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Upcoming Workshop: Creativity, Path of Illumination

Hollyhock, May 10-14, 2010

Creativity is an authentic devotional and healing path. Its flavors and shades and peculiar demands assert, at every turn, the work of hands as an exemplary guide in the unfolding of awareness. Explore — collaboratively, playfully — creative work as devotion, as revelation, as a gentle opening polished by the shapes of beauty.

Through the work of hands — in art, poetry, movement, sculpture, music, and ritual — you’ll reach for the essence of creative endeavor. Become familiar with various creative approaches, including those in Ross Laird’s book, Grain of Truth: The Ancient Lessons of Craft. Learn how to follow the simple alchemy that begins in the hand as it opens the palm and reaches, with supple fingers, outward. This reaching, in which the hand and heart together grasp the world, is the core of creative work. No prior creative or artistic experience is expected or required.

Tuition: $495 CDN.
Four nights; meals and accommodation extra.

In Sickness and in Print

It’s sad. In these times, in this culture, in a society that treats human beings as laborious robots with an endless capacity to work, is it any surprise that- in between juggling full-time school and two jobs- I’ve been deathly ill five times since September? And then, after overworking has made me sick, I am told I have no choice but to work my meaningless jobs because they are my responsibility and my bosses are sure that it is somehow my own fault that I am sick. So now I sit here feeling guilty- It must be my fault that I am sick.

Breakwater (In Memoriam, Tony Milobar)

In springtime, snow melt from the surrounding mountains gathers in streams, cascades down verdant slopes, and swirls across the surface of the lake. The waters rise, nudging ever closer to the stones first laid down by Tony and his children. A wheelbarrow full of stones for each of them to haul, before breakfast, from the forest out back with its birch trees and singing frogs and moose that sometimes came to drink at the water’s edge. This was long ago, during languid summers when the cabin was young, the kids were small, their parents new to the rush and tumble of family life. Everyone was young then.

Together they built a low wall, with stones and slabs of shale hefted into the station wagon from alongside the highway that brought them across the Rocky Mountains in summer. The wall grew larger and stronger. Over several summers it was widened and made more secure. It became a breakwater, a perch, a resting place. It offered sure footing to a generation of children who walked upon its stones, smoothed by the highest of the spring waters and warmed in the summer sun. Then another generation came, and they too walked upon it. My own children walk upon that wall, and they do not forget who built it.

The wall now stretches most of the way across the beachfront. It divides in the middle to offer a walkway to the shore. On the west side, it borders and provides space for the plum trees that feed bears at the end of summer. On the east side it edges a grassy slope casually dotted with armchairs — a place for gathering. The wall continues to shape, and to provide space for, the activities of all who visit that family summer home. It has held.

Some years ago, when my kids were small and Tony and I worked on repairs to the wall, I came to understand that these stones are a perfect expression of his life. For he brought them all together — the stones, the children, the family — and he held them. He gave both containment and room for growth. He held fast when the waters rose and when they fell back. He was smoothed, over time. He was purposeful. He did not talk about this. He persisted, he held fast.

On the day that I married Elizabeth, Tony seized my hand firmly and looked me in the eye. With one direct glance, he conveyed that I too should hold fast, that I must persist through the rising and falling waters, that I would be made stronger by family and time and the persistence of purpose. He welcomed me into that space, invited me to find sustenance as a wandering bear finds the summer plums.

This summer I will repair the wall again. The masonry of the eastern edge has begun to fray, and the stones there are loose. A few have fallen shoreward and now lie upon the soft sand. Once again, the waters will cover them this spring and smooth them, but will not move them from beneath the wall that is their home. I came to Tony and his family as a loose stone, drifting and wayward. I was brought forward into a place of belonging. I was lifted into place. That was his way. He knew — without speaking or cajoling — how to find the fit of things, of people, of moments. He knew how to hold fast, to let the waters rise and fall, to persist in quietness and purpose until all was fashioned, tight and true.

The wall parts, and grants access to the shore. Sand gathers here, washed up by the restless waters of spring. Soft, white sand, warm underfoot in summer. At the shoreward end lies the largest of the stones: flat, tinged with blue and gray, situated at the perfect height for Tony to sit and gaze, as he often did, out upon the ruffled waters of the lake. This is how I see him: the capstone, watching the waters rise and fall, finding for each thing its place among the enduring stones.

A peek in to my travelogue

“Allo girls! ‘Ow are you? C’mon let’s do a little dance shall we?”
With that, the little leprechaun of a man tap his feet and hummed to himself throwing in the occasional pause with one foot posed up against the wall of Dunn’s Grocery Store.
It’s was St. Patrick’s day, and I was in land of leprechauns and blarney stones.

For Creative Writing Students: Starting to Write

Stop whatever else you are doing. Close your email application and Facebook, turn off the background music, silence your cell phone. Put it all away. Do it now. I’ll wait.

Sit in silence, without distraction, and read this post. Silence the part of you that makes false claims about the utility of background music or the necessity of leaving your cell phone turned on. Silence the part of you that wants to argue with me, right now, about my unreasonableness, the part of you that makes claims for this or that distraction. Still the monkey mind that never shuts up, never stops talking, never ceases inventing new ways to jostle, cajole, argue. Stop arguing and listen: the voice of a writer can only be found within silence.

Silence.

Start with that. Stay within it. Allow it to grow around you, to blossom, to disclose the images and words that inhabit the landscape of your inner life. Don’t control it, or direct the flow of that nascent energy. Sit, and read, and watch yourself.

Forget that you are enrolled in a course in Creative Writing. This fact is irrelevant to the creative process. It is a curiosity. A writer finds and follows the creative voice. The means by which this happens, the structure in which it unfolds, the particulars of the path: these are secondary and inconsequential. A writer follows the path, whenever it appears and wherever it leads.

A writer does not invent or create the writing. Instead, the act of authentic writing leads the writer. Accordingly, the task of the writer is to find — within — the stream, thread, and path of creative energy. Writing inhabits its own life, is its own animal, is a being struggling to be free of the cages we build around it. Don’t take my word for it. Find the cage, find the animal.

Listen.

Stop arguing. Your arguments, like mine, only serve to strengthen the cage. The animal of the creative is not swayed by our smartness, our wit, our experiences. It does not care how many books we have read or how many fancy words we know. It is not interested in our expertise and the many ways in which we layer our insecurities one over the other.

The animal of the creative wanders the landscape of gods and heroes. The animal has seen things we no longer remember. The animal is what we once were but have chosen to cage as a means of protecting ourselves from the vastness of what we cannot grasp, the depths into which we no longer dare to gaze.

The creative animal is primordial, eternal, wise beyond our knowing. It has been waiting for us, all this time. Listen to what it has to say.

Write.

Allow the creative animal to write for you one good word, or sentence, or paragraph. Don’t mess up the writing. It is difficult to say what this means, this messing up. Perhaps you are cool, or smart, or — like me — erudite. Forget all that crap. It is meaningless. Write honestly. Let the creative animal speak through you.

If, as you write, you start to worry about what people might think of your writing, you may as well not start. Give it up now, before you waste any more time. Or tell the part of you that wants to be a rabbit rather than a wolf to shut the hell up.

Write something. Don’t worry about what genre it is. Genres have no meaning. Writing — all writing — is, at heart, an extended negotiation with the creative animal. That animal is partly you, yes; but is also not you, is wholly an emissary of that mystery we run from and slide toward.

And the animal is — for the most part — silent. Do not forget this. Words are not the creative, cannot be the creative, will never be the creative. They are echoes. Treat them as such. Find the source of those echoes.

Find the cage. Find the animal.

You can't judge a book by its words

I have a problem with this “favourite words” exercise. I don’t like words. I like the art of forming sentences out of words. Words alone are worth very little (unless you get a “Z” word in Scrabble). But when you put words together you paint a picture. Different words and synonyms work differently in different contexts and situations. Duh, right? While this may seem pretty straight-forward, many writers don’t get this. I like tools like hyperboles and alliteration (love, love, love understated alliteration), but the words themselves, when standing alone, do not have an effect on me.

The Best Sentences

The boys came early to the hanging.”

  • Ken Follet: “Pillars of the Earth”

This is by far and hands down my favourite sentence I have ever read in a book. It is the opening sentence in Pillars of the Earth, which, by the way, is an absolute must-read for anybody who enjoys reading or writing. As a writer, I am very picky about what I read. Bad writing is rampant and I’ve put down more books than I’ve ever read in entirety.

Ten Great Sentences

These are some good ones in my opinion. Most are from my favorite books. A couple are from my current reading.

“In front of it are high barbed-wire fences, locked gates, signs saying NO TRESPASSING, and beyond, through sooty air, you see ugly strange shapes of metal and brick whose purpose is unknown, and whose masters you will never see.” Robert Pirsig.

“February in Salinas is likely to be damp and cold and full of mischief.” John Steinbeck.

“His face was like a law of nature - a thing one could not question, alter or implore.” Ayn Rand

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