Filling the Well

My passport was declined the maximum three times at the new scanning kiosks at Canada customs. I left the wave of Canadians passing with ease through the machines to find a customs officer in the flesh, “Where are you coming from?” Looking me up and down, a middle-aged woman travelling alone, he was confused. “Mexico City” I handed him my passport. “And you didn’t travel in Mexico?” “Yes, I did, but not by plane. By bus. And taxis.” “It’s unusual for a Canadian (he paused here but did not say ‘woman’) to travel like that, from Mexico City.”  Given the circumstances (trying to re-enter my country with as little friction as possible), I opted for the simplest, also the most honest, response, I said, “I’m glad to be back.” “I bet” he said.  

I hadn’t travelled alone; I met my sister in Mexico City. She had flown from the Yukon. We travelled the two weeks together, visiting her favourite places—Mexico City, Tepoztlan, Acapulco. She’d lived and worked a whole decade in Mexico and returned to Canada five years ago. Her Spanish returned fluid, fluent, the moment she landed.  She had asked me to visit so many times when she lived there, but my kids were small, I didn’t have the money, couldn’t secure the time away from work…so many excuses. Even when her partner died suddenly, in a dangerous town just north of the Belizean border where baggies of cocaine wash up on the beach and the people carry machetes and several sport missing limbs, I couldn’t go down there, to help her through that horror. My husband outright forbade it. With good reason, really. This trip was long overdue. And we didn’t have any epic blowouts or even anything more than mild disagreements. Maturity counts for some things.  Acquiescing my movements to the pace of a cigarette smoker helped: walk a little ways, smoke break, walk a little further, smoke break.

Dropping into another culture, another climate (several climates really, because with every move we made the temperature, the way the air moved and touched my skin, the scents on the wind, changed), surrounded by a language I didn’t understand, kickstarted my mind. Thoughts, sensory experiences, sparked and fizzed. Released from the demands of work, of family, of regular life, I settled into being, allowing my tongue to bend around the new language, a different grammar, novel tastes.

I didn’t write much. Jotted a few fragments, impressions. I collected flowers—Jacarandas from the purple blossoming trees, bougainvillea, frangipani, others I didn’t recognise—pressed them between the pages of my notebook. I carried my pencil crayons but never drew anything. I didn’t quite feel settled enough. We were on the move. There was too much to look at, take in, make meaning of. Everything was fantastically loud: competing car radios, shop front music blasts, horns, bells, the screeching of brakes, the barking of dogs, the crows of roosters, birdsong, people yelling, begging, singing, whistling, babies crying, children laughing, and Mexican style fireworks which really sound just like cannon blasts. They made me jump. Every. Time. One expat suggested the fireworks—long baton-like sticks held in front of a person as if carrying a flag, gun powder stuffed in the top end and lit—as Mexicans reclaiming the fear they’d felt when colonial conquerors landed with their real cannons in centuries passed.  Maybe.   

It felt good to get my brain buzzed. To slow down. To simply feel.

I read four books, two by Mexican author Elena Poniatowska (an émigré from France). Her writing is gorgeous and, I imagine, even better in their original Spanish (the short story collections I read were translated by George Henson and Elizabeth Coonrod Martínez). Here is a good and very recent overview of her life as a writer, from The Washington Post, written by Kevin Sieff.

Amidst the concrete, the gates, the walls frothing barbed wire, shards of glass, the flowered vines spilled forth, the flowers rioted, the birds swooped and sang. In a place where even the laundry hung to dry on the rooftops is caged, there is art on the walls and parades of people celebrating. I spent my time ingesting it all. Feeling full.  

With Gratitude

Hmmm…so many things wrong with this rendering. But I guess, also, so many things right.

On this day of (Canadian) thanksgiving, I want to acknowledge and extend my gratitude to all of you, the readers of my creative work.  Especially here, on this blog, this teensy tiny corner of the digital universe, a place where I slowly work out my thoughts about creative process. You are patient and kind and giving of your time and attention.  You make my writing a conversation. You are the connection I crave. Thank you. 

I have been writing down glimmer dumps, a practice of attention and sensory writing advocated by writer, Pam Houston, and described in detail by Maxima Kahn here.    

I leave two with you here, from the last week, small offerings of gratitude.  

One: 

Driving the rural roads round my place, the trees remain in full leaf but glowing yellow and red in the warm light of mid-afternoon.  With all the rain we’ve had, the lawns and livestock fields shine bright green. Cows in a clumped white herd (Belgian Blues? Charolais? Murray Greys? I wish I knew) on an emerald hillside, but one cow, off in the field on its own, jumped up, rocking in the air, its tail curved up in a smile. It leapt like a young puppy dancing, and I delighted I’d caught a cow mid-joy. 

Two:

As I write, the rain tinkles in the eavestroughs and a whole lot (a flock?) of starlings are singing from their perch atop the pine trees in the backyard…sometimes the song drops suddenly into silence and the whole lot of them lift off, rising through the air, each one morphing into a whole, a murmuration, and I am reminded again how magical the moments in this world can be. 

Celebrating you and your reading!  Cin-cin!

Growing A New Perspective

Outside the window, the robins criss-cross the soil of the newly turned vegetable beds, listening for worms beneath.  The recent years, filled with appointments and meetings and what seemed so important, witnessed the plots disintegrating into a weedy mess.  This year, I’m out there again, with this mixed gift of virus-induced-stay-home-time, edging the garden earth against the encroaching lawn.  It’s heavy work but satisfying.  It’s work that can only go at the pace that I can, my legs and arms and back complaining if I do too much at a time.  

And it’s work that unfolds—can only unfold—as the temperature rises.  It can’t all be done at once, but rather moves in a predictable and ancient pattern of seasonal shift; only cold weather seeds can withstand the sudden wet snow squalls, the winds whipping in from the north. The nightshade cousins like it hot, the tomatoes and peppers and eggplants, and it’s a month or more before those seedlings will be planted out.  By that time, we will be harvesting the first lettuce greens and hopefully some sugar snap peas.  Spinach and rhubarb will already have bolted, erecting obscene seed heads into the humid summer air. 

Digging out there, with the grit beneath my fingernails, the worms squirming against the light and the scent of earth wafting round, I can’t help but read the metaphor so blatantly presented about artistic practice.  Yes, I know the comparison has been made before a thousand times over, but when one discovers something for oneself, it retains the fresh surprise of truth. 

For all these veggies to grow, I must work with them, nurturing them in concert with their environment, just as I do my words and sentences when I’m trying to write a piece.  And the thing is, when the first twinned leaves of cotyledons poke through the soil, it’s hard to tell the veggie seedlings form the equally virulent weeds.  One must be patient, observant.  With experience one knows, but it’s seasons of trial and error for the neophyte.  As a writer, I’m still in the spring stage, the early spring stage.  But with continual care, attentiveness and nurturing, what I plant on the page will one day grow, be trained and weeded and shaped into something beautiful for others to consume.  As the writer, I am the only person standing between the garden of a finished piece and the chaos of the word weeds.  How and what will grow is really up to me and will only unfold at the pace that it can, that it will for me alone. No rushing how a plant grows; only solid dedicated care will bring it to fruit.   Writing too.