This is my living faith, an active faith, a faith of verbs: to question, explore, experiment, experience, walk, run, dance, play, eat, love, learn, dare, taste, touch, smell, listen, speak, write, read, draw, provoke, emote, scream, sin, repent, cry, kneel, pray, bow, rise, stand, look, laugh, cajole, create, confront, confound, walk back, walk forward, circle, hide, and seek.
To me, writing is about how we see. The writers I want to read teach me how to see-see the world differently. In my writing there is no separation between how I observe the world and how I write the world. We write through our eyes. We write through our body. We write out of what we know.
To write requires an ego, a belief that what you say matters. Writing also requires an aching curiosity leading you to discover, uncover, what is gnawing at your bones.
When Emily Dickinson writes, “Hope is the thing with feathers that perches in the soul,” she reminds us, as the birds do, of the liberation and pragmatism of belief.
I have felt the pain that arises from a recognition of beauty, pain we hold when we remember what we are connected to and the delicacy of our relations. It is this tenderness born out of a connection to place that fuels my writing. Writing becomes an act of compassion toward life, the life we so often refuse to see because if we look too closely or feel too deeply, there may be no end to our suffering. But words empower us, move us beyond our suffering, and set us free. This is the sorcery of literature. We are healed by our stories.
We write out of our humanity by writing through our direct experience. That which is most personal is most general, which becomes both our insight and protection as a writers. This is our authority as women, as human beings.
My activism is a result of my love. So whether it's trying to preserve the wilderness in Southern Utah or writing about an erotics of place, it is that same impulse - to try to make sense of the world, to try to preserve something that is beautiful, to ask the tough questions, the push the boundaries of what is acceptable.
I write to create red in a world that often appears black and white.
I don't set boundaries for myself when I am writing; if I did, I would be paralyzed from the start, unable to write a word on the page.
I write about nuclear tests in Refuge - "The Clan of One-Breasted Women." With so many of the women in my family being diagnosed with breast cancer, mastectomies led to one-breasted women. I believe it is the result of nuclear fallout.
I write because it is dangerous, a bloody risk, like love, to form the words, to say the words, to touch the source, to be touched, to reveal how vulnerable we are, how transient.
I write from the place of inquiry. The first draft is a discovery period to see what I know and what I don't know. My task is simply to follow the words. There are surprises along the way. I just have to get it down. Call it the sculptor's clay.
I have a sequence to my creative life. In spring and fall, I am above ground and commit to community. In the summer, I'm outside. It is a time for family. And in the winter, I am underground. Home. This is when I do my work as a writer - in hibernation. I write with the bears.
The only book worth writing is the book that threatens to kill you.
The discipline of writing a memoir comes in the editing. This is where I cut, slash, and burn - where my creative mind is transformed into a ruthless one. No word escapes my scrutiny. It is here where I see what boundaries need to be set.
I write to make peace with the things I cannot control. I write to create fabric in the world that often appears black and white. I write to meet my ghosts. I write to begin a dialogue. I write to imagine things differently and in imagining things differently perhaps the world will change.
I appreciate all of the unexpected places, internal and external, that my writing has taken me.
I live in a very, very quiet place. I have a sequence to my creative life. In spring and fall, I am above ground and commit to community. In the summer, I'm outside. It is a time for family. And in the winter, I am underground. Home. This is when I do my work as a writer - in hibernation. I write with the bears.
There is an art to writing, and it is not always disclosure. The act itself can be beautiful, revelatory, and private.
Good writing must stay open to the questions and not fall prey to the pull of a polemic, otherwise, words simply become predictable, sentimental, and stale.
We usually recognize a beginning. Endings are more difficult to detect. Most often, they are realized only after reflection. Silence. We are seldom conscious when silence begins—it is only afterward that we realize what we have been a part of. In the night journeys of Canada geese, it is the silence that propels them. Thomas Merton writes, “Silence is the strength of our interior life.… If we fill our lives with silence, then we will live in hope.
When I write, I put one foot in front of the other. It's an act of faith. I just follow my heart.
Pico Iyer describes his writing as "intimate letters to a stranger," and I think that is what the writing process is. It begins with a question, and then you follow this path of exploration.
I write as a witness to what I have seen.
I believe the personal is the collective. One of the ironies of writing memoir is in using the "I" it becomes an alchemical "we." This is the sorcery of literature.
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