Showing posts with label love. Show all posts
Showing posts with label love. Show all posts

22 February 2013

The Hopelessly Romantic Writer (Emphasis on the "Hopeless" Part): A Micro Rant On Love, Loss, and Getting Through February Without Having a Complete Mental Breakdown


by Jody Aberdeen

All aboard the Bitter Train, with whistle-stops at Singlesville, Lonesome Prairie, and, you guessed it, the Heartbreak Hotel. Get your tickets out and hold on tight: this ride's gonna suck and we don't serve peanuts. (Wait, they do serve peanuts on trains, right? No? Well, they do now.)

I've never been a fan of February even before it became the unofficial "Love Month" after about a decade of chocolate hearts and exchanging Valentine's cards at school ("You Choo-Choo Choose Me", in keeping with the train theme). Even when I was in my relationship, the lead up to February 14th and even the rest of the month was just one giant bubble of peer pressure to out-romance the other couples in our networks.

Then, when I became single, and those couples disowned me (as couples tend to do when le divorce strikes their comrades), the new challenge became fending off the artificial pressure to find someone so I could have this perfect "Valentine's" moment, along with balancing my own feelings of loneliness.

Well, fie to all of that. Fie, I say!

Now, these aren't uncommon complaints, but as it happens, I am a writer and a creative person, and at the risk of sounding like a stereotype, my skin is thinner than most people, despite my best efforts at swagger and confidence when I'm out at parties or at my day job in retail.

And so having a holiday about love, sex, and romance that's grown, amoeba-like, from the 14th of the month into the month itself, I think I could be forgiven if it opens up a few things that I normally keep locked up under my bed the rest of the year.

Write For Catharsis

My first book, Convergence, is a science fiction romance, consisting of about 1/3 an old idea about soulmates and alternate dimensions, but 2/3 catharsis as I worked some psychological damage control after my marriage ended three years ago. As such, I have a track record of successfully processing out heavy emotions involving love and loss into a great piece of writing.

To that end, I've started an erotic sci-fi/horror story, hopefully finished by the end of next week, that will hopefully capture these feelings, honour them, and then put them somewhere safe and half-way productive, kind of like a carbon sequestration for the soul.

If the bad feels lead into a great story and get me a writing credit to boot, then it's almost worth it. Almost....

Sex Transmutation, Winter, and the Kobayashi Maru of Positive Thinking

Thing is, I'm not completely satisfied with writing catharsis, because around this time of year, the feelings run on this spin cycle, like a Superstorm Sandy of confluences between the winter weather outside (I read somewhere that NASA astronauts on long duration missions would experience similar emotions to SAD because of the lack of the colour green in their experience) and all of these feelings that Love Month drums up for me. Everything just swirls around until the spring, and the sky may be bright and blue one day, but get cloudy and sleeting the next.

Writing is indeed my One Thing that I'm going to be doing the rest of my life, regardless of pay and benefits, but when it becomes almost exclusively a tool for emotional stability rather than a creative outlet, it stops being fun, and then I just don't feel like doing it. That short story will probably miss its deadline unless I have some kind of turnaround on the inside.

But I'm also tired of my personal development practices that tell me to be positive all the time just like that: to me, that's a dishonouring of my authenticity. Sure, I'll get back there, but I have to process first.

Yet still, I have to be careful not to start re-ingesting the crap I've been venting out (sorry for the image, but it's the only way to describe it accurately), which then just feeds the cycle.

The whole thing is a little like the Kobayashi Maru (watch Star Trek II or even the J.J. Abrams movie if you don't get the reference). Nothing really to do but keep going. That's the key: persistence.

Interestingly, our fearless leader Carrie Bailey recently mentioned Napoleon Hill's Think and Grow Rich. There's a chapter on "Persistence" that I read over and over again when I'm on my upswing. Check it out if you haven't, as well as the chapter called "The Mystery of Sex Transmutation", which I recently blogged about on my site and which is in keeping with Love Month.

Life vs Fiction

(Audible sigh). I guess I don't know how to end this mini rant. At one of my writer's guild meetings before Christmas, we had a deep conversation about if many writers become torn between creating interesting characters and becoming them. Hemingway is the chief archetype of this idea, but you look at the lives of most writers in the English language, and you see this Bohemian blend, contrasting stripes of tragedy, emotional instability, privilege and poverty, and almost always a touch of otherwordly inspiration: all traits that themselves are worthy of novels.

Yesterday, I saw The Words starring Dennis Quaid and Bradley Cooper, one of the finest and accurate (and devastating) movies made in recent years about the reality of becoming a career author. Near the end, someone says the following line: 'You have to choose between life and fiction. The two are very close, but almost never touch."

More than most, Love Month makes me highly self conscious, which hurts my ability to write about anything else other than my own life, one that isn't nearly as interesting or as relevant as Hemingway's, I'll admit (though it would make a fantastic comedy of errors, I'll admit, perhaps starring George Lopez as my older, wiser self).

As always, though, I have my vocation to get me through the winter, at times like these I can't help but think about the improvements I need to make in my life, especially in the romance department: putting myself out there again, taking down that ten foot wall around my heart or at least expediting the search for the girl with an eleven foot ladder cleverly concealed in her deceptively small purse. Or, possibly just dropping the pursuit altogether and seeing what else I can do to fulfil myself.

I'll be fine come the spring, honestly, but for now, I do what I was born to do, and write my present truth in fiction.

(This is the part where I'm supposed to refer back to the train metaphor I started with, but I'll leave my fellow Peevish citizens to do that...what do you guys think?  Try to make it end on a high note: this is admittedly a downer post).


11 February 2013

February - Self Love Means Kicking Yourself Out



The Peevish Penman prompt for February (really? I'm so sorry about all that alliteration -- I'm slaying myself over here ... ahhh, someone give me some air) is revolving  around:

Love. 


Come back!

I have chocolate!

I lied.


I ate it. It was good. Sorry. Here's the wrapper. Ghardelli.

Moving on, nothing to see here. Oh go on! What I just wrote above does NOT remind you of "This Is Just To Say" by William Carlos Williams about the plums. That was a love note.  

♥ ♥ ♥


We are writing about Love and how we create and write in the face of it... whether that face be a marriage, a new relationship, or with our loved ones around.

Because I am elegant weird, I am going to write about it today in terms of how we show ourselves and our writing love in one simple step: break up with yourself. Show yourself the door and don't come back until you've had time to think about what this relationship with your book or your writing or your blog or your art means to you! You better learn something about how you've been treating that book, art, blog or writing. And when you're ready, show yourself.

And bring chocolate. 


♥ ♥ ♥


This will all make sense shortly, but in the meantime, indulge me as I provide the backstory: so my household has seen its share of airborne illnesses the last few weeks. I will spare you the amoebic details, but the fact of the matter is that since Christmas, I've not spent one week at home without one of my three sons home sick with me or home sick on his own. What this has done for my social life: you don'twannaknow. I've had the frequent displeasure of canceling a lunch four weeks in a row. With the same person. Yes, we're still friends.

I'm back to feeling 100% now, so please stay the hell away from me.

Don't worry, I'll get back to love. Gimme a minute. 

I had an epiphany whilst in the throes of a bout and while it might seem rather pedestrian, it can't be ignored: life is for living and for me (and maybe you?) to be a successful (whatever that means -- it's all subjective, so play nice) writer requires we get the hell out. Ironically, I say all this at risk of sounding myopic.

Surely observations and insights from disabled or impaired people are extremely valuable, but for the overwhelming majority of the able-bodied, we must kick ourselves out of our relationships and dependencies with the everyday and kick up the dust in our own lives, and not let that door hit us on our way out if we are truly going to see results.

We must unfriend ourselves from Facebook, unfollow ourselves from Twitter and unwhatever ourselves from whatever other social media engine within which we frequently engage if we are to bring value to ourselves, our craft, and our readers.

I once challenged a writer to describe an approach to a barn door in 500 words. She couldn't. She did it in 300, which is good, because this writer has limitations when it comes to descriptions. Me? I love them, I get swept up in them and they are like poetry chocolate to me.

We must get out and step into the sunshine, squinting our eyes from its sobering glare in the dead of winter, bracing ourselves against the biting, life-affirming chill and wind which buffets our bodies and whips through our souls. We must take a walk to the pond near our house and when we arrive, we must take off our leather glove, the one with the cashmere liner and touch the massive alabaster rock; and run our chapped index finger along its veins of black coal and crushed quartz as our eyes follow the lines and then wander to the park bench with the flaking paint and rusty legs, barely making purchase of the nails and screws which fasten it to the concrete platform.

We must walk past the bakery with warm and salty aromas of fresh Italian bread, crusty and golden on the outside and downy soft on the inside, the air bubbles inviting our nubby and chilled hands to grab a chunk and devour it; when it's fresh-from-the-oven warm, it tastes better than with any amount of butter on it and the smell alone is an elixir to our souls.

We must pack up our cameras and make sure the batteries are ready. We must bundle up in our trusty pea coats to get into our old cars with seats of faded leather. Turn the key and wait for the engine to start, but turn off the blowers with their frigid air because the crank case isn't warm yet.

We must drive to the old weatherworn and abandoned barn in the countryside, listen to classic songs from Frank Sinatra or Doris Day on our way; keeping that timeless appeal so we transcend the moment in which we exist: 2013, to imagine the world we seek: 1958, so we can embody that lonely farm girl whose eyes linger a little too long on the moon and whose mind tickles the memories of her moments in that barn, with her beau now at bootcamp in Georgia.

We must go to fondue dinner with loved ones during "Restaurant Week," a local week-long program born from post-9/11 sadness and fearful diners when restaurants were shuttering hourly. We must laugh despite our reluctantly transplanted waiter named Nigel who was charming but inattentive. We must kindly ask his peers for water, use our debit cards to pay the check, and hesitantly walk to the car together, wondering what we will do next and then decide, as we approach the interstate sign, with Donna Summer playing in the background, chant, "Go north or go home!" take the onramp to the city, giggle at our spontaneity and feel like teenagers again for our collective recklessness. We must park the minivan, pretend it's one of our parents' car and venture out into the vibrant, windy and pulsing city, seeking tickets to a hockey game already in progress only to discover that once we pass the security check and the baggage search that that game is sold out. But we must decide together undaunted, to go to a bar around the corner, open a tab, have a beer and watch the game on plasmas strung along the walls. See the bartendress with four-inch hoop sparkly earrings scan her smartphone and watch the bar-back in the black longshoreman's knit cap restock the frosted pint glasses; his muscles stretch and contract beneath his t-shirt's rolled up sleeves. We must turn and have no choice but to watch an older man who confessed he was on painkillers and too much beer, dance with a sweet young thing fifteen years his junior, only to see him slow down a bit, get a little too dizzy and then see him maintain his dignity as he surrenders to his age and to the night as he zips up his hoody, walks up the steps and bids the bar goodnight.

We must do these things. We must get out of our own way, even in the face of love: lovers will understand when we need to do these things, to get away. If they are worth having around, they will be there when we get back.

The fact of the matter is that if I love myself, I need to break-up with myself and kick myself out of social media, and make myself take me out on a date, or for a drive, or for a walk, without the computer but only with my eyes and my memory. Same goes for my writing, my art. The only way to get anything gritty, good and new for my work and for my soul is to turn away from what I already know and look boldly into what I see out there.

Take a late-night romantic ride in a crowded car with some coeds here:
http://mollyfielddotcom.wordpress.com/2013/02/08/friday-fiction-6-the-car-ride-dream/