redux: as the year approaches its conclusion

This was 2015. Although most of my papers have gone to the University of Victoria since I wrote this post, I’ve kept the notebooks…

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I’ve been sorting and tidying again, preparing for another of the bonfires of the vanities. I have a small bag with papers and a desk covered with stuff to be assessed, in the way one does — reading, remembering, wondering what on earth to do with a hardbacked notebook from the time I spent living on a small island off the west coast of Ireland. On the one hand, it’s hard to read endless accounts of weather and washing hair with cold rainwater from the cistern. Of picking nettles for soup. Baking soda bread. The tally of the day’s walks — some driftwood for the fire, a few feathers, the jawbone of a dog revealed in the sand dunes by the cemetery. Yet it’s a record. But for whom? And how?

After my parents died, my brothers and I and our partners cleared out their apartment. Nothing was sorted and it was a strange experience to open a box and find old report cards, recipes, photographs of people I have no knowledge of, receipts for prescriptions from the last century, false teeth,  eyeglasses, keys of every description. I returned home determined to organize my own stuff a bit more efficiently so that those having to clear out my study won’t have to struggle with decisions about what to keep and what to burn. Luckily there are no false teeth. Yet.

The notebooks are particularly vexatious. Like Joan Didion in her essay, “On Keeping a Notebook” (from Slouching Towards Bethlehem), I am grateful to occasionally meet my younger self.

I think we are well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind’s door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were.

But do I really want anyone else to meet her? At one point she makes a will. She’s 23. She leaves her manuscripts to someone her older self hasn’t seen in 35 years. (And those manuscripts went up in smoke years ago!) There are too many descriptions of her attempts to keep clean (two basins, one for sea water, one for the more precious fresh, from the rainwater cistern).  Delight in a bucket of new potatoes left at the door. A tally of letters brought by boat from the mainland. Songs heard on a RTE radio programme I loved — Sunday Miscellany, in which Pearse Hutchinson played songs (“The Mountain Streams where the Moorcocks Crow” sung by Paddy Tunney, a fine old voice. ). And I don’t need that notebook to recall how it was when Paddy Tunney sang “The Green Fields of Canada” while my little turf fire smouldered and I thought I’d die from the melancholy beauty of the world.

The lint dams are gone and the looms are lying idle
Gone are the winders of baskets and creels
And away o’er the ocean, go journeyman cowboys
And fiddlers who play out the old mountain reels

For now I’ll keep the notebooks in a drawer. For now. But I’m keeping them for me, not anyone else. And one day I’ll have to decide what to do with them in a final sort of way.

old notebook

Only the very young and the very old may recount their dreams at breakfast, dwell upon self, interrupt with memories of beach picnics and favorite Liberty lawn dresses and the rainbow trout in a creek near Colorado Springs. The rest of us are expected, rightly, to affect absorption in other people’s favorite dresses, other people’s trout. (“On Keeping a Notebook”)

“I sing of a night..”

festive

Yesterday I was down in Sechelt (about 45 minutes south of where I live) and I thought how festive the small town looked. In the Bakery, where we had coffee and one of the delicious chocolate-dipped shortbreads, John observed that every surface was decorated. Big tins of gingerbread people, silver stars, baskets of the shortbreads (and several other versions), so that we felt we sitting inside a Dickens story. And outside, the chestnuts and acacias on the square were draped with lights, the trees along Cowrie Street twinkled, the storefronts were bright with stars and garlands. I wonder if it’s easier somehow to keep Christmas in a minor key when the place where you shop is so lovely? I was thinking about this as I drank my coffee this morning, planning how best to pack the parcels going to Victoria and Edmonton (we are going to Ottawa for a few days over Christmas so it’ll be a matter of finding room in our suitcases for the gifts going there). I remembered the early days of our family life here and how we wondered if we’d be able to continue the traditions of a tree cut on Christmas Eve, cards printed on our old platen press, simple presents for our immediate family, baskets and bags of homemade treats for our friends. I’m happy to say that most of this continues. I say “most” because this year the card—a Steller’s jay cut into lino—didn’t work out, despite two days of painstaking work on the part of the printer. I made the lino-cut, from a sketch by our friend Liz, using a photograph and an actual jay on the railing of the deck, eating its breakfast. John set the type, blocked it up, but the ink was old and the results aren’t nice. We are of two minds. He wants to send it, with an apologetic verse (more typesetting, more tedious fiddling). I don’t.

Still, the woods look so beautiful this morning and the oranges in a bowl in the kitchen smells like Christmases past and today I’ll wrap and package the things I hope carry messages of deep affection and longing. The old carols call, asking to be played, to be remembered on the cold days leading up to the day itself. My favourite might be the haunting “Don oiche ud i mbeithil“, recited by Burgess Meredith in English, sung in Irish by Kevin Conneff, on The Bells of Dublin.

I sing of a night in Bethlehem
a night as bright as dawn
I sing of that night in Bethlehem
the night the Word was born

“And will you never cut the cloth…”

needle

And will you never cut the cloth
Or drink the light to be?

Two things wind themselves together. A voice, Sandy Denny’s, singing “Farewell, Farewell”, written by Richard Thompson, and the notion of thread. I was listening, even crying a little, as I sorted through a container of spools. I was looking for the right colour for something I’m making, it being the time of year for gifts. And I thought, how many miles of thread have I cut in my life, how many tiny eyes have I threaded with the white lengths, the red, the sturdy hand-quilting cottons? If I traveled the distance of those lengths, where would I be? Who would I be? I chose the pale blue thread and a small sharp needle and put another log on the fire.

Farewell, farewell to you who would hear
You lonely travelers all
The cold north wind will blow again
The winding road does call

redux: what does a carrier bag hold?

Note: this was from December 1, 2014. Yet it’s still true, still ongoing. I did finish both the essay and the quilt. The essay was published first in Rooted: The Best New Arboreal Nonfiction, edited by Josh MacIvor-Andersen, and then it became the title essay of a collection of my work, published by Mother Tongue Publishing. The quilt went to Forrest and Manon for their March birthdays. And it’s all happening again—essays in progress, quilts inspired by them, and my bedrock belief that it’s part of a continuum.

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For the past month or so, I’ve been trying to work on a long essay, “Euclid’s Orchard”, which is loosely about mathematics, wine, love, horticulture, and genetics. It’s a hodgepodge, yes, but I know that there’s also a coherence there, a pattern, and I’m a little at a loss right now to see it. (I’ve also begun a novella which is taking my attention, though not all of it.) The essay has a quilt to accompany it; the quilt is a textural meditation on the mathematics in the essay and the essay also details the making of the quilt. The individual parts of the quilt are all designed and made and now I need to piece it together, to find a pattern for the individual squares (though in fact they’re rectangles!) to echo the elements in the essay. This is where I’m puzzled and can’t see or think my way through it.

I don’t like being idle. And I think best when I have some sort of hand work to do. I am a terrible knitter but sometimes I knit just to feel the accumulation of yarn making itself into a scarf or a blanket, a kind of magic emerging from the needles. And my quilting skills are only a little better but I love to see the possibilities of colour, harmonies, even narratives in fabric and to find ways to work with those. My brain is not logical and I can’t follow directions so the quilts I’ve made over the years (more than 25 — years and quilts) are very much my own. And they’re explorations.

Maybe they’re also carrier bags. Years ago I visited a class of students studying my novel, Sisters of Grass, and when I met their instructor before the class, he told me that he thought of my work in the tradition of Ursula LeGuin’s “The Carrier Bag Theory of Fiction”, from her essay collection, Dancing at the Edge of the World. As it turned out, I’d brought along a basket of objects central to the novel — a sampler, some Ponderosa pine cones, photographs taken by the ethnographer James Teit — so I noticed the instructor (a very congenial man) smiling as I unpacked my basket, reading a little from my novel, and passing around objects for interested students to look at.

If it is a human thing to do to put something you want, because it’s useful, edible, or beautiful, into a bag, or a basket, or a bit of rolled bark or leaf, or a net woven of your own hair, or what have you, and then take it home with you, home being another, larger kind of pouch or bag, a container for people, and later on you take it out and eat it or share it or store it up for winter in a solider container or put it in the medicine bundle or the shrine or the museum, the holy place, the area that contains what is sacred, and then next day you probably do much the same again-if to do that is human, if that’s what it takes, then I am a human being after all.

A carrier bag holds more than food, of course. It holds anything you want it to and sometimes it holds ideas, simple ones and more adventurous ones. It holds scraps of fabric and pine needles for baskets and memories of campfires and the sweet scent of a baby sleeping.

This weekend I had such an urge to make something, my hands yearning for work. But I’m still weighing and pondering the final pattern of “Euclid’s Orchard” and wasn’t able to take that any further. I went into the trunk holding my stash of fabrics and pulled out a whole passle of scraps, bits and pieces left from other quilts but too pretty to throw away. There wasn’t enough to anything big or elaborate so I decided to cut what I had into five-inch squares and find a pleasing way to piece them together. It took two mornings to cut out all the squares — 168 of them — and then an afternoon and a morning to get to the point I’m at now: ten courses of the eventual fourteen pieced together. The cottons have no relationship other than the one I’ve imposed on them. Some of them are French prints, some scraps from intricate quilts I’ve made in the past, and some of the fabric comes from an unfinished dress begun by a friend and passed along to me because she thought I’d like the print and might want to cut up some of the usable areas.

This morning, as I sewed lengths of squares together, I found myself thinking about “Euclid’s Orchard” and I think I might be ready to work on the essay again.  Something about the quiet labour of fitting pieces together, aligning their edges, trying to make the seams even, looking for a way to highlight a colour — the punch of yellow in this simple patchwork quilt has me remembering the sunlight on the orchard that is central to the essay…

If you haven’t got something to put it in, food will escape you–even something as uncombative and unresourceful as an oat. You put as many as you can into your stomach while they are handy, that being the primary container; but what about tomorrow morning when you wake up and it’s cold and raining and wouldn’t it be good to have just a few handfuls of oats to chew on and give little Oom to make her shut up, but how do you get more than one stomachful and one handful home? So you get up and go to the damned soggy oat patch in the rain, and wouldn’t it be a good thing if you had something to put Baby Oo Oo in so that you could pick the oats with both hands? A leaf a gourd a shell a net a bag a sling a sack a bottle a pot a box a container. A holder. A recipient.

And wouldn’t it be wonderful to have a bright quilt to keep away winter’s chill? Blues, yellows, and a long diagonal of red, bright as berries and necessary as blood.

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