It is similar in that way to this and the other blogs and journals I’ve written down the years. I’ve wondered casually whether what I’m writing is the basis for an autobiography – or at least, memoirs – but it would be a very scrappy one, because there are large and significant portions of my life – like living in Dallas, or when I was doing my PhD – when I wrote very little, and others, like now, when little happens but I write about it quite intensively. The same happened when I was travelling – there are places I went to which, when I went through my notes and blogs, I found I’d written hardly anything about at the time, but when I was writing the first draft, it was quite recent in time, so I managed to scrape something together, often using my photos as aides memoires, and picking up additional information from the internet. Towards the end (of both the travelling and the writing) there are places (such as Kristiansund, Oslo, Hamburg and Amsterdam) that I skimmed through with very little attention and interest, but these are mainly in the still-unpublished second half, The Long Way Back.

Interestingly (perhaps), since I’ve had the selected photos rotating on my desktop, I’ve noticed there are also very few from the last weeks included in the sequence – not because I didn’t take any then, but because I never bothered to go through them, select them, edit for size and add them to the folder. On the other hand, there’s a preponderance of Brussels, Paris, Brittany and San Sebastian, the first places on the itinerary.

January comes to an end today. I used to hate this time of year, but that was when I set a lot of store by Christmas, and found the new year always an anticlimax. Now I find that this can be quite a hopeful time – even though it usually has the worst weather of the year, at least the light is slowly coming back. A daffodil opened in my forecourt a couple of days ago, but was immediately so battered and droopy it hardly deserved a photo. I can confirm that this has been the coldest and gloomiest beginning in the four years I’ve been crocheting weather blankets.

Prompted by my efforts with the card making (which continued yesterday) I’ve been thinking about creativity, a topic I’ve been planning to tackle for a while. In fact the post which I wrote on Monday (but didn’t share) was about how difficult it is for me to see any value in anything I make. I was coming to the end of the Christmas jumper I’ve been knitting for my daughter, when I read a Facebook post by a lady who runs a local craft shop. She’d shared some photographs from a 1980s knitting pattern magazine, showing celebrities wearing jumpers with silly slogans and daft pictures – rather like the one I’ve just made, in fact. The comments were so mocking, and in a nasty ‘What were they thinking?’ way, not a gentle way, that I immediately felt ashamed and embarrassed by my efforts. What was I thinking? More to the point, what will my daughter think? God knows. But it’s done now, I said I would make her one and I did, I made up my own pattern and didn’t consult her so that it will be a surprise. If she hates it – openly or secretly – I still enjoyed making it.

That’s why this is the first time I’ve made cards for anybody other than my nearest and dearest – because what if they think they’re just naff? (Actually, two years ago, when the lino-printing classes were still running, I made some Christmas cards, but never sent any of them for exactly that reason.) Well, I suppose with these people I never see, it doesn’t matter what they might think, because who really cares that much about Christmas cards anyway? What really matters is that I enjoy the process. And that links in with what I was saying a while back about the quest and the prize, the journey and the destination, the process and the outcome.

So yesterday, I did some more, and because the one I’d done on Friday wasn’t too bad, I stuck with the same design, finishing the exteriors of six cards, although I also need to do more inside them. I made a conscious effort not to get stressed but just to enjoy it – even when I still kept losing things and making mistakes. There are lots of little bits and things to get lost, and lots of little steps that have to be done in the right order, and that is exactly the kind of thing which does make me stressed, because it’s hard for me to hold a plan in my head and remember what I need to do next – which is why it always takes me so long. But I took my time, tried not to give myself a hard time, and got into a rhythm.

Practice, repetition and routine is good. Anything creative is risky. What I do may be crap – there again, it might get better if I keep trying.

hmm, sounds a bit pessimistic. Maybe it depends on how well formed our dreams are when we go after them, how high our expectations are. If we do not know why we have the dream, then when we go after it we do not know what to do when we “achieve” it, and do we even recognise achievement?

no idea really, not sure I have consciously gone after a dream.

22 June 2012

I was irritated when I read it, thinking that the poster didn’t seem to have much empathy, and wondering what kind of life it is if you never ‘… consciously go after a dream…’ I probably felt much the same at the time, because I hadn’t bothered to reply. But reading it again now, what did she say?

1. How well formed was my dream? To go travelling across Europe, overland (no flying), visiting various places, staying with friends in some of them and ‘…hopefully making new ones along the way…’ (which, not surprisingly, never happened).
   
2. Why did I have the dream? A whole complex mess of reasons I suppose, but fundamentally because I was unhappy with the person I was and the life I was living, and thought that by this massive act of ‘running away’ I would ‘…turn my life around…’ – a phrase I initially included in the blurb to Single to Sirkeci but later removed because it didn’t work out the way I hoped. And what way was that? By finding a new man, or a new place, or a new purpose in my life.
   
3. Did I know what to do when I’d ‘achieved’ it? No
   
4. Did I even recognise it as an achievement? No.

So, it pains me to admit it, but I can’t really argue with the things she said. I couldn’t explain why I had that particular dream; initially it wasn’t very ‘well formed’, although it became clearer once I’d started to ‘make it real’; I didn’t know what I’d achieved or what to do afterwards – although the same person later gave me a great phrase when I was closer to returning, and she said I would be ready to ‘…hit the ground running…’ and my reaction was ‘…or like a lead balloon…’ so that ‘Hitting the Ground’ became a title for the blog I wrote after my return.

But I did enjoy the experience – sometimes. And I did write the book – eventually (but only published the first part). Travelling and writing about it – or staying in the same place and writing about it. That’s what I’m still doing.

And hoping. That’s what’s important.

PS The featured image is a screenshot of what came up on Firefox when I opened it to post this. I recognised it instantly, because I’ve been there and taken multiple versions of the same view: it’s the Old Bridge (Stari Most) in Mostar, Bosnia/Herzegovina, which I would never have visited if I hadn’t followed my ‘dream’.

In the process of trying to re-evaluate my life in order to better understand who I am and how I got here, this strikes a chord. There were things I was going to say. But earlier I remembered a poem that I thought I would dig out and now I can’t find it. This is the second time this has happened to me in the last few months and it is worrying. I have so many poems and they can be anywhere – well, I think there are a certain number of places where I would have saved them, but I’ve looked in all those and still no luck. Emily Dickinson wrote hers on paper, and shoved them in a drawer where her sister found them after she’d gone, but who’s going to bother trawling through my computer for mine?

I’ve gone through my assorted ‘poetry’ or ‘poems’ folders, but no sign of it – I can’t remember a title for it, which doesn’t help. I remember that I wrote it in my flat on Beach Road, which narrows the date down to between May 2015 and October 2016. And there’s no 2016 sub-folder in my Blog folder on Google Drive, so does that mean I didn’t write any blog posts in 2016? Of course, I would have been using my old laptop then, so it could be on there. But it was unfinished at the time, and then I’m sure I’ve gone back to it in the last couple of years and tweaked the last bit, so that implies it would be somewhere I’ve accessed more recently.

Well that’s blown out of my mind what I wanted to say. Process and outcome. My PhD is a classic example of a hugely significant process with an outcome that no one was interested in – not only if we assume that the ‘outcome’ was the thesis, but if we take ‘an academic career’ as the outcome I was striving for – well, that never happened either. I used to say that the process of doing a PhD is like having your brain extracted, tied in knots, and put back again so you can never see things in the same way ever again. Maybe that was just my experience.

If I think back to the time before, from the point when one of my OU tutors asked whether I’d ever considered a career in research, my aim was always to ‘do’ a PhD, rather than to ‘have’ a PhD – which reminds me of another poem, which hopefully I can locate…

I had a dream.
And then what?
I made it real.
And then what?
Dreams in daylight
turn to dust.
And then what?
How long does it take
to make a new dream?
And then what?

Linda Rushby 22 June 2012

In trying to look at myself and my life with attention but without judgement, in trying to discover and welcome my Wild Thing, I look back over all the times I have run away, and the people, situations and commitments I have run away from. According to Clarissa Pinkola Estés, there is not one single descent into the underworld, the wild forests of the psyche, one lesson to be uncovered, learnt and brought to light, but layers beneath layers.

From all my runnings away, I have never returned voluntarily. Although once or twice it might seem that I chose to turn back (thinking specifically of returning from the USA to the house my husband and I had left four years earlier), the situation I returned to was always different from the one I left (or at least, I was different – in that case, I was now a mother with two small children, and no longer a professional career woman) and in each case it was only a matter of time before I ran away again (except arguably the most recent, but of course it could still happen – only time will tell).

What am I trying to say? That reading Pinkola Estés’ book is leading me to reflect on all those times I have leapt into the unknown, the choices I made (which were largely my own, though some also involved my husband), and see them as… well, maybe answering the call of the Wild Woman?

Last week, I read a piece where she suggested drawing up a time-line of life-events and at the time I dismissed the idea, but then I wrote about my first running-away – in fact the first two – going away to university and then accepting the first (actually, the only) man who asked me to marry him.

I have a tendency to look back on my life as a string of failures: failed marriages, failed (or abandoned) careers, dreams that were fulfilled but then turned to dust and ashes. But perhaps there were lessons learnt, things gained which weren’t recognised because they weren’t what I thought I was looking for? Most of those runnings-away were thrilling, at least in the early days, even though I eventually came to the conclusion that wherever I went, I could never ‘run away from myself’.

Fail again. Fail better.

Thursday’s therapy session was a bit like that. I hadn’t got any major rants to read out, or insights from the week, or anything at all that I could think of to say – not that it had been a perfectly blissful week, but in that moment I wasn’t tapping into anything in particular, so it descended almost into (very expensive) chit-chat. Sometimes it’s like that, but it never means the darkness has gone away for good, and I don’t suppose there’ll ever come a time when it will. There’s still the ongoing issue over housework, with the therapist (who of course has never stepped inside my house) obviously assuming that I’m exaggerating, and falling into the same pattern of people who don’t want to hear the truth as I see it. At one point, as I was trying to explain, she said: ‘that doesn’t sound like dyspraxia so much as you can’t be arsed to do it’ to which my reaction was: yes of course that’s what I’m saying, I can’t be arsed, I’m lazy and don’t take responsibility, how can you possibly not know that when I’ve told you a million times? I didn’t put it in quite those words, but my heart did sink a little to think she really wasn’t getting me at all. When we Skype I sit on the sofa and all she sees is a blank wall behind me, I was going to try doing it in the study last week but remembered at the last minute that there’s no webcam on the PC so that’s no good, maybe I’ll bring the laptop up here next time.

Well, so I did find something to write about which isn’t about causality, creativity, liminality, fate and destiny. Or Women Who Run With the Wolves. This week I read her analysis of the story about the Crescent Moon Bear, which is a version of the Grail story, that the point of the quest is not about the ostensible object, but the lessons you learn from undergoing the quest itself. This is hardly an original thought, but it is an interesting one to reflect upon. When I came back from my original travels, I felt I hadn’t learnt anything at all, that nothing had changed, that I couldn’t run away from myself; and the only lesson when I came back from Prague was there no way on earth I could ever be a teacher. Or maybe the lesson is: you can keep chasing rainbows, but make sure you’re enjoying the chase?

When I first tried to follow the advice, in the late 1970s early 80s, I was trying to write a fantasy novel, of the then conventional swords-and-sorcery genre, which was hopeless, because it inevitably had to involve a certain amount of fighting and war craft, which I couldn’t get my head round at all. In fact, I didn’t even like reading about that stuff, even though I loved the Tolkien books, I would skip all the fighting parts and just read the adventuring. This was in the days before the genre had opened up with more female characters and writers, such as Ursula le Guin, Julian May, Anne McCaffrey and Marian Zimmer Bradley. I didn’t see how it was possible to have fantasy books outside that patriarchal paradigm, or how I could write within it, so I really was on a hiding to nothing.

Be that as it may, I tried, and I tried in the mornings, and then I discovered that if I sat down to write for a specific purpose – such as to continue my novel – I was paralysed. All I could write was what was in my head – such as what I’m writing now, and write most mornings, about my life, my thoughts and feelings. I was going to say ‘write spontaneously’ but that seems odd, in that the daily writing is quite regimented – but there again, it is spontaneous in the sense that I don’t always know what I’m going to say until I start saying it.

Now I’m confusing myself. Because the other kind of writing – the way I write most of my poems – is the stuff that comes into my head at any time of day, and I need to capture it – so that by the time I sit down at the computer, it’s already there, and I’m just ‘taking dictation’ – so is that spontaneous or is it the other? Because that is what I think of as being ‘inspired’ writing, and I have no idea where that comes from or how to make it happen – it’s outside my control except… for the times when it isn’t. What about all those poems I wrote in April, for NaPoWriMo? They were ‘inspired’ somehow, so how did I make that happen?

There was also a period in 2005-6, immediately before and around the time when I started both a creative writing course and blogging, when I WAS extending my novel (not the original one from twenty years earlier, but a more feminist one) by writing 500 words daily, developing the plot in classic ‘seat of the pants’ fashion. Why did that come to an end? Because my writing energy was diverted into assignments for the course and blogging, perhaps?

Not long after I’d dropped off, I woke up to sounds of scuffling and unearthly screeching. I went back down again and this time found her on one of the kitchen chairs, so I closed the door, happy to know she was safe, and went back to bed.

I slept again, and the next time I woke, Miko was sitting on the bed and staring at the window, and the foxy scuffling noises were much louder and closer. I went over to the window and watched a shape or shapes in the shadows under the wall at the end of the garden, running back and forth and calling. Then it came out onto the middle of the lawn, where the light was a bit better and I could see it more clearly, running a few steps, rolling over on the ground, jumping up and running again, and so on. It all looked very weird, and I wondered if there was something wrong with it – could it have been poisoned? Then I remembered my daughter’s dog once fishing some cat poo out of the litter tray and rolling in it all over the front room carpet – the behaviour looked very similar.

I couldn’t get back to sleep, so I read some more of the book I mentioned, the one where someone is killed 50% in, far enough for them to appear alive again at 60%. This didn’t surprise me – though I had thought they’d stay dead for a bit longer – maybe till 75-80%. That’s an advantage of a first-person narrator – you can show their grief because at that point they genuinely believe the person is dead, and hence make it appear more convincing.

I’m still enjoying it, although there are a few odd time inconsistencies – like the post lady turning up just before dark. The detailed references to various parts of London which I’m not familiar with sound quite convincing, but the casual mentions of frost and snow, as though they’re normal in winter, make me wonder whether the author has actually lived in London during the last thirty years.

I keep thinking about plots which are written to that formula which I’ve heard about a lot of times this year, and I’m reminded of a book I read earlier, just before lockdown.

Maybe I’ll finish reading it today.