My first ambulance ride

The sound and sight of the ambulance backing down our driveway finally drew the attention of some other neighbors. I recognized the voice of Ken, two doors over, as the EMT reached into my makeshift tent and strapped oxygen onto my face. He apologized that he now had to touch my foot, and strap it into a splint to immobilize it for the ride. I was so focused on the implied promise—that I would soon get out of this weather and get some help—that it only hurt a little more when he cinched the straps that kept my foot in its twisted position.

I rolled to one side and they slipped a backboard under me. Later, Ken would tell me he became one of the "pall bearers" that carried me up the hill and into the ambulance. I said over and over, "Be so careful. It's incredibly slippery." It's odd how safe you feel in the world until something like this happens—now, I could perfectly picture them all falling on the hill, dropping me, and sending my newly sledded body down the hill and into the lake.

But we made it to the gurney behind the ambulance without mishap and they set me, with the backboard, down on top of it. They asked what hospital I wanted to go to. I knew Gouverneur was the closest, but my aunt had had such a bad experience there a few years earlier she made me promise that if I had any emergency with my parents I would take them to Star Lake. So I said, "Star Lake."

The guy actually laughed, which isn't surprising—Star Lake, like most destinations any farther east into the Adirondack National Park, was kind of in the middle of nowhere. He said, "It's Gouverneur or Canton-Potsdam."

I said, "Take me anywhere where I can find a good orthopedic surgeon."

As they pulled the raincoat off of me and pushed the gurney into the ambulance he yelled to the driver (without hesitation, I noticed): "She's going to Canton-Potsdam."

Potsdam was an hour away, over many back roads with plenty of painful bumps. To make me comfortable for the ride (please note intended sarcasm), they left me on the backboard. They claimed I was strapped on but every time we went around a turn I reached over my head to hold on for fear I'd roll off.

Surprisingly, the man and woman in back with me kept me distracted for most of the ride. They checked me over for other injuries (none), kept asking me if I had chest pain or difficulty breathing (no). All I wanted at that point was to get warm, and they did crank up the heat and cover me with dry blankets, which made me feel a bit better. They were kind of surprised when from beneath my shirt I produced the damp rice sock that had been keeping me warm.

Then he told me he had to cut off my sneaker.

I was wearing my MBTs, the mother of all the new knock-off toning shoes. I was rarely without them: they'd greatly improved my feet in the past year and eliminated my need for the custom orthotics I'd previously never been able to go without. Since they're so expensive, and since my feet had never complained that the shoes had "broken down" the way other sneakers usually do, I had delayed replacing them as long as possible. I have no doubt that their complete lack of tread was the main reason I went down so fast—with no channels for the water in the lawn to seep into, I'd hydroplaned.

As he snipped through the laces, I told him that this pair of shoes had cost me $245. He said, "Look at it this way, then—cutting this one off only cost you $122.50."

Every few minutes they asked what my pain level was, on a sale of one to ten, with ten being the worst pain I'd ever experienced. The first time I answered I looked at the woman: "I'd say it's a five, but that's only because I've had a child. If I were a man, I'd say a nine."

They finally started to orient me: we're past Canton, we're past the new Wal-Mart, this will hurt a bit because there's a bump here but the hospital's just ahead. They told me my mom and Beth, Ken's wife, were in the car behind the ambulance, and that they had my purse.

And I thought, this is just so ironic. I'd never heard of this hospital until earlier this summer, when a social worker whose family summers at the lake hired me to teach my "Healing Through Writing" workshop in the building across the parking lot. That had been at the beginning of August.

Now, at month's end, I was being wheeled into the hospital in desperate need of my own healing.

Healing: You've got to play to win

Even my first husband, who suffered from alcoholism to the point of suicide, would have drawn a line between him and the seventeen men and women in my Canton-Potsdam Chemical Dependency Unit workshop (read the first post on this workshop here). Ron would have said he had nothing in common with them. I heard that same line-drawing from one of the participants, who upon hearing that I was an editor, was eager to share some of his poems with me.

“This isn’t court ordered for me or anything,” the poet said. “I’m here to get clean for my wife and kids.” I hoped that would be enough incentive—I noted he left himself off that list. “And the piece I wrote says I used heroin but I didn’t, I used cocaine. I just thought the rhythm in that line benefitted from the sound of ‘a needle in my vein.’”

This guy was tall with big blue eyes and sun-kissed hair and he followed everything I said with great interest, nodding his head and offering insightful comments about work read by others.

I was thrilled to find two poets among the rehabbers in my "Healing Through Writing" workshop. Emma (left), the social worker who hired me, had told me that some of these people would not be willing participants. Although the workshop was a required component in their treatment, some of them may have no inherent interest in writing. Even she didn't really know what to expect, as the arts component in the program was new, and they'd never had a writing workshop before. She warned me that the participants might be so freshly parted from their addictive substance of choice that they’d be physically unable to sit still and pay attention. Which did happen—at one point, Emma gently chastised a man who, in the middle of the workshop, suddenly snapped open a newspaper and held it before his face as if checking sports scores. Gambling is one of the addictions represented here, Emma had told me.

So I wasn't expecting much. A recovering addict I know, an experienced rehabber, suggested I might expect to reach one person. Then, if I connected with two or three, I’d be pleasantly surprised. But I wasn't without hope: Emma said that this was a motivated group.

Any anxiety I felt was immediately relieved as we dove into the first interactive element‚ filling in the drawing above. It's supposed to be a man, but the rehabbers called it a gingerbread man. My questionable visual arts talents aside, this illustration is an effective tool. The man starts out empty. "What goes inside here?" I asked, and the room bounced to life. As participants called out suggestions, I filled them in. Among other things we added a heart, bones, kidneys, and a stomach. “Vomit,” one of them said—okay, that was a new one. I drew some speckles in the midsection, to their delight.

When they had reached the limit of their biological awareness I said, “How about anger. Is there anger in there?” “Hell yes!” I heard. When I asked where I’d put that, one called out, “All over the place!” We added other emotions and then the title, “The Person With Too Much Inside.”

I moved to the next whiteboard and, as the participants called them out, listed the reasons people might want to write. I've given this workshop in many settings and I’m usually thrilled to get five answers; I’ll fill in the few extra needed to illustrate my talking points. So imagine my joy when this crew came up with 17 reasons—so many I had to go back and squish them in, leading to jokes that I didn’t know how to number correctly. This is what they came up with (excuse the cell phone pic):


They really got into this part of the discussion so we lingered there, talking about all the ways writing can help people. I modified the drawing of "The Person With Too Much Inside" to relive some pressure: the opening in his brain lets inspiration in, the opening through his hand lets his feelings and ideas out. After a break I prompted them to do a writing exercise and to my great surprise, all but one of them shared what they wrote. Some of it was quite good.

Even though the workshop exceeded all expectations, I couldn't help myself: my gaze kept drifting to the one non-participant, a guy with heavy lidded eyes who would alternate between nominally paying attention and checking out. In looks and attitude, of all the people in the room, he reminded me most of Ron. He didn’t call out answers. He stared into space when the others wrote. And during the sharing period, when he finally moved his hand and I looked hopefully in his direction, he was pointing to the person on his left, signaling that I should call on his neighbor rather than him.

When the workshop was over, I saw this guy one last time. As I walked to my car I saw him outside smoking. He was petting Strawberry, the unit's therapy dog, as if the animal were the only being capable of loving him and accepting his love. As our lives diverged I wondered if he was going to make it, because in so many ways, this young man was Ron.

Yet this time there would be no suicide drama. I was free to walk away. And as I did so, I was able to smile at him one last time, and say goodbye.

Healing with the Enemy

The young man reads his hastily scrawled words from a spiral notebook. He has soulful eyes, a short, hard body, and bad teeth. In his story he is high and drunk and stealing and crashing two trucks. While he reads he reaches beneath the table to pet Strawberry, the lab mix therapy dog curled up at his feet.

“I was scared and went to the only safe place I could think of—my grandmother’s house,” he reads. “It was there I was arrested for the theft of two vehicles and DUI and a bunch of other stuff I was too messed up to hear.”

The writing prompt I’d asked him to incorporate into his story: “grandmother’s house.” Is that how you would have used it? Not me.

But this is not my milieu. This young man is now out of prison and doing a stint at the Canton-Potsdam Chemical Dependency Unit in Potsdam, NY, where yesterday I gave my “Healing Through Writing” workshop. Previously I’ve given this workshop at libraries and writers’ groups and bereavement groups. None of which bandied about words like: Addiction. Prison. Court-ordered rehab. Heroin. Cocaine. Relapse. Escape.

I tried to pretend this was just another workshop. "Healing Through Writing" has always worked its magic before, and I prayed it would do so again. But somewhere deep inside I felt I was crossing enemy lines. For a good eight years after my first husband Ron committed suicide, I’d explain gently to my children (and anyone else who would ask) that Daddy was sick with a disease that had eaten him up from the inside out. I was speaking from my head, through the filter of obtained knowledge. Even my heart wanted to jump on board. But inside my muscles and bones, I held tight to my anger that he would choose alcohol over our children and me. I released that anger, slowly, through my writing.

In any other setting, I would have been afraid of this young man, who told me he writes so that he won’t beat up on people with his fists. Except here in Potsdam workshop, there's a difference: during the break he came up to show me his poetry. It contained sweet, sensitive, insightful musings on life and death—the same kind of stuff I like to write about. I told him his writing moved me. "You have to do something to pass the time in prison," he said, telling me that when he wasn't writing he was reading and re-reading books obtained through the black market.

He told me he writes as if speaking to his best friend, who was killed in a car crash by an erratic driver three years ago. The young man was to pick up his friend that night; instead, he went to get high. This odd fact may have saved his life, and he has some survivor guilt. “But he’s always with me,” the young man said. He shyly rotated his forearm to show me his friend’s name, tattooed on the white vulnerable skin of his forearm.

I asked him if he had hope. Without missing a beat, he said, “Every day. And I’m going to work on my poetry even more when I get to the halfway house.”

Everyone has a story, and if willing to share it, you can find common ground. That’s what I love about these workshops.

I’ll share more about this amazing experience in my next post. For now, I’ll leave you with this:

I just conducted a Google image search for “Canton-Potsdam Chemical Dependency” to try to find a picture to accompany this post—and while scrolling through the images, on page four, I found the picture of Ron and me “torn asunder” that I created for a previous post. Why would it be there, I wondered—“chemical dependency” wasn’t even a keyword phrase associated with that post. Then, on page five, I found my headshot. When I put the cursor over my face, it said, "Healing Through Writing."

Maybe Google knew something I didn’t. Maybe I was right where I belonged.

Gotta crow!

Okay, yes, this image is a fun homage to my former life on the farm. But it's also a pretty accurate representation of how I'm feeling today, now that the first chapter of my memoir, modified as a stand-alone essay, has been published.

If you’d like to read my essay, you can get to it here.

If you already heard this news through other means, I apologize. My approach to public relations is basically to amass a whole lot of interpersonal relations, so sometimes there’s overlap. Last year for example, as chair of The Write Stuff, I spent 14 hours personally e-mailing everyone in my writing group's database to invite them to the conference. In addition, I sent out personal e-mails to contacts within other writing groups; this was in addition to our national advertising. It worked—we sold out the conference—but this was not the easy route, by any means.

But I’ve never really embraced the easy way. Even as a kid—do it just because my mom tells me to? No way. Use the formula just because the algebra teacher says to? Show me how to derive it first, Mrs. Arnold. That same depth of focus (okay, bull-headedness) would one day allow me—a teen who could never make it across the half-mile width of the lake while swimming with her sisters—to become a woman who, since turning 50, has several times swum its 2-mile length.

I would lean heavily upon that stick-to-it-iveness in life. There is nothing easy about healing from the suicide of a loved one. After reading my published essay, one writing friend was surprised to hear it had happened 13 years ago, because when she was reading it had felt so immediate.

I’m glad I captured that, because that’s the paradox that exists in my mind, as well—the events of that time are both distant and near. Ron’s suicide both repels my attention and seduces it; its power is both centrifugal and centripetal.

Given that the perception of time is not a constant, and the path forward is never uniformly groomed or even evident, I’m glad I didn’t leave my healing to time and distance alone. I’m not sure that would have done the trick.

Developing the skills to write about these events has been as effortful as the healing. Although I was published for 19 years as a journalist, creative writing is an entirely different challenge, and doing it well enough to get published has been no walk in the park. I sought publication for two reasons, really: like any writer I wanted the validation of my skills, but I also want to communicate—and because that requires both a speaker and a listener, writing is only the front half of the equation.

By extending my reach, the publication of the first chapter of Standoff at Ronnie’s Place has allowed me to find readers. But I found an unanticipated gift hidden in this process. The audience I’ve found isn’t just listening—it’s talking back. The comments and private notes from those who have read this piece, like the comments of those who have read this blog, are precious to me. Like building a conference, I am now building a readership—one interpersonal relationship at a time.

Thank you. My life is so much richer for this.

The way I see it: I triumph once by making my way through the dark forest of horrific events, sorting through and taming the brambles threatening to ensnare me. But I triumph again when publication shines its light on the many souls who surround me on this path. I am not alone. We are sisters and brothers all, finding one another.

That’s something to crow about.

Healing Through Songwriting

I am not the only one in our family who has found healing through writing after Ron’s suicide. In my last post I wrote about how my son Marty got involved in a Straight Edge hardcore band, for which he has been writing lyrics.

In an online interview at the "Where it Ends" blog, Marty, 21, explains why he wrote this song:

“We had just played [a show], and it was in a Polish Club with a downstairs bar. [This girl] was clearly pretty drunk and was talking to a friend of mine. He said something about us being an edge band and she laughed about [that] and said it was dumb. So I wrote a song about why it isn't dumb to me. I've seen drugs and alcohol do a lot of fucked up shit and I don't want that happening to me.”

Know What I Know
by Marty Williams

You think that straight edge is a joke
That’s what you said last we spoke
I hope you heed the words I said
If you don’t, soon you could be dead

If you only knew the things that I knew
If you could only see the things that I’ve seen
You’d know how drug abuse is wrong
And how my edge has become so strong

The boy down the street with everything in the world
Never would have guessed how his life has unfurled
Found by his family dead in his room,
Heroin introducing him to his tomb

A disgruntled neighbor didn’t like what his life had become
Tried to drown it away in a bottle of rum
That didn’t work, he wrote a suicide note
Then put a bullet in his fucking throat

If you only knew the things that I knew you’d be straight edge too,
And you’d understand why I’ll always stay true

Marty didn’t reference his father in this song. He refers to other events in our neighborhood: seven months after Ron’s death his friend's twenty-year-old brother was found dead from a heroin overdose. The sad irony is that his fundamentalist Christian parents had home-schooled him to keep him away from such influences; later, from his journal, the parents learned the boy had first used cocaine in the basement of a friend’s home while his family was playing a wholesome game of volleyball at a picnic outside. Marty also mentions our neighbor, who in a freakish juxtaposition with the anniversary of Ron's death two years and two days later, died of a self-inflicted gunshot wound in the house next door.

So Marty saw messages all around: Pay attention here. Death was no longer a distant concept; it was an imminent danger. He covered the topic of his own father’s self-destruction in an earlier song, whose title bears Ron’s initials.

RJW

by Marty Williams

At 8 years old my eyes were opened up wide.
My father said he loved me and I knew that he lied.

The only love he had was for the bottle.
Got home from work and drank alone

Passed out, slept till three
An alcoholic was all he'd ever be

Cut off from the world sinking into depression.
Blew out his brains to escape this world's oppression.

Suicide's not a way out. It's a way to show you're not a man.

I'll never be you
That's why I have this X on my hand

Lyrics copyright 2009-2010 by Marty Williams. Used with permission.

Blessed Detachment

Back since I rededicated myself to my own projects last December, I have written almost every single day. When thinking about the question "What makes you a writer," the topic of the concluding panel for this June's Philadelphia Writers' Conference, I'm pretty sure behavior like that qualifies a person. 

But lately I've been experiencing a whole new level of immersion: at night, when I dream, I am not only a character in the dream, but also the recorder of the dream. 

I literally dream of being a writer.

The sensation reminds me of standing in one of the bathrooms at my friend Ellen's house that had two sinks across from one another with mirrors above them. Standing at one you see yourself in the mirror before you, plus watch yourself looking at yourself in the mirror behind you, which reflects a smaller and slightly offset version of the first picture...on and on. Counting the reflections would drive you batty.

Granted, I've been doing a lot of writing. In the past eight weeks I've experienced one of the most productive writing periods of my life. I've been working on one of my own projects each morning—either writing my memoir about moving on after Ron's suicide or rewriting my novel about a dancer who survives a suicide attempt. In the afternoons I've been writing about my editing clients' writing. In between, when I can find a few moments, I've been writing commentary on assignments submitted by the writers who took my eight-week writing tutorial, "Develop a Confident Writer's Voice." Somehow, three weeks ago, I even squeezed in a blog entry. Then at night, apparently not able to cut myself a break and simply live my dreams, I dream about recording them as well. 

I have dreamed about searching for the right word as I try to set the dream down. I have dreamed about writing my blog—and of course wake up with the words dissolved. I have actually forced a break within the dream scene to explore aspects of it further—for untapped "pockets of story," as I suggest my students do with their work. Last night, for example, I dream I am married to this young black man. I know nothing about him; perhaps it is an arranged marriage. In a moment of emotional honesty more easily found between strangers than between mates who have expectations of one another, he shares with me that he is in a huge amount of debt—one of the unspoken problems that plagued Ron. Within the dream scene, my internal monologue: "Damn, why didn't I check for that before marrying this time?"

Then, still dreaming, I pull back and watch myself writing about it. Who is this black man, why did I marry him, and will this end in tragedy? In my dream, I watch my pen...and discover the man is rock-turned-country star Darius Rucker. He has serious earning potential. Debt or no, we'll be just fine.

I think these dreams reflect the most healing aspect of active writing, a paradox true for us all yet the awareness of which is sharpened with daily effort: in the stories of our lives, we can be both protagonist and author. Like my protagonist Penelope Sparrow, choreographing in front of a mirror—she feels the dance and watches it at the same time, a process that allows both full sensory immersion and the detachment necessary for editing one's choices.

This past week was crazy busy. One son coming and going on spring break, shaking the house with a cough not yet healed from walking pneumonia as we dealt with his car issues; the other getting in a flurry of activity before ending his co-op and heading back to Drexel; my Dad needing an emergency heart procedure which required my mother canceling elective surgery; the discovery of a heart problem in my mother requiring tests; and then, on the first day of spring, the birth of my younger brother's precious baby daughter, a miracle in itself if you knew all he'd been through in his life. Not many thought he'd live to see this day. The circle of life swirls and blows around me and I am at its eye, writing.

And all week, for the first time in the eleven years since his suicide, I've been experiencing a miracle of my own. By virtue of blessed detachment, my memory has been bringing up images of Ron's handsome face, smiling at me.

Origami Memories

I knew that writing a memoir would be a healing experience. The notion of fashioning chaotic detail into a beginning, middle and end sounded soothing already.  Plus there's the forward thrust: a memoir is a survival story, after all. But I have already journaled the story of my first husband's choice to shoot himself and my choice to stay and raise our sons on the same farm where he committed this act, and I have told it verbally time and again through the past 11 years. Is there added magic in writing a book about it?

There is for me. To show what the writing has been like for me, I must switch to the present tense; it is an ongoing process.

***

Ron's suicide feels as though I've been pushed from an airplane. I'd first boarded this plane to reach a destination; I had never intended to bail. Just as Ron's death is not entirely without foreshadowing, neither is my exit. I have heard the whisper: "I might soon push you out that door." But even though I know it might happen I have no idea what it will be like until I am falling and the air rushing past extracts all that was "me." 

I hit hard and plunge into a deep river. My first thought: I am alive! Second thought: I can do this, I know how to swim. But I can't find the surface; I am submerged and surrounded by bubbles and I can't tell which way is up. The only thing I can think to do is kick fiercely. I finally break through to the surface, where at last I can draw huge gulps of life-sustaining air. I tread with my legs and scream my story for all to hear, over and over, it's all I can do. "I am here!" The river is icy cold but at this point I don't even feel it, I'm numb, and while I can now tell up from down I cannot see the shore. The current tugs at me. What I've been through is bad enough, what if there's a waterfall ahead? I don't know where I'm heading but I set off anyway, across the current, intuiting that swimming is exactly what I should be doing.

The river is so wide I am swimming for years, but each stroke is purposeful and my body is growing strong and I have a new sense of who I am. I am one who swims.

Eventually the water is shallow enough that I can touch bottom. It feels strange to once again stand on my feet, although I know I am not yet healed; full immersion in this water is still necessary to hold me up. But I find others here, in the shallows, including a new mate who doesn't care that my hair is slick with river scum and that I still take to shivering. I can enjoy his company while understanding the journey is still mine to complete. Through the water I continue, sometimes swimming, sometimes slogging on foot, occasionally tossing in a playful dive. I am closing in on shore.

Now that I've reached the edge I am sometimes able to leave the water for days at a time. As much as I'd love to forget about the river I sense a danger in doing so, so I am never far from the shore. I will always return to wade in, or at least dip a toe.

After years of flirting with the water's edge it is time to write. For this I must go down to the river and sit on its bottom, immersing myself in the shallows. Here I recall the cold wet slap of experience at the same time the rhythmic lapping of the water against my legs soothes me. I feel the pull of the water and must remind myself: I am alive, I am strong, and I am free. To create this memoir I need only sit here for a few hours each day, I can dip in for another swim if I need a deeper taste or I can leave altogether; I am well acquainted with this shore and can do as I please. What I choose to do is to set the story I know so well onto paper. 

The first-this-then-that of it soon drains me; I've been here before. I don't want to tell again in the same way, I want to write-and-build, create something new. I start to pull my narrative apart and create little scenes. Honing them requires that I take a few steps back to see a bigger picture (I could not have done this while swimming). I fold the story this way and that, its surfaces creating new pairings, new pairings suggesting new meanings. As I perfect each scene I inch out of the water until I am standing at the very edge of the river, almost detached from that part of my experience. How freeing! I need not bore my reader with my journal entries, or drag her to the middle of the river to drown in my experience. My story is pliable; I can hold it in my hand and work it to create depth and breadth until its scenes build something new and just as true. Like an origami boat fashioned from the pages of my story it will be independent of me. And when it's finished, I'll be able to take this new rendering down to the river and set it afloat, where I can send it out to others.

Only then, having wrought all possible meaning out of my unintended nosedive, will I be free to stand, choose a new direction, and walk away.

What to give up this New Year

That's it, I am spread too thin. As I look out over the stretch of time the New Year affords, I think I need to give something up.

My writing? This is a huge time-guzzler and brings in little money, so its worth must be reconsidered, with my husband poised to retire in two months. And in this economy, why bother, anyway? Publishers are further consolidating, bookstores are either closing or dumping inventory, conferences are finding it harder than ever to attract editors and agents seeking new projects. Even established mid-list authors are struggling to get books published. It would seem the world does not, at present, need any "new" published authors. And who needs all that rejection? 

On the other hand, I haven't changed—I'm still a deeply introspective person who needs to shape words and ideas on paper to make meaning of life, and a creative who gets all fired up doing so. Plus, when I'm not dedicated to my writing, I gain weight, as if the scale is indicating that my whole life is weighing on me too heavily. And if I keep writing I might even create an advantage: if the tough economy discourages writers more faint of heart from pursuing publication, and I keep getting better and better during this dry spell, and continue to network and build my audience through public readings, I'll be poised to reap the rewards when things pick up again. And hey—if submissions go down, agents and editors will remember my name more easily!

Hmm...

My editing? Sometimes it seems the editing projects I take on usurp the creative energy I need in reserve for my own writing. Do I want my clients' projects to see publication more than I do my own? I have to admit, sometimes the notion excites me just as much. Should it? 

Yet I have never felt in competition with other writers, because my philosophy is one of abundance: those who are truly called to writing, and are willing to perfect their work to the best of their ability, will see publication. I am perfectly suited to being an editor: I'm a natural teacher, I'm critical and analytical by nature, I enjoy playing the role of cheerleader to developing talent, and I love to read deeply. Each manilla envelope that arrives feels like a gift. 

Hmm...

My volunteerism? I was drawn to membership at my current church because of the way their special music program enhanced the worship service—a program that ended with our former pastor's exit, since his wife led it. 

Now I book the special music, creating performance opportunities for the incredibly talented high school musicians in the Boyertown area, and allowing me to keep up with their progress. I support our pie-baking fundraisers so that I can roll out dough elbow to elbow with vibrant senior citizens who share the most amazing stories. My work with the Greater Lehigh Valley Writer's Group and the Philadelphia Writers Conference has given me valuable contacts that enhance both my writing and editing lives, as well as cherished friendships. I run a monthly book group so I can share my love of reading and support the publishing industry [see our book club's micro reviews, a new feature, at right]. Why would I give any of that up?

Hmm...

My exercise/journaling/healthy cooking? Granted, these take longer and longer as I get older. My metabolism is harder to rev, at 52 early arthritis has slowed my handwriting, and "creative distraction" (not all my writing is done at the computer) contributes to more dropped items, both from my grocery list and in my kitchen. 

But I certainly can't afford to give these up! Without a healthy mind/body/spirit, I have less to contribute to life in every way.

So do I give up...

Life as I know it? I often daydream of getting a job in corporate America. Not because I think a woman stands a chance of corporate initiation at age 52, or because I could for one moment survive in that catty, often demeaning environment, where true creative challenge and doing one's very best are valued less than bottom-line driven subservience and doing "good enough," but because I think it would be so cool to have someone say "I think your time is worth $65K per year plus benefits" (the kind of offer my advanced degree should engender, according to my younger son). I haven't had such a job since I walked out of a health club franchise in 1981, after learning I was the only idiot who actually believed in health and physical fitness—the owner and his managers used the business as a front for dealing drugs. Since then I have owned two sole proprietorships, running them from my home office, and not one dime has come in that I haven't earned through my own marketing efforts. 

But while the self-discipline can wear on me, I do enjoy the flexibility of being self-employed, which allows me to honor both my biorhythms and creative whimsy, and until two years ago allowed me to raise my children the way I saw fit (the memory of which reminds me of what it really meant to be "stretched thin").

You may think I've decided nothing can go—but you'd be wrong. For this one year, I'm going to try something new: I'm going to give up questioning whether the life I've built is the right one for me. I resolve to daydream about my writing projects and marketing efforts, not corporate America. I plan to revel in the way my life as it is currently constructed allows me to give of my talents, earn money and express myself—and once and for all, forgive myself for downsizing my material needs to accommodate that. My guess is, if I give up all that questioning, I'll have a lot more energy for the rich palette of activities that bring such meaning and joy to my life.

Stroke by stroke

I've been waiting to share this fun photo until winter, when readers might feel far removed from the way a sweltering summer sun inspires the desire to cool off in a spring-fed lake. That's me in the photo, swimming the length of Trout Lake, in northern New York. My husband Dave is trailing behind in a canoe with a life preserver—you know, just in case. Off to the left is a loon that both of us saw at the same time. Dave was thrilled that it swam close enough to photograph—the wide-angle view here distorts the distance, it was only about 20 feet away. As you might be able to see by the look on my face, I was a bit less thrilled. After diving beneath the surface, loons can use their large webbed feet and streamlined bodies to propel themselves quickly underwater. You never know where they've gotten to until they bob back to the surface. This is how they hunt for their dinner of fish. Or toes? I was not too eager to see what that spear-shaped beak felt like!

This was the second time I'd swum the 1.6-mile length of Trout Lake. The first was five years ago, when I was 47. Distance swimming might sound like an odd thing to take up late in life. Truth is, I would not have been able to do it before then. 

I remember when I was a teenager and my father rowed the half-mile width of the lake while my three sisters and I swam behind the boat. At the time I was physically active in dance, cheerleading, waterskiing and snow skiing, and should have had every reason to believe I could do it. Much to my shame, however, I couldn't keep up. My Dad had to help me climb into the boat to ride the rest of the way. I dripped onto its floor in defeat; my sisters got the glory. Now, decades later, I can swim more than three times as far. Believe me, it's not because I've applied the last 35 years of my life to practice. I am no better of a swimmer now than I was in my youth. It's not more fierce competitiveness, either—as you can see from the photograph, no sisters. It's just me and the loon.

So how is it that I can do in my 50s what I couldn't physically achieve in my athletic prime? The answer has more to do with patience and self-confidence than heart beats per minute. After surviving my first husband's suicide and slogging through the healing process, I just figured I could do it. I finally understood the way the accumulative nature of effort applies to all disciplines: if I kept my arms moving and my legs kicking, and continue to breathe in and out, I will eventually reach my destination. The metaphor works for any long process, whether renovating a house, writing a novel, or doing grief work.

You'll get there, stroke by stroke.

I like "one stroke at a time" better than "one step at a time" because water molecules have more heft than air; not only am I moving forward, I am physically creating a path for myself by applying my muscles and willpower to part a medium that resists me. I seek change by pushing aside self-pity and denial and any other obstacles standing between me and a joyous reunion with my authentic path in life. Swimming is taxing but so is change; productive change is never achieved without a significant application of effort. In swimming as in healing as in writing, I am using the very medium through which I must move to help me move through it. The water through which I swim buoys me as my legs and arms press against it; the very experiences my grief work requires me to face will help demystify all that frightens me and weighs me down; the words and sentences and paragraphs of my writing will contribute enough meaning and structure to hold me up. 

Swimming, my focus alternates above and below the surface, separating that which is easily seen from that which is hidden. I fear that which is hidden; after all, there are those legends of the Trout Lake monster... but then up pops a beautiful loon. Turns out he wishes me no harm, but simply wants to join the blue sky and ever-green pines and my patient, understanding husband in witnessing my journey.

Grief work isn't a sprint. You won't achieve the same effect if you close your eyes, hold your breath, and make a mad splash to "the other side." I laughed when I found out the Olympic athletes were swimming a mile in 14 minutes; I swim twice as slowly. But with one purposeful stroke at a time, at my own pace and with my eyes open to note the changing scenery along the way, I could eventually turn around and see that I'd gained distance from my starting point, and could appreciate it with new perspective. Its details, once so sharp they could bite, had blurred. Renewed to my task I turned toward the future, reaching for the other side, knowing in my heart that I am capable of reaching my destination...but now wondering if maybe I should slow down a bit, because the journey is so incredibly beautiful.

I think about this picture now as the days grow short. I must walk in frigid weather instead of swim, and when I come home, the cursor blinks at me from a still-empty page. The words are fractious and refuse to be tamed. Yet I know I can do this, stroke by stroke, because my achievements sing to me. I have swum the lake! Not once, but twice, and will no doubt do it again. I will do it to once again experience the grace that comes from facing adversity, the grace that whispers in my ear: "Keep swimming, we're almost there."