How Can Memoir Solve a Mystery?

How does writing a memoir solve a mystery? Well, if you think about it, how could it not? Even if you didn’t necessarily call it a mystery, you had questions, right? Why did I do this or that? Why did this other person do this or that? Why, exactly, was I cut up over such and such?

It is to be hoped that we continually ask ourselves questions throughout our lives in order to know who we are. Journaling of course is excellent at detailing thoughts and feelings, events and happenings, but I think it is even better if we actually turn the pages back from time to time and see what we have written, analyze it. Without analysis, it’s just an itinerary, a travelogue. I came, I saw, I wrote about it.

Some of us have more questions than others. Some of us have more need to ask why. More need to figure things out, find resolution. Perhaps because our lives have been traumatic or upsetting. Those drawn to writing in the first place are those with a story to tell. An event or a series of events that happened to them or to someone they know, which is fascinating or troubling or simply interesting.

What I Did

I took my early life and made it into a narrative. A story. There had been some painful events to live through, and therefore painful to recall. Yet as I worked through each draft, the person I was in my early life became less and less me and more of a character in the story. The more I became a character, the more I became an observer. I think this quality, this becoming an observer in one’s own life, is probably the most important gift we can give ourselves on the path to becoming conscious of ourselves as a soul living in a body.

Why would a Soul, part of the Divine, want to experience pain unless it was to know itself better? Know more thoroughly all the aspects of life? Especially when those aspects of life lead it back to a deeper soul consciousness. I think in order to come to any kind of resolution about the events in our lives, on some level we have to be alright with what happened. We need to have achieved an understanding, and certainly a forgiveness, in order to keep the glass as clear and unclouded as possible, looking at our previous selves with the detachment of an observer.

When I first began telling my story, I had no idea what the outcome would be. What sort of deductions I would make, what conclusions I would come to. And that was okay, because all I needed to do in the beginning was get the facts out. Write down what happened. This wasn’t enough of course, but it took many years even to do that. Meanwhile, the wheels were turning. Another set of wheels turned as well, asking the question I had asked all those years ago. The question of why?

That I found an answer was partly because I was looking, and partly because I was ready to hear it, and partly because there was something I could do with it now. The answer came because I could make something of it now. I could use it, and use it for good, and communicate it to others with this new skill of writing that I was developing.

Answers are always there, hovering in corners, behind doorways, hidden in drawers we haven’t fully examined yet. Just as the saying goes, When the student is ready, the teacher appears, so it must be that when the seeker is ready, the answer appears. The answer is also a teacher.

A memoir by itself cannot solve anything. A memoir will usually turn out to be whatever the intention of the author wanted it to be. I didn’t describe my intention as the desire for illumination. But when I began attending writing workshops and memoir classes, I did think of blueprints. As an artist doing architectural renderings I was familiar with blueprints. What, I wondered in mid-life, was the blueprint of my soul?

So, I retraced my steps. And I found a reason why things might have had to happen the way that they did. A reason why my soul might have chosen those particular experiences. I found the click where all the pieces suddenly made sense. I had to go into the shadows and the dark places, and shine a soul light. And that was when I was able to make something beautiful out of those steps. Once I realized where all those steps led to, there was nothing not beautiful about them.

 

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Wait, There’s More

My earliest memories include staring at the knots in the pine wood of our walled-in porch, and staring at the raised pattern of flowers on the maroon sofa where I was often placed, wedged between pillows. At this point, I wasn’t aware of stories behind the shapes and patterns. The fact of their design in my direct path of vision was the only thing that caught my attention.

Then when I was five I was extremely ill with a fever of 104. My mother cared for me around the clock, giving me alcohol rubs to bring down the fever. I wasn’t aware of any thought of leaving my body at that time, but I am aware of what might have helped me stay.

The first thing was being given a Madeline book, the first in the series when she had appendicitis and was taken to the hospital. (Only much later would I hear that my mother almost died of appendicitis.) So now I held a story in my hands of another very sick little girl – who recovered, I might add.

The second thing was being given a tool set. It was some kind of board with a tiny hammer and other things to build on and play around with, but most specifically this was a tool set. So, I was given tools.

Now I had a story and I had a set of tools. But the third thing was perhaps most important of all, because this was the thing I gave to myself. I was looking out the window. I had been put in my parents bed during my illness, and so now had this view out the window I wasn’t accustomed to. The blinds were up, or the curtain pulled to the side, and all I saw was this square shape of the window, and the sash cutting it in half, and the vertical line running down the middle that made a plus sign. This was the first time I noticed there was a pattern in the glass, and it happened to be a plus sign. A plus, for more. There was more life ahead. It didn’t all end where I was—which happened to be Skokie, Illinois.

The fever finally broke, and a few months later my family left the Midwest and moved to New York City. Where it just so happened that I was given an intense introduction to the arts in all its forms by both my parents. My brothers and sisters were offered the same education, but only my older sister and I ran with it, and I was the only one to make a career in the arts.

As it turned out, this is what saved me. Perhaps it saved me when I was five as well. The idea that there was more. More to life than family and the physical manifestation of my surroundings. There were stories of survival. And there were tools to make things with. And perhaps most exciting of all, there were signs in the window. This window that looked out into the world was itself a sign, telling me to see more. See a plus. Add things up. Always add, and keep looking for the signs, the symbols. And if I didn’t see anything right away, then wait. Wait, Nancy. There’s more.

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I Made it All Come Right in the End

When I was in high school studying to be an actress, my father told me to “take my work seriously, not myself.” And a few years before that, when I was in junior high, he encouraged me to raise my hand in class and not worry whether or not I had the right answer. “Don’t be afraid to make a fool of yourself,” he said.

These were great words of advice. I ended up making a fool of myself on a regular basis, and while I often did take myself far too seriously, I always took my work much more seriously. But that was only after I found a connection to my soul. It was only then that I could see there was a difference between my personality life and my soul life, or soul consciousness, or higher self.

Now, my higher self, my soul consciousness, do you think it cared a fig about my silliness and making a fool of myself? It didn’t even agree with me that I’d made a lot of mistakes, a lot of ‘errors.’ From the perspective of soul, I was having ‘learning experiences.’ Things I thought I’d done wrong, my soul disagreed. My soul doesn’t know from right or wrong, up or down. It only knows love and acceptance. When I visualized all those Xs, those Xs for Wrong and Unacceptable, my soul said wait a sec, aren’t those lines just crossings? Like the way you used to cross the Atlantic Ocean all the time? Back and forth, back and forth. Crossings. Nothing wrong in that!

People have called me brave because I risked being laughed at when I wasn’t trying to be funny. Yet it took its toll, and hence my father’s words to me, because I was a desperate approval seeker. Or at least my personality was. My physical self.

The key, of course, is to come as you are, be who you are with love in your heart, and allow others to be who they are, without needing them to be any different.

Ultimately, it’s not about me, it’s about you, whatever it is you make of my work. This was true when I was a performer and a director said to me, “I don’t want to see you cry; I want you to make the audience cry.” As an actor, I was a vessel for the playwright’s words. His or her representative. As a painter, I was a vessel for the art spirit moving through me. And now, as a writer of memoir, I’m an interpreter. What’s done is done. It’s over and done with. All that’s left is my perception. The memories, and the perspective at which I chose to observe them. Which is to say, I made it all come right in the end.

That bears repeating. I made it all come right, in the end. But that was because I went left and right. Into the shadows and darkness, and out the other side. Seeing both sides, the light and the dark, and knowing they are one.

Just as the X is really a Plus sign too, just a little askew. I straightened up the X, and made it into a +

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Stepping Softly Into Voice

This is me at eighteen, an actress speaking the words of others, with no voice of her own.

Afraid to speak her feelings, fearful of repercussions.

Hiding behind a veil (albeit an attractive veil, but still a screen).

Then I became a painter, and things started to change.

My energy changed. I stopped being “a doll” – a China Doll, someone used to call me…

But then I found that in order to find my voice

I had to paint myself with a voice

I had to paint the balance between

detail of watercolor by NW

the masculine and feminine energies

to fully realize the genius of the Sixth Chakra

and still I had to wait, before opening my mouth so publically.

I had to wait, not until I got the words right, but got the balance right

between knowing and not-knowing

so that I could still stay, in the state of wonderment

and softness, and the softness of a receptive voice that speaks

while it listens.

 

 

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Inner Plane Discussion

A Dialogue Between the Higher-Self and the Inner-Self

Oil on Canvas by NW 1984

Inner Self: Oh, Higher Self, Why did you allow this wounding to happen?

Higher Self: So you would know the tree when it falls, and the bird when it falls, and the water when it falls, and the snow falling.

Inner Self: Oh, Thank you! But does the snow know it’s falling? I don’t think so. So why is it necessary for me to know? And what does snow falling have to do with being wounded?

Higher Self: Nothing. The snow has nothing to do with being wounded, except for the color white. Snow white.

Inner Self: Like the fairy tale Snow White?

Higher Self: Exactly. You may as well ask me why Snow White had to be wounded.

Oil on Canvas by NW 1984

Inner Self: Yes. Why did she have to be wounded?

Higher Self: Because it’s a story. The whole story is dependent upon her being abandoned in the forest and then eating the poisoned apple. Without those plotlines there would be no story, would there?

Inner Self: Of course  not. But she didn’t do anything to deserve that treatment. She was good and kind. A pure heart, too, it seems. Was she too trusting? Do you think that was it? Trusting the old witch with the apple?

Higher Self: Why are you asking me this? Are you reflecting on the trust you once had for your mother? The blind trust?

Inner Self: Yes, I suppose I am. I guess I was far too trusting wasn’t I?

Higher Self: And why shouldn’t you have trusted your mother? Didn’t Isaac trust his father?

Inner Self: But then Isaac was spared. Why wasn’t I spared?

Higher Self: You lived, didn’t you? You survived to tell the tale. Maybe that’s why. So you could tell the tale of Trust and Betrayal, and Trusting again. And look what happened along the way. All those paintings you did. Do you think you could have seen into the depths of yourself otherwise? And then transferred that quality of vision onto the canvas? Where do you think that deep vision comes from?

Inner Self: Resonance. It comes from resonance. A re-sounding. Feeling the vibration again. Feeling a similar vibration in someone else. Feeling the same. A similarity. A resonance. An inner vibration. A feeling. A feeling of resonance. Thank you.

 

 

 

 

 

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Auditioning For My Life

watercolor by NW 1987

Dear Mr. and Ms. Publisher,

Much as I would love to submit to you (again!) I can’t this time. I just can’t! Seems all my life I’ve been trying to get in somewhere—the Royal Academy, Actors Equity, the English theatre. Wanting to be wanted, deemed worthy—as if I was auditioning for my life.

Okay, RADA and the English theatre, that was back in the 70s. I did it and moved on. But I’ve been auditioning for going on 50 years now! And I have to say that I’ve been turned down by the best. George Balanchine was the first to give me thumbs down and all he had to do was look at me. Oh, and feel my calf muscle too. I never would have had the stamina to be a dancer anyway.

After I became a painter it was called submitting, not auditioning, but it was the same thing.

NW 1980

Please want me. Please think I’m good enough! Nix to that. I saw this movie once in the 80s about New York painters when it was hot to be a painter in the city and therefore film-worthy, and the girlfriend of this successful egotistic guy-painter asked him if he thought her work was “good enough.”  Naturally he said no. I was so angry with her! What did it matter what he thought? Couldn’t she tell herself?

At the Art Students League when the teachers started to “correct” my work – that was when I left. It wasn’t even bull-headedness, it was only that I had ideas too, and if it was going to be my canvas then it was going to be how I saw it.

Writing has been different though. I’ve had a lot of teachers, been to lots of different workshops. Feedback has been ultra important. I think it’s because writing deals with the mind, and putting ideas and images into the minds of listeners or readers, and I needed to know what they were hearing. Was it anything resembling what I wanted them to hear? So they were my guideposts. If I was writing a-b-c, I didn’t want them to read x-y-z.

But that was only until I began to trust myself. At first my self-trust was a little on the belligerent side. This is my story whether you like it or not. It’s also called self-confidence or self-reliance. And those are good words, because when it comes down to it – it’s all about the self – especially a memoir for pete sakes!

Yet I have to admit that my decision to self-publish is partly due to my fear that if I don’t put it into print (finally after 14 years!), then after this umpteenth final draft, I will start revising it again! And I have to keep reminding myself that getting my memoir right is not equal to getting my life right. That, I may never do, though the clock is still ticking… I loved the book with the title, A Good Enough Parent. And that’s all I want to do with my book, write a good enough memoir.

But as I was saying, Mr. and Ms. Publisher, I can’t wait for your approval (or disapproval). I can’t write a book proposal or another query letter, much as I appreciate the need for these things in your business. I can no longer want you to want me. Which usually means pitching to an agent so the agent can pitch to you. I just can’t be in that ball game right now. The whole premise of my story is about me finding value in myself. It’s about how I went from a scared shy doormat victim to The Nancy Who Drew.

The Nancy Who Drew just did it. She left the League and even left Manhattan. She carried her rolls of canvas and heavy wooden stretchers home on the subway and stretched them herself with her special canvas pliers. After hammering the stretchers together. And then she stapled the canvas to the stretchers with her staple gun. Yes, she had a gun and she used it. And she never cared if her boyfriends liked her work or not. She wasn’t a pitcher. She was the one up at bat every time.

Excuse me, but now I’ve got to get back to my final revisions…

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How Beauty Saved Me

When I was young I was entirely focused on my outer appearance. I was an actress in those days and spent a lot of time in front of the mirror, not always for the purpose of creating a character in a play. For the play was also my life, and I was creating the face (if not the character) of the woman I wanted to be seen as.

Makeup provided a much needed mask. The mask of maturity I did not yet have, and the mask of bravado I wished I did have. In this way I was able to have (and sometimes enjoy) experiences that might not have come my way otherwise.

But I was lucky. Because while I was still in my twenties I dreamed twice of something more. Of a beauty that came from inside. An inner beauty. A beauty that was nothing to do with looks, and everything to do with feelings. These were literal dreams, the kind where you are actually asleep. So I was asleep, but I was also awake to something else. Something inside, that had not yet manifested on the outer plane, but was there, alive and coming to consciousness.

I lived in a world where appearance meant everything. In order to be cast I had to look the part. And even then it might not be enough because I also had to look like someone else thought the character should look like. It’s the kind of thing that can make you feel very powerless. But that’s show-biz.

By the time I was twenty-three all I wanted to do was hang onto the little control that I had. So one night when I finished reading Sylvia Plath’s The Bell Jar for the first time, it was not surprising that I fell asleep hoping I’d never lose control like Esther did. And yet that was exactly what I did in my dream! After putting down the book I fell asleep and dreamed I was on stage performing, and completely let go. And when I let go I was filled with light! Ripples of light flowing through me. An orgasmic feeling of oneness with All That Is. I felt inspired, beautiful, free.

This seemed a good omen for my acting career. Surely if I could dream it, it could come to pass? Yet it was not to be.

(detail) Watercolor (1987) NW

For I would be cast as bad girls. The drug pusher, the thief, the hooker, the call girl who suicides. Girls who, no matter what they looked like outside, were torn up and crushed inside. In the plays I did, they were never redeemed. They were caught, sent to prison or to the mortuary.

My private life was not this brutal, but it was a sham. The darkness I had delved into had cast its shadow. My shadow loomed over me. The darkness was sucking me in, telling me to end it all now, and promising forgetfulness.

And then I did die, but not from the dark, and not by my own hand. I died in the light and from the light. From the light of forgiveness and acceptance, and most of all I died from surrender. From giving up. From letting go of control, that thing I most dreaded. I died in a dream and discovered the light again. The beauty again. Again, the sense of being flooded with light. The light rippling through me. The beatific feeling as I sank to the floor. It happened in a dream, this beautiful swoon of death.

I’m alive! I’m alive! I kept saying to myself the next morning. The morning of my new life. My new birth. My second birth. The morning of my awakening.

I gave up acting and became a painter. I did not have to search for beauty. Beauty was all around me. It wasn’t about me anymore, it was about seeing. Seeing “out there” was a reflection of what was inside. And it was all in the light, which appeared brighter when it was beside the dark.

I still wore makeup. And sometimes, if the feeling wasn’t there, I acted as if I was an artist, until the feeling came back. Which it always did. The beauty that would not smudge or fade. Because it was a frequency. A tone. A surrender to the light. Which appeared brighter when it was beside the dark.

(Detail) Watercolor (1987) by NW

I was saved when I saw the beauty of the dark.

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Excerpt ~ “Revenge”

NW at easel (1989)

September 9, 2001, was a Sunday. Late that afternoon I dropped my manuscript off at the home of my advisor. Normally I would have sent Jan my packet in the mail, but perhaps I was late in getting it off. I don’t remember. Anyway, we both lived in Brooklyn, not too far apart, and I had a ride. I was a graduate student at the Low-Residency Program at Goddard College then. This latest revision was crucial.

I was in my final semester. The book had already been in progress four and a half years. That was part of it, but what really worried me was my new beginning. My daring new beginning, starting off with my mother’s revenge. I wondered what Jan would think of it? But Jan Clausen was the one who said the memoir was really about my relationship with my mother. At last someone told me what it was about! I prayed she would like this latest version.

Jan told me later that she began reading my memoir two days later, on the morning of September 11th.  As the planes were hitting the World Trade Center, she was reading my book. And she kept on reading even as the Twin Towers fell.  Even as people were being pulverized. Even as Lower Manhattan was blanketed in smoke and rubble, and dazed pedestrians were covered in ash, she kept reading. She chose not to watch the TV. Different people have different ways of coping with disaster, and hers was to keep to her reading schedule. I was not so disciplined. My schedule went to pieces as I tried to take in the magnitude of events that day.

Later though, what I could not get out of my head was that my memoir was being read on 9/ll. The two things became intertwined, my story, and 9/11. My life and 9/11. It was odd really, because I was writing about the past. My manuscript ended in the late 70s. It began in the late 70s too, then went back in time. It began with a story of revenge. My mother’s revenge, not mine. Yet somehow, because of term schedules and manuscript due dates, and Jan reading it during the chaos of 9/11, I was finally able to see how my mother’s revenge could have been mine too. For hadn’t she told me that she conceived me in revenge for World War II?

It was a bizarre thing to say, I know.  But coming from my mother, it sounded perfectly rational. She made the confession in 1977. I didn’t know what to do with that information until 9/11. In brief, this is how it happened.

She met my father on a bus. It was February, 1949. She was twenty-three, going to Nevada for six weeks to divorce her first husband. She got on in Illinois. I don’t know where Milton got on, but he was on his way to a government job in Tonopah, Nevada, and wore an army uniform. She said he had a shy smile and dark wavy hair. He was Jewish. She had never met a Jewish man before. Her five-year-old daughter from her first marriage was staying with her parents in Decatur. Her fiancé was waiting in Chicago. But on the bus she met Milton. And instead of going all the way to Reno, she got off the bus at Tonopah. By the end of March when her divorce came through, she was pregnant. She went to Chicago anyway, and married her fiancé, Frank Wait. I was born in December as Frank’s child. That was how it began.

My mother told me this story when I was nineteen. Because of that, and what followed, and many other things besides, I left the country. Then, when I finally came back home to live after seven years abroad, she said, “I conceived you in revenge for World War II and the Waits.”

The confession that I was her revenge was said in anger. She was still angry after all these years. We were sitting at my kitchen table drinking coffee. My mother had dropped by after work, seemingly in a good mood. I don’t remember what set her off.  Anything could set her off and it never seemed to have anything to do with me. I was tired. I had been working all day too, and wanted to relax.

I asked her to leave. I said, “I’d like you to go now,” and “Please leave,” because the way she was carrying on about whatever it was, I could see that her mood wasn’t going to improve anytime soon. I’d only recently started hanging up on her when she went into tirades over the phone, and that was only because my boyfriend told me I could.  “You can just hang up on her,” he said. “You don’t have to listen to that.” And then he told me I could throw her out of my apartment too. At first I didn’t believe him. I thought I could never do that.  But I didn’t want to listen to her venom.  She always went on about the same things—how wronged she’d been, how badly she’d been treated by everyone.

“Alright, I’ll go,” she said angrily, haughtily. Her face was flushed, her features vivid. Her hair jutted out from her face in soft, frizzy black curls. She was fifty-two and a little overweight, but still attractive. I stood holding the door open while she gathered up her things, and then she came and stood next to me. She was five-feet-two but looked taller in high heels. I was amazed that she was listening to me, that I could actually tell her to go and she would. I’d never felt this powerful with her before.

Her dark hazel eyes bored through me, to some deep wound from long ago. I felt guilty. I always felt guilty somehow for her unhappiness.  And when she delivered her parting shot—“I conceived you in revenge for World War II and the Waits,” I felt a wave of heat pass through me. It was like an electrical charge, resonating in my gut. As if in a queer sort of way I had always known this—or something like it. She left then, and I closed the door. The clack of her high heels echoed down the stairs and faded away.

Revenge. It’s such a loaded word.

Ever since the night she told me about Tonopah, her eyes moist and bright, as if Milton was the love of her life, I had thought of myself as a “love child.” I had dealt with being half-Jewish, and the fact that Dad, the man I thought was my father, wasn’t by blood. Now I would have to deal with this too. But I just stood there for a while, leaning against the door. It seemed as if she was always giving me shock treatments.

Like my mother’s confessions, drawn out slowly over the years, my understanding has taken a long time to develop. It has taken me a long time to piece things together, longer perhaps, than it should have. In my twenties I used to wish things had been different. I fantasized a marriage between my mother and Milton, imagining her happier, and by connection, myself happier too. But when I went to a psychic, which I did a lot in those days, and complained,  “If only my mother had married my real father!” she said, “But my dear, you chose your parents! You chose everything to be exactly the way that it was.”

I didn’t know how to deal with that information, any more than I’d been able to deal with what happened. It has been like weaving a tapestry—the images don’t make sense until the entire rug is woven together. Yet it finally hit me, why she was so impatient with me when I was growing up. I was the least likely candidate to avenge anything.

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Deep Paint

Deep Paint

Portrait of a Journey

Pastel by NW 1994

Polar Shift, pastel
In the beginning I didn’t know I was illustrating a journey, or that I would end up with a shift in perspective, realizing a new balance between inner and outer worlds. The following nine pictures in oil and watercolor are a representative sample of work done in the 1980s, which led eventually to the writing of my memoir. What began with portraits and self-portraits, expanded to looking at my interior life, showing myself what I knew or felt subconsciously. Yet though I could see I was painting a narrative, I didn’t know what the story was.

Oil on Canvas by NW 1981

Girl at the mirror, oil
This portrait was one of my earliest works. Though not my intention at the time, it perfectly represents the idea of turning away from the external mirror to face oneself. The unfinished quality adds to the sense of one not fully developed until this look within, at the inner life.

watercolor by NW 1980s

Self-portrait, watercolor
I did this from a photograph I liked, because it showed me a side of myself I wanted to explore, give credence to.

oil on canvas by NW 1980

Self-portrait, oil
Here I was looking in the mirror, seeing myself in the new role I had cast myself in. I had the long hair, the long earrings, the long Indian dress. My palette, all laid out with paint, is tilted towards the viewer, or in this case, the mirror. For now the mirror has become the Looking Glass, through which it is possible to see into the inner world.

watercolor by NW 1980s

Listening, watercolor
As a former actress it took time to get over the compulsion to see myself in the outer world. But I began to paint models listening to their intuition or dreams, and the culmination was this more impressionist version of what it felt like to be tuned in to the inner self. To hear a voice from within. To hear the soul calling.

watercolor by NW 1987

Sinking, watercolor
This is indicative of my “drowning” pictures. They began by chance when a model didn’t show up for his next sitting and I finished it without him, covering the background with cerulean blue. The effect was startling; he looked as if he was sitting at the bottom of the sea. It was thrilling on some deep level, and inspired many more such paintings. Pictures I thought of at the time as a visual representation of delving into the subconscious.

Burning, 3 watercolors

I didn’t know where these next three paintings came from. They were part of a larger series of watercolors on paper 22″ x 30″ done over a short period in a feverish state of exhilaration. And then stashed away for twenty years until I completed the memoir and asked myself, what if…

watercolor by NW 1987

What if my psyche was somehow recalling a past death? The memory of burning.

Of being on fire. Of falling into the sea?

watercolor by NW 1987

oil on canvas by NW 1987

Girl Underwater, oil

Deep in the sea life of dream life
Lies a merger with death again and again.

She was the end of the journey. She was what it was all for. Whether she was my lost childhood, my mute self, my lost soul, or the memory of something more incredible, reaching back into a past life, she now was “found.”

My inner voice told me I didn’t have to paint anymore, I’d done enough. It was time now to write about how I got here.

So she represents the end of one journey and the beginning of the next. I didn’t know why I had given her a sprig of leaves to hold in her hand. But later, I began to think of them as laurel leaves. Laurel, for victory. Even before I had any idea of what she might represent, I knew that for me, she was some kind of victory.

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Memoir Writing: the first five years

In case you were wondering how long it takes to write a memoir…

It takes as long as it takes. Memoirs are usually a labor of love, written for oneself or one’s family, no matter we hope to have a wider audience. We hope that our experiences and the telling of these experiences will have relevance and meaning for those far beyond our own inner circle. For this to happen, that old saying comes to mind: you get out of it what you put into it. One thing writing does is to make us aware straight off the bat just how far we are from coherent thought, or how close. On those difficult days it’s more than ever important to stick with it, keep going, and show what you’re made of.

When I was a mere six years into the writing of my memoir and someone told me of another writer who spent fourteen years writing hers, I thought—no way! I was flabbergasted. Fourteen years? You had to be joking! Then you hear of others who only take a couple of years to complete their work. It’s very individual. Quantity of time may have something to do with quality, and then again, maybe not.  I think it’s worth taking a look at what I’ve been doing with my time spent on memoir writing.

I have come to the point where I find it useful to look at the writing of my memoir in terms of chunks of five-year spans. The first five years, the second five years, and now the third five-year span, which I am currently in the middle of. Each phase has its own unique personality, its own demands, its own struggle. It would be impossible for me to return to any one of those earlier phases, and I sometimes marvel how I got through them at all.

The fall of 1996 was when I applied to the New School with thoughts of completing the bachelor’s degree I had started fresh out of high school eons ago. I had never cared for degrees before. I had never done the kind of work that required a degree. Being an actress and then an artist, with scores of odd jobs in between, I’d always looked the other way when anyone spoke of career paths. Career paths and degrees had nothing to do with me. I liked the freedom of going off on my own to pursue whatever  it was that had my attention at the moment. I had no need to be graded, to have academic approval or a piece of paper that said I attended such and such a school. The proof was in my work. But in 1996, staring divorce in the face, it was securing a full-time job that had my attention. Specifically the ads screaming out from the newspaper, “College Degree A Plus!”

“Why is that so important?” I asked one of the interviewers.

“Because it shows you can finish something,” she said.

Oh. I had never looked at it that way before. Securing a degree as a kind of test of character. What the hey. I was in my late forties, a single mother with a little boy; what did I have to lose? On my college application I wrote my intention was to “find the blueprint of my soul.”

Beware of what you state in writing as your intention. It may very well come true! Mine certainly did, though it was years in the making, and went far beyond the mere three years I spent completing my bachelors degree at the New School. For then there would be two more years at grad school—ah! The first five years!

The first five years were all about schooling. Learning to write. Learning to read as a writer. Reading aloud. Getting feedback. from others. Learning how to revise. Realizing that I was a writer. Realizing I had a voice. Realizing I could speak my truth. Realizing my blind spots. Realizing my power. Realizing my weaknesses.

Getting those degrees is not such a difficult thing as long as you apply yourself. Finishing something is indeed useful. I finished with schooling. Then I finished my book. That mammoth task took the next five years. I finished it in 2005. Then I finished it again in 2006, 2007… Every year I had a new version. Some years I had more than one new version. It was the beginning and the end that kept being revised. The story stayed the same. But the beginning and the end signified my interpretation. What I thought of the work, what I thought of my life, my role in life. What I thought the meaning of it all was. These things underwent constant revision.

And guess what? They still are! It’s crazy. Or is it? Is it crazy to try and sort out what it all means? What if meaning was really the goal of it all, and not necessarily getting published? What if publishing was just the icing on the cake? And the real meat was in the toil and trouble you took to understand your life on a deeper level.

The first five years were all about remembering what happened. I could never repeat those years. Recollection is a huge task. And once it’s done, it’s done. Now, as I re-read those passages, I marvel at my excellent memory. All those memories I dredged up…no need to do it ever again.  It’s done. It took its toll, having to live through those experiences once more. Not everyone is up to it. We have a natural inclination to move on, I think.

But however hard the first five years were, the second five years were harder. For that was when I had to go deeper. Away from workshops and advisors. Away from reading aloud. Just me and my laptop, mulling over events, trying to make sense of it all. I will write about that in my next post.

If you are writing a memoir or have ever tried to, I would love to hear your comments!

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