“And all the lives we ever lived and all the lives to be are full of trees
and changing leaves.” — Virginia Woolf, To the Lighthouse
Yesterday I surprised myself and finished the novella I’ve been working on. I knew I was somewhere near the conclusion but as I didn’t know what would ultimately happen, I didn’t see the end coming until I was actually there.
(When I say I “finished”, what I mean is that I completed a first draft. The next step is to print it out because I can never do a substantial edit before I see what the work looks like as a physical text. Some people can scroll through pages on a screen and understand where they are in the work as a whole and how each chapter (or section, in my case) relates to the others. But I can’t. I like to sit with an actual draft and a pen and scribble on paper as I read.)
I’ve noted before that this is probably a novella that will not be published. It’s a strange sort of meta thing. The narrator is writing a thesis on the work of Sheila Watson and Ethel Wilson and she frequently refers to their writing. She is notating a map with places and moments in their fiction and the reader imagines a map with actual passages from various books. A scholar writing a thesis wouldn’t have to worry (I don’t think) about securing permission to use the quoted material because it’s considered fair use for critical purposes. But as this is a work of fiction, the situation is a bit more complicated. And potentially prohibitively expensive. That’s what I mean by “meta”. Or maybe I don’t. This novella is a strange sort of hybrid. And I loved every minute of its creation.
Last week I met with the Special Collections librarian and archivist at the University of Victoria about papers (mine, and John’s) and they showed me one of the Margaret Peterson works held by the Legacy Gallery at UVic. It’s a huge tempera on panel and when I saw it, I thought two things. One is that Margaret Peterson belongs in this novella and so now she’s there. (There’s that meta idea again: in my own life, I met her and her husband Howard O’Hagan once. The narrator of the novella is, in a way, the person I would have been if I’d pursued a degree in Canadian Literature instead of becoming a writer.) The other is that the painting would make a perfect cover image.
At this point in my life, I am grateful to be able to sit at my desk and construct a work in which worlds are superimposed on one another, the real and the imagined. Grateful to spend time in the grace and beauty of language and rivers, bluebunch wheatgrass and Ponderosa pines. Where coyotes appear out of folds in the hills and history glosses the landscape like a weathered homestead where someone still makes a daily fire and tends to the animals.
“So long as you write what you wish to write, that is all that matters; and whether it matters for ages or only for hours, nobody can say.” — Virginia Woolf, A Room of One’s Own
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I'm a writer living in paradise.
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4 thoughts on ““And all the lives we ever lived””
This was very meaningful to me at this point in my life. Especially the two quotes. I am struggling with the next step. It felt like a friend talking. Thanks.
I’m glad you found it. And language connects us, doesn’t it? Across time and place…
Beautiful post, Theresa. Reading you is like stepping into a river of dream. I’d love to read your new novella – will there be opportunities for readers even if you don’t publish it? (By the way, I read Inishbream on the plane to Ireland and it enriched my travels enormously.)
Thank you so much, Leslie. Speaking of dream, how wonderful you got to go to Ireland. I loved it in the fall (well, all seasons, but fall was particularly lovely). As for the novella, I don’t know what will happen to it, with it. I’m in the process of editing it now, just for myself, I guess. But later? Who knows.