Words are creatures with different voices, different moods. One combination might sing, another scream. Thus, it’s time to hit you with my rhythm stick, one so POEtic.

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A few musings on the writing life (originally an essay for an ebook for Seth Godin’s Triiibes network):

• • Perhaps because I ate too many Snickers Bars as a child, since adolescence I’ve been set upon by bouts of existential dread. It harkens to Sartre’s great work, Nausea, when even everyday objects—the lamp, your keyboard, your wife—appear sinister and threatening. Is it true? Oh, absolutely, everything has its dark side. But you must outwit them: don’t stare the mad dog straight in the eye, but give it a sidelong glance as you skirt its sharp teeth. After a while, the lamp goes back to looking like a lamp. Your wife might be more dicey.

• • I have an inner voice that often tells me I’m a horse’s ass. Though that yoke occasionally fits, much of the time, it’s just the little voice of habit and self-doubt. As most asses need slapping, I’ll step to a mirror, look at the ass looking back at me and say, “You’re just a horse’s ass in the mirror, not my real self. My real self is a combination of Gandalf, Mother Teresa and Eddie Murphy. Begone!”

• • There are a lot of open fields in my neighborhood, where coyotes sometimes roam. I like to think of the mind, with its fears, hesitations and plunges, as a creature—like a coyote. Sometimes I see the coyotes slinking around, cur-like, with a guilty look. Other times I see them racing across the fields, and hear the merry yip-yip-yipping in the evening. I like to think of my coyote mind in this way: when it’s slinking and guilty, it’s but a small turn in perspective to release that mind. Release it to become the version of the Trickster that is both cunning and kind. That coyote brain yips its joy, not its fear.

• • Shakespeare, Faulkner, Austen all had days in which what they wrote was dung. On those days, they went fishing. So, whether in a bassy lake or a lake only of your imagination, drop a long line. Think of nothing. Feel the sun on your hands, the breeze on your forehead. The work will be there waiting for you, so bob that merry line until due time.

• • Laugh often, laugh loud. The world is a preposterous place, of pratfalls and puzzlements, where you go to scratch your nose and put your finger in your eye, where governments bloviate, where your neighbor wears his wife’s bra (not that there’s anything wrong with that), where the day you wax your car for the first time in a year, it rains. You can’t really account for the surreal, the stifling, the boring aspects of life. But this is the life you have—seize it, lick its neck, raise it skyward. The stories about the Other Place in the afterlife are just like filling an inside straight to me: possible, but not likely. So, it’s this world, this NOW, that has so many tears in it—sometimes all you can do is laugh.

• • A writer’s life is a peculiar one, of crooked gratifications and queer slights. So much is interior, subject to the fickle tastes and electrical storms of your own mind, which though you’ve sat in the room with it all your life, remains a mystery. Some days you might sling 1,000 good words over your shoulder, and shrug at its meaninglessness. Some days a single sentence will shine, and that’s enough.

• • The hell with it—once in a while, choose to eat as much ice cream as you want.

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Looking Down the Drive at Tulsa Lane

Yesterday was another turn on the wheel of one of my favorite Sunday afternoon pastimes (ahh, “Sunday pastimes,” which smacks of a gentler era seen through a bit of a mist): smoking a fat cigar and reading the newspaper, parked in a chair in my garage, which looks down our long driveway to the strawberry fields beyond. For me, the hour or so I spend, perhaps two or three Sundays a month, is one of those concentratedly “small” respites, where I breathe (really, despite the smoke), reflect on the triumphs and tribulations yodeling from the newsprint, and often consider a writing problem or possibility.

There are long beds the length of the driveway host to a melange of flowering plants, shrubs and trees, so the flitting of the hummingbirds and the bumbling of the bees provides a palette of color and pleasant movement, where I drink in droughts of pastoral pleasure in between recoiling from the accounts of the latest global atrocity, or wagging my head at some pundit’s proclamations.

That smoky solace let me take a sharp turn on an essay I’ve been writing in my mind, something that to this point had been a tangled skein of thoughts without warp or woof. There’s something about sitting in a hazy repose that’s of value to a writer, when the mind’s hummingbird dips into enough flowers to secure a sweet idea. Of course, the real trick is to implement, to actually weave something from the woolgathering. So I try to make it a habit, when I’ve been gifted with something more than fragrant breath from my cigarish contemplations, to get to the keyboard lickety-split, and weigh and record the nugget from the Sunday pannings. Jumpy writing ideas will turn to fool’s gold if you don’t stick a pin in them.

Kindling Your Writing
But it also occurred to me that “man in driveway with cigar and newspaper” is an anachronism, a diorama of a soon-to-be-bygone scene, with the newspaper now so much thinner than my cigars, and smoking in itself an odious step on the slippery slope to child pornography and wearing Crocs in church. I suppose I could read Elizabeth Barrett Browning on the Kindle while I drink some herb tea, but that doesn’t supply the requisite amount of vice for my tastes.

Besides, I take comfort in the rustle of the newspaper, the ever-morphing patterns of the rising and dissipating smoke, the acid balance of the big cup o’joe that’s always part of the picture. (When that cuppa isn’t the occasional brandy, which is just another notch on St. Peter’s staff, so that when I arrive at the pearly gates, he says, “You’re kidding, right?” But don’t forget that Mrs. Browning did like a swallow of opium or two in the middle of all that poesy*.)

Of course, my particular prescription to invite the writing muse might not be for everyone. Quilting might substitute well for the newspaper, but then you might light your handiwork on fire with the cigar ash. (And for women worried that those stubby sticks will clash with their gold lamé gowns, really, there are some slender panatela and cigarillo-style stogies that lend themselves just as well as those fulsome fatties to stylish, airy gestures and erudite commentary.)

But I think every writer should have a retreat, a place of studied measure and sifting, a place where you become The Thinker, only without the weight of all that bronze. A writer’s retreat, whether physical or philosophical, anachronism or not, is a yeasty place of stirring idea. Consider Virginia Woolf’s A Room of One’s Own, and apply it to your state. And be sure to wash the ashtrays afterwards.

*PS If you want to get a hint of writerly vices gone to polysyllabic extremes, read The Confessions of An English Opium Eater, by Thomas De Quincey. It is a word-drenched testimony of the drug’s effect on his senses and his writing, and is worth at least scanning for the cascade of voluptuous compound sentences and twirling literary merry-go-rounds.

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The Bentleys in 1958

I was going to write a post today about my writing influences, tossing a salad of Annie Dillard and Atwood, a tangled pasta of Twain and Fitzgerald, spicy sides of Nabokov and Vonnegut, a shot of Cormac McCarthy, neat. But then I thought that sounded a mite pretentious, as though I could even carry the keyboards of those authors (or even tilt Twain’s first typesetting machine, one of his legacy of infernal investments). And who’s to say that I wasn’t just as influenced by the comic books I devoured (I wanted to name a pet after Mjolnir, Thor’s hammer), or the sports magazines that filled my mind with shimmering baseball diamonds and long fly balls caught after an impossible run?

Influences are a tricky thing. Of course I think you should steal freely the scent of another author’s writing, that ungraspable soupçon of ephemera that is clumsily dubbed “style.” That’s because you’ll catch your tongue in the literary rat trap if you try to directly steal the substance of another’s writing. Mumbling out inane imitations will be your sorry fate. Snagging some stylings is more subtle theft, like being able to mimic the way an author buttons her coat, rather than actually buying—and eek!—wearing the same clothes.

Blood as Influence
But thinking of influences made me think of other influences from way back: my parents. I have so much to be grateful for in having a mother who didn’t harangue me and my siblings about reading as a necessity, but instead, took so much pleasure in reading herself. You’ll develop a hunger for something in watching another eagerly eat it. There were always books around the house, and the relaxed sense that wiling away some hours nose-deep in a tome wasn’t a way to waste time but to explore it: books are time travels, the widest carpets of brilliant flowers on the steppes, a landowner’s cruel glance at the starveling slave, the wince from a princess as she turns her delicate ankle stepping from the liveried carriage. My mother welcomingly invited me into that parlor of pleasant musings and savage astonishments, and I haven’t looked back. And see my mother, nearly blind at 88, still reading for pleasure. Why? Because she enjoys the sound of the words in her head, the images, the story. I know; she taught me.

My father wasn’t a big reader, more inclined to the peppered nuggets of the newspaper than the seven-course meals of Russian novels, but again, I might never have been the reader, and thus the writer, that I am had he not schooled me in how to throw a baseball, how to shoot a basketball, things that impelled me to read biography after biography of my sports heroes (and to admire the tight turns-of-phrase of gifted sportswriters).

I was struck recently, in watching my father slowly work to pull off the tinfoil cover of a yogurt cup, how we have some of the same traits. My father is 93, and richly caped in the folds of his Alzheimer’s, yet some crossbeams of character persist. He can still haltingly feed himself, and I watched in fascination as he was slowly spooning yogurt into his mouth. Eyes barely open, he noticed that the tinfoil lid that covered the cup was still attached, and he very s-l-o-w-l-y worked it off with his weakened hands. It took a while, and visible effort, but I could see the small satisfaction in his face when he succeeded in removing it from the cup.

The Gene Pool of Picking Nits
That resonated with me, because I am a nitpicker, literally one who will spot the tiny bits of fluff on the carpet and bend to pick them up, and metaphorically so in my work as an editor, trying to manage errant (or arrogant) punctuation marks, making sure there aren’t two spaces when there should be one. Floating deeply in his condition, his language now restricted to short, sometimes muddy sentences, my father still notices some detail: “Why is that car door open?” in reference to a car parked outside, a reminder of my own fussiness about details. My father, editing the hanging lid, the out-of-place open car door. Writing, while ever the work of the lone temperament, in the interior of imagination’s house, always has an ear turned to hear the voices that populated the rooms in times past.

Whatever writing I do, my parents’ pulse beats along with mine.

Oh yeah, the picture: my parents, my siblings and me, approximately one thousand years ago. I’m the blond-haired punk, hoping against hope that I’ll get a cookie to take the pain out of this dreadful photo session. Those other kids are just troublemakers.

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OK, OK, I know it’s a cheap imitation, but too fun not to parody.

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