until the service is almost finished and the displaced ushers are standing and shifting from foot-to-foot behind us.

    The music is really good. There are people playing acoustic and electric guitars and singing folksy-sounding songs. The lyrics are on the screen to the left of the stage – pulpit? podium? platform? – and they’re about grace. They hit me straight in my throat, which thickens as I tear up a little.

    I watch a woman in her twenties with an unfortunate bowl cut. She is standing and singing with her hands in the air. She has Down’s Syndrome. She is unselfconscious and she is feeling it. I tear up a little more.

    When I was a teenager, my friend Doris explained how she felt about Church. She went there with her grandmother, who was her caregiver when her parents were at work. At church with her grandmother, she felt safe. It was a sanctuary. She felt peace. She felt God’s love. She felt it.

    I was incredulous. I was envious. I felt like I was missing out. I’d never felt it. I wanted – want – to feel it. The woman with the Dorothy Hamil haircut is feeling it. So is the almost edgy-looking man.

    He’s in his late thirties or maybe his early forties. He has a dyed-blonde buzz cut and he looks like he’s done a lot of dirty living but is struggling to scrub it off. He’s immaculately clean and well-groomed and sporting an Ed Hardy shirt, Rock and Republic jeans, and tattoos. He has his hands in the air, too. I can’t reconcile the wannabe, probably-been, bad-ass look with the worship, so I invent a back story. He’s In Recovery. It’s either drugs or alcohol and lots of illegal doings and he’s doing his best to do better. He probably still smokes cigarettes.

    He’s with a younger version of himself. The other man looks exactly like him, only with a dark faux-hawk, half his years but maybe the same number of miles and mistakes. He’s frat-boy/bad boy/big boy stylish, too. He looks like the kind of guy who judges a woman’s worth by her weight. I tell myself he’s also in recovery. Maybe he’s paying for the sins of the father. His father. Maybe they’re cleaning up together.

    I tear up a little more. The battles we fight, mostly with ourselves, are unending and epic. I hope they win. I hope I’m wrong about them. Maybe, like the rest of the suburban world, they’re only approximating counter-cultural rebellion with tattoos and the tattooed prints adorning our mass-produced t-shirts.

    The pastor is wearing khakis and a golf shirt. I’ve never seen a pastor in khakis before. I have a moral issue with khakis. They’re the sartorial equivalent of safe decor.

    The sermon is about welcome.

    We were just talking about welcome, the night before. I wondered if one of the reasons we are all so lonely, fractured, and isolated is because we use our homes for impression rather than invitation. We can’t drop by unannounced. We don’t invite people over until we finish furnishing the living room, renovating the kitchen, folding the laundry. We we keep people out so we can keep looking good.

    It isn’t only our homes. We walk through the world hoping to be welcomed but are instead contained and restrained. We restrain our responses. We contain our responses, the impact that others have on us, the feelings we experience when we’re around them. We lock down the needy and the need for each other. We aim for appropriate, or we aim to impress.

    We hold it in, and we hold it together.

    And, sometimes – like when we make love – we fall apart. The world falls away. We fall together. We show. We know. We strip away our clothes and with it our defenses. Naked is not merely nude but a state of being: do you have enough air to lie – to impress –  when you’re sharing the same breath?

    Do you think about me? Yes. Yes, I think about you. I think about you. Tell me what you think about. This. And this. And this. Mmmmmmmmm. I love that. I love that you want me. Tell me you want me. I want you. I want you. I want you. I want you too. Oh, God, I want you so much.

    Tender, scalding sex is the opposite of the urge to impress. To impress is to convince someone that you are of higher social status than he, and thus worth pursuing. Making love is about humbling, pleasing, offering. It is about surrendering to each other. It is vulnerability, embodied. It is even Biblical: to have sex with a woman is to know her.

    Of course, this is not always true. I have had soul-less, robotic sex with people I should not have welcomed into my bed or my life. Those are not experiences I care to repeat. They were neither love nor lust. They were mechanics.

    But the vulnerability, the permission to touch, the welcome, the naked reality of myself and my other, is what I cherish about sex. And it is what makes me love someone. And oh, how I want to love someone.

    And that – beyond just the joyful heat of it – is the gift of lust. Lust can lure us into loving someone.

    And that’s why I’ve struggled with Christianity –  and with most religions, really. Religions often construct lust as an urge to be fought and suppressed rather than as a gift that forces us to stretch beyond our prickly habits of distant interaction.

    There is, however, an ancient and gentle wisdom in such prohibitions. In the movie Vanilla Sky, Cameron Diaz’s unhinged character screams: “When you have sex with someone, your body makes a promise – whether you do or not.” In a less impassioned, but no less truthful way, anthropologist Helen Fisher cautions us about the consequences of casual sex – not from a moral standpoint but from the perspective of sheer self-protection.  Orgasm triggers the release of oxytocin which fosters attachment, meaning that what starts as genital machination can end up as inappropriate, consequential – and unwelcome – love. Untrammelled and ill-informed lust can hold our spirits hostage – which, like Fisher’s research, studies and entertaining TED talks, is perhaps from what sermons and tracts of fire, brimstone, prohibition and shame intend to protect us.

    But the other side of lust is that it compels – propels – us to tenderness.

    Please. I need you. I love that. I want you.

    And that’s the overarching, undervalued contribution of lust. That’s why we need lust. It fosters vulnerability and invitation and togetherness – all humanly essential qualities and all diametrically, 180 degrees opposed to our daily urge and cultural mandate to cultivate independence, individuality, distance, impressiveness.

    All of this – love, lust, the wisdom and the tragedy of attempting to regiment sexuality from above and on-high – is what I’m thinking about when I’m thinking about welcome. About how, just as we were discussing last night and the pastor preaches this morning, we don’t even welcome people into our homes anymore. For fear of judgement. For fear of our inability to impress.

    I wonder how we get past that, with family, friends, lovers, and future mates. And I wonder how unmarried Christian couples who choose not to have sex reveal themselves to each other. How do they bond, get emotionally naked, and stroke each other’s un-shelled interiors? How do they welcome each other’s vulnerability? How do they know each other?

    An elderly woman in the pew ahead of us turns around and introduces herself. I give her my hand to shake, and she clasps it, holding it, with both her hands. “You are new to me,” she says, and I am warmed. Welcomed.

    “I am new here,” I tell her. “This is my first time.” She introduces me to her companion, another elderly lady. It seems that they know David, because they know he’s from Montreal. “Are you from Montreal, too?” she asks me, excitedly. In the sweetest instant, I see the romantic back story they’ve invented for me. We’re together. I’ve flown out from Montreal to visit him, or maybe to join him. I wish their story was true. I wish we belonged to each other.

    On our way out, a man stops David. His name is Peter. “David!” he says, shaking his hand. They talk about David’s job and David’s hope to stay on after the end of his project. Peter tells him to work hard and pray hard and it will happen. “I’ll pray for you,” Peter says, and invites David to a men’s breakfast next Saturday.

    We make our way outside. My two bad boys are sitting on the curb, smoking.

    We pass them by and my man – that’s a lie – he’s not my man but he’s the man I want to be my man – confesses. “So now you know,” he says, giving me a pretty-pleased-with-himself grin. “I’m a church boy.”

    I’m touched. I’m thinking many things: that he’s sharing something personal and important with me and that’s a gift. That maybe he’s thinking that maybe I’m going to be important enough to him that he wants to share it with me. That maybe he really does like me. That I’ve never had a man take me to Church on a date and that it makes me feel valued. Welcomed.

    I feel welcome. I realize that I really, really like him. That I like his Church. That I’d like to go to Church with him every Sunday. I almost tear up, again. This is an emotional morning. I’m feeling everything. Maybe I’m feeling it.

    Instead, I joke. “Well, Church boy,” I say. “I’m glad you took me…because obviously you can’t be taking a different woman to Church with you every Sunday.”

    “Yeah,” he agrees. “In the eyes of those two little old ladies, we’re already a couple.”

    Proof that Lipstick on the Mirror is Good For the Soul

    I’m being perceived in a way I do not exactly wish to be perceived.

    But you know, it doesn’t really matter.

    *Your* perception is the only one that matters.

    Because you’re the Queen Fucken Bee.

    - Dave Doolin, my friend, partner in The Making of Money, and good guy to know if you want to learn how to blog.

    What I did after he wrote me this (besides cry):
    Just to remind myself.

    Sunday School for Sentences #2: The (Textual) Reverse Cowgirl


    As a child, I walked to school, took the bus or – later, when I developed breasts and the ability to use them – ferreted rides from
    geeky boys with hopeful cars and V8 hearts.


    This sentence is mine and perhaps is an odd one to use as an example because I’m not entirely  satisfied with it. It is awkward, over-punctuated and a little self-conscious. But working on this sentence taught me something I immediately knew was captivating.

    And I was right: when I ran this piece, I received several e-mails and comments specifically quoting this sentence and saying things like “Best. Sentence. Ever.”

    Which is always nice. Ego-driven writers (hello reflection! You’re looking fiiiiiiiine!) like that sort of thing.

    What I Did:

    When I first wrote this sentence, it looked like this:

    As a child, I walked to school or took the bus, or later when I got breasts and learned how to use them, weaseled rides from geeky boys with V8 cars and hopeful hearts.

    Kinda sweet, but nothing remarkable. And so I played with it.

    The markup:

    As a child, I walked to school or took the bus or – later, when I got developed breasts and learned how the ability to use them,-weaseled ferreted rides from geeky boys with V8 hopeful cars and hopeful V8 hearts.

    The clean copy:

    As a child, I walked to school, took the bus or – later, when I developed breasts and the ability to use them – ferreted rides from geeky boys with hopeful cars and V8 hearts.

    To arrive at the more storied, emotionally resonant version of this sentence, I

    1. Tightened up the prose by shrinking phrases and deleting extraneous words.
    2. Broke up the long sentence with dashes (I don’t necessarily recommend this).
    3. Changed “weaseled” to “ferreted”.
    4. Switched the order of the adjectives.

    What I Kinda Like About These Techniques:

    Last week, I declared that good writing is “microscopic” and this example demonstrates what I meant. By using more inventive verbs – like “ferreted” – you take an ordinary sentence and twist it into something quirky and telling.  And, by reversing or inverting adjectives in a parallel list (like I did with “V8″ and “hopeful”), you create layers of meaning and emotional friction.

    (I call this move  - switching the direction of my adjectives – my Textual Reverse Cowgirl. Because I live to be salacious. Humour me.)

    There’s also another, markedly less tawdry lesson here about how you can tell an entire story using mundane objects (V8 cars) – JD Salinger was genius at this –  but I’ll pick that up next week.

    How To Use this Trick:

    These two things – using inventive verbs and adjectives, and inverting the order of adjectives in a parallel list – are easy to do. You write, and then you edit (sensing a pattern here?).

    • While editing, look critically at your verbs and run through substitutes until you find the one with the most meaning, emotional resonance, or surprise.
    • While editing, look for parallel lists and see if switching the order of adjectives would add a dash of sweet ‘n sour to the sentence. If it does, do it. Do it now.

    Simple, yes? And effective. All you need to do is make sure you’ve got time to edit and play with yourself prose.

    —————

    Sunday School for Sentences will be a sixteen-part series. Missed one? Here they are:

  • Prologue: God, Sex and Dazzling Sentences
    1. Sunday School for Sentences #1: Explain the Expected in Unexpected Ways
    2. Sunday School for Sentences #2: The (Textual) Reverse Cowgirl
    3. Sunday School for Sentences #3: Object Lessons (from Kanye West and JD Salinger)
    4. Sunday School for Sentences #4: How to Give Good Quote
    5. Sunday School For Sentences #5: Why You Should Write Bad Poetry
    6. Sunday School for Sentences #6: Two Damn Fine Writing Tips
    7. Sunday School for Sentences #7: There Are No Magic Words
    8. Sunday School for Sentences #8: How To Execute a Climax or Series of Climaxes. I’m talking About Writing. Mostly.
    9. Sunday School for Sentences #9: Thread the Grommets, Lace the Corset, Feed the Rabbits
    10. Sunday School For Sentences #10 – Work It
    11. Sunday School for Sentences #11: The Pigs In Space Edition
    12. Sunday School for Sentences #12: Screw SEO. I Write (Wackadoo Titles) for PEOPLE, Not Search Engines. And So Should You.
    13. Sunday School for Sentences #13: How to Write an Intimate Cosmology of Cheesecake, Cheesecake Shots (or not) and Shoplifting
    14. Sunday School for Sentences #14: What Picasso And Dave Chappelle Know about Writing. For Realz. 
  • and the winner is…

    Megan Matthieson (of iDanceiWrite, I insist you check it out) won my copy of Women, Food And God by Geneen Roth.

    And all of you won my heart for your heartfelt, thoughtful, SMART comments on the original piece.

    Thank you so much for caring enough to contribute.

    and pssssst…Next week I’m giving away my copy of Committed by Elizabeth Gilbert.

    (I’m giving oodles of stuff away – and it is at least partially the fault of Bindu Wiles and her Shedventure. Well, that and my desire to travel the world en famille.)

    why we write

    I am in misery. It’s a Maroon 5 lyric and it is on internal repeat. For good reason.

    Lots of reasons, but the reasons aren’t the reason I’m writing. I’m writing because this is the reason we write: so that we are not alone. So that we help each other along the way. So that somewhere some woman hears my music and it helps her through her day.

    That’s a manifesta. That’s why we sing, we dance, we paint, we drum, we photograph, we tell stories, we create. We’re trying to wrestle pain that is amoebic and specific into universal cylinders. We shape. We interpret. We pour our hearts into each other.

    That’s why I write, and write personal.

    And because my apparent transparency is a mirage. I might get naked in text and but in life I wear a puffy parka. There’s a line from Titanic – I’m not ashamed to say I loved that movie and Kate Winslet’s sumptuous naked breasts – that says “a woman’s heart is a deep ocean of secrets”. Mine, unfortunately, is a labyrinth and I get locked in the maze. There’s always a minotaur.

    I’m sure I’m not the only one. It is a function of storytelling, so it is no wonder that storytellers get trapped. We get enmeshed in our own web, a sticky internal monologue of failure. From the outside, people see us and think ‘amazing! accomplished!”. But they’re not privy to the false starts and mistakes. They don’t know that the visible accomplishment is a function of six million invisible fuck-ups.

    But I do. And you do. And so, despite evidence of success, we continue with the internal monologue of failure. For every loving relationship, there are secret stories of harm and foul. For every win, there are dozens of losses. For every smile there are wells of tears.

    And so that’s why yesterday morning – after weeks and weeks of doctor’s appointments,  blood tests and ultrasounds (I’m ok, don’t worry), after two years of failed affair after failed affair, after a summer short on work but longer than my cash reserves – I cracked open. I bawled. I tallied it all up and realized that I’m consistently good at only two things: writing and mothering.

    But I suspected – knew -  that to make my life the capacious, generous space that I desire, to be able to contribute to my family, my community and the world, I need to have a few more things in order than that.

    And that laid me low. It wasn’t new. I’ve been there for a while. But yesterday morning it struck me that my heart is broken. I’m raw, I’m cracked, I’m fragile, I feel everything and most of all I’m feeling loss. I answer the phone and unexpectedly break into tears. I can’t predict when that will happen, but it is happening a lot.

    This, I think, is good news.

    Describing her book, The Wisdom of a Broken Heart, Susan Piver writes,

    When your heart is broken, you find yourself inhabiting a different planet than the rest of humanity, one where tears erupt at the slightest provocation, hours (and hours) can be spent on fantasies of revenge, reprieve, and regret, and every single thing that happens in the course of an ordinary day becomes either a good omen or an awful one in your quest to heal your heart. Waking and sleeping, heartbreak becomes your whole world. Sorrow (your own or others’) pierces you to the core. Joy (your own or others’) does as well. You are keenly attuned to the presence or absence of love. Things that used to trouble you are revealed as inconsequential. Any certainty you had about the future is gone and you have to let go of the past.

    Welcome to the world of poets, adventurers, sages, and saints. According to wisdom tradition, this is how they see the world all the time. Every moment is alive with meaning. 100% of their focus is on love. The conventional world holds no flavor and there is only the present moment. This is your world now. It has a lot to teach  you.

    With much the same wisdom and care, my friend Julie tells me ,  ”Accept it. Go to bed and watch Sex and The City. Cry.”

    And my inner Type-A responds, “I don’t have time for a nervous breakdown! I’m househunting, moving, I need to ramp up my business, I might have to have surgery…I need to do more.”

    Yes, I know. That’s resistance talking. It’s also practicality. Life doesn’t slow down and wait for me to be ready to cope with it.

    Last year a co-worker lost her husband. He was at hockey practice and had a heart attack. He was 36. Their children were five and three – the same age as mine. We all assumed that she wouldn’t return after her bereavement leave.

    She did. She returned to work because she has a family to support. She had bills to pay and so she came to work where she couldn’t sit at her desk and cry all day.

    And this is life. Life is mercilessly practical. It goes on even when we think we can’t.

    The sun comes up, the sun goes down, it rains, it thunders.

    And sometimes someone lights up the sky for us.

    Like last night. There was an incredible lightning storm. I had just tucked the girls in, and I thought they’d be frightened. They weren’t. Sophie opened her blinds so she could lie in bed and watch it.

    Still, I ended up with a bed full of babies. Sophie, her baby doll (Lucy), Lola and her baby doll (Toothless), and me.

    And as I lay with a six year old snoring in my armpit, a four year old heavily asleep on my chest and the unforgiving Toothless wedged under my hip, I was suddenly grateful. Being a good mama is a privilege and an accomplishment. Being able to love and be loved by my daughters is a gift.

    And, I thought, I can write about this tomorrow.

    Giveaway: Women, Food and God by Geneen Roth

    I came cold to Geneen Roth’s “Women, Food and God.” I have not read any of her previous books, not even her famous “When Food is Love.” I did not see her on Oprah. I’ve never been to one of her retreats. But obviously her work is making a dent…and I’m interested in women, food and God, so I thought I’d give it a go.

    It was good. I underlined a bunch of things.

    “There is a madness in obsession, yes, but its value is that it drowns out the madness of life…being awake without being drugged by food, alcohol, work, sex, money, fame or in denial…is asking a lot.”

    “…we compulsive eaters wouldn’t have an obsession with food if we believed that life was tolerable without it.The glitch here is that it’s not life in the present moment that is intolerable; the pain we are avoiding has already happened. We are living in reverse.”

    Good, right? I thought so. I exhaled and said, yessssss.

    Eating, like any pleasurable activity, can be used like a drug. Eating is pleasurable and that’s why we have cliches about heartbreak and ice cream. When you feel bad, you look for ways to feel good. Yummy food delivers that quick hit of pleasure.

    And that’s emotional eating – when we eat to satisfy psychological (and, argues Roth, spiritual) hunger rather than biological need. Emotional eating, then, can be problematic. It can be a way to control the uncontrollable (life), deny pain and cope with trauma. And relying on food for pleasure can lead to weight gain and excessive weight is associated with a number of health risks – not to mention social consequences.

    I get it. I’m not arguing it. I get it intuitively and personally – but I’m somewhat skeptical about the way we structure eating as a relationship. I’m wondering something: do other cultures stigmatize eating and enjoying food the way we do? Eating – for sustenance and for pleasure – is basic to human hardwiring and yet we manage to transform it into a character issue with moral and social repercussions. As Lisa Turner writes, “We are alternately tormented with food porn and then chastised for eating it.”

    Would we be worried about “emotional eating” and “food obsession” if we didn’t have a fat-phobic society? If we could happily eat pie all day every day and never gain a pound – or we could gain weight without losing social status, privilege and fuckability – would we be going to retreats to address our “issues”?

    I’m wondering if the way we worry about being obsessed with food is just fundamentally weird.

    I wondered it when I read this book, and I keep wondering it each time Oprah confesses her sins and shortcomings. She’s an “emotional eater”:

    “I know this because I’m in the midst of trying to transform myself from a compulsive emotional eater who submerges her feelings in food into a person who actually feels the feelings, deals with them, and doesn’t repress it all with offerings from the fridge.” – “What I Know For Sure”, Oprah Winfrey in O magazine, September 2010

    When I read this, I couldn’t help but wonder: if Oprah was one of those magical creatures who can eat anything and everything without gaining weight, would she still be confessing her apparent weakness? And would we view her differently? I have a friend who is a size two and eats a lot and no one tsks-tsks at her or worries about her “issues”. It is kind of charming – look at that little woman EAT! But if a fat woman does that – eats for pleasure – she’s got a problem. An addiction.

    And so when Oprah gains weight, she confesses, apologizes and tells us she feels like she let herself – and all of us – down. Because obviously she has a food addiction she’s got to kick AND a moral responsibility to be thin. Don’t we all?

    When we think like that, we forget who we are and where we come from. We forget why food tastes good – because it tells us to eat more, and our earlier selves needed to stockpile reserves of fat and energy so as not to starve. Now, of course, we’ve got the same hardwiring as our ancestors – eat eat eat! – without the threat of famine. Add to that a food industry bent on selling us manufactured foods that aren’t any good for us but taste great…and yes, as a society we’re getting fatter. What I don’t get is why we’re so ashamed of that – it is just a formula, calories in versus calories out rather than a ticket straight to hell to burn eternally – or why we internalize eating for pleasure or weight gain as a personal failing. Rather than a neurosis, obesity seems to me to a collision between our hardwiring to eat stuff that tastes good so we’ll have reserves of fat that ensure survival during  lean times and a new (historically speaking) environment where starvation isn’t terribly likely.

    Pragmatics and skepticism aside, I still liked the book. Roth does point out something important: we invest in many activities and behaviours that don’t serve our spiritual well-being. That’s true, and that hurts my heart. (I heard the same thing in Church last week, and I teared up then, too.) Eating for pleasure, and enjoying food isn’t the issue, but having a life that is so difficult to cope with that food becomes your main source of pleasure is tragic.

    And so it seems to me – and of course this is Geneen Roth’s point – that the problem is the life and the pain, not the food or the weight.
    ————————–
    Want to read Women, Food and God by Geneen Roth? Tell me in the comments that you want the book. I’ll put all your names in a hat and draw for it on Friday. I’ll mail the winner my copy (if you don’t mind a few yellow underlines).

    PS This really is my copy. I bought it myself.

    PPS Hat tip to Katy Widrick for connecting me via Facebook to Lisa Turner’s Huffington Post piece (All Worked Up: Our Obsession With Food)

    Sideways: How To Believe A Compliment

    The cashier’s eyes are mesmerizing. They’re blue-green, lit from within, and provide an electric shock of colour amidst the black of her hair and white of her skin. Beautiful. I can’t stop looking that them, or her.

    I order an omelette and F orders a turkey sandwich and the two of us claim a table for six at the window. We’re expansionist like that. We’re talking about something – anything – everything – our conversations go like that – and I notice him noticing something about me. He looks at me like he’s seen something different or new or maybe not quite right. It is probably my hair. It is a mess of waves pulled into a haphazard ponytail. I brush a wayward strand out of my eyes and off my face and feel self-conscious. Maybe I should have straightened it this morning.

    The girl with the Aegean eyes brings us our order. As she walks away, F tells me she looked him straight in the eyes and smiled.

    “That’s ‘cuz you’re so pretty,” I tease. But I’m not really teasing. My friend is beautiful. Women – cashiers, customers, friends, six year olds, sixty year olds – love him. He loves them back.

    “Did you see her eyes?” he asks. “They’re amazing. They look just like yours. That’s what I was looking at when I was looking at you and made you uncomfortable.”

    Sunday School for Sentences #1: Explain the Expected in Unexpected Ways

    Luminous, live writing is microscopic.

    Ninety percent of good writing is getting the tiny, exacting, laborious details right. Or wrong. Jarring, syncopated writing can be delicious, too.

    When I work with other writers and bloggers, they tell me that writing is hard, they don’t have enough time, they don’t feel inspired, and they’re not sure that their writing matters.

    When I hear this, I hear:

    + “I’m waiting for Inspiration to overcome me and the writing to pour forth.”
    + “I’m waiting for writing to be easy.”
    + “The conditions of my life are not ideal.”
    + “I don’t have time to write for hours and hours a day.”
    + “If I’m not actively writing for hours and hours a day on the Next Great Novel or A Heartbreaking Work of Staggering Genius, then my writing doesn’t count.”

    And all of this adds up to these two conclusions:

    So why bother?

    and

     I can’t. I can’t. I can’t. I can’t.

    Neither of these conclusions yield any writing much less good writing. When attempting to create dazzling copy it is useful to avoid formulas that add up to writers block.

    And so, my darling, if you’re been thinking any of these awful things, then I have great news for you.

    You’re wrong.

    You don’t need inspiration; most writing will NEVAH be easy; your life will never yield easily to writing (you will ALWAYS have distractions more appealing or dictatorial than hours alone at the keyboard); you DO have time to write every day; and you don’t have to be working at A Very Important Work to be working at getting better – and becoming a faster and more polished writer will be very materially useful when you DO take on your great work.

    And I know this from experience. The actual process of writing – of flowing, creating – is short, easy and pleasurable. But the rest of it is punishing. But it can be done, and done every day, and you don’t need inspiration, muses, a room of your own, loads of “free” time, or divine conviction.

    You just need to do it. And the “it” I’m talking about is less about writing and more about editing.

    Editing is exhausting, oft-dreaded, and fairly unsexy – but editing does have a redeeming quality: it can be done any time, any where. It simply must be done. Over and over and over.

    I’m convinced that the secret to being a good writer is editing – and most of us don’t do enough of it.

    Here’s how I usually write:

    I sit down and pour it out. I don’t edit myself or criticize. I just let it come. This is a very pleasurable experience. This accounts for approximately ten percent of my writing time.

    And then I edit. I polish. I look for ways to make my prose active and engaging. I substitute verbs. I delete adjectives and adverbs. (Who am I kidding? I add more.) I invert comparisons, I introduce and expand metaphors, I read aloud so as to stalk and kill extraneous words. I research the etymology of words. I riff and add poetic flourishes. I fix my punctuation. I curse my addiction to hyphens and parenthetical asides. I leave it. I come back to it. I make it worse. I make it better. I find its rhythm. I spell-check rhythm. I understate things, I overstate things, I use the word “and” instead of commas, I overuse commas. I introduce emotional tension. I lie. I say the exact opposite of what I mean, but I place that lie in a paragraph of truth so that it hisses and won’t lie still. I keep working at it. I edit. Endlessly.

    This is work. This is labour. It is pleasurable in an abstract way – when I get past the dread and the difficulty and the unremitting and acute knowledge that my vision as a writer outstrips my abilities.

    A complete lack of faith in our skills and an insatiable desire to improve is the hell to which writers must acclimatize.

    This accounts for ninety percent of my writing time. Because I believe that great writers write great sentences, almost all of my writing time is dedicated to wrestling my insecurities and futzing with the details.

    And so my advice to other writers is unremarkable:

    • Write every day – it can be an e-mail, a letter, some phrases, pretty words, a list…just write something.
    • Edit more than you write.
    • Futz with the details.
    • Try not make your life an exercise in self-hatred because writing is already designed to work that muscle to exhaustion.

    But my most cherished bit ‘o wisdom is this:

    To improve your writing, you must strive to get your sentences either very right or very wrong.

    And that’s what the next sixteen Sundays are all about. Sentences. Futzing. Details. Putting your precious prose under a microscope.

    Each Sunday until the end of the year I’ll examine a stunning sentence and tell you what I love about it, what I learned from it, how I use what I learned in my own writing, and how you can too. And then together we’ll hold clinics in the comments.

    ———————–

    Sunday School for Sentences #1: Explain the Expected in Unexpected Ways

    We all know what Siddhartha could have written. He could have written that her thong sat higher than her jeans and added snark about the dangers of low-rise jeans and vampy panties. That would have been predictable – and utterly forgettable.

    What he did, however, was not forgettable.

    I read this sentence months ago, and I regularly cite it to students and clients as an example of  dazzling sentence. This sentence is a story in microcosm.  This sentence is excellent.

    What Siddhartha did right:

    • He used understatement.
    • He described something in an almost mechanical, factual way and let the reader fill in the emotive blanks.
    • He used unexpected detail – “minimalist approach to undergarments” – to make a sentence sing.

    What I took loved and learned from this sentence:

    Try to say the usual in unusual ways. Use unexpected detail. Use understatement. Sometimes straight description, without emotional interpretation, can be completely compelling.

    How I Used these Techniques In My Own Writing

    Saying the Expected in Unexpected Ways (Unexpected Detail)

    In this very piece, I laboured over a couple of sentences. In each of them I tried to follow Siddhartha’s example and say ordinary things in extraordinary ways.

    And so I wrote:

    1. When attempting to create dazzling copy it is useful to avoid formulas that add up to writers block.
    2. A complete lack of faith in our skills and an insatiable desire to improve is the hell to which writers must acclimatize.
    3. Try not make your life an exercise in self-hatred because writing is already designed to work that muscle to exhaustion.

    Understatement

    In all three sentences, although perhaps not obvious to a more minimalist writer, I dialed down the emotional content.

    (Overstatement is my natural go-to, so whenever I dial it down, even a little, I think I’m crafting my prose.)

    In sentence #1, I tried to use understatement by saying “it is useful to avoid” rather than something overstated like “You MUST, at all costs, avoid…”.

    In sentence #2 although I use overstatement (“hell”) I pair that charged subject with “acclimatize” – a neutral, bland verb. And so, with that verb choice, I’m at least waving at factual, objective reporting.

    Factual Reporting

    These sentences don’t really use factual reporting (except possibly in #2, see above) but the dispassionate tone of them tips their respective hats to factual reporting and is at odds with the passion inherent to all three subjects:

    • writer’s block (ouch! avoid avoid avoid!);
    • the pain of creation (no wonder many writers call their books their babies and compare the act of writing and editing to pregnancy and childbirth); and
    • the loneliness and insecurity that accompanies creating something from nothing.

    Mismatching tone and subject is one of my favourite techniques, because it is…unexpected.

    Which, of course, is what I loved about Siddhartha’s sentence in the first place.

    ——————-

    And you?

    What did you like about this sentence?

    How will you use understatement, unexpected detail and factual reporting to light up your own sentences? (Examples, please!)

    ————–

    Sunday School for Sentences will be a sixteen-part series. Missed one? Here they are:

  • Prologue: God, Sex and Dazzling Sentences
    1. Sunday School for Sentences #1: Explain the Expected in Unexpected Ways
    2. Sunday School for Sentences #2: The (Textual) Reverse Cowgirl
    3. Sunday School for Sentences #3: Object Lessons (from Kanye West and JD Salinger)
    4. Sunday School for Sentences #4: How to Give Good Quote
    5. Sunday School For Sentences #5: Why You Should Write Bad Poetry
    6. Sunday School for Sentences #6: Two Damn Fine Writing Tips
    7. Sunday School for Sentences #7: There Are No Magic Words
    8. Sunday School for Sentences #8: How To Execute a Climax or Series of Climaxes. I’m talking About Writing. Mostly.
    9. Sunday School for Sentences #9: Thread the Grommets, Lace the Corset, Feed the Rabbits
    10. Sunday School For Sentences #10 – Work It
    11. Sunday School for Sentences #11: The Pigs In Space Edition
    12. Sunday School for Sentences #12: Screw SEO. I Write (Wackadoo Titles) for PEOPLE, Not Search Engines. And So Should You.
    13. Sunday School for Sentences #13: How to Write an Intimate Cosmology of Cheesecake, Cheesecake Shots (or not) and Shoplifting
    14. Sunday School for Sentences #14: What Picasso And Dave Chappelle Know about Writing. For Realz.