My dear friend, Sarah, brilliant innovator over at Art Expedition
tagged me to participate in the
Thank you, Sarah, for thinking me worthy of this honor and hoping I have inspiring quotes to share.
For my second entry in the Quote Challenge, I want to highlight two of my favorite lines from writers. This was much harder than it might seem because both the quotes I’ve chosen are meaningful to me, yet so are a thousand others. Narrowing down to two quotes I could expand upon within the context of my own trials at writing made me search, think, choose, and do it all over again for the whole week before making my final choices. It’s why I wanted to put off completing this task to once a week for three weeks in a row rather than the three days in a row the challenge requests.
To begin, I chose Julian Barnes’ line from The Sense of an Ending, which describes the job of an astute observer.
“What you end up remembering isn’t always the same as what you have witnessed.”
I encourage you to read Barnes’ book because it’s an opus on how consciously we might live, especially if we realized before setting out in arrogant confidence that we know everything when we don’t get it whatsoever. Barnes manages to write in only 163 pages how much we squander of our life when seeing nothing important.
As an individual line, Barnes’ charges me to choose with discretion the parts of each story I write. Elimination is as essential as inclusion, and knowing which small gesture will illuminate a moment to carry the reader through is key. It’s also something I often miss on first draft. Second draft. Third. If I don’t get it by the fourth draft, I begin to suspect I can’t write, and this haunts me. I know I’m a decent writer, but a brilliant one? Not likely. I fumble.
In one exquisite line, Julian Barnes captured the golden moment of his story. I was touched so deeply by this line that it’s stayed with me since I read the book. It continues to imbue me with the effort to identify what is imperative – then to tell that story.
Mary Oliver is one of my favorite poets. Her poetry kneels down and picks up clods of earth, not packed in a cup, but sifting through her fingers. She doesn’t write in curlicues meant to distract. Rather she searches for the visceral essence of life and pulls out the heart still beating. Then makes us look – smell – breathe – feel. We understand.
I’ve always believed poetry must be read aloud in order to internalize it. Oliver’s poetry crawls into my bones, waits quietly, whispers to me. She speaks in dulcet tones. From her poem, Evidence, this is what she says:
“Keep some room in your heart for the unimaginable.”
Story should pry open our eyes and twist moments till, like a mobius strip, we trace the inevitable connection. If we want to read only the recorded facts, that’s a history or science book, not a work of poetry. Or fiction. The unimaginable drifts in, exposes sinews of flesh and flecks of silver, and reveals the thorns of truth through the shimmer in the water. What Oliver shows us is the wonder of life, life everywhere, innocently finding its flock and its children and its season. Not to be best or first or most, just to be.
We are taught in school to make an assessment, take note of all the details, write down names and dates, and be accurate in descriptions. But nowhere do we measure the movement of things once there, now absent but not wholly gone. I get caught up in the illusion of accuracy, minding my dates and maps, but they aren’t the important parts of story. Anyone can write technical notes.
It’s catching the remnant of energy that matters.
Julian Barnes and Mary Oliver suggest the kind of writing I want to effect. To share the memory more dimensional than history, the parcel of earth more life affirming than its problems. I want readers to grasp what I hold when my hand is empty, what I see when my eyes are closed.
In those tiny pulses of what is no longer there is something worth telling in a story.
Image courtesy Pixabay