Hi ho, it's me here, a/k/a "Sick As A Dog", writing to you from a miraculously upright position. Granted, I can tend toward the dramatic, but I'm a little p.o.'ed that the cold everyone has gotten this winter has hit me TWICE. This, without even one airplane trip or snowstorm.
On the upside, my office was closed for the long President's Day weekend and I had no other official plans, so after getting through the idea that no, I would not be running eleven miles around Griffith Park, and no, I would not frolic along the mulch-y Mount Baldy riverside trails with Darby, I felt no guilt about tucking into bed for two days. I am convinced that yoga speeds recovery time, helping as it does to circulate the blood, breath, sweat, and lymphatic fluids through the body, so I did manage to roll out my mat each day. The first day wasn't pretty, but I got 'er down. The second day I was strong and a tad bit more flexible. Tonight's practice will (fingers crossed) cure me entirely.
The other upside of being sick is that between naps I had no energy for anything but reading. My next MFA mentor-group reading conference (think "online book club for writing craft nerds") is on Moby Dick, and while I've got a ton still to do in our whale of a book (hehe...), I've been dying to finish William Least Heat-Moon's Blue Highways first.
The reason for Blue Highways is that it's a journey book, and I've been on-and-off at work on a piece (short story? book length?) about my time on the road with my band. In Heat-Moon's own words, "I took to the open road in search of places where change did not mean ruin and where time and men and deeds connected." He was philosophical. In 2006 I simply packed myself, my then-husband (aka, the drummer), a bass player, and a bunch of instruments into a van fueled on vegetable oil so we could play some gigs.
As it turns out, Heat-Moon was also way more self-aware than I was. And more patient. What I felt in Alabama after a few weeks took him till Minnesota on page 284: "Before I left home, I had told someone that part of my purpose for the trip was to be inconvenienced so I might see what would come from dislocation and disrupted custom. Answer: sever irritability."
On our tour, my bandmates and I were tethered to each other, the gig calendar, and a map. We slept mainly on people's floors, sometimes their extra beds, a handful of times in motels, and once on a bar room floor after the club closed for the night (WI). There was one waterbed (PA), two laundromat gigs (CA and TX), more vegetable oil fuel than we could stow (GA), fried peanuts (also GA), a cowboy reporter with purple boots (TX), a hookah bar in an airplane hangar (NC), a martini named after me (OR), three shows in Manhattan (NY and KS), and an ex-brothel (AR). We went through two sets of tires, one windshield, and countless gallons of vegetable oil. I was charmed by Kansas, smitten with Texas, adored Ashland, and wanted to love New Hope, PA but had a nervous breakdown instead. In the end, I crossed from Atlantic to Pacific twice and Pacific to Atlantic once. The last A-to-P was sans bass player - we left him in Virginia without so much as a hug good-bye. Being on the road is tough, but it was a true journey in many ways.
And although my then-husband is now remarried-with-child and settled back on the east coast, I'm a born-again California girl. Just yesterday, despite my cold, I said to Darby, "You know, whatever hardship comes along, there's always the fact that we live in beautiful California." He agreed.
Incidentally, in my current state I have learned that I am not actually sick as in "sick as a dog". This phrase apparently has its origins in the fact that dogs will eat anything and as a result become sick to their stomachs. Nor am I "sick as a parrot", as the British say, which is also more like the stomach flu due to seafaring parrots' taste for the rotting fruit aboard sailing ships. Nor am I "under the weather", a phrase also supposedly taken from the sea, for the sick were sent to the more stable below-deck rooms to ease their suffering. (For your information - and note to myself - my brief research revealed that many of the feelin' illin' idioms come from sea travel. This reinforces my aversion to vacation cruises.)
What I am is simply tired, congested, head-achy, and sneezy. I can't find a single cute idiom for it. Given these forthright symptoms, you'd think I might find a suitable over-the-counter remedy, however neither Dayquil nor Sudafed have helped my condition. I am open to your suggestions. For now, as much as possible, I'm resting, reading, and yoga-ing. Also, for whatever reason, I have been craving tapioca pudding, and so have indulged to my satisfaction.
"Instead of insight, maybe all a man gets is strength to wander for a while. Maybe the only gift is a chance to inquire, to know nothing for certain. An inheritance of wonder and nothing more."
- From Blue Highways by William Least Heat-Moon
I pass Pauline sometimes while I’m out for my lunchtime run near the office. She sits in the front porch shade with her dog and a pile of oranges from her tree, often reading from her bible, or talking on the phone, or talking with the postman who sometimes picks up little grocery items for her.
When we talk, I ask about her hip which needs replacing, or her eyes which are doing much better since the cataract surgery last summer, and inevitably talk of Tony, her husband, the love of her life who passed away a few years ago. They bought this house on the corner in 1971, and together they decorated for every holiday from Christmas to Easter to Halloween. She smiles a lot, but when I ask about Tony, she can't hold back the tears. Last year, the week before Easter, she didn't bother wiping them away as she told me that Easter Sunday was their wedding anniversary, and how lonely she is without him. Every minute, Pauline told me, she misses Tony.
She doesn't get around very well because of that hip, and without Tony she can't decorate, but it's Valentine's Day, and so today she is wearing a pretty red top and cheerful lipstick.
Around the edges of my love for Darby is the heart-wrenching awareness that every thing in this life is temporary, that the magnificent joys of today may be the deep sorrows of tomorrow. What do I do with that? Just the thought of it ties up my belly and nearly chokes me. So today I stop by with Valentine's flowers for Pauline.
One man hobo band scratching his whisky-ed words at the microphone.
He's thumping at his suitcase for a kick
And got a jangly tambo for the snare,
Dirty, bluesy ax with f-holes a hundred-fifty years older than his jeans
And a Gibson humbucker rattling against his side.
As he claws at the strings like a gritty freight train coming down the tracks,
I find myself thinking:
If only I had his voice, if only I had his groove.
But I only have the things I have,
Which includes no whisky, and no grime.
Not to mention I'm asleep by ten most nights.
I can only hope that the world needs us both,
And everyone else as well.
Call it faith or blindness, either way I don't know what else to do,
So I'll keep writing my little words, and sing when I can.
I had a moment on Saturday evening, sitting at the dining room table while the kidlets watched season 2 of The Muppet Show in the adjoining living room. I had spent the entire day alternating between working on a new song that had suddenly emerged from some noodling on my guitar that morning, and trying to read the entirety of Virginia Woolf's To The Lighthouse in time for Sunday's MFA reading conference on the book.
Somewhere in Woolf's incredible 28-page dinner party scene (28 pages! 14 pages on just the soup course!), Elton John broke into "Bennie and the Jets". The muppets echoed him every time he said "Bennie". "Bennie" he sang in perfect falsetto. "Bennie" "Bennie" "Bennie" they sang in muppetly ragtag fashion. My attention shifted from the book to the show - how could it not? - and then the scene changed. The Swedish Chef chased a chicken across the stage. Scooter, in that ridiculous and joyous unrestrained Muppet way, introduced the guest star's next act, "The greatest talent in the history of the universe - Elton John WAHHHHHHHH!". The curtains opened and the Electric Mayhem band accompanied Elton on his ballad "Good-bye Yellow Brick Road". Animal on drums, Dr. Teeth on keys, Janis on guitar, Zoot on sax, and Sgt. Floyd Pepper on bass. Elton had a new pair of glasses for this song, but more noticeably he was just so young. He was thirty years old in this performance. And so mind-blowingly talented.
What is the point, I wonder sometimes, and again wondered just then in the glow of the television. The muppets flopped, chickens scattered, and Elton crooned. And me? I spent an entire Saturday working on a song that seemed at once divinely inspired and now, in the company of a long celebrated classic, entirely unnecessary. Infantile, even.
And meanwhile Woolf was laid open on the dining room table. This 1981 Harcourt, Inc. edition with Eudora Welty's forward is the second copy I've bought in the past month. The pages are yellowed and underlined and scribbled by a former reader, but as long as I can distinguish my scribbles from hers, I prefer this to the shiny-paged, no-paragraph-first-line-indentation, solid-text-block version I bought in December. Yes, I am getting picky about my publishers, but formatting is a necessary consideration. I awakened on countless mid-nights throughout the month of January with the book in my hands, unsure if it was the writing or the printing that brought on my irresistible sleepiness.
Since twelfth grade I've half-read Mrs. Dalloway and Orlando, have seen the Tilda Swinton film based on the latter novel several times, and been thoroughly amused by the Edward Albee stage-play and joke "Who's Afraid of Virginia Woolf?" Me, I have often thought, I am. Too many words, too little plot. Too fluid, not enough grounding. I didn't get it, didn't get her. I simply couldn't get through a Woolf book, despite my deep love for the writer Jeanette Winterson who claims Woolf as one of her biggest influences. If not for this particular piece of required reading, I would not be wading through To the Lighthouse now. And for this reason, thank goodness for required reading.
After three days with my new Harcourt edition, I admit I am still afraid of Virginia Woolf, but now it is for different reasons. Her genius has finally revealed itself to me. Her fluidity is incredible - like water undulating through cavernous rock at high tide, Woolf moves between external events and characters' internal experience with amazing deft. How does any writer step up to that? She captures the constant mind chatter and mood fluctuations of her cast, then passes the thread of experience around from character to character, each tumbling through thoughts like sea glass churning through waves, each shift of judgment and emotion in pristine and exact language. I have never read anything that catches so well subjective perspectives and the interplay of relationships. Granted, there is not much of a plot. However, the grand gestures and broad paint strokes of plot are not the point here. To the Lighthouse is painted with the delicate minutiae of Rembrandt, not the impressionistic swatches of Cezanne. The precision is immaculate.
It is intimidating, actually.
And so I found myself wallowing in that same question again -- What is the point? -- , this time from my reading. And that is when Woolf entirely endeared herself to me. A few pages after my pity party, Woolf shifted from being my tormentor to my savior. Her dexterity, her insight blow me away, but when she used her craft to comfort my aching inner-artist, I melted. Here, it is as if she says, just for you I will put in Lily, the painter, the artist. And so that you know that I know what it is like to be an artist, I will let Lily have doubt, because don't we all? And I will show you how she overcomes it.
For this I must show you with her own words:
...before [Lily] exchanged the fluidity of life for the concentration of painting she had a few moments of nakedness when she seemed like an unborn soul, a soul reft of body, hesitating on some windy pinnacle and exposed without protection to all the blasts of doubt. Why then did she do it? (Yes! Isn't this the same question I wonder always??) She looked at the canvas, lightly scored with running lines. It would be hung in the servants' bedrooms. It would be rolled up and stuffed under a sofa. (Yes! The doubt of unworthiness!) What was the good of doing it then, and she heard some voice saying she couldn't paint, saying she couldn't create (Ah! Those inner voices that enter innocuously and then fester!), as if she were caught up in one of those habitual currents in which after a certain time experience forms in the mind, so that one repeats words without being aware any longer who originally spoke them.
Can't paint, can't write, she murmured monotonously, anxiously considering what her plan of attack should be. For the mass loomed before her; it protruded; she felt it pressing on her eyeballs. Then, (Ah! this "Then" is the glimmer of the new moon, the faith, the passage out of doubt and into doing) as if some juice necessary for the lubrication of her faculties were spontaneously squirted, she began precariously dipping among the blues and umbers, but it was now heavier and went slower, as if it had fallen in with some rhythm which was dictated to her... by what she saw, so that while her hand quivered with life, this rhythm was strong enough to bear her along with it on its current.
So, at the encouragement of Woolf, despite the doubt, I've continued.
On Sunday morning I went running - my first 11 miles since last May's marathon - and spent the nearly two hours of asphalt and trails working out Saturday's new song. I fell "in with some rhythm which was dictated to her...". The rhythm of the subconscious. The rhythm of the artist doing what she loves without ego-doubts intercepting every creative turn.
Sometimes people joke with me after a run. What are you running away from? they ask, and we laugh together. But really, if they wanted to actually hear an answer, I would say this: Doubt. Stories I've been told. Words I repeat "without being aware any longer who originally spoke them."
As it turns out, I don't run faster than doubt, but I do have more stamina. Eventually, every time, the mind chatter loses interest in me. I keep running, singing, writing... and doubt sits down on the side of the road and waits for some other artist who is willing to give it some attention. I feel a little badly about it - leaving the doubt out there for someone else - so perhaps that's why I write this blog. I can't do away with the "can't write, can't paint" words that float around maliciously, but I can keep doing my art despite the doubt, and write about the interplay between art and doubt here. After all, not everyone has the time to get to Woolf.
(But if you do, don't worry - there's nothing to be afraid of.)