for Small medium larch
A Golden Larch
I am trying to not think of an audience. I am trying to not think of a reader—the reader. I am trying to not think that you will read this. I am trying to think—note that the “not” disappears, more accurately, relocates—that you will not read this.
This is, of course, ass-backwards. We almost always write for an audience, a reader—even in the privacy of journals that we claim we write for ourselves but of course keep to appraise posterity of our brilliance, significance, intellectual insight, and emotional depth (What? No? Your journals are truly, completely private? Do you burn them, destroy them, after you write in them? No? Then, beloved hypocrite, you are just as vain and ego-fuelled and delusional as I am). Good work, effective work posits a reader. It is created with an audience, a reader in mind. Otherwise, it’s either therapy or narcissistic indulgence, not art.
Certainly not journalism.
But that’s another story.
This story is about heartbreak. And to write a true story about heartbreak, you need to write without thinking of the reader.
I want to tell you a story about my 12 days in Heaven, and I want it to be a truly true story. You know most of my stories aren’t really true—each is a performance, an exercise, a game. But today, I want to give you a true story. To give it, I need to not think of the audience (especially not you), a reader, the reader (the specific reader).
I am thinking, writing in circles.
It’s because I am sober for the first time in 10 days; hungover from Heaven.
View from the Banff Centre Library
Heaven is partly a place, mostly people. I’ve just come back from 10 days—12, if you count the shoulder travel days, and I do—at the Banff Centre for Arts and Creativity, where I was privileged to be part of the Centre’s third annual Investigative Journalism Intensive.
Background for the uninitiated: The Banff Centre is, I believe, North America’s largest non-parchment granting arts institution. Its official messaging describes it as “a learning organization built upon an extraordinary legacy of excellence in artistic and creative development… the global organization leading in arts, culture, and creativity across dozens of disciplines… [which] aims to inspire everyone who attends our campus—artists, leaders, and thinkers—to unleash their creative potential.”
Words, words, words—what it is, it’s heaven on earth for artists, creators. And because it’s located in Alberta and at the mercy of the economic and political machinations of a boom-bust economy and governments that do not believe in nourishing art, culture, and artists, it’s an arts organization that’s an entrepreneurial leader. It provides a womb for artists from across Canada and the world, and it funds this womb in large part through hard-nosed business operations. Yeah, it’s an arts institution that has revenue streams independent of the government and student fees. And we’re not just talking generous donations from philanthropists (while we’re talking philanthropy, though, to the many individual and corporate donors who made the Investigative Journalism Intensive possible, thank you!).
Banff Centre Campus, God’s light
But that also is another story. This is not a hard-nosed business story, although I just completed a hard-nosed investigative journalism intensive. This is a story about Heaven.
And also, not thinking about the reader.
So. I’m in Heaven. This is, I think, not a metaphor. The Banff Centre is in the heart of the obscenely beautiful Banff National Park, nestled into the side of the sacred Sleeping Buffalo Mountain (Tunnel Mountain to the colonizers), with views of Sulphur Mountain, Cascade Mountain and others enclosing it in a fairytale-like setting. God’s country for atheists, hedonists, naturalists, artists.
Elk on campus
Elk and deer wander the 42-acre campus; the occasional bear visits too. Birds sing. Little mammals scurry. Trees rustle, the wind whispers.
More importantly, they work.
I arrive exhausted and beyond depleted. Soon, I will meet my cohort and later, we will share with each other our hopes, expectations, and fears—so many fears. People are intimidated, uncertain, worried—we are, technically, the most promising-passionate-something-or-other journalists around (ha! who the hell told them that? how did we ever fool them into letting us into this programme?) and we are all suffering from Impostor Syndrome. Everyone’s worried that at check-in—or check-out—or any point in-between, someone will lean over our shoulder and say, “Um, sorry, we made a mistake, you don’t belong here.”
Elk harem on campus
What I’m most worried about, though, is not Impostor Syndrome. Over the years, I’ve come to accept Impostor Syndrome as, if not a friend, exactly, then as a constant presence, whose poisonous whispers I acknowledge, hear, but don’t listen to. “You don’t belong here,” the demon—I call her Aunt Augusta—whispers. “You’re so out-classed.” “You’re so right,” I answer back. “And yet, here I am. I’m so lucky. Now screw off and let me take advantage of this opportunity I don’t deserve.”
What I’m most worried about is that I am arriving so exhausted, so depleted, I will piss the opportunity away. I check in at 3:45 p.m.—and I’m on the gorgeous king-sized bed, linens white and fresh, and falling asleep by 4 p.m. I’m going to sleep the entire time that I’m here and what Alberta tax payers, conference attendees, and generous Banff Centre donors will have paid for by providing me with this opportunity is… dreams. Nothing but dreams.
And not metaphoric dreams, either, but literal dreams, in the pre-2013 definition of the word.
I sleep for 30 minutes, and then I do what I always do when I don’t have the energy to move or live. I go for a walk.
To a cemetery.
The Old Banff Cemetery is also nestled into the side of Sleeping Buffalo Mountain, just below the Banff Centre. I visit it often when I’m in Banff. Death affirms life. Later, as my stint in Heaven is ending, I will talk about beautiful melancholy with a positive-but-melancholy musician, and I will tell a fellow journalist that I hope he finds beauty in his sadness.
This is what I find in the cemetery.
But this is also not part of this story in which I’m trying to not thinking about the reader. (But do you see how, because I’m trying to not think about the reader, you are only able to follow because you love me and you think I love you, and you hope that, perhaps, I’m writing for you, trying to not think of you? Good. That’s the point, at last part of it.)
That night, I sleep for 12 interrupted hours, waking to the sounds of rutting elk, and also, to the sound of deep silence. Once, my screaming, a nightmare.
The next day, I meet my people.
On top of Sleeping Buffalo (Tunnel) Mountain
I don’t know it yet, of course. When I meet them—when we meet, we are strangers. We spend that day, I think, sussing each other out. Posing, positioning? Impostor syndrome is strong. Intimidation rising.
Me, I don’t make deep connections easily and rarely do I feel that I belong, anywhere, with anyone.
(But when I teach, and I ask students the question, “What do all people want?” the answer I give them is this: “To be loved, to be understood—to belong.)
That first night, I run away from the possibility of connection. I leave as soon as it’s offered, actually. Exhausted, depleted, I sleep another 12 hours…
Later, on the last night in Heaven, I tell the santur player who turns sadness into beauty (you haven’t met him yet, nor have I, wait, it’s coming) that for people like me, intimacy is a conscious choice. Love, connection, trust—none of it just happens. It is safer to be distant—it is more comfortable to be on the periphery. It is easier to be a journalist than an artist: it is easier to walk through a room glibly, smiling and laughing, but not investing. Observing but not risking.
With love, with connection, with trust comes the possibility of loss and pain.
In North American culture, we mostly talk about erotic, romantic love. And we misunderstand it, pervert it—that’s also another story.
Non-romantic love can also cause heartbreak, tear you apart. That’s part of this story.
I will tell you, the reader of whom I am trying so hard not to think, this: the day I arrive, I am so afraid I am too exhausted, too depleted to risk, learn, love. On the day I meet my people—except that I don’t know that they are my people yet—I realize that, the bone-deep exhaustion notwithstanding, I can, I must make a choice. And on the next day, on top of Sleeping Buffalo Mountain, the cold wind whipping my face at the same time as the sun warms it, I make the choice to love them. Fully, unabashedly, no constraints, no barriers, nothing held back.
In the wind
Here’s the magical thing, here is what happens in Heaven: every other person in the cohort makes the same decision.
Not at the same moment, not that day, not on that mountaintop. A few of us are a slower burn than even me—it takes them longer. (And yet others have fewer intimacy issues—they decide to roll the dice, take the risk, and love us all on day one.)
Photographing the photographers; context deleted
I explain all this to the melancholy musician on the last night. And I cry.
He plays beautiful music to soothe my heart, and I cry some more.
I’ve jumped ahead and you can’t follow.
So. I am in Heaven—aka the Banff Centre for Arts and Creativity—on a 10-day Investigative Journalism Intensive. My debriefing, description, depiction of it violates every “this is journalism” rule, I know. I am not a journalist right now. I am a broken, open heart.
And it’s a journalist’s fault.
Robert Cribb, the star investigative journalist from The Toronto Star (see what I did there), who is our main guide on this journey, sets the sappy tone in the first hour of the intensive.
(Patti Sonntag, former managing editor in The New York Times’ news service division and now director of the Institute for Investigative Journalism at the University of Concordia is the other; we also get some time with the brilliant Aron Pilhofer, the James B. Steele Chair in Journalism Innovation at Temple University—holy cow, loves, mind utterly blown, I drink each word from him as if it is vintage wine or the blood of Christ itself).
But it’s Cribb who is the main midwife of what happens in Heaven. And this is weird casting. Really weird. If you’ve read Cribb in the Star—if you’ve read Digging Deeper: A Canadian Reporter’s Research Guide, the textbook for people like us that he co-authored with Dean Jobb, David McKie, and Fred Vallance-Jones and which forms the text for our intensive—you form a certain image. Expectation. At least, I did, and it was the kinda image often depicted in movies. You know. The seasoned, cynical, hard-boiled journalist (or, actually, homicide detective) with a bottle of whisky in the bottom drawer of his desk.
And when you see Cribb in the flesh, he rather fits that image. Maybe better dressed than the typical Silver Screen depiction. But tough, tough. And hard as nails.
Heart of gold inside? I dunno, maybe, not really, more like a heart of steel, or an uber-fast analyzing computer.
Hard-core, not soft-boiled. Clearly.
“This is love, here is love,” the hard-core Cribb tells us on day one, in hour one. I don’t believe him.
This is love.
I have no idea if he knows how he’s doing what he’s doing. How much of it is on purpose, by design. How much of it is intuition. But we fall in love, with each other, with each other’s work, passion, experience, vulnerability, frustration, fear, hope, ambition, humility… fear. Did I mention fear?
We are journalists working in the era of free content, death of newspapers, evisceration of news desks. And the rise of alternative facts and fake news.
We are all probably (not just a little) mad.
I am mad, I am in Heaven, and while here, I am working on three things:
- The narrative journalism-this-is-not-really-an-investigation-but-it-has-elements-of-one-I-hope story I want to create around this thing that’s happening in Alberta that I’m not going to tell you anything more about, because it’s my story and while not really a secret, still, containment is the first rule of magic
(Ok, I’m not really working on that story. Unless thinking is working. I’m thinking. A lot. Document state of mind, where is it written down, where can I find what I need to answer my questions? I make lists. Identify agencies, names. Think, think, think. A lot.)
meme by David
- The novel that I was supposed to have finished in February, but, you know, sick child, life
(I plot it out completely, and hit about 6-7,000 new words on it before the intensive ends; also, flesh out some other parts on its sister pieces—I am happy, productive, accomplished.)
- A painfully introspective “what do I want to do with the rest of my life, or at least the next five years” journaling exercise
(I do not arrive at an answer—except that I do not wish to work for an established Canadian media company in any way, shape or form, I want to be part of a revolution, except that I don’t think I’ve got quite enough fire to lead the revolution—what I want is someone else to start the revolution and tell me how to help execute it, what do you mean, I have to figure it out all myself?—and that, my love, is a taste of what my journal pages look like, minus the expletives, doodles, and digressions.)
This is not a newspaper; this is not journalism
I am not working on the story I pitched to get into the programme. Because I don’t have the emotional bandwidth to write it right now. And that’s—well, that’s also another story. Also, I’m not sure who will pay me for it (which is in some ways the most important story). But it’s ok. I don’t have to write that story, right now. Maybe someone else can do it better. And if they can’t, life is long—maybe I will get to it one day.
In Heaven, for me, my story is not what matters. My people matter.
I have a people. Do you understand how intoxicating this is for me?
We are an interesting mix of people, from across Canada and around the world. The prairie provinces are well-represented, and the East Coast (hello, New Brunswick!) over-represented. Toronto and Vancouver are notable by their absence—why is that? But we’ve got Montreal (although he’s really Boston). And London, Kingston, and Hamilton. There are journalists from New York and New Orleans, a Pole working in Cambodia and an Australian based in Liberia—and the Brit was most recently working in New York. A First Nations journalist from Northwestern Ontario—what a beat she has, what a heart pounds within her—how does it not break, daily?
Perhaps it does.
Boat in the woods
Exhausted, depleted when I come, I request complete radio silence on behalf of real life while I’m in Heaven. “Unless one of the children is in the hospital and needs a blood transfusion from me, don’t text me,” I tell the family. I issue the same directive to my friends and loves. “Don’t text me, I won’t text you”—I want to be here, away, completely.
I break it twice. Once, when the high school calls me—they never call me, what’s wrong, panic—texts—it’s fine, everything is fine.
The second time, it’s after Heaven becomes interdisciplinary—we the journalists go to hear the musicians in residence perform a concert, and I don’t know exactly what happens—it’s like the secret sauce. Journalists (writers in general, except perhaps the poets) don’t usually think of ourselves as artists. A number of us in the intensive are recipients of artists’ grants, and Impostor Syndrome prompts us to laugh at the label. Artists, us? What are we doing here, really, in this arts sanctuary?
Do we belong?
The answer, I think, is this: Yes, we belong. We’re all here, musicians, photographers, painters, poets, novelists, journalists, because we make things in order to make sense of the world. Right? Isn’t that what we do, at the core? And hearing the musicians make sense of the world in a language in which we journalists, writers are rarely fluent—I certainly am not—shakes us.
Shakes me, anyway, to the core.
Dancing in the Streets, photo by Kathleen
Cello, bass, violins, viola, guitar—flute, gods, the flute, what is that? how does she do that?—voices as instrument, body as instrument, drum and paper, a hundred-stringed Persian santur, piano and bass—is that a Zappa song? And that string quartet, do they share a hive mind and what have they done to my insides, they are no longer my own—they’re cosmic dust, and I don’t exist.
(And yet, it turns out later in the night, non-existent, I can still dance…)
The night of the concert, I don’t really sleep; in the morning, unsettled, vibrating, I break radio silence with an email. I write about the santur player (I’ve met him now, and so have you—but this is all the introduction you get), and the flutist, and the folk singer, and the string quartet from Vienna, and the bass player who loves Frank Zappa, and the dancer who speaks with her body, oh-my-god, but mostly, I write this:
My work is not really moving forward in a significant way—well, I did plot out the next [Series Title Deleted] novel, and I’ve got some words down on that, I should not downplay that—but most importantly, my brain feels like it’s waking up, I am drinking art and I am surrounded by people loving and making art and music and poetry and making words sing, and I am so alive even when I am almost too exhausted to move.
Last night, after an intense day of work work work, and then the concert, and then the party, we danced in one of the hotel rooms until we literally collapsed on the floor—I have not felt such freedom and abandon in an eternity.
And I am grateful, and that’s a good feeling—I have had a very hard time feeling grateful.
Here’s a picture of my crew.
Did I mention that I am so happy? My heart threatens to break out of my ribcage.
View from my room
We work, we learn, we work, we hike, we work, we dance—we talk, argue, share, fall silent. Repeat.
I feel the hangover coming before it hits. It all ends, we are to leave Thursday morning. Tuesday, we fill out programme evaluations, have our closing reception… which morphs into a closing party and karaoke (and there is also a mechanical bull, don’t ask, it’s Alberta)… and then a long walk from Banff townsite to the Banff Centre, the longest way possible, not on the direct path, but all the way around the mountain. With lots of stops.
“No. We’re not turning there—if we turn there, we’re going to be back at the Centre, and then this night is over, no.”
Not my words, but my sentiment.
We lay down for a while at the Surprise Corner look-out point and look at the stars.
It’s two, three in the morning? Too late. Too much. Too little. It’s almost all over.
“I don’t want this to be over.”
I have the conversation that begins with this sentence a dozen times, with a dozen different people, none of whom I would have met in the ordinary course of my creative or professional career; these 10 days are extraordinary.
We are hungry for each other, we fit each other, we stimulate, challenge, push each other. This is Heaven.
Bridge over troubled (they only look calm) waters
The santur player—you’ve met him now, remember?—is Persian, and in our encounters we talk poetry, of course. The Persian sufi poets excel at metaphor, at using the language of sexual desire to represent divine love, at using the prosaic and the ordinary to represent that which cannot rightly be put into words.
I wish I had the talent of Hafez of Shiraz to put my longing into words. I do my inadequate best—my people understand, because we all feel it. Many of us freelance, which means we are almost always alone, working with cyber-editors and ever-new sources. Colleagues, friends, collaborators, soulmates? What is that?
Even the people in the newsrooms—they often feel alone, isolated. Also, under stress, fire, threat.
Being an artist has never been easy; there has never been a worse time, in the “free” world anyway, to be a journalist at a traditional media outlet.
And yet, here we are.
“Are we stupid?” I ask this question as the level in the whisky bottle—not the first one—drops. “I mean, I know we’re brilliant, we’re all high on how brilliant we all are. But are we really stupid? Aren’t the smart ones in public relations, communications, marketing, in-house at the corporations, out-earning us, out-spinning us, killing us?”
All the industry stereotypes
“So why do we keep on doing this?”
The question answers itself when I talk with the melancholy-but-happy (that’s a thing) santur player, who makes the hundred-string Persian instrument weep to bring peace to tormented hearts. He can’t remember not playing the santur. He can’t remember not making music. He can’t remember at what age he made his first attempts at composition—his father first recorded him “improvising” when he was ten years old.
Music is in his bones, in his DNA.
It is who he is, as much as it is what he does.
I ask him questions, so many questions, intrusive questions, ignorant questions—I am not fluent in the language of music.
But there’s a question I don’t ask, don’t have to ask.
I’ve heard its variant often.
“What would you be doing if you weren’t writing?”
(What would you be doing if you weren’t making music? If you weren’t making art?)
And I don’t understand the question.
I smile awkwardly.
I shuffle away.
We here, this intrepid group now enjoying 10 days in Heaven, we are the people who have to tell the stories. We need to document them, chase them, share them.
Beavers build dams.
We see the “Who, what, when, where” and then ask, “Why? How?”
And keep on asking…
Then write down the answers, send them into the world, so that you know too.
This used to be a valued, precious skill and gift. Lately, not so much.
See what happened? A bunch of journalists and the Banff Centre made me believe in God. Or maybe it was the Persian santur. Goddamn Sufis. Where’s my whisky and my heart of steel?
It’s time to say goodbye.
I don’t want to. I break radio silence, again.
Today my heart hurts because I will be leaving them. I am stupidly hiding from them because I don’t want to say goodbye.
As I write the email, I realize I am being stupid.
I close my eyes. And enter into the pain.
I am going to stop being stupid & go love them a little more, a little longer.
Photo by Alex
We spend that last evening outside. Around an open fire.
When I leave them, I am an open wound.
The santur player has a song called “One Last Time”:
I don’t even try not to cry when he plays it.
“This is how I feel about my crew,” I tell him. “Precisely, exactly, completely, this.”
We will never see each other again—not like this, not all of us—and the reality of this hurts, hurts, hurts. We now know each other—and we know we are not alone, and we know we are loved and valued. That is something, that is everything.
We connect—Facebook, Twitter, Instagram. LinkedIn. Slack.
Sorry. That is meaningless. It doesn’t matter, it doesn’t compare to this face-to-face time, any more than an email “interview” compares to a face-to-face one—any more than watching porn compares to having sex with someone you are mad about.
(You know I was going to go there.)
Photo by kind stranger from Willow’s camera under Willow’s direction
When your heart breaks, you have, I think, two choices.
(You almost always have at least two choices, right?)
You can sow it up and harden.
Or you can leave it open. And make art.
I’m making art—I’m writing—and I am trying to not think of an audience. I am trying to not think of a reader—the reader. I am trying to not think that you will read this, even though, of course, I am writing it for you, only for you.
Document state of mind forever.
Photo by Kathleen
PS All you need to know about The Banff Centre: https://www.banffcentre.ca/
PS2 All you need to know about the Institute for Investigative Journalism at Concordia https://www.concordia.ca/artsci/journalism/research/investigative-journalism.html
PS3 (The Most Important One) The Banff Centre Musicians in Residence perform most Friday evenings this fall, in Rolston Hall. If you’re within driving distance (Calgary, I’m talking to you), you should go hear them. Because. Amazing. (Also, free.)
PS4 I know that part of the intoxicating intensity of our love affair comes from its brevity and its enforced, prescribed ending. Were we all to, suddenly, form a single, cohesive full-time newsroom, were we to work together five, six—in this world, seven—days a week for 52 weeks—hell, even a few months—there would be less infatuation and more frustration, the professional equivalent of seeing a lover’s dirty socks on the living room floor, repeatedly, for goddsake, what’s wrong with her, does she not know what the laundry basket is for? I know all this. Vacation romance, fairy tale love affair. I don’t care. It’s not any less real, any less precious because it’s ephemeral and must end. All things end. We are lucky, so lucky, that we drowned in it as fully as we did, among the mountains, the elk, the true evergreens and the mysterious golden larches.
Michael on deadline (he made it)
PS5 Ok, I realize, you–the reader I’m trying not to think of–you’re going to go here:
You: OMG, woman, did you actually do any journalism?
Jame: OMG, we did EVERYTHING. We drilled into the elements of investigative reporting and what separates original investigative work from derivative reporting—and also, how it’s possible to write an original, revealing investigative piece purely from data already out in the public records that nobody had bothered to connect together before. DOCUMENT STATE OF MIND. We pitched out story ideas and refined them—and refined them some more—being part of this process was probably the most useful part of the entire intensive, except that all of it was useful. We talked about focus and moral and purpose. “What’s the point of this story? What’s the moral of this story? Why are you writing this story?” (We’re writing to change the world. Short answer.) We talked about testing ideas and getting started, organizing documents, identifying (and chasing down) sources. DOCUMENT STATE OF MIND. Collaborative (like hundreds of journalists working together) investigations. Sharing data, interviews, and insights. Preparing for cooperative publications and broadcast. Public records and freedom of information requests. DOCUMENT STATE OF MIND. Pay-walls, love as business model, memberships and subscribers, the future of our industry. Doing the work, loving the work–paying attention to the reader. Piggy-backing on past FOIP requests. How data tells a story. Turning data into narrative. DOCUMENT STATE OF MIND. Sequencing interviews, preparing for adversarial interviews, dealing with spin and reluctance. Turning “off the record” sources into “on the record” ones. Libel-proofing stories. Role-playing adversarial interviews. Surviving being scooped. DOCUMENT STATE OF MIND. Solutions journalism (sort of). Data. More data. DOCUMENT STATE OF MIND.
You: I don’t understand any of this.
Jane: You had to be there. Here, have some more whisky, and then I’ll play you some modern Persian music, and we can both cry.