mentors: William Stafford

I first discovered William Stafford through his work as an Oregon poet.  His poem Traveling Through the Dark is probably his most well-known piece and justly so:

Traveling through the dark I found a deer

dead on the edge of the Wilson River road.

It is usually best to roll them into the canyon:that road is narrow;

to swerve might make more dead. By glow of the tail-light I stumbled back of the car

and stood by the heap, a doe, a recent killing;she had stiffened already, almost cold.

I dragged her off; she was large in the belly. My fingers touching her side brought me the reason—her side was warm; her fawn lay there waiting,alive, still, never to be born.

Beside that mountain road I hesitated. The car aimed ahead its lowered parking lights;under the hood purred the steady engine.

I stood in the glare of the warm exhaust turning red;around our group I could hear the wilderness listen. I thought hard for us all—my only swerving—,

then pushed her over the edge into the river.

His poetry contained an accessibility, intelligence, and gentleness that resonated with me.  Later, I learned that his writing had been developed and honed as a young Conscientious Objector interned at Camp Belden (California) during WWII.  This helped explained the strange camaraderie I felt with him, as I consider myself a pacifist of sorts.  "He believed in the fragile but essential community of the world, and he wrote on behalf of what he called "the unknown good in our enemies," writes his son, Kim.  At the heart of Stafford's work lies what I hope my own work gives witness to: a commitment to wholeness and to the dignity and humanity of every person.

(Side note:  I included a Conscientious Objector character in my first novel in honor of Stafford.)

After he was released from the camps, Stafford went on to teach at universities and write poetry the rest of his life.  Though he was well-respected, and well-known (he was the Poet Laureate of Oregon for 15 years), he refused to be pretentious.  He wrote for himself, and his vision of the way the world could be, but he carried no hubris when it came to publishing:

"I have genuinely felt throughout my life a sense that any acceptance of what I write is a bonus, a gift from other people....I've always felt the editor's role is to get the best possible material for the readers...not to serve the writer...So I never have felt that I needed to push this stuff into the world. If it's invited in, then it will come."

In art, as in many fields, it is rare to come across such humility, such self-contained awareness, and it speaks to a deep part of me as a writer.  It is vital that I believe in the work I do, that I push myself to the limits of excellence as much as I am able, but then, to let it go, to believe that it will find its place in the world without my desperate striving or need for validation.  Stafford embodied this posture and I read over his work frequently to remind myself it is possible.

He has contributed so much to the formation of my own writing, it would be difficult to record it all in this post.  His meticulous habit of daily writing; his belief that you create good writing by living a life that enables good writing to come about; his refusal to be dismissed as simplistic or sentimental by people who didn't understand his motivations; his ability to be at home within himself and in the world; his rejection of cynicism, all touch me deeply.

About the latter, Stafford says:

"Certain writers create a zone of language that deliberately offends but stays within its own invidious conventions. Challenging genteel culture, these people attain a swagger, in effect saying like a child, "Look at me, I am being bad."Indulging in this kind of affront could be temporarily interesting, but relying on it for a main accomplishment becomes tiresome and petty. And to live by it is to narrow one's ambitions, is to forsake a host of more satisfying accomplishments.These writers reveal an obsession about gentility. Most of us are not permanently shocked enough to be amused for long, but apparently these dabblers in making mud pies can derive a lifelong charge out of defying something they profess not to believe in. Further, if they can maintain their pose of being bad, they can ascribe any negative assessments of their accomplishment to the narrowness of their audience, and thus avoid being judged on the adequacy of their vision, liveliness of invention, depth of realization, flexibility of language, or other such criteria.Gaining attention as they do is as cheap as attempting such by bribery, advertising, demagoguery or any other false means. Timid critics help by not wanting to appear squeamish; they give attention to what is outlandish and fail to remark the shallowness of such attainment that lives by being bizarre."

In my work, writing novels and stories, I often wonder where I fit into the publishing world.  I dislike naivete in writing, I abhor moralism and sentimentality, and yet I find I naturally write of goodness that rises out of darkness, of redemption, healing, love that endures.  Is there a place for my work in a cynical world that seems to hunger mostly for the kind of realism that shatters hope rather than guards it?  I don't know yet, but Stafford holds a lantern for me:

"What if we could all hold in mind the same good dream? That is what a literary work accomplishes momentarily...The myth I hold is not that of the curse on the family, the guilt hovering forever as a result of a bad deed; but instead the vision of life haunted by some unerasable good deed: a life that can’t lose for long, or at least forever. Not Oedipus doomed, but Aeneas bearing the unshruggable potential for later life - this is the pattern I note."

The pattern I note in Stafford's life: peace-making, humility, optimism, dedication, goodness, vision, and excellence, have impacted me greatly.   I'm incredibly thankful that his work was invited into the world and I was allowed to learn from it. 

Recommended books:

Ask Me: 100 Essential Poems of William Stafford You Must Revise Your Life*

The Answers Are Inside the Mountains*

Down in My Heart: Peace Witness in War Time

Every War Has Two Losers(There is a 30 minute film related to this book here.)*

Both these books have a rambling, organic style which can be hard to follow, but they are littered with gems.  I look through them regularly.

 Stafford's son Kim has written a fabulous book on writing as well:The Muses Among Us: Eloquent Listening and Other Pleasures of the Writer's Craft   

american summer

 In the extreme July sun

the old-fashioned roses are born,

and die,

on the same day.

Deer are called from the woods

by the soft thud of apples in

the long grass of the neglected pasture,

and

the smell of ripening tomatoes,futilely fenced.

Mullein tilts her span upwards,

reaches- almost -the arc of sky,

then topples.

Everywhere, heat shimmers.

The neighbor's flags,

4th-hung,

once proud,

sag from the stiff reach of their poles,

drooping,

dispirited as the rest of us.

mentors: the body

The quasi-Pentecostal world I grew up in was a world of the spirit, of feeling.  Our bodies were present of course – our legs carried us to church, our hands leapt skyward in worship, our voiceboxes grew hoarse with singing – but the body was only a container for the spiritual.  And it was easily led astray, easily tainted, and destined to be abandoned one day.  The idea that the body itself had wisdom,  that it, like the rest of the physical world held old echoes of order and knowledge, or thrummed with the power to guide the spirit, was completely foreign to me.

On top of that, I was a sedentary, bookish girl.  I got an F in the one Physical Education class I didn’t manage to avoid.  If ever there was a person disconnected from their own muscle and bone, it was me. The discovery of my body as a wise mentor has been a slow one.  I’m sure it began with a connection to foods and nutrition, but I think my real awareness came when I began to do yoga daily.   The quiet focus, intentional alignment, patient postures, slow breathing, all began to work on me, ironically, in a deeply spiritual way.  One morning, my online teacher said,  “Breathe deep, spread your arms wide, take up space,” and something clicked for me.  I could take up space in the world.  I didn’t need to apologize for my belief or unbelief, for my difference, for my feeling.  I could stretch my arms, speak out, inhabit the ground where I stood.  Trying to hold a balancing posture gave me an idea of how muscles can work in opposition, one leg pulling, the other pushing, but both aimed at creating a beautiful form, a powerful line.  It’s the embodiment of what I’m constantly facing with my work – the push of family against the pull of words.  Tension, the body is teaching me,  is not the enemy, but a friend.  The lessons are plentiful, and every time I roll out that mat, I learn more.

Yoga gave me confidence to push my body even further.  I took up running in January, something I’ve tried and given up on about every two years since high school.  But the strength and balance I found in yoga helped me confront the challenges of running in a new way.  And as I’ve stuck running out, my body has responded with more to teach me. For example, the beginning of a run is always terrible.  Every single time.  But it gets better, and thirty minutes later, I feel like the Queen of the World. Progress is made incrementally.  I’ve worked my way up from couldn’t-run-a-full-minute to three miles straight by going just a little further each day.  First I make it to that post, then the next day, the tree, the next day the stop sign.  It’s not that much different from writing a novel: press through the mental blocks, each day get a little distance, and the results will come.  I never saw it so clearly until I’d practiced it with my own legs and lungs.

As Jigar Gor, an Ayurvedic physician, says, “Yoga is not about touching your toes, it’s about what you learn on the way down.”  One of my most important mentors lives with me every single day and I'm pretty astounded by that.

I’ve got another couple mentors I want to share, so more to come.  Feel free to add your own thoughts about the body as a teacher, or to share the mentors you’re encountering in your own life.

As Adriene Mishler says, “The awesome in me bows to the awesome in you.”

mentors: Tasha Tudor

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It’s been hot here lately.  Every day I watch brave floral optimism blossom then shrivel with the arc of the sun.  At night, we drag out the hoses and give our flower beds courage to face the next day. I have dreams of a Tasha Tudor-style garden, but it is early stages yet.  I baby along a single poppy, four or five zinnias, a handful of sweet peas, short and unfragrant.  In the books I have of Tasha’s garden, everything is lush and cool and lovely and Tasha is never flustered, never sweating through her improbable dresses trying to unkink a length of pale green rubber hose, never standing over empty beds wondering where the seeds went or why those plants all died so quickly.  It doesn’t discourage me.  I pour over her books anyway.  Over the years, I've come to welcome her as a mentor.

Lately, with so much of my life shifting, I've been thinking about these teachers we come across, the ones who unknowingly shape us into the people we are becoming.  Tasha comes to mind first because she was a gifted commercial artist and illustrator, but she proudly defended her life as a homemaker:

“Whenever I get one of those questionnaires and they ask what is your profession, I always put down housewife. It’s an admirable profession, why apologize for it?”

So often I find myself torn between vocations, but Tasha didn’t seem burdened by that dichotomy at all.  As beloved as her art became, she didn’t see herself lessened by her commitment to homemaking;  she admitted she illustrated so she could afford flower bulbs and corgis and her 1850’s-homage house.  I find it a pleasure to keep a tidy house, to keep the cookie jar stocked, to crochet a blanket or sew a pair of pants, to have a meal ready when others come home.  Whenever I’ve ignored these things for the sake of more “important” work, I feel untrue to myself.  But Tasha reminds me it is possible to go this way, to craft a life that holds both my work as a writer and my work as a homemaker in equal value.

“I’m perfectly content,” she says. “I have no other desires than to live right here with my dogs and my goats and my birds. I think I’ve done a good job of life, but I have no message to give anyone. If I do have a philosophy, it is one best expressed by Henry David Thoreau: “If one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours.” That is my credo. It is absolutely true. It is my whole life summed up.”

I can't imagine Tasha rushing through her life, wringing her hands over her busyness (like nearly everyone I meet these days).  I imagine her purposeful and committed, showing up each day for the narrow band of things she wanted her life to encompass: her garden, her family, her books and art.  There's no sense of drama about Tasha.  She wasn't trying to save the world, to fix every injustice.  She created.  She nurtured.  She lived.  And so many of us have found her a refuge, a point of light.  If for no other reason, she's a worthy mentor because she shows us that we change each other by being unapologetically true to who we are as individuals.

So inspiring, isn't she?

I'll write more about other mentors later, but I'd love to hear about any you have.

reVision

A few months ago I pulled out my journal and wrote:  I’m changing my life.  I’m not even sure I knew what I meant when I wrote it, I knew it didn’t mean anything earth-shattering, but I could sense a shift coming.  Every once in a while things just click into place and you find yourself moved from one space to the next.  Around that time I got rid of my smartphone. (Best decision I ever made, truly.) Since then, a friend and I started working our way through The Well-Educated Mind.  I really committed to running. I recalibrated my writing goals to make them both more consistent and more manageable.  I started outlining a new novel.  I let go of some restrictions I’d put on myself that weren’t serving a good purpose.  I got rid of time wasters (like watching Netflix/movies at home) that were cluttering my creative process.  I started working on projects I’ve been procrastinating for years.  Somehow, without thinking too much about it, I really did start changing my life.

*

For our anniversary, we rented a house overlooking a tidal bay on Puget Sound.  In the mornings, the sun shone off the water and osprey circled overhead, cormorants rode the low air streams.  Later in the day, the tide lifted its skirts and left a mudflat behind.  The herons moved in, dozens of them, joint and feather, long gray necks snaking into the silt to find clams, a luckless fish.  We made coffee on the stovetop, dark and gritty, sat by the big windows watching their strange high step across the muddy plain in fascination.  Hour after hour, water returned, the herons waded, their long legs disappearing inch by inch until they lifted their wings and fled.  The low lands filled in, the flat became a stream again, a river.

On the second day we slipped our kayaks into the high tide and paddled toward the ocean.  The air was scented with brine and rot, that particular tang of the sea.  Jelly fish floated around us, yellow, orange, a skirt of white – giant eggs poaching under the surface.  I have a bit of thalassaphobia. (I came to kayaking partly to confront that fear.)  So while my husband was delighted, I thought, oh my god, if jellyfish, what else is under there?  That’s all it took for the panic to rise up.

The value of being afraid in a kayak over a body of water is there’s nowhere to run.  I had to force my mind to reason, force my arms to paddle, my breath to slow.  It wasn’t long before the anxiety had passed and I had gained that small accomplishment, the vanquishing of a fear, to take with me for good.  It occurred to me later, tucked back into the house, scrubbed of sea salt and sweat, that changing your life in any way at all hinges on facing down fears.  (As a perfectionist, my fear often involves failure.  Better to never start something at all than to do a poor job, or to quit midway.)  You have to take yourself in hand and risk it.

Sometimes changing our lives though, is really about changing our thinking.  I turned 47 this month, and the last of our kids graduated high school in May.  Cue midlife angst. Halfway through your life the doors start closing.  For almost five decades I have made choices, traveled a path, and that creates natural limits.  For example, it doesn’t really make sense for me to go for that college degree at this point (too much money when I’m already doing what I love and don’t plan to change it.) And there are other things – big things I thought I wanted earlier in my life that are unlikely to happen now.  There’s fear involved with shutting those doors – will I get to my deathbed and regret?  (Probably not.)  But I’ve been working on facing those insecurities, redefining the idea of “success”, changing my language, being confident in the direction I have chosen for myself.  It takes just as much intentional work to do that as it did to paddle through a bay of jellyfish

.I’m someone who believes fully in the value of a small and focused life.  It’s a constant challenge to own that in a big, splashy, motion-forward culture.  I keep refining, letting go of the things that tangle me up, make me feel inadequate.  Some of those are outward things – the smartphone, social media, the television – but there’s an equal amount of self-talk, intangible expectations, perfectionism, and discontent that trap too.  If I’ve made a goal for 47 it’s to deal honestly with the interior struggles as well as the outer struggles.

June 19, 2018:  I’m changing my life. (Ongoing.)