Today is one of those fall Sundays in Seattle that I live for: the sky is bright white with a thick cover of clouds, and with all the windows open, it’s about 65 degrees inside. I am bundled up in my sweats on my couch with my favorite sage green throw wrapped around my feet, which are deliciously cold from the breeze spilling in. My laptop is propped on my knees and occasionally, I pause to take a sip of tea and look out the window. This is very much the sight that visitors to Seattle Central Library will see in November this year.
Thanks in part to an award by 4Culture, I will install a recreation of my creative space (in this case, my living room) on Level 3 of the public library as part of a performance art installation in which I plan to write a minimum of 50,000 words in a month, a challenge also known as National Novel Writing Month (NaNoWriMo.) The idea began when I realized that, as an English lit major, I had only ever studied the work of dead people in school. We were never able to talk to the creators of the works we read; we could only guess at their process by reading intercepted letters or through anecdotes and hearsay about their lives.
In my journey as a writer, I’ve struggled for mentors as much as I’ve wrestled with developing and understanding my own writing process, especially of late. Meeting contemporary authors at places like Hugo House and the Tin House Summer Workshop has emboldened my hunger for connection. Yet, as a creative discipline, writers are often secretive or reclusive, bemoaning their loneliness at the same time as they encourage misanthropy and, in my opinion, an undervaluing of our craft. My installation, called A Novel Performance, is a way of challenging writers, including myself, to move beyond all of this — to reach out to others by showing what we do.
(Side note: I hope you stop by starting November 1 or follow on Twitter where I’ll be tweeting about the experience at #LiveNovelist. For more info, click on A Novel Performance.)
I say this as a lead-in to what’s come to mind lately, and that is ritual. I once maintained a weekly habit of blogging, often starting a post on my couch on Sunday mornings and publishing at my favorite coffee shop. When I began this blog in 2010, I wrote and edited directly in the WordPress page editor. Today, I no longer post weekly. I rarely go to Caffe Fiore since I moved — and, in fact, don’t go to coffee shops anymore to write. I compose posts in a word processor to perfect them before I paste them into WordPress. Over time, my ritual has changed with my shifting lifestyle, and now today, I question the benefit — both the steps of the ritual and well as its end result. I’ve become complacent and comfortable. The ritual of blogging no longer has the same impact, except for a regular deadline.
These questions of purpose, result and significance have become important as I try to encapsulate how and what I do in order to explain it to others. For me, writing starts with so many mundane factors, like the fact that I require a couch or any other non-desk-like setting in order to write. Ambient noise is okay, but not music, conversation or television. I struggle with large type and I really can’t write productively in double-spaced text (I need to see large swaths for context), so my work typically begins as single-spaced text in 10-point font in paragraphs without indents separated by a single line break. Or, if I’m working in my field notebook, then it’s all by hand in eerily parallel lines on a blank (and unlined) page.
What any of this actually has to do with my writing process, I can’t say. These obsessive/compulsive control factors are different for everyone, yet they do exist, and maybe that’s enough to justify their importance in my process. Only when I stop to examine them do I realize that there are many other nuances that go along with writing that, on the surface, have absolutely nothing to do with craft. Yet, when everything is in place, I can sit for hours with my brain in another world and, if left undisturbed, the sun can go down and I can become very hungry without rising to do a thing about it. Being in the groove feeds me in another way, and it’s only when a story or essay feels a certain degree of settled –or, settled enough for a particular evening– that I can leave my work without feeling interrupted.
This brings me back to the purpose of ritual. In yoga, we practice a sequential physical exercise in order to calm the mind, similar to ritualistic practices to ease anxiety. A systematic repetition of behaviors can quell and neutralize excitement while other rituals actually build energy. Think of the holiday progression from Halloween to Thanksgiving to Christmas when you were a child: a certain buzz arose during mid-October as everyone wanted to know what costume you’d wear for Halloween, then fall foods like sweet potatoes, stews and pies would appear, then it was time to watch football games, parade floats and eat a gargantuan meal at the end of November. By Hanukkah and Christmas, the frenzy of December was dizzying. Like the ancient Greeks who celebrated the states of ekstatis and enthusiasmos with wild dancing, rituals can be a means of exciting and altering one’s state of creative consciousness.
As the kick-off of my installation nears, I realize how frenzied and erratic I have become in both my writing practice and my preparation for it. I’ve let the world enter my sacred space and transform it with the same to-do lists and rules that measure my non-writing life into equal amounts of duty, responsibility and limits. These things are not the same as rigor, which is important in an artistic practice — they are soul-killing weeds that have sprung up in my garden over the summer. I have forgotten to nourish the soil that makes writing possible. I’ve become too busy for a ritual whose result is deeply important to me.
There is no turning back from the tasks ahead, and I’m not suggesting that I want to, but I do want to make A Novel Performance into a dividing line. It will mark the end of five years of a certain kind of practice that has served me in its time. What happens over the course of November is an experiment. It will test the means and methods I have established to date, and from it, I will form a hypothesis about how I’d like to shape my writing future.
What do we really need to blossom? What is extra? What pushes us out of our comfort zones, just a little, and helps us reach new places we didn’t think we were capable of finding? What should we remember? What should we let go? What brings us pleasure? What makes us lazy? What do we need to feed ourselves every day? What is so important that it’s worth sacrificing for? These are questions a ritualist asks as she creates a new space to test, research, reflect and play.
That’s what ritual is for, in my mind — not a place of dogma or religion, or a means of withdrawing from stimulus — but a space where the spirit is free to join and create, whether with the body, the arts, materials or the mind. A safe place that allows us to jump higher, break things and fall down without dying, to spill paint on the floor, sing off-key, run down the wrong path. It must be someplace firm and soft, nurturing yet stimulating, a place that emboldens us to meet the challenges we fear. For some of us, this place also includes a plush couch and a warm throw.