Browsed by
Category: writing

Coming Home

Coming Home

Comments 0 Comment

When you live somewhere a long time, as we have, you become settled. Even in a place that I originally feared was placeless, you find the firm ground, the sticking places. You join a book group that people leave only when they move out of town — and even then, some of these people return and rejoin.

Yesterday, I became a “re-joiner” too, meeting once again with a writer’s group that welcomed me eight years ago but which full-time job, family responsibilities and logistics (this is a Maryland group and I live in Virginia) made impossible.

Now the full-time job has fallen away and the family responsibilities have lessened, and there I was yesterday entering yet another funky old Italian restaurant a few blocks away from the one where we met years ago. 

Once again, there was the company of writers. It felt like coming home. 

Putting the Lap in Laptop

Putting the Lap in Laptop

Comments 0 Comment

As a walker in the suburbs I write very little about sitting. But sitting has become my bane. It is such a necessary part of modern existence, especially when one is mostly working on a laptop, which, by its very definition requires sitting. But I’ve done far too much of it through the years and my body is letting me know it’s displeased. 

Of course, I can stand up when I write, edit or read — and I try to put my standing desk through its paces as often as I can. But when I really need to pull out all the stops with the gray matter, I need either to be walking or sitting. 

And lately … I’ve been sitting. 

(A good place to sit if you have to!)

A Walk Recorded

A Walk Recorded

Comments 0 Comment

I took a stroll late yesterday through the gloaming, the exquisite though way-too-early gloaming — I was walking between 4 and 5! — then came home and wrote these words:

The late fall light is draining quickly from the sky and a bright near-half moon showing itself. There are the most delicate of evening sounds: a few hardy crickets, the bird that says “Judy” (did I determine that’s a wren?) and various human-caused sounds — a pinging that could have come from a small forge but was likely a kid banging on a pipe — the distant downshift of a passing truck. But none of these sounds disturbed the peacefulness of the landscape. They only enhanced it. 

Some of the shorter shrubs have lost most of their leaves. Those that remain seem to be offering themselves for viewing, like golden coins on a platter. Back on my street, the russets and scarlets of the maples and oaks shimmered in the twilight. 

Night falls fast this time of year, but when it’s warm, as it has been today, that doesn’t seem to matter as much.

Beethoven’s Seventh

Beethoven’s Seventh

Comments 0 Comment

An open door, a world of light — and a piano. Scarcely a day passes that I don’t play it, or wish I had. To touch the keys and realize, I own this thing, I can walk over here and pound out a Brahms Intermezzo or a Bach Prelude whenever I want — well it’s been months since I bought this piano but it still thrills me. 

Writing about the playing is something else entirely, though. That’s because music is the other, the part that can’t be pinned down by precision. It flows where the words won’t go. 

A few nights ago, I found a book of music I’d forgotten I had, transcriptions of orchestral works, including the second movement of Beethoven’s Seventh Symphony, which I took out and played. 

This was a piece popularized by an impressive scene from “The King’s Speech,” but whenever I hear it I will always remember the University of Kentucky’s Piano Institute the summer before my junior year of high school. There was a young assistant professor there who taught music theory, and for one class he had us sit in a dingy room in basement of the Performing Arts building with big clunky earphones on our ears and our heads down on our arms listening to this music. 

I can’t remember now what lesson we were to take away from that experience. All I know is that in the darkness and with the earphones, the soft dirge of the opening chords built slowly to the crescendo at the piece’s midpoint in a way that made my heart fill near to bursting. And somehow, the other night, I was able to capture a bit of that feeling again … on the new piano. 

In the Can

In the Can

Comments 0 Comment

Not to get too meta here, but writing this blog is largely a seat-of-the-pants enterprise. Most of my life has been tightly scripted until recently, so I’ve wanted to keep this writing loose and open. 

I’ve also resisted the temptation to draft a bunch of posts on the weekend to carry me through the first few busy days of the week. The details of the day are my inspiration, and they usually (kinda sorta) pull me through.

But recently, I’ve found myself writing several posts a day. This may be, probably is, a momentary thing. Inspiration tends to go in cycles, I’ve noticed. And it is undoubtedly made possible by the gift of time. 

Whatever the reason, though, it’s meant that, for the first time in forever, I have a few posts “in the can,” as we liked to call them back in my magazine editor days. 

They will come in handy on the days when the muse of daily inspiration is otherwise occupied. 

Raindrops on Roses

Raindrops on Roses

Comments 0 Comment

Not on roses, actually, but raindrops on the leaves of the elephant ear plant. Raindrops I first spotted a few weeks ago when I was out walking Copper on a moist morning. 

I marveled at the way the liquid pooled on the surface of the giant leaves, thought to myself, you must snap a photo of this.

But I came inside and immediately forgot the impulse. By the time I remembered, it was too late. The sun had warmed the leaves and the moisture had evaporated. 

The artistic imperative strikes when it strikes. It does not linger. Luckily, it rained again.

First Paper

First Paper

Comments 0 Comment

As I plunge further into class readings, further into class itself, I notice a difference in the way I’m thinking. Is it possible … could it be … is a new logical cast creeping into my thought process? 

The class topics are some of the big ones facing society: medical research and ethics, life extension and new methods of reproduction, artificial intelligence and information technologies. 

The philosophers and historians and scientists I’m reading are dealing with these changes in language that is sometimes clear, sometimes obscure but always logical. There is little in the writing that appeals to the emotions; it’s all about appealing to the intellect. 

There is a certain tidiness in this approach. But I haven’t written this way in a long, long time. Fingers crossed that I can. My first paper is due today.

Gray Matter

Gray Matter

Comments 0 Comment

As my old gray matter stirs slowly to life, I look up and find that it’s almost 2 p.m. and I’ve yet to write a post. Instead, I’ve been answering a discussion question for my class and figuring out the topic of my first paper. 

Yes, I write all the time, but not academic papers. I’ve spent most of my adult life penning articles for commercial establishments — magazines, newspapers, nonprofits. Writing for the academy is different, I tell myself. 

But maybe not all that much. Maybe I’m making it too big a deal (I’ve been known to do that). Maybe all I need to do is what I’ve always done: research, analyze and write. Just share what I learn, and in this case, what I believe. 

(Gray stone, gray matter, Georgetown’s Healey Hall)

Short Season

Short Season

Comments 0 Comment

I had long remembered the essay I’m about to excerpt but didn’t have it at my fingertips until I found it in a battered file folder of clippings a few weeks ago. I can’t credit it to any one author; it was an editorial in the New York Times. But I’ve thought about it often this time of year, during these golden days of just enough warmth and just enough light, days of languid loveliness like the one we have right now, temperature not even 80, humidity no more than 40, cloudless sky.

Labor Day is really the beginning of a short season all its own, an in-between time, a month of not-quite-summer, not-yet-fall. That season, whatever you call it, often feels more like the new year than the New Year itself — new books, new exhibitions, new music, new commitments, and never mind that it has all been in the planning for months.  

The city is full again and no longer in dishabille. The leaves are still green. None of the races, pennant or political, have been run to the wire just yet. Night closes in on both ends of day, and still on fair evenings the light seems to linger. The subways seem to exhale. ….

This is the time we should take off from work — only we never do — to watch summer and fall collide, to feel the sharp nights and the warm days, to walk through a garden that is ripening and dying all at once. In the country, a morning will come soon enough when all the gnats have disappeared, a sign that this short season is over.

Giving Up the Ghost

Giving Up the Ghost

Comments 0 Comment

I just finished Hilary Mantel’s memoir Giving Up the Ghost, a powerful story of childhood fears, adult sorrows and the writer’s ability to triumph over them by putting pen to paper. 

Mantel writes that she has a “nervous sort of nostalgia” for any surface she’s written a book on. “I think the words, for better or worse, have sunk into the grain of the wood.” In Mantel’s case, many words. The Wolf Hall, Bring Up the Bodies and Mirror and the Light trilogy about Lord Cromwell top out at more than 1,500 pages.

In interviews, Mantel says she had the idea to write about Cromwell even before she was published, which means that it was likely on her mind when she wrote her memoir, too. Perhaps when she wrote these words, some of the most evocative I’ve read describing books not yet written:

“Sometimes, at dawn or dusk, I pick out from the gloom — I think I do — a certain figure, traversing the rutted fields in a hushed and pearly light, picking a way among the treacherous rivulets and the concealed ditches. It is a figure shrouded in a cloak, bearing certain bulky objects wrapped in oilcloth, irregular in shape: not heavy but awkward to carry. This figure is me; these shapes, hidden in their wrappings, are books that, God willing, I am going to write.” 

Write them she did. In an interview with The Guardian in 2020, Mantel says that as soon as she started writing Wolf Hall, she knew it was what she had been working toward. Starting the trilogy was “like at last delivering what’s within you … an enormous shout from a mountaintop.”

I marvel at such surety. I wonder what it would be like to feel it.

(The Old Library, Trinity College, Dublin)