Pandemic Diary: Instructions to Self

i

Get up. No, really. Pull off the covers and get up, get out of bed. Feet into slippers. Aren’t you glad you bought those when you did—these floors are cold and the fur inside the slippers so soft… Pause. Enjoy this first joy of the morning. Yes? Now, dressing gown on. Good. Look at you, almost at the door. Turn on the light. You’re doing it! Open the bedroom door. Look at this space that you love and glory in it. Fine, don’t, too early for glorying. Just don’t crash yet, ok? You’re doing it, you’re moving. Turn on the lights and turn on the heat—don’t think about the darkness and cold of winter, coming relentlessly—don’t think about it. Why are you thinking about it? It’s like you don’t want to be happy, bitch, come on. Pull yourself together and work with me! Yesterday was a sunny, warm day and while the sunset comes well before even your lame early bedtime, wasn’t it beautiful? Don’t think about winter. Think about your fireplace. Actually, don’t think, just get your ass into the kitchen. Fill the kettle with water. Light a burner on the stove. Grind the beans. Why did you wash the Bodum last night, ya’ lazy fuck, you’ve got to do it now. Sigh. Ok, done.

Fuck. You forgot to pee—how is that even a thing? Pee.

The bathroom is cold. Be grateful for your robe and slippers, and that living room fire. How lucky are you that that’s your main heat source and not a hedonistic indulgence? As soon as the kettle boils, you’ll make coffee and sit beside it and be cozy and warm. Will you work today? Don’t think about it until after the coffee is made—but also, why are making that an option, a question? Do you want to pay rent and the credit card bill? Then pull your whiney shit together and work.

Don’t think. The kettle is whistling. Turn off the gas. Pour the boiling water over the ground beans. Inhale the smell. Yessss. Glory in that. Good. Now glory in the gas stove—think about how hot that gas fireplace will be now. Good. Cup, cinnamon and Bodum on tray. Where’s your notebook? Beside the burning fire, with your pens. Perfect. Sit down. Pour coffee.

Write.

ii

Every once in a while, a friend or a stranger provides me with an external reality check—a reminder that while I feel that in the last two months, I’ve been treading water (again), doing nothing, writing nothing—I’ve written 40,000 words plus revisions plus queries plus thinking of course—and, course notes and materials—also, of course, these blog posts.

It doesn’t seem like enough; it never seems like enough.

Yesterday’s crop of work: editing one 900-word piece, gratis, for a friend, proofing (really, ghostwriting) a 2000 word article for a client. No proofing of Matilda, and no work on the memoir project. Today, I am afraid, will be the same. Same but different—I will make myself work on one chapter before letting myself eat breakfast. No work—no breakfast. No work—no food. This is the stratagem I am reduced to right now—but at least I have a working strategy left.

I talk with another creative yesterday. He’s taking up singing lessons in an attempt to shake his malaise up, light a fire of motivation, creation, action under this inertia. Induced by the pandemic or other life’s stressors? He doesn’t know and neither do I. Let’s not talk about it. I don’t care about root causes anymore: I just want to DO things.

A lovely stranger tells me to think about adrenal supplements. A less lovely stranger suggests a multi vitamin and more iron. I tell him that he, in turn, could use to lose some weight. That Quarantine 15 looks more like a Quarantine 35, that is, if he had a flat belly beforehand—and also, two or three drinks every night probably does make you an alcoholic, and it’s definitely not good for the complexion. We part in mutual acrimony; ironically, we’re probably both right. Maybe some of this low energy in me is due to an iron deficiency; and eating, generally, is more a chore than a pleasure these days, so a multivitamin might not be a bad idea—but really? Shut the fuck up and don’t provoke me—OMFG, I can’t believe I just told someone to lose weight, not something you should say to stranger, foe or friend, ever. But in my defence, between his “you need to take an iron supplement” and my “and you need to lose 20 or 30 pounds, asshole” retort, came a suggestion that I wax the dark fuzz on my upper lip, and would I consider taking out my lip rings?

Motherfucker is lucky I didn’t bury his body in the gravel of the playground at the local elementary school, at which children lick each other during recess, then wait six feet apart, masks obediently on, before being marched back into the building.

But I digress. What was my point? I want to DO things. Ok, specifically—I want to WANT to DO things. I feel this is probably a positive first step. To desire desire. I am out of bed. I have ranted, emptied myself on the page in my Morning Pages practice. I have closed my eyes for two minutes in a fake meditation and, still feeling resistance instead of desire-to-desire, I’ve started writing anyway.

Start to work, start to write, start to move. Desire comes next, desire comes from action—and even if it doesn’t, the action, once executed, persists.

Also, honey, if you don’t revise that fucking chapter, you get no breakfast and aren’t you hungry? Starving?

Work, dammit.

Tummy grumbling, I work. The desire doesn’t come. But the words do, anyway.

The mark of a professional; OMFG, I wish I was an amateur, a hobbyist, did not have to get out of bed today—no, I don’t—I… work.

I work. And, finally, five pages in, flow. Not ninety minutes, not hours. Just a few minutes. A taste. But enough, enough, enough to spark a little bit of desire. Enough to remember what the heroin feels like. Enough to chase it onto the next page. And the next one. One more? And one more.

Two more—so hungry—two more, and you can eat. You can eat soon.

You can invoice soon.

The mark of a professional.

Doing the thing, even when you don’t want to.

xoxo

“Jane”

There are good moments
From the first post-COVID GoGo Battles at Dickens

Pandemic Diary: Of sentence fragments and their opposite, and also, parenthetically, purposeful procrastination

i

Me, in bed, much coffee, a bare foot sticking out from between tangled blankets, notebook, leaky fountain pen. Morning pages done but not yet quite ready to work—unfinished business? Sneezes—not COVID-19 and not a common cold—I think I’m allergic to my feather pillows, oh, but they are so comfortable!

Achoo.

Mentoring a writer and ripping her work to shreds in a big way. I mean—editing, but a new writer doesn’t understand the process and every correction hurts. Also—“But you use sentence fragments all the time!” True. But I do it on purpose, to achieve a certain tempo, feeling. You do it because you don’t understand grammar.

Ouch.

I need to learn how to deliver life lessons in a more gentle, supportive manner.

Except… successful, published writers need to learn how to survive criticism—even harsh, unjust criticism.

Just read the comments.

(Don’t read the comments.)

ii

I guess this is still a Pandemic Diary entry because the pandemic is still happening. But man-oh-man—boy-oh-boy—why do we not say girl-oh-girl, do you think we could make that a thing—it sometimes feels like it’s not, and I still don’t know if your grandma, your son, your immune-compromised system are worth all this—I wish you’d show me they were—but I suppose what all this is illustrating is that I am just not a very good, compassionate human being—I’m sorry (not-sorry), I fucking suck, aren’t you glad I’m not making policy decisions?

The above is an example of a run-on sentence that I can get away with in a blog post (but not in an article) and that Henry James could have kept on moving for pages and pages, but which you, beginning writer, need to chop into six simple declarative sentences.

You heard me. Six.

Maybe seven.

Chop.

Ouch.

iii

Achoo.

I’m sneezing again. Another cup of coffee. Almost ready to work. (<<<— Sentence fragment used to a purpose.) (<<<—Sentence fragment used to a purpose to illustrate the purpose of sentence fragments.) Yawn. Sneeze. Curl and stretch the toes of the foot peeking out from between the sheets. Sternly tell it that no, it does not get to crawl back under and snoozle.

It’s time to work.

Achoo.

Ouch.

More coffee?

“Jane”

Books in the Time of Corona: what’s on my shelves and what’s not, and the story it tells

First, an apology for the title slug. I know you’re all sick and tired of plays on A Love in the Time of Cholera. Still. There’s a reason we’re doing it.

Second… but really first:

i. A catalogue

I recently moved, and as part of the uprooting, I culled my physical books to the essentials. (Ok, I moved like 500 metres away, but hey, packing and thus purging was definitely involved.) Stress on the physical: thank gods for my e-readers, a library of thousands always in my pocket.

Still. I was pretty ruthless. Totally ruthless, actually. Goodbye, university textbooks. Goodbye, books from the “I was a teenage Wiccan” phase. Goodbye, big thick books that look good on my shelf and make me feel smart because I own them—but let’s be honest, I’m never going to read Infinite Jest. I tried. It’s unreadable. I read Gravity’s Rainbow—goodbye—and, frankly, wish I hadn’t, don’t remember what it’s about, and I’ll never get that time back.

Goodbye, all of Jeanette Winterson’s not Sexing the Cherry books. Goodbye, gifted books that missed the mark—goodbye, self-bought books that I read, don’t remember, will never read again. Goodbye, books I once loved but don’t anymore—that cull was the hardest.

What’s left was still heavy to move and comprises about ten shelf equivalents. But each of these books is loved. Important.

Like The Letters of Sylvia Plath and this little known book of the poet’s drawings:

I don’t actually own Plath’s The Bell Jar or Ariel. How is this possible? Note to self: must buy. Response to self: this is how it beings, hoarding, pack-ratting expansion. Don’t do it. Response to response to self: Shut up. I want my Sylvia.

All of my Polish books:

Some of these have travelled the world with my parents and me for almost forty years. The Polish translation of A.S. Lindgren’s Children from Bullerbyn (which used to belong to my dad’s sister, actually—she got it and read it the year I was born) and of Winnie The Pooh—the first “chapter” books I ever read. And, of course, Sienkiewicz, Mickiewicz, Orzeszkowa, Rodziewiczówna. Kapuścinski. The more modern poets: Zagajewski, Anna Świrszczyńska and Wisława Szymborska, not in translation.

This cultural heritage of mine, I have a very… fraught, complex relationship with. So much beauty, so much passion, so much suffering—so much stupidity, so much pain.

Governments do not define a national, a culture, or a people, I suppose. But in a democracy, they reflect the will and the hearts of the majority of the people, and, if the current government of Poland reflects the majority of the will and the hearts of the (voting) Polish people, they are repugnant to me and I want nothing to do with them. I am ashamed of them, of where I come from.

But I do come of them, from there, do I not?

Still. I keep the books. Including the one celebrating our first modern proto-fascist, Józef Piłsudski. History is complicated; ancestry not chosen.

Next, a shelf of all of my favourites.

All of Jane Austen, of course. Most of Nabokov. Virginia Woolf, because, well, it’s complicated. Susan Sontag’s On The Suffering of Others, and E.M. Forester’s Maurice—I gave up Room With a View and the others. J.D. Salinger’s The Catcher in the Rye, not so much because I’ll ever read it again but because it was so important back then. Anthony Burgess’ A Clockwork Orange, because nothing like it has been written before or since. Hunter S. Thompson’s Fear and Loathing in Las Vegas—I mean. I had to keep it, hero of my misspent university youth. I put him right next to Charles Bukowski’s Women, which isn’t great, but which… well. It taught me a lot about writing. Then, Jorge Luis Borges’ The Book of Imaginary Beings, which always makes me cry because a) it exists and b) I will never write that well.

Edward Said’s Orientalism, the only book to survive my “why the fuck did I keep all of these outdated anthropology and sociology and history textbooks for 25 years” purge. Margaret Mead’s New Lives for Old, which wasn’t one of them, but a later acquisition, kept in honour of the woman who dared live her life, do her thing. She wasn’t the smartest, the brightest, the most original—but fuck, she dared. Fraser’s The Golden Bough and Lilian Faderman’s Chloe Plus Olivia, both acquired in my teens—the first gave me religion for a while, while I freed myself of the Polish Catholicism in which I grew up (“freed” is an aspirational word; I suspect the religions we are indoctrinated into in childhood stay in our bones forever—the best that we can do is be aware when that early programming tries to sabotage our critical thinking and emotional well-being), and the second showed me I wasn’t a freak, an aberration, alone.

Next, The First Ms. Reader and the Sisterhood is Powerful anthology—original 1970s paperbacks bought in a used bookstore in the 1990s when I was discovering feminism. Monica Sjöö and Barbara Mor’s The Great Cosmic Mother—I suppose another Wicca-feminism vestige. I will never read it again, but way back when, that book changed my life, so. Here it is, with me, still.

And now, back to fiction: The Doorbell Rang, my only Rex Stout hardcover, although without the dust jacket, and a hardcover, old, maybe even worth something, with protected dust jacket intact, of P.G. Wodehouse’s Psmith, Journalist. Next to them, The Adventures of Romney Pringle and The Further Adventures by Romney Pringle, the single collaboration between R. Austin Freeman and John J. Pitcairn under the pseudonym of Clifford Ashdown. Written in 1902 or so, both volumes are the first American edition. In mint condition. Like the P.G. Wodehouse—and The Letters of Sylvia Plath, and the unique, autographed, bound in leather made from the butts of sacrificed small children or something, Orson Scott Card Maps in the Mirror short story collection, which is next-but-one to them on the bookshelf—they were a gift from Sean.

A lot of the books on my shelves, here with me now, are a gift from Sean.

Between them, a hard cover Georges Simeon found at a garage sale, and then G.K. Chesterton—Lepanto, the poem about the 1571 naval battle between Ottoman forces and the Holy (that’s what they called themselves) League of Catholic Europe, which I will never read again, but which is associated with a specific time and event in my personal history, so I keep it. Next to it, The Collected Stories of Father Brown, in battered hardcover, which I re-read intermittently, and which are—well. Perfect, really. Then, all of Dashiell Hammett in one volume. Then, almost all the best Agatha Christie’s in four “five complete novels” hardcover collections, topped with two multi-author murder mystery medleys from the 1950s.

Looking at this shelf makes me very, very happy.

Next, the one fully preserved collection. Before the move, these books lived on a bookshelf perched on top of my desk. Now, they are here, their “natural” order slightly altered because of the uneven height of this case’ shelves. The top shelf is, I suppose, mostly reference and writing books:

The Paris Review Interviews, Anne Lammott’s Bird by Bird, Neil Gaiman’s Make Good Art, Strunk and White’s The Elements of Style, and their ilk. At the end, a couple of publications in which I have a byline.

The next shelf, the smallest on the case, is a bit of a smorgasboard, but is very precious to me:

Do you see Frida and my Tarot cards? Also an Ariana Reines book that I really should give back to its owner…

Next, my perhaps most precious books.

Philip Larkin’s Letters to Monica and Nabokov’s Letters to Vera. Anne Carson’s If Not Winter: Fragments of Sappho. Four Letter Word, a collection of “original love letters” (short stories, they mean, pretentious fucks) from an assortment of mega-stars, including Margaret Atwood, Leonard Cohen, Chimamanda Ngozi Adichie, Neil Gaiman, Ursula K. LeGuin… a strange assortment, really. But some lovely pieces in there. Some lame ones too—and I like that too. Even superstars misfire, every one in a while.

Then, Leonard Cohen, Pablo Neruda, Walt Whitman, Jack Gilbert, Vera Pavlova. Finally, Anaïs Nin’s Delta of Venus and Little Birds, and a bunch of battered Colettes. Henry Miller’s Tropic of Cancer right next to Colette, of course. Then, my Frida books.

The next shelf is full of aspirational delusions.

Farsi textbooks next to Hafez, Rumi and Forough Farrokzad translations. I will never be able to read Hafez in the original Persian. But maybe? Life is long. Maybe, one day, I will have time. Then, Jung’s Red Book, Parker J. Palmer’s A Hidden Wholeness, Rod Stryker’s The Four Desires, Stephen Cope’s The Great Work of Your Life, Thich Nhat Hahn’s The Art of Communicating (I failed), The Bhagavad Gita (still trying).

As I said, the shelf of delusions.

The bottom shelf is aspirational/inspirational, and also, very tall.

And so, that’s why my Georgia O’Keefe books are there, as well as The Purple Book, and Obrist’s do it manifesto. Perhaps there is room there for my leather-bound Master’s thesis, currently tucked away in the closet, right there, next to a course binder from SAIT? Then, all of my Spanish books, including Gabriel Garcia Marquez’s El Amor en los Tiempos del Cólera… which, also, one day, I will read in Spanish and actually understand. Life is long, right?

Next, not really a book shelf as such, but the top shelf of my secretary desk, where the reference and project books of the moment live.

The Canadian Press Stylebook has a permanent home here, of course. And I’ve got two copies of Canadian Copyright: A Citizen’s Guide there, one for me (unread, but I’ll get to it, I promise myself, again), one for a colleague. Both snagged from a Little Free Library, by the way.

Almost done.

In the bedroom, the books of vice.

A shelf of battered Ngaio March paperbacks, tucked beside them some meditation and Kundalini yoga books that I’m not using right now, but, maybe, one day, I am not ready to give up on this part of myself yet.  Below, a shelf of even more battered Rex Stout paperbacks.

I read and re-read these books—as did their original owners—until they fall to pieces. They are my crack, my vice—also, my methadone, my soother.

Below them, space for library books, mine and Ender’s:

I am finding Anna Mehler Paperny’s Hello I want to Die Please Fix Me unreadable, by the way. I pick it up, put it away. Repeat.

Will likely return it to the library unread.

Currently not on display: books by friends. Some here with me, some on the shelves in the Co-op house. There are a lot of those. Can one be ruthless… with friends?

ii. A reflection

Books, for readers and writers, are the artifacts that define us. When I enter a reader’s home, I immediately gravitate to their bookshelves. What’s on them?

What’s not on them?

What I’ve chosen to let go of, to not bring with me here tells me… a lot.

What am I going to do with this information?

xoxo

“Jane”

“Tell all the truth but tell it slant”–a break from the Pandemic Diary

Sometimes, posts, articles, opinion pieces—ideas for novels, stories—go nowhere. You keep on putting words down on paper—or screen—but they don’t really connect. There is no spine—no blood. They are stitches in an inanimate rag doll that, no matter what you do, will not come to life.

When that happens, I think the idea is not yet finished incubating. It’s not ripe, not baked.

This is draft three of today’s post. Draft one ate itself. Draft two started out strong. But in the end, had neither legs nor heart.

Draft three, to be frank, is not turning out much batter. I’m coming at it sideways. I’m starting to tell the story by talking about how some stories don’t want to be told. Aren’t ready to be told.

My advice as an occasional professional writing instructor in such cases is to—move on. Accept that right now, this is a rag doll. Throw it away or put it in that drawer (or file folder). Move on to something else, anything else.

But sometimes, an untold story stands in the way of all the other stories waiting to be told.

Does that make sense?

I think this story—it’s not going to come out in this third draft either—is such a story.

I’ve been in this situation before, with bigger work. After the flood, when I carried a novel inside me but I thought I was supposed to write a memoir about the flood and trauma. Was it a year, then, of false starts? And then, finally, the novel, in bits and pieces, out of order. But all there, all out. Even when it was done and sold, I thought I had left so much untold—and I thought, again, that I was supposed to write another story about the flood. But I wasn’t—I was supposed to write about an artist who couldn’t see colour, another novel, fiction that told the true story better than a memoir could. That one took months of fake starts, three near-complete first drafts thrown out, so many attempts to come at the story sideways, before it finally came, and I was able to move on to other work.

So now I know how to write around the story that isn’t yet ready to come. “Tell all the truth but tell it slant,” as Emily Dickinson wrote, “Success in Circuit lies.” I explore its themes and problems in indirect ways, in other work. It’s a way of working on other pieces while the untold story demands that you give it all your attention.

“Hush, beloved,” I coo to it. “This is all about you. Don’t you see? Everything I write, think do these days? It’s all about you. Everything.”

I tell students and other writers to not anthropomorphize their work. To not think of their stories, novels as their babies. That way lies madness, because of the publication process involves many, many people telling you that your babies are stupid and ugly, totally useless, nobody wants—also, have you thought about loping off your child’s right leg and sticking it in its left ear?

Madness.

I don’t think of my work, while I’m working on it or once it’s finished, as my progeny.

But I do, while immersed in it, think of it as my lover. I woo it. It seduces me. We experience great joy and misery together. We drown in each other, cannot exist without each other—all is bliss, even the shitty, bad parts have a perverse joy to them.

Then the work is done—some satisfaction—and then… I’m done, and the work is done with me too. It has moved on to being the beloved of readers, and I have moved on to the next idea, the next story…

(This is what makes submitting, promoting, marketing, all of that so hard. It’s like pimping an ex-lover. “Was really into them at one time. Can’t really remember why anymore. Um. Fuck. Let me think. What was it about them that stopped my breath, made my heart pound, soaked my panties? Um… Any chance we could talk about my current flame, my current WIP?”)

We’ve moved on, the flame has burned out, the mutual passion is gone… but that doesn’t diminish the fact that when I was in the work, it was everything to me.

Tell the truth at a slant.

Draft three.

Closer. Not quite there yet, but closer.

Close enough?

xoxo

“Jane”

Retreat in the Time of the Pandemic: The Mostly Uncensored–Ok, I Lie, I Totally Censored It, What, You Think I’m Stupid?–Process Journal

July 15, 2020

I’ve spent the last seven days unplugged and locked in my friend’s apartment, writing. Well, not literally locked in. I left for walks and things. But mostly I wrote. Also napped. But mostly wrote.

The documentation of the process is exhaustive and exhausting, and it’s mostly for me, and not really for you–but if you’re struggling with shit, and reading about other people struggling with shit makes struggling with shit easier for you? Dive into my diary.

As you’ll discover somewhere around Day 6 or 7–writing doesn’t actually exist until a reader reads it. 😉

But now that I think about it–most of what I’ve written isn’t really appropriate for the eyes of internet strangers. So here’s the deal–y’all can look at the pictures. 😉

If you’re in one of those places, though, and your life will be utterly incomplete without the voyeuristic experience of ‘watching’ me pick at my scabs, email me at nothingbythebook@gmail.com and ask for the password to the protected posts. I might give it to you.

Or not.

Fun and games. 😉

Yours in the struggle,

“Jane”

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RETREAT IN THE TIME OF THE PANDEMIC DIARY; Table of Days

Retreat in the Time of the Pandemic, Day 1: In which our heroine wants to be alone (protected)

Retreat in the Time of the Pandemic, Day 1.5: In which the heroine arrives at her destination, and needs wifi to watch porn (protected)

Retreat in the Time of the Pandemic, Day 2: In which our heroine doesn’t matter (yeah, this one too)

Retreat in the Time of the Pandemic, Day 2.5: In which our heroine plays with bad gardening metaphors (protected)

Retreat in the Time of the Pandemic, Day 3: In which our heroine defends her addictions (protected)

Retreat in the Time of the Pandemic, Day 3.75: In which our heroine tries hard not to identify with Virginia Woolf (protected)

Retreat in the Time of the Pandemic, Day 4: In which our heroine regrets this, but not the other (protected)

Retreat in the Time of the Pandemic, Day 5: In which our heroine is a writing machine and also, actually wants to work (protected)

Retreat in the Time of the Pandemic, Day 6: In which our heroine tortures a client and finishes all the things (protected)

Retreat in the Time of the Pandemic, Day 7: In which our heroine counts words and embraces uncertainty (protected)

Retreat in the Time of the Pandemic, Day 7.25: In which our heroine has one year to live (protected)

Retreat in the Time of the Pandemic, Day 7.75: In which our heroine changes her mind and jumps in a river (protected)

You: Navel-gaze much?

Jane: Too much. It does seem to an essential part of the process though. 

Pandemic Diary: Creative process in uncreative times—especially when that creativity’s supposed to pay the bills…

In the process journal: A page and a half of rambling about—I’m not quite sure, either why I hate Facebook or why I hate people. Big X. Note to self: “This is not going anywhere.”

Visit to JuliaCameronLive.com. Surely, my guru has something for me? Yes. “The Power of Creativity in the Time of the Coronavirus.” Goddammit, she just peddles the Morning Pages, again, and you know, I haven’t stopped, although I do do them wrong intermittently, even though Julia says there is no wrong way to do them. The second tool she offers—another standby. Artist’s Dates. But of course. What else would Julia recommend, has the woman had a new idea in the last 30 years?

“It is my hope that during this period of uncertainty we lean into our creativity, awakening our spirit so that we feel more deeply alive.”

Ugh. Julia. Did you just tell me to lean in? Also, I feel dead inside, and also, I want to smash things not lean in or create—I feel betrayed.

Next stop: Maria Popova’s Brainpickings.org. “A Young Poet’s Love Letter to Earth and to the Double Courage of Facing a Broken Reality While Refusing to Cease Cherishing This Astonishing World in Its Brokenness.”

No. This does not suite my mood at all. Next? Who can I try next?

Matt Inman’s The Oatmeal, of course.

Well. That’s more like how I feel… except it’s probably not what I need.

Oh. “Eight Marvelous & Melancholy Things I’ve Learned About Creativity.” Yes. This. Let’s have a read…

Oh. Matt.

“In the context of your work, you don’t matter.”

Ouch. WTF?

“If you’re like me, then my advice is to buckle up, motherfucker, because you’re destined to die under a mountain of false starts and sad, exasperated poetry. You’re destined to put your personal life in the backseat while your creative spirit gets blackout drunk and takes the wheel.”

from the The Wondrous Utility of Self-Loathing” section

 

Actually, yeah. That helps.

So do the parts about killing your darlings and not making babies, and the business of art.

But especially, that. Thanks, Matt.

Except… I still don’t really want to do the work.

I don’t want to get out of bed, have a shower, turn on the computer.

I’m doing a tech/social media detox starting tomorrow and I’m claiming I’m doing it to clear my head and get myself into a creative space fuelled by boredom—but honestly? I just don’t want to do the social medial and marketing aspects of my work.

I don’t want to do any of the work.

And usually, I’d give myself the advice to just ride the allow period, it’s part of the process, just read poetry, smoke cigars, dance naked in the kitchen—but I don’t want to do any of that either.

When I say I want to smash something: I want to smash that feeling, that mood.

Myself.

Next? Hafez:

Last night, pansy addressed flowers and itself displayed
My swinging in this world, so and so’s hair would braid.
My heart was a treasure chest of secrets, the hands of fate
Closed and locked and its key, to my Beloved bade.
Physician sent the broken me to my Beloved and said
My panacea and cure, only by Your hands are made.
May he be healthy, and happy, and in bliss
That his healing hands upon the needy laid.
Take your own advice, O incessant counselor
Sweet lover and wine, whosoever forbade?
Passed by poor me, and towards my rivals strayed
Said, “my poor Hafiz has given his life, I am afraid.”

Ghazal 113
Translation © Shahriar Shahriari
Los Angeles, Ca January 23, 2000

Um. I don’t know how you’re interpreting that, but I sure hope it’s not the way I’m interpreting it…

I’m running out of gurus. Colette? Frida? Jane? Anaïs? Can one of you please send a demon down (or up, I guess?) to yell at me and tell me to get to work?

Her: The blog’s not work?

Jane: No. One, I don’t get paid for it; two, whining about how you can’t, don’t want to work is not work. Get with the program here.

What I have learned, over a career that now spans two centuries and three decades—I’m not really that old, not yet, I was just almost a child prodigy—almost a true story—is that the only cure for when you don’t want to work?

(You’ll hate this.)

It’s to start to work. Open the notebook—laptop. Get the dry paintbrush out of the jar. Pick up the rake. Fold the first sock.

(I probably meant to write towel—but I like that image—and who folds socks, by the way? Anyone?)

That, in the end, is the difference between the professional and the amateur. The working artist and the wanna-be artist. The published author and the eternally aspiring one.

One learns to work when they don’t want to work… and the other doesn’t.

I don’t want to work.

I don’t want to play, either.

But. Here I go.

Words.

xoxo

“Jane”

The love affair continues: Philip Larkin’s Annus Mirabilis

It will be over soon, I promise. He only wrote 100 poems and two very short  novels, I have devoured it all. And I’m leaving him, more and more often, for others. But bear with me for a few more verses…

Annus Mirabilis

Sexual intercourse began
In nineteen sixty-three
(Which was rather late for me)—
Between the end of the Chatterley ban
And the Beatles’ first LP

Up until then there’d only been

A sort of bargaining,
A wrangle for a ring,
A shame that started at sixteen
And spread to everything.

Then all at once the quarrel sank:
Everyone felt the same,
And every life became
A brilliant breaking of the bank,
A quite unlosable game.

So life was never better than
In nineteen sixty-three
(Though just too late for me)—
Between the end of the Chatterley ban
And the Beatles’ first LP

 Philip Larkin
High Windows, 1974

NBTB-Annus Mirabilis-Philip Larkin.jpg

Enjoyed?

“Jane”

P.S. Despite the three-in-a-row Friday poetic assaults, I’m not really here. Nothing By The Book is taking a page from old school un-social media and doing a rerun summer, while I spend the hot days getting a tan, running through sprinkles, selling one book, writing another, reading two dozen more, neglecting my garden, falling in love, jumping off cliffs—you know. Everything but blogging. But, you get reruns of my favourite stuff (and, apparently, the occasional poem…), so everyone wins. Likely keeping up with Instagram—NothingByTheBook—connect there, if you like? Or Twitter—  or/and .

Another Friday gift to you from my new lover: Philip Larkin’s Homage to a Government

Because… timeless. Apparently. Which is rather terrifying, think you not? Anyway.

Read:

Homage to a Government

Next year we are to bring the soldiers home
For lack of money, and it is all right.
Places they guarded, or kept orderly,
Must guard themselves, and keep themselves orderly.
We want the money for ourselves at home
Instead of working. And this is all right.

It’s hard to say who wanted it to happen,
But now it’s been decided nobody minds.
The places are long way off, not here,
Which is all right, and from what we hear
The soldiers there only made trouble happen
Next year we shall be easier in our minds.

Next year we shall be living in a country
That brought its soldiers home for lack of money.
The statues will be standing in the same
Tree-muffled squares, and look nearly the same.
Our children will not know it’s a different country.
All we can hope to leave them now is money.

Philip Larkin, 1969,
published in High Windows, 1974

 

NBTB-Homage To A Govt-Philip Larkin

P.S. I’m not here. Really. You didn’t see me. Don’t tell anyone. Nothing By The Book is taking a page from old school un-social media and doing a rerun summer, while I spend the hot days getting a tan, running through sprinkles, selling one book, writing another, reading two dozen more, neglecting my garden, falling in love, jumping off cliffs—you know. Everything but blogging. But, you get reruns of my favourite stuff, so everyone wins. Likely keeping up with Instagram—NothingByTheBook—connect there, if you like? Or Twitter—  or/and .

Interlude: “They fuck you up, your mum and dad”

I fell in love yesterday, and I can’t wait until September to tell you about him. OK, so he’s been dead since 1985, but little things like that don’t stand in the way of true love. Never. You might know him already, of course—and if you do, goddammit, how could you let me live this long without introducing me to him? I may never, ever forgive you…

If you don’t know him, please, allow me to introduce you RIGHT NOW. Ladies and gentlemen, parents and children of all ages, meet Philip Larkin, via  “This Be The Verse”:

They fuck you up, your mum and dad.
They may not mean to, but they do.
They fill you with the faults they had
And add some extra, just for you.

But they were fucked up in their turn
By fools in old-style hats and coats,
Who half the time were soppy-stern
And half at one another’s throats.

Man hands on misery to man.
It deepens like a coastal shelf.
Get out as early as you can,
And don’t have any kids yourself.

 Philip Larkin, “This Be The Verse”
First published in the August 1971 issue of New Humanist,
Most easily found in his 1974 poetry collection High Windows

 Now, most of us, most of you reading me, of course, didn’t listen and we all have kids of our own… and we’re sure, four out of five days, 10 out of 12 hours, that we’re fucking up. Big time. Right? Here’s a nugget of wisdom, loves, that I got from my brilliant friend and the closest thing my arrogant self will admit to a mentor, L.: our kids will need therapy. For something. The definition of parenting success is that they need therapy for something OTHER than what we need therapy for. In other words—let’s give them new neuroses, not the ones our parents gave us. 😉 Isn’t that a goal most of us can meet? I think so…

 If you would like to learn more about my new beloved—apparently, Britain’s best-loved poet of the last 50 years, and, according to The Times, Britain’s greatest post-war writer (I plead being Canadian, rather than utterly ignorant, for not meeting him until yesterday)—there’s a detailed  Wikipedia entry on him  and there’s a bit  of his verse in quotable chunks on  GoodReads. And here’s an Observer article, In Search of the Real Philip Larkin. To really drown yourself, of course, you need The Collected Poems (the 2004 edition, I have learned, is considered superior) or the like, but here’s another wonderful taste, via the Poetry Foundation.

Philip and I have plans for the rest of the day—forgive me, editors, clients, children. They involve words. But he’s whispering in my ear that I should leave you with one more verse:

I work all day, and get half-drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain-edges will grow light.
Till then I see what’s really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.

“Aubade” (1977), Collected Poems

 And an excerpt from a private love letter:

Morning, noon & bloody night,
Seven sodding days a week,
I slave at filthy WORK, that might
Be done by any book-drunk freak.
This goes on until I kick the bucket.
FUCK IT FUCK IT FUCK IT FUCK IT”

– Philip Larkin: Letters to Monica

You’re welcome.

xoxo

“Jane”

NBTB-They fuck you up-Philip Larkin

P.S. I’m not here. Really. You didn’t see me. Don’t tell anyone. Nothing By The Book is taking a page from old school un-social media and doing a rerun summer, while I spend the hot days getting a tan, running through sprinkles, selling one book, writing another, reading two dozen more, neglecting my garden, falling in love, jumping off cliffs—you know. Everything but blogging. But, you get reruns of my favourite stuff, so everyone wins. Likely keeping up with Instagram—NothingByTheBook—connect there, if you like? Or Twitter—  or/and .