Notes on Normal, and Special Times

“Oh yeah, all us normal people, we’re so boring.”

My Wurlitzer friend T’s boyfriend was in the next room of their East Village apartment, making dinner as she and I wound down our latest Skype session — and mocking us. More directly, mocking T’s observation of how hard it’s been re-entering normal (in her case, New York), post-residency life.

We laughed, and then resumed ignoring him.

“I know,” I said. “It was a really special time.”

For all of us in in the small sisterhood we formed in Taos, the post-residency adjustment has been hard. Hard not to have one another as neighbors. Hard not to live within the constant bosom of each other’s wisdom and laughter and intellect. Hard not to occupy the idyllic wonderland of northern New Mexico in which the demands on our time were nil–free from significant others and work obligations and nuanced ven diagrams of social circles. Hard to be back in the “normal” world in which we must prioritize more than simply each other and our art.

We knew how precious our time was. We talked about it. We talked, too, about the fact that things would have felt far different, and, certainly, far less special, were our time together infinite rather than finite.

It’s what sets “normal” apart from not: routines, (potentially) lifelong relationships, careers, permanent homes–what we have that is (or at least feels) stable.

Things, you may have observed, that I presently, notably (and with an oddly increasing inner calm) lack.

A solid freelance journalism gig and a commitment to my own writing (one rather perilously, suddenly spread between two books and a batch of prose poems) aside, in the process of leaving one precious, temporary situation I managed (if rather painfully) to insert myself into another.

As I write this I’m sitting on a living room couch belonging to two of my favorite people in the universe–probably the only couple alive in which I have equally close, long-standing friendships with both halves. In the next room H is reading on the porch. P is waking up slowly upstairs. This morning H and I made coffee and reported about our Friday nights out (me: awesome reading; her: pizza with pals). Each night this week one or some combination of us has made a dinner we’ve shared (fried rice, ravioli, veggie tacos, wings). One evening since my arrival P’s parents called up from St. Louis; when he answered, he told them that “the whole family was gathered together on the couch.”

Have I mentioned that this (too) is a special time?

“I love our lives,” H gushed the other day (as she, adorably, does) as we made ourselves a pair of pre-dinner Negronis.

“I know,” I said. “Maybe I should never leave!”

I was joking, of course. Of course, I know, that–without undermining the force of our deep (thirteen-year-old!) love–what makes this shared summer feel like a treasure is the fact that it will end. If I had no plan to vacate the guest room, if my co-habitation were infinite rather than temporary, I doubt things would be as cozy.

But since they are, since I am planning (most days) to leave this town come fall (and since it is summer in Minneapolis and warm enough to walk around lakes and toward libraries and barbecue every weekend night), it feels, well, pretty special.

I miss my Taos girls, of course. And breakfast burritos (some days, not kidding, so much it hurts). And the little light-filled casita with the big backyard that gave me so much.

And I have moments: driving the minivan in small bursts of traffic or staring at a page of gmail that stubbornly refuses to deliver the messages I wish it would (the life of a writer…) or reflecting on all the turmoil that’s gone on lately in which some vague but dismal emotion (loneliness? fear? hurt?) threatens to pang.

But for the most part, I feel more and more cognizant of how fortunate I am, in the absence of stability and certainty about what’s next, to take advantage of these special, temporary experiences–the kind that are so much easier to enjoy because we know they will pass.

The bigger challenge for us all is to appreciate the people and places and experiences that aren’t so overtly special, or finite–the stuff of “normal” life, the stuff that, as T’s love jokingly put it, can be mistaken for boring just because it is, or feels, lasting.

And what with all the choices I’ve got to make and self-reflection I know is in store, I can at least feel thankful that’s one challenge I don’t have to worry about–yet.

 

 

On Transitions, Cuddles, and The Swings of Self-Care

“You need to hold yourself like a baby.”

My friend J and I were sitting on the side of a hiking trail on the eastern edge of Taos, eating cheese wrapped in red wax and examining white wildflowers and talking about what will happen when we leave.

She has some flux in her life as well, but more certainty than I. During my three months in Taos I’ve managed to upend just about everything that was stable when I arrived: my apartment, my relationship. Even my connections with family feel shifted—hurled into a different light by the (abrupt) process of change.

J turned to look at me as she held her arms out in the shape of a cradle. “Just imagine that you’re holding yourself like a child. Just imagine you need to give yourself that kind of care.”

Self-care is one of those wiggly terms whose meaning never seems to cease sliding. What does it mean to be good to yourself? It depends on what it is you need—and knowing that, it turns out, is the hard part. More and more I’m realizing how deeply, frighteningly difficult it is to know what we want: in relationships, in people, in place, in nurture. It’s easy to mistake proximity for understanding; learning our own needs takes as much work as learning those of others’. Maybe even more.

Eventually, the work I’ll be returning to is figuring out my needs in the long term. But right now, as one transition glides into another, I’ve got to focus on the immediate ones: the urgent care that I can give myself.

Which has meant, mostly, a lot of touch.

“I kind of can’t be alone,” I told A over the phone, explaining how I had spent the last couple of weeks bouncing between friends and visiting family, heaving myself into their arms, emotionally and physically. “Do you think that’s strange?”

“Are you kidding?” she laughed. “Of course you can’t be alone. Don’t.”

I’m not. I’ve spent a lot of time lying prone on friends’ floors. Draping my legs across laps. Going for hikes and walks with my arms stitched through another’s. Cuddling in a king size hotel bed with my ten-year old niece (who managed to take up a shocking amount of it). The little time I’ve found myself without company I’ve filled with baths and melancholy folk songs: Bob Dylan and Gillian Welch. Some writing. A lot of herbal tea.

“Your pulse feels homeless.”

I also spent a few hours with a woman who does Ayurvedic healing: tall and regal with a heavy French accent and penetrating green eyes, she recoiled when she saw my tongue (“It could be the poster child for anxiety!”) and paused when she held onto my wrist.

“Homeless?”

She nodded: empathic, but not exactly alarmed.

She left me with a Ziploc bag of an unpleasant-tasting wheat-colored powder. A list of foods to favor and others to avoid. Shockingly accurate insights into my restless soul.

Also, a few pieces of rather significant wisdom.

“You need to be your own mother,” she said. “You will become a mother later. But you can begin now by becoming a mother to yourself.”

In her opinion, this would mean feeding myself with more regularity and better nutrition. Taking the time to sit still each day. Learning to quiet the deep, fiery panic that resides within me and trust that regardless of where or with whom I end up, I will be alright.

In other words: cradling myself like a child.

I’m going to try it out. I’m going to keep seeking what kind of self-care will serve me best in the future. And for the moment, before I leave Taos and pack boxes and resolve loose ends and begin to make yet another round of Big Decisions, I’m going to give myself permission to lie on the floor and hold on tight to all the warm people in my path.

 

 

On Re-Orienting, Taos, And the Hardship of Heading Home

“I can’t believe we’re leaving so soon.”

A couple of my fellow Wurlitzer residents and I were having dinner together at a Middle Eastern restaurant in town. A chalkboard on the wall described its’ vision as promoting peace “through evolving people’s consciousness and taste buds.”

We slunk down towards our pita, homemade in the name of harmony, and commiserated about the fact that being in Taos is not unlike being on a different planet.

“Three months seemed so long,” someone said. It had been about two since we arrived. Then, departure seemed a remote, un-envisionable destination. Now it feels like a brick wall toward which we’re being driven, unwittingly.

I was reminded of this conversation a few days later, in a yoga class at the airy, light-filled studio with wood-beamed ceilings where I have been spending much time. As he guided the class through a series of physically demanding postures, the teacher reminded us to re-situate our bodies at every opportunity—to take each chance, whether bent in a soft forward fold or standing in a fierce warrior pose, to take stock, soften the breath. The usual yoga stuff. Except he used a particular phrase that struck me: continuous re-orientation.

That’s what we have to keep doing, always, he said.

Not only in our bodies, of course, but in our minds, our selves. We’re constantly re-orienting, in terms of our internal state, but, probably more often, based on our external context: where we are, and with whom. It’s unconscious, how we gently rotate our manners and personas depending on what surrounds us. It’s also exhausting.

Taos, somehow, demands less of that action.

The space is so open, so generous, the community so eclectic and spiritual, one can almost feel the mountain holding out it’s arms: inviting you to relax, stay a while, be whoever it is you’re meant to be, at this very particular moment in time! It’s the opposite invitation of a hectic urban environment, with its message of Keep up! Get someplace! Keep busy! Do something!

It’s not difficult to understand why so many permanent residents have come here as an escape from previous versions of themselves: post-divorce, post-mid-life crisis, post-professional reinvention or spiritual awakening. To say nothing of the breathtaking scenery, the perimeter of spacious sage fields and rolling peaks, Taos demands that you know what you want (the space will strangle you otherwise), but it allows that desire to take whatever shape.

And then there’s the fact that my co-residents and I don’t actually live here. (Yet.) Most of us have really lovely lives in the places we’re from: New York, San Francisco, England, Atlanta. Good partners and cozy apartments and supportive groups of friends. It’s no reflection of our home lives that we are so loathe to go back.

But going back means (in addition to leaving the majectic scenery and life-altering green chile breakfast burritos), going back to that normal pattern of constant re-orientation.

It’s difficult, and perhaps, for most people, undesirable to lead a purely creative life. Most of us who choose to make art a part of our lives must also wear additional hats to get by: in academia or advertising, journalism or graphic design. Even those who don’t have other relationships in which we play different roles—daughter, girlfriend, brother, uncle, friend. There’s nothing wrong with that. But it does require a constant re-situating of our identities and minds.

Being in Taos has given us the rare opportunity to focus, as exclusively one can, on the creative piece of ourselves.

And in that sense, it’s no surprise that the prospect of going home, of returning to the “real world” in which we must inhabit not just one but a whole series of selves, in which we must be constantly re-orienting to the people and places around us, sounds hard.

On The Noise, The Process, Listening to Others and Yourself

“Trust yourself.”

The woman with wavy red hair and painted lips stood in front of a life-size, watercolor John Wayne. She leaned her elbows on a case of vintage turquoise and baskets of silver.

“I learned the hard way,” she said, telling me how she’d quit three waitressing jobs to take a gamble on supporting her kids as a stunt double. How she’d tried to make it in Nashville and misunderstood the rules on her way to writing a Country Song of The Year. (Never know who you’ll meet in Taos!)

I’d just finished telling her how the anxiety of waiting for feedback on my first book was making it hard to focus on the new project I’d just begun.

She’d nodded, empathic, and smiled as she told me to “let go of my ego.” And repeated that phrase: Trust yourself.

The words seemed to strike at the heart of where my head’s been lately—or rather, where I’ve been trying to get it.

Here’s one suggestion: if you’re setting out for a day of novel-writing, try not to begin it by reading this article. And try not to take personally the endless stream of rejections, or the news of diminishing, risk-averse publishers, or the emails that talented friends receive in which editors lavishly praise their work before, mysteriously, taking a pass. In other words: shut your eyes and ears.

I’m trying. Switching over to a data-free flip phone, circa 2006. It’s a step—one I imagine will send me into something like heroin or sugar withdrawal before setting me, hopefully, a little more free.

But the noise won’t go away, since most of it is in my own head.

The endless, boring self-doubts: Is my story worth telling? Are these sentences any good? Will anyone ever read them? Should they?

It’s perhaps unsurprising that at an artist colony, (if that term eludes you, see this) the question arises: why do we make art? In a climate where the prospects of one’s work ever meeting the world feel so bleak, the query takes on a sharper edge. Without faith that our writing will ever be seen, what should motivate us to get up in the morning, put our heads down, silence the noise, and get to work?

“What if your writing wasn’t appreciated until after you’d died?” V, a British artist and filmmaker and my neighbor at the residency, serves as both collective muse and spiritual guide. She meditates for hours a day.

Across my kitchen table, another neurotic writer from New York and I exchanged a wary glance.

“Sure,” we both muttered.

“But I mean…” I hesitated. “It would kind of suck.”

V summoned us to think of everything in the world as connected, to detach our self-worth from our art, to fulfill ourselves with the process instead of it’s end.

The next morning I took a break from the novel and dashed off a comedic story, feeling smug that I’d actually found pleasure in the writing. And the day after that, I could hardly wait to share the piece and send it into the world. So much for process.

When I left the stuntwoman/country singer’s shop my eyes were wet with ambiguously derived tears: or maybe not so ambiguous. I’d managed to get through two days of writing that didn’t make me totally hate myself, and then ruined it with an abrupt panic over my first book’s word count. (iPhone: be gone!)

I walked to the indie bookstore and listened to an employee explain to a customer that, yes, it was easy to click the button on Amazon and writers could release work there, but they’d never get paid. I bought a book. Across the street I plopped myself down at a diner and ordered an oversized breakfast burrito. (Just, because.) Outside, small pebbles of hail fell from the gray clouds slipping west over from Taos Mountain.

I pulled out my notebook and pushed myself to answer that question: why?

All of my answers felt like tired clichés. For the fun of it. Because it helps me make sense of things. Because I like it! Because, as Alison put it the other night on the phone, I don’t really have a choice?

Flustered, I remembered those words—Trust Yourself—and decided to resolve that, for the moment at least, they serve as answer enough.

Notes on Rejection and Awe

When one sends out an essay on Friday and by Monday has received not one, or two, but three (three!) rejection letters, it’s difficult not to feel as though the universe is trying to tell one something.

One perk of being a person with a merely blithe belief that the universe tells one things is the attendant ease with which one can then decide what the universe is saying: in this case, of course, I concluded the universe was (rather harshly) urging me to write about getting rejected three times in forty-eight hours.

Unfortunately, all I have to say about said subject amounts to: Ouch.

Or, if I must elaborate: No matter how deeply, intellectually, I understand that all writers, even famous, brilliant writers, have gotten (still get!) their work (even good work!) rejected lots and lots of times before they get it published, no matter how many times I send work into the world only to have it come back with the literary equivalent of ‘Thanks, but who cares,’ no matter how earnestly I assure myself that it’s inevitable, that rejection is going to happen, and that it doesn’t (necessarily) mean that I am (as a person) a failure or (as a writer) failing, it still fucking sucks.  

Now that we’ve gotten that out of the way, allow me to move on to another, more positive, but, in a sense, equally stifling emotional experience:

Awe.

As I mentioned, I’ve been making some rather pitiful, highly unusual attempts to write poems. In effort to render said attempts less pitiful, I did what any self-respecting baby poet would do, and took out some library books—including How to Read a Poem by Edward Hirsch.

“The spirit of poetry is awe,” Hirsch writes.

That line hit home. Indeed, my awe-inspiring surrounding are just what’s jiggered this impulse to write poems, after thirty years in which I’ve done well to avoid it: the thick, towering cottonwood trees in my yard, the snow-covered mountains in the landscape, the way they appear a different shade of stunning below every angle of the sun and formation of clouds.

Of course, merely experiencing that moment of awe isn’t enough; perhaps, I wondered, one reason why it’s so damn difficult to write a good poem is because it is so challenging to animate, or explore, or even share, the experience of awe.

One of my favorite sections in Geoff Dyer’s totally cynical, totally awesome book Out of Sheer Rage is this moment, where he describes regarding the ocean:

The sea: you watch it for a while, lose interest, and then, because there is nothing else to look at, go back to watching it. It fills you with great thoughts which, leading nowhere and having nothing to focus on except the unfocused mass of the sea, dissolve into a vacancy which in turn, for want of any other defining characteristic, you feel content to term ‘awe.’

 

There is something inherently unsatisfying in the word ‘awe:’ it describes the impact of being struck by something, beauty or brilliance, usually the likes of which we can’t quite comprehend—but does nothing to explain it.

And, being human, we aren’t content to know that something makes us feel awe. We need to know why. It’s that pesky, ineffable need: to narrate, to explain, to create causal relationships.

A paradox of literature, and maybe all art, is that we’re endlessly striving to capture an experience that can’t be captured. Of course, art doesn’t derive its beauty or significance solely from its proximity to truth. And yet, authenticity matters: particularly when it comes to words, often what makes us swoon is recognition—the sensation of yes, I know that, that is me, that feels real.

How, then, to render the truth of something as gauzy, as deeply personal, as, often, inarticulate, as the experience of awe?

But it’s one thing to render awe, and another, quite different thing to actually experience it. In order to even contemplate the former, it seems one had better get good at the latter. And, like many an impatient, progress-driven Americans, I struggle: I can hardly notice a mountain or cloud or sea before I notice my noticing…and it’s hard to observe a moment that hardly has a chance to happen. Like Dyer, I content myself to term the experience “awe”…and then set about trying to describe an experience I’ve barely had.

(Not that I intended to even try and make this cohere, but what the heck. Perhaps that aim of lingering in the awe can be instructive when it comes to managing rejection: there are certain moments in which we must allow ourselves to linger. And others, like when you’re told you’re shitty, that you had best leave right quick.)

But anyway. I guess we’re really talking about the same mental muscle when it comes to experiencing awe, writing poems, and even reading them: the one that allows us to slow down and pay attention. Tomorrow, promise, I’ll start meditating.

 

 

On Imposter Syndrome, Coffee Rocks, And Being a Resident Artist

“I mean, I’m not going to knock on your door and ask you to show me your paintings or stories!”

Across from me, the Most Genial Man in New Mexico laughed. A painter from Memphis sat to my left; both of us wriggled in our seats. I muttered: “Maybe you should…”

We chuckled, nervously.

“No really,” the man continued, explaining how the woman who began the foundation didn’t just want artists to come and create, but also to provide them respite from their normal, urban lives.

“If you want to sleep for three months,” he said, “that’s totally fine.”

I didn’t say: Maybe for you! But I thought it.

The last, and only other time I attended an artists’ residency, I had a concrete goal: to write a new draft of my book manuscript. I had five weeks, and I used every minute (well, every minute that I wasn’t falling in love with N…) to get the thing done.

This time, I have three months, and my objectives are less concrete. When I applied, I assumed I’d be editing that book manuscript, still. I might. But at the moment it’s on pause. And so: I find myself with a cute little casita of my own, a lot of time, no obligations, and, evidently, an expectation no greater than a solid nap.

I am vastly grateful: for the charming space surrounded by tall cottonwoods, for the picnic table outside and the snowy mountains jutting along the horizon and the rock crystals that, for one dollar, a nearby coffee shop suggests you put in your coffee to aid with walking an unknown (presumably internal?) path.

And perhaps most of all, I am grateful to sit across from an exceptionally nice man (no superlative can really suffice) who makes me mint tea, looks me in the eye, and regards me as part of a community of artists–all selected on the basis of their work to come to this beautiful place, and do whatever.

Imposter syndrome. It’s the feeling I never had the words for until graduate school, when my advisor explained it.

“Every writer suffers from it,” he announced, his voice flat. “I still do.”

All artists are are beset with twin compulsions: to relentlessly expose ourselves, our intimate, deeply personal (regardless of subject matter) work to the world; and then, to relentlessly worry that it isn’t good. That we aren’t good.

I am not exaggerating when I tell you that no amount of validation can convince us not only that something we’ve made is decent, but that we, personally, are worthy of acclaim–even that we are worthy of being dubbed an “artist.”

“If any writer is going places, it is Laura Van Den Berg.” That was Publishers Weekly in 2013. When asked by The Rumpus whether she ever felt she’d made it as a writer, she said, first “Not even remotely,” and then, something I’m sure I’ve heard other writers say: “I’m only as good as the next project. I’m only as good as the next book.”

Don’t get me wrong, there are moments: that split second right after someone sends you a nice email, or you get something published, or three hundred people hit “like” on your beloved blog post…oh wait, that never happens.

But anyway, those moments come, and then they go. And that is okay. Many writers say this insecurity is what drives them, that the need to constantly prove ourselves is what compels us to keep going.

But there is the danger that we give up: that those moments come fewer and farther between (as, for periods of time, they inevitably do), that we spend so much time doubting that we let ourselves believe the internal cynic, and we stop.

And so, while I would like to think that I will do more in these next three months than sleep, I appreciate that the value in this experience is so much more than what I might make, and so much more than the inspiration or rest I might get: simply being acknowledged, somewhat formally, by someone who is not my grandmother or my roommate or my grad school peer, that I am, indeed, a writer.

So far I have been passing the days walking around town. Reading books. Doing some yoga. Getting to know the other residents: a varied group of artists that could make the New Jersey turnpike interesting, much less a town where no one blinks at Coffee Rocks and half the (white) population has dreadlocks. And writing: mostly fiction and poetry that I’m pretty sure are unreadable.

At first, I felt something like panic: I have three months to write! I should be drafting another book! Not dabbling in genres in which I am completely worthless!

And who knows what’ll end up happening between now and April, when I go home. It’s a lot of time. But what I’m realizing is that what matters even more than what I do here is what happens when I do get home–rejuvenated, inspired, reeking of patchouli, and, hopefully, resolved to keep writing.

 

 

 

 

On Moving Back to a Place

Here is a significant sampling of the very few things I know for sure:

1. I would like to eat a Golden Pride breakfast burrito every day forever.
2. There is no place I would less like to be than any car in any city during rush hour.
3. Tomorrow is the weekend. I think.
4. Moving back to a place is a funny thing.

I’d hate to overwhelm you with my profundity, so I’ll stop there.

As you may have guessed (okay, one last thing all of us know: the last item on any list tends to be the most important/punchy), it’s that last one I’d like to discuss.

Because, for the last six months that I have been living in the Twin Cities, a place I lived before, but not in a while, “a funny thing” has been the awkward zenith of my descriptive capacity.

Another thing we sort of kind of all know (last thing for reals this time) is that perspective yields clarity, along with, sometimes, enhanced describing acumen. And so, now that I have temporarily launched myself, hyperactive puppy style, into another kind-of-sort-of familiar place (Taos, New Mexico, where I’ve spent a total of about four weeks in life and have just arrived for a three month writing residency*), it feels an opportune time to take a whack at writing about my return to Minnesota.

As the Internet often illustrates, when you don’t have anything particularly significant to say, it’s nifty to disguise your thoughts in list form. Alas, here you are:

*What happens when you mix together eighteen acres, Taos, New Mexico, three months, and eleven artists uprooted from their jobs/partners/homes many miles away? Stay tuned.

1) People move on/still exist even though you forget them.  

Soon after I moved to Minneapolis, I had a conversation with an old friend in which she mentioned a woman who both of us used to know and whom I hadn’t thought of in nine years.

“Oh, her!” I said. “So, you still hang out with her?”

“Um, yeah,” my friend said, agreeably. (Cause, you know, she’s Midwestern and all.)

She could have said, “I see her a lot,” or “Of course I do,” or, “Just because you leave, Elizabeth, people don’t stop hanging out.” All of which would have been totally fair.

Intellectually, it’s obvious that things continue to exist even when we don’t live near them/ they aren’t on Facebook or Instagram. But the whole “out of sight…” thing isn’t small: we only have so much space to which we can pay attention; tenuous ties and sizable distance inevitably take hold.

2) Minneapolis and Saint Paul are different cities.

This may seem intuitive, but when two towns sit right beside each other and share a boundary so elusive that even natives are often unsure which one they’re passing through, the divergent characters of each place are worth noting.

I went to college in Saint Paul: half my time there was spent within the confines of a bitty college campus; the other half within a radius of no more than a mile. My friends and I explored the occasional Minneapolis diner or record store, but for the most part we stayed nearby, in the well-heeled, Whole Foods-progressive neighborhood that Jonathan Franzen so aptly skewered.

Here’s what I have re-learned in the last six months:**

* Minneapolis hipsters are really really hipster-ish, like, to the degree that, if not for the negative thirty five degree wind chill, you might think you were in Portland.
* St. Paul hipsters are mostly in college. (And later might become Minneapolis hipsters, if they don’t move home to Iowa or try to make it in Chicago.)
* Minneapolis is denser, busier, and more fast-paced.
* Saint Paul (or, as one old friend used to refer to it, “Saint Small,”) has more old-world charm. It’s sleepier, has majestic residential neighborhoods with more character than those in Minneapolis, and is pleasantly less concerned with being Chicago.

**Yes, what’s happening is a list within a list. Believe it.

3) Both cities have a lot of suburbs, and a startling number of them start or end, confusingly, with the word “maple.” 

4) Smells really bring you back! Also, you don’t know anyone anymore.

A couple of weeks ago I met N at a coffee shop near my old college campus: a coffee shop where I’d spent literally hundreds of hours as a student, studying American history and literature and, mostly, preening. The décor was identical, the scent of roasting beans exactly as thick.

The place was packed. I couldn’t stop looking around: surely I’d know somebody there, surely somebody there would know me.

Nope.

My rational brain knows that people and places move on without you; my rational brain knows that nine years is a really long time, especially when expensive and transient liberal arts college neighborhoods are involved. But my senses seem sadly slow to catch up.

5) Sounds also bring you back! And, again, things and people change.

Recently, I went to a yoga class taught by a friend. It was the first class I’d been to in ages, and the music (Hanuman! Hanuman!) and the postures transported me right back to Albuquerque: I began to feel wistful for my old studio and friends there…only to realize how many of them had already left, too; how different the place would be if I were to go back. How, most often, the places we leave are never again the way we left them.

6) New bars and restaurants open a lot!

Right???

7) College acquaintances are people too!

One thing about having gone to school with fewer than two thousand others is that, by the time you graduated, you recognized pretty much everyone in your class. You probably didn’t know their name, but there’s a good chance (especially if they’re the same race as you, which, probably, they were) that you knew them by association: they were on the soccer team, or sang acapella, or hung out with a bunch of kids who smoked severe amounts of pot. There’s also a good chance that you know very little else, say, nine years later, when you run into them at a coffee shop, and realize that, despite having had a distinct area of interest/drug of choice, they are actually a three-dimensional human beings who (like you!) drinks coffee and (like you!) enjoy music and bagels and (like you?) is probably, also, pretty smart and interesting.

I told you moving back places was funny!

I hope you learned something, friends. Or at least, I hope I successfully distracted you with all of the numbers.

 

 

 

On How Women are Like Wine, And My Urgent Greed for Female Wisdom

If, three and a half weeks after getting unexpectedly dumped, you have to go somewhere–let me suggest that a weeklong writers’ conference is not the worst place to wind up.

Not because you will likely feel inspired and write your heart out, though, probably, you will–and that matters.

And not because it will probably take you out of town, to someplace remote and green-ish and, most importantly, out of the element-in-which-your-heart-was-broken–though that, too, matters quite a bit.

More important than all these things is this: that, in all likelihood, you will find yourself surrounded by a large number of middle-aged women.

I’m aware, this demographic is not without its’ accompanying pitfalls.

Probably, you will encounter numerous questions in regard to decaffeinated beverages and the persistently problematic temperature of this or that room. You will hear a lot about lost husbands and multiple cancer struggles and feel as though you have experienced exactly nothing. You will see multiple pairs of unfortunately bejeweled flip-flops.

But you are about to turn twenty-eight: a birthday that feels much more significant (read: traumatic) than the last, and contemplating not whether but when you are supposed to start panicking because you would like to have children not long after thirty and have absolutely no idea where you will be raising them or with whom, to say nothing of what they will be called.

And it is important for you to stop considering panic and to remember that women–all of us–improve with age.

(Note: This may be true of men too, but let’s face it: they’re starting with less.)

On multiple occasions over the past few days, I have turned to the (older) woman next to me and felt the strong urge to ask her to adopt me as her daughter.

This is not at all to suggest any inadequacy on my the part of my mother: whose beauty and brilliance I appreciate now more than ever.

But in those moments when the opening of your hips (yoga) collides with the breaking of your heart (D), making you question the significance of just about everything–including manhood, literature and sex–you need all the wisdom you can get.

I feel greedy in my pursuit of elder female knowledge, like an aggressive shopper at the Union Square DSW during clearance: I want all the product I can cram  in the little time I’ve got. I want it in abundance. I want it immediately. And I want it in bright colors and interesting fabrics. (Just go with it.)

It’s not that the advice they’ve given me has been extraordinarily insightful. It’s that their delivery is so assured. As women get older, we grow into ourselves: we grow more and more comfortable with who we are and how we look, the things we can and cannot do.

And I kept hearing the same version of a story: single for twenty or thirty years. Four marriages. Heartbreak and loss. And then: happiness. It was only when they had truly grown into themselves, achieved their ultimate in confidence and strength, they said, that they were able to find an equal.

And so I stare at these women, awed by their poise and elegance, their agility with liquid eyeliner and strength in downward dog, and I try to tell myself that it wouldn’t be so bad: that if I wound up having to wait until I match their confidence and grace before I find a partner who is truly worthy, it wouldn’t be so terrible.

It’s hard to accept that you might not find the fantasy: that you might not follow the path you (and everyone else) always imagined. But you simply can’t predict how your life will play out.

And, sadly (for me), for all the generous wisdom and insight these older women provide, neither can they.