wild and pruned
I’ve written three books that are autobiographical in nature. Two of them are collections of personal essays which explore family stories, the natural world, history, and landscape. And one of them — Mnemonic: A Book of Trees — does those things too but through a particular lens, using a structure which provides a (loose) through-line. The book is a memory grove and the narrative takes place among trees past and present, wild and pruned.
I’m not a user of social media, apart from this irregular blog. Mostly it’s because I don’t understand the parameters. And I don’t much like the language. Twitter, “friend” used as a verb… About a month ago I asked my daughter to help me set up a Facebook page, thinking that I was somehow not participating the cultural conversation. Within an hour I had many friends. I had messages. I looked at photographs. Every time I walked by my desk, I’d think, “Oh, I wonder what’s new with my Facebook friends?” I’d check. I still hadn’t learned the code about status updates or likes or any of that so I was a bit confused but I realized that one could
waste spend a lot of time in the Facebook world. That night I was awake for hours wondering what on earth I’d done. So I got up in the wee hours and did whatever one does to unsubscribe or unjoin Facebook. I felt such relief! We all have a line in the sand, I guess, and who knew this would be mine? I think it’s my metabolism. I want long relationships, in person, or conversations on the phone. I want to walk with my friends or give them dinner, not *heart* something they’ve said on Facebook. But I also realize that I’m very much among the minority in this respect.
I really enjoyed a recent piece in the New Yorker: “A Memoir is not a Status Update”, by Dani Shapiro. She writes of the difference between living out loud on Facebook, “sharing” every breath we take, and the methodical work at the heart of writing a memoir. “I worry that we’re confusing the small, sorry details—the ones that we post and read every day—for the work of memoir itself.”
For the past two years I’ve been working on an extended work of non-fiction, a memoir of sorts, and it’s a very slow process indeed. One frayed thread takes me to the Beskydy Mountains in the Czech Republic, one tangled thread to Bukovina and the dense information in the metrical records of my grandfather’s village, one sad thread to Cape Breton Island, and one to the intricate and mysterious world of mathematics. And then there’s the actual thread, the spools of cotton I use to stitch together the quilt that accompanies this work.
“We live in a time in which little is concealed, and that pressure valve—the one that every writer is intimate with—rarely has a chance to fill and fill to the point of explosion. Literary memoir is born of this explosion. It is born of the powerful need to craft a story out of the chaos of one’s own history. One of literary memoir’s greatest satisfactions—both for writer and reader—is the slow, deliberate making of a story, of making sense, out of randomness and pain.”
I get a little notice on the sidebar of the screen I use to compose these posts, asking me to refresh my connection to Facebook. But I’m not going to, not yet. I think it’s more important to keep my attentions focused on that slow deliberation, on the basket of thread I sort through regularly to see what colours I have to work with and what I might need in the future.