Kindling Pile photo by Marcia Sloane
(This article appeared in the Anderson Valley Advertiser April 2015)
“It is only in literature that coincidences seem unnatural.” Robert Lynd
Several years ago I wrote a piece for the AVA entitled When Is It Done? in which I recounted my meeting with the poet William Everson in Santa Cruz circa 1971. I was hitchhiking on the coast highway, Everson picked me up, and being an aspiring writer and a devotee of his poet compatriot Philip Whalen, I asked William, formerly known as Brother Antoninus, a question I immediately regretted: how do you know when a poem is done?
Fortunately for me, he did not stop the car and tell me to get out. Instead, he thought for a moment and said, “So you decide this is what you want to do, and you do it for years and years and years, not because anybody gives you anything for it but because you want those poems. And you might work a line a hundred times and never get it, and then you’ll be sure you’ve got a good one and the next morning it reads like shit. But one day, after all that work, something shifts in your awareness, and from then on you just know. You just do. There’s no rule about it. You come into harmony with your feelings and you look at the thing and say, ‘Yeah. That’s it.’”
Now I am older than William Everson was when he gave me that ride way back when, and his reply to my youthful question still seems a good answer. There’s no rule about it. Something shifts in your awareness. You come into harmony with your feelings, and you just know.”
Or you don’t know. I know writers and artists who say a book or painting or recording project is done when they can’t bear to work on it any longer. I suppose that could be called a shift in awareness and coming into harmony with your feelings.
“The writer of any work must decide two crucial points: what to put in and what to leave out.”” Annie Dillard
One of my favorite paintings by Picasso is Paul In A Clown Suit, a portrait of Picasso’s young son wearing a harlequin costume and sitting on a chair. The upper two-thirds of the chair is black and makes a potent background for the boy, his costume composed of blue and yellow triangles, his reddish brown hair crowned by an odd black hat, his beautiful child’s face expressionless.
The bottom of the chair, however, is a bare charcoal sketch. This is also true of Paul’s feet, and there seems to be a remnant sketch of another leg and foot, unpainted and superimposed over the sketch of the bottom of the chair. Why did Picasso leave these parts unfinished? Or put another way: why did Picasso feel the painting was done?
I don’t know the answers, but I do know that if Picasso had painted every part of this painting and removed the remnant sketch of another leg, the painting would be lovely, unremarkable, and would not incite me, as it does, to consider the countless fleeting moments our brains transpose into notions of reality.
“Every existence in nature, every existence in the human world, every cultural work that we create, is something which was given, or is being given to us, relatively speaking. But as everything is originally one, we are, in actuality, giving out everything. Moment after moment we are creating something, and this is the joy of our life.” Shunryu Suzuki
For the last several months I have been writing the third volume of a fictional epic entitled Ida’s Place. Book One is subtitled Return, Book Two Revival, and Book Three Rehearsal. Set in a place reminiscent of where I live on the north coast of California and peopled with foreigners, artists, visionaries, brilliant children, and just folks, this is my first attempt at a multi-volume work—the process quite different for me than writing a single-volume novel.
Entering my fourth year of involvement with this large cast of characters, I no longer think about where the saga is heading or when it will end, and as a consequence I have been experiencing a wonderfully uninhibited writing flow.
“There is only one valuable thing in art: the thing you cannot explain.” Georges Braque
A couple weeks ago, Marcia went away for five days, and my usual three or four hours of writing each day became seven and eight, the momentum of the Ida saga lasting from morning until late at night. When I took breaks from writing to eat or work in the garden or go to town on errands, the story continued to speak itself, oblivious to my lack of pen and paper.
I thought the flow might slow when Marcia came home, but the pace never faltered. Then a few nights ago, I finished writing a scene, put down my pen, and felt something, a tangible something, sink from my head into my stomach, like an elevator going down and stopping abruptly—with something definitely in that elevator. And I wondered if the first draft of Ida’s Place Book Three was done.
So I posed the question to my muse: has everyone in the story arrived at a good pausing place? Yes. Okay.
I typed the last fifty pages of longhand into the IDA 3 document on my computer and printed out the entire opus to begin, as William Everson would say, working the lines. I have only a vague notion of what has gone on in these several hundred pages, and I am keen to find out. But first I will take a few days off from the adventures of Ida and her people to revel in the glorious spring.