Dream Your Writing Life

Dream Your Writing Life

Gwynn Scheltema

A new year and new dreams. It can be stifling sometimes to set goals— analyzing what coulda, shoulda, woulda. Instead…

Let’s dream a little…

What do you want your writing life to look like?

The operative word here is “you.” Never mind what others think you should be or do. Never mind about modelling someone else’s writing life. Pay no attention to any nay-sayers out there.

If you could write what you want, when you want, how you want or even not write at all, what would that writing path look like?

Go on… grab a piece of paper and just fantasize. Be bold. Be free. Don’t be hampered by skills, resources, obligations you may or may not have. This is an exercise in digging into your subconscious for what you really want. Write it; draw it; collage it. Doesn’t matter what medium you choose.

  • Why do you want to write?
  • What would you like to write?
  • Where would you like to write?
  • How often?  

So now what?

Phew! I bet that was quite the mental workout. Did you surprise yourself? Did you uncover new aspects to your possible writing journey? Did you leave out any writing you currently do? The chances are, if you were honest with yourself, you did all those things. So now what?

Once you dream it, the next step is to believe it.

Believe it

Stop! I can already hear the reasons for not achieving your dreams bubbling up….not enough time, got to pay the mortgage, I should be… It’s okay. We all know that reality has a habit of stomping on dreams, but I’ve also found in my life that defining what I want is the first step to believing it.

It is like telling my whole being to be on alert. If my conscious mind and subconscious mind are on the same page, (pardon the pun), I notice opportunities more, I take more risks, I’m stronger at dealing with blockers. And the more often I reaffirm to myself what I want, the more I believe it and the more able I am to make it happen.

Nobel Prize winner, Albert Szent-Gyorgyi said, “A discovery is said to be an accident meeting a prepared mind.” For me that is also a way of thinking of serendipity.

My dream

And I’ve seen it played out many times in my life. In the late 1990s, I was single, divorced, living pay cheque to pay cheque in a tiny townhouse and renting out my spare bedroom to make ends meet. I made a collage vision board of “My life in 10 years’ time”:  A large country home; forest; drifting in a canoe; me in a gardening hat with time to garden; piles of books; a figure seated at a computer typing away; a cat; an easel, grandchildren playing on a swing; words and phrases like “content”; “be a little selfish”; “watching clouds.”

Well, guess what? That is my life now. Knowing what I wanted helped me to seize the opportunity to buy the house I was renting, to have the courage to look for a better paying job, and to find a way to renovate the basement to rent out—all of which eventually allowed me to buy my present country property on the lake.

Knowing where I wanted to go helped me say yes to Ruth when we discussed pooling our writing workshops under a new umbrella, Writescape. And that opened up all sorts of writing path opportunities.

They say that you can’t run a race if you don’t know where the finish line is. I don’t like to think of it as a finish line, because my dreams change. I like to think of it as the next corner or the next bend in the path. I only need to see that far. I’ll dream again when I get there.

Season’s Greetings

Season’s Greetings

Thank you to all our subscribers and clients for your continued support of Writescape. You inspired us throughout 2019, and we hope our wee bit of holiday lyric editing puts a smile on your face and ink in your pen.

With a tip of the toque to Winter Wonderland*

The muse is calling, are you listening?  
Poems and stories; ideas glistening
So pumped we can write
We're happy tonight
Writing in our winter wonderland                                  
Gone away blocks and crying 
Here to stay fingers flying
Good wishes to all
As the words fall and fall
Writing in a your winter wonderland
May the muse be always with you,
Gwynn and Ruth

*Winter Wonderland: composed in 1934, lyrics by Richard Bernhard Smith & music by Felix Bernard. The song is so popular, it has been recorded more than 200 times. Now, how’s that for inspiring?

Handwriting vs. Keyboarding

Handwriting vs. Keyboarding

Gwynn Scheltema

Often among writers, the recurrent discussion over plotting versus pantsing ends with us acknowledging that there is no definitive “winner.” The creative mind, after all, is an elusive, complicated, temperamental entity.

So what about the question: Write by hand or keyboard?

 I’m sure you’ve heard these common arguments for or against:

  • I can’t write as fast as I think!
  • I love the tactile feel of a pen and paper.
  • It’s much easier to carry a notebook with me.
  • I can’t read my own handwriting.
  • I have to waste time typing up what I’ve written afterwards.          

It is already a proven fact that taking notes by hand improves learning, understanding and processing information, and remembering it afterwards. It’s also obvious that our writing needs to be typed up at some point and many of us are faster on the keyboard. We can also edit typed text more readily and send it out.

But, I know for myself, I feel differently when I’m holding a pen. I believe I’m more connected to the work and I feel like I write more authentically. So is there evidence that this could be true? Can our choice of writing implement affect how we create?

My Experience

I’ve been a creative writer for almost thirty years and I write both ways— but I always create in the same patterns:

I always compose poetry longhand,  I do free writing by hand, and I begin fiction pieces longhand.

I prefer to type when I’m working from an outline or extending something that’s well underway. I also find it easier to write genre fiction on the computer than memoir or literary fiction. I always type business writing directly into the computer.

So pulling back and analyzing this, it seems that I choose longhand for projects where I must delve deeply into my creative well and find ideas and get the juices flowing.  I also use it to access memory and emotion. Once I have the ideas in my head, I revert to the keyboard to get the work done. And as business writing for me is largely formulaic, it’s always a case of “getting the work done”.

Could my choices be based in science?

Emotion

We’ve all heard about writing being cathartic, relieving stress and helping diminish trauma. This is one of the great benefits of journalling. And there’s evidence that handwriting may be better for this form of therapy than typing:

Virginia Berninger at the University of Washington concluded from her studies: “When we write a letter of the alphabet, we form it component-stroke by component-stroke, and that process of production involves pathways in the brain that go near or through parts that manage emotion.”

Another 2005 study by Chris R Brewin and Hayley Lennard in the Journal of Traumatic Stress found that writing about a stressful life experience by hand, instead of typing it, led to higher levels of self-disclosure and a greater variety of words used to describe the experience.

Perhaps the emotional component in my poetry. freefall writing and non-genre writing is the reason I prefer to write them longhand?

Motor activity and focus

When we write, we are finding, formulating and externally processing our thoughts, all at the same time.

In the words of neuroscientists, writing is a complicated combination of perception, motor commands and kinesthetic feedback. Writing by hand is a two-way street, an inter-dependency, with the visual focus at the point of the pen.

Typing, by contrast, is a physically disembodied action, we’re focussing only on the screen. There’s no physical two-way communication.

“The primary advantage of longhand is that it slows people down,” says Daniel Oppenheimer, a professor of psychology at Carnegie Mellon University.

That makes sense for my process: The beginning stages of telling my story need to be handwritten. Slowing down gives me more opportunity to access thought and formulate it before communicating it. The kinesthetic process lets me feel more connected. I’m also free to scribble notes, make diagrams, shove in arrows or circle important matter. I’m dealing with an unformed creation and have the freedom to let it speak through me, before it is locked into formal text.

Once the ideas are formed, then typing can take over: faster, more convenient and easily manipulated.

So, handwriting or typing?

As I said at the start, there is no one answer. It’s all up to you. But perhaps knowing a smidgen of the science behind it, you can tailor your own choices.

Or perhaps technology will solve the problem for us with the new wave of e-writers: write by hand and convert to text.

Last word (or video?)

Jake Weidmann is one of only 12 people in the world who holds the title of Master Penman. He sees handwriting as a creative art form in itself and a direct link to his creative mind.

A Panel of Poets

A Panel of Poets

Guest Blog by Antony Di Nardo

But first a word from Gwynn

As mentioned in last week’s blog, The Spirit of Sharing, I was honoured to moderate an unusual literary panel at the Spirit of the Hills Festival of the Arts in Cobourg, Ontario, on October 25, 2019. Four very different poets shared what form their poetry took, what poetry meant to them, what inspired them and what happened when poetry was shared. The Four poets who shared their thoughts on “A Panel of Poets”, were Ted Amsden, Cobourg’s poet laureate emeritis, American/Canadian poet Katie Hoogendam, subversive poet Wally Keeler and performance poet Dane Swan.

Among the audience members was Antony Di Nardo, a fine poet I first had the pleasure of meeting during the days when Ruth and I were editors for the literary journal Lichen Arts & Letters Preview. As the event progressed, I saw Antony scribbling notes and taking part in the discussions. Later, I asked him if he would mind sharing his observations with you here on The Top Drawer, and to my delight, he agreed. Thank you Antony, and over to you:

The Poetry Panel

Amsden talks of poetry as a state of rapture; Swan listens for its pitter patter; Keeler playfully recites the poet’s prayer in an Anglican chapel and subverts an institution; and for Hoogendam poetry is a world where time can come to a stop. Four poets, four traditions, four perspectives, four very different ways of understanding and questioning. Of giving poetry a forum for human discourse. And Gwynn Scheltema, our moderator, looks for answers.

Readers, writers, thinkers, talking and reflecting across the arts. A panel of poets, in this case, to ratify the only truth there is in poetry: it’s as subjective as personal experience.

Sure, there’s common context and cultural bias, societal slants and preferences, there’s even the current flavour of the month that contributes to shaping a poet’s voice, their choice of words. Each poet occupying their own seat, their own space in time, like every listener in the room. Who else, I wonder, saw the crucifix in the corner from the same angle that I did? The nail plunged into the heart of where the cedar crossbeams met? The lashing? The angel that appeared as a shaft of light?

Vitruvian man

“My mind wanders to Joy Harjo,” says Katie Hoogendam before she reads her own sample selection, and Harjo’s poem, she tells us, is about a farm boy who loses his two-year-old sister to a drowning accident and how he sees his mother descend into grief. The poem is called She Had Some Horses, and Hoogendam calls hers, Vitruvian Man, and while I listen to the narrative that unmistakably is the fabric of her poem, my mind wanders to the crucifix in the corner that is unmistakably Vitruvian.

Poetry is play.

Poetency & Apoetasy

Trucks and dolls and Lego blocks, our very first metaphors, our substitutes for making real (or “realer”) our understanding of the world around us. The Poetician, Wally Keeler, says so and I believe every word he says. In a poet’s mind there can be a new world order and it appears on paper and on the sides of transport trucks and as manifestos and in gleeful fabrications like “wire taps” that serve no purpose but to confront and re-imagine. Metaphor: to cross over and go beyond where no one has gone before. Poetry can do that and never hurt a fly.

Poetry is music, rhythm and jazz

And it takes words to do that says, Ted Amsden. It takes words that you might hear at the foot of a master, Earle Birney, say, who also had horses in his poems or Michael Ondaatje who referred to Ted’s first attempts with a manuscript as “half a beer commercial.”

Poetry is everywhere

And there’s poetry in beer commercials and also in Nathan Philips Square where one day Dane Swan looked down at his bare hands and wrote, “do not look at your hand, look at your hand.” Form he says is a function of the poem’s direction. And poetry, says Ted, happens when you treat yourself as a poet. Both rely on the intuitive, a poet’s first faculty.

Paying attention

Poetry also happens when you pay attention.

When she pays attention, Katie Hoogendam enters another world. The world of the imagination, I suppose, or Wally Keeler’s Imagine Nation, perhaps. Alien to some, familiar to others. It’s a good thing we have words in common to know what we mean. Nevertheless, it’s another place, a place of rescue or a place where you can meet yourself on different terms. Katie will follow an image to the ends of the earth and bring it back to put on the page. And sometimes, as it happens, she’ll open her hands to the sky and the words just fall in.

Poetry is work.

And when we work, we make mistakes, we fail and try again and get it wrong until we get it right. It’s a mind mapping activity, says Dane Swan. He makes a list of themes, supporting images, metaphors, visualizes concepts that fit the tenor of his observations where the poem had its beginnings. It’s a balance of trial and error. Of beauty and terror.

Leave more than you take

Here’s part of a poem by Dane Swan, Soothsayer, that Dane never read:

I am the result of my flaws,
mistakes,
failures,
losses.
Yet treated like a snob,
judged ornery,
misunderstood.


If my destiny is to fall apart
I shall give away my limbs
after using them to print text
hidden under pillows
by those who say my name in vain.


I’ll leave more than I took.

It is a good reason to write poetry, I think. To leave more than you take. One day I will see Wally’s People’s Republic of Poetry as a Broadway Musical. Vitruvian Man will come down from the cross and sashay into poetry. Ted will recite the words vulture and voucher from the back of a motorcycle and Dane will have figured out how to slip barbed wire into a poem.

But for now, I’ll content myself knowing that poetry is its own rapture.

Antony Di Nardo is the author of SKYLIGHT, which includes the long poem suite, “May June July,” winner of the Gwendolyn MacEwen Poetry Prize. His other books are Roaming Charges (Brick), Soul on Standby (Exile), and Alien, Correspondent (Brick). Born in Montreal, he divides his time between Cobourg, Ontario and Sutton, Quebec.

The Spirit of Sharing

The Spirit of Sharing

Ruth E. Walker

As noted in last week’s Top Drawer, Gwynn and I attended the Spirit of the Hills (SOH) Festival of the Arts in Cobourg, and filled our creative wells with workshops on the craft of writing. But there was more energy and inspiration to be found in the community rooms at St. Peter’s Anglican Church.

Ruth at Writescape’s table

Drawing together the arts of all kinds, the festival celebrated visual arts, music, theatre, dance and literature. And in each of those disciplines, there was a myriad of creative expressions. From Flamenco dancing to fabric art to photography to performance poetry, SOH festival attendees were treated to a rich immersion in the arts.

Not only were there feasts for the eyes and ears, there were several opportunities for collaboration and communication between artists.

Gwynn moderated an intriguing panel discussion between four poets, who proved that poetry is not just an economy of words on the page. Ted Amsden, Cobourg’s poet laureate emeritis was joined on the panel by American/Canadian poet Katie Hoogendam, subversive poet Wally Keeler and performance poet Dane Swan. The audience was challenged to consider how each poet approached their craft

A Royal reception

Hon. Elizabeth Dowdeswell

The arts tend to be taken for granted, so when the Lieutenant Governor of Ontario, the Honourable Elizabeth Dowdeswell, entered the exhibition hall on Friday afternoon, the excitement meter rose significantly.

She is the Queen’s representative in Ontario, and in her own words, is “Storyteller in Chief.” Her Honour knows the power of words to engage others, and holds close the stories she hears from her travels throughout the province. Gwynn and I were delighted when she stopped by our table for a brief chat.

Reva Nelson & Piers Walker

On Friday evening, we were treated to an evening of music, dance and theatre. As much as I enjoyed all the offerings, one short play held a special joy.

“Mouse”, by Marie-Lynn Hammond, explores how two different commuters — an introverted older woman and an over-active young man — have far more in common than they first realize. Of course, the fact that I had a connection with the young male actor might have influenced my strong preference. Cannot lie: I’m always a proud mother when I watch any of my children do something they love.

Mixing up the arts

The arts were thrown into a different mix of voices when Saturday’s lunchtime panel, moderated by Alan Bland, brought together poet Dane Swan, multi-talented singer-songwriter David Newland, award-winning author K.D. Miller and opera singer turned author and editor, Christopher Cameron. The audience engaged in a free-ranging discussion on the challenges and benefits of sharing across the arts.

Our consensus? There’s a definite richness of thought when artists of various disciplines take the time to talk with and learn about each other.

Marie-Lynn Hammond
& San Murata
Gwynn reading poetry

But the best example of sharing across the arts, for me, was the very cool Words on the Wire, multi-media event on Saturday afternoon. Video poems engaged our eyes and minds, exquisite music and singing rose to the rafters in the chapel setting, pioneer Susanna Moodie addressed the audience, and poetry and prose was shared by diverse voices. Musician and songwriter Marie-Lynn Hammond was joined by acclaimed violinist San Murata. And a personal favourite of mine, Gwynn Scheltema, read two gorgeous poems from her poetry manuscript.

By bringing together a diverse gathering of arts and artists, the Festival attracted the attention of the Queen’s representative, someone who regularly consults with the provincial government and who articulated her belief in the power of grassroots art and volunteer activity to bring people together and enrich their lives. The Festival showcased the work of creative people in a public, accessible place. But more than that, Spirit of the Hills festival organizers created a space in which artists could share ideas, inspiration and art forms with each other.

The Festival of the Arts is held every two years in Northumberland County. I’ll be marking fall 2021 on my calendar to be ready for another immersion in the many creative experiences that will be on offer. In the interim, I’ll be looking at ways I might collaborate with various artists to see what synergy can develop.

Collaboration + creative people = ??? Share in the comments what you think can come out of collaboration across art forms.

Collaboration Opportunity

Applications have just opened for Halls Island Artist Residency in Haliburton County. For summer 2020, organizers are dedicating one 12-day residency for up to four artists who want to collaborate on a project(s).

main cabin

Halls Island is an off-grid, eco-sensitive island on Koshlong Lake. Residencies are available to artists of all disciplines. Other than a $10 non-refundable application fee, residencies are free to successful applicants.

“As an environmental artist and geo-poet, the Island itself was a way to rejuvenate, and become re-inspired in my practice.”


Sophie Edwards, artist residency at Halls Island, 2019

Applications and additional details are available online.

Hike to Write

Hike to Write

Ruth E. Walker

For the past two years, I’ve participated in the Hike Haliburton Festival, leading one of the more than 100 hikes held over 4 days each fall. But not just any trek through the woods or up a hillside, my hike is called a Hike and Write: Inspiration Trail.

It all started three or four years ago when Barrie Martin, a curator of outdoors experiences in Haliburton County, invited me to sponsor a hike in the festival. Our back and forth correspondence led to him inviting me to instead lead a hike in 2018.

Me? Lead a hike? At first, I had this picture of some of the challenging trails I’d portaged and hiked over the years. Frankly, I’m past all that.

But Barrie persisted. Told me I could design whatever kind of hike I might like that would include writing.

And that’s the so cool factor that elevates the Hike Haliburton Festival from a series of treks in the bush to hikes that integrate the arts, culture, heritage and foodie experiences.

For example, Hike for Art’s Sake was a wander along quiet roads with a local artist to sketch abandoned buildings from bygone days. And for the mushroom lover, they could take the Fungophile Foray, an easy walk in search of edible fungi. All 115 of the 2019 hikes were free.

After hosting two back-to-back hikes last year, I opted to extend the pen with a single walk in the morning and an afternoon writing at my cottage. Five hikers joined me at Dahl Forest for a hike along the Big Bend Trail Loop. They were ready to walk along, using the senses to make observations to apply to writing opportunities.

Special guest magic

Just before we started, a sixth hiker arrived. A celebrity guest, in fact. The 2019 Writer in Residence for Haliburton, Susanna Kearsley, joined us. The bestselling author of 13 books was generous with her time and attention to the other hikers. Notebook in hand, she explained how paying attention to small details is a vital part of recreating reality in her novels. How the light hits the lichen and moss on a rock, or the power of the damp scent of a pine forest — these are the kinds of things she looks for and records.

Dahl Forest

The weather was perfect. A stunning blue September sky, a light breeze riffling the tall pines and fir trees, and a carpet of moss and pine needles underfoot.

Susanna Kearsley captures a scene

Stopping at a riverside picnic bench, I led the hikers in a freefall writing exercise. The pen starts and doesn’t stop. Writers are encouraged to “follow the energy” and “write what comes up.” There’s more to it but that’s for another time.

It was magical. I was wondering how well the afternoon could go given how perfect the hike and morning had unfolded. Would an afternoon of tea and light refreshments lead to more brilliant writing?

I needed not to worry. The afternoon was just as perfect as the morning had been. Was it spent writing in hushed stillness, against the backdrop of the cottage birdsong and rustling leaves in the breeze?

Not exactly.

Inspiration comes in all forms

It was, instead, a delightful afternoon of discovery. Over tea, coffee, cheeses, fruits and ginger ale, Susanna shared some of her experiences as a writer. She spoke of her research and pleasure in writing. And soon enough, the conversation turned to the importance of story.

I sat to one side, judging just when I’d suggest clearing the table to start to write. I waited for the inevitable lull in the conversation.

But then — oh then — the real magic happened when the topic of films that tell a good story came up. And chief among them, the Marvel movies. It turned out that Susanna and one of our hikers (and a colleague writer of mine), Stephanie, were both big fans of the comic book film series. Drawn to the cinema for the strength of story and characters that carry that story, the two fans exchanged favourite movie titles.

The other hikers were intrigued and soon enough, Susanna and Stephanie were curating the ultimate list of Marvel movies to watch. Titles were broached, discussed, discarded and reordered into a “must see” list, and in what order they should be seen.

I’ll admit relief that Guardians of the Galaxy was included on that list — I’m an old-school Marvel fan but that revised rag-tag band of misfits resonated with me. At this point, I stopped to consider what we were all talking about. Frankly, I was perplexed by how a writing afternoon morphed into an analysis of superhero characters, their origins and challenges.

And then I got it. It’s the story, stupid.

What drove Stephanie and Susanna to get into such animated chatter about the film series was to talk about the power of story to transport us. Story in cinema led to the Marvel movies and the rest, as they say, was our afternoon.

2019 Hike & Write: Inspiration Trail

As the afternoon wound down, the hikers went home elated with their day spent hiking and writing in the morning and exploring ideas of story at my cottage. The curated list of “must see” movies went with them and they were already planning a series of binge movie nights.

Was this a silly thing to end our hike with? Absolutely not. We all crave story in our lives.

From the once-upon-a-times of our childhoods to the complexity of a well-crafted novel, it’s story that nudges our imagination and offers us new ways of seeing our world. It’s why we write. And thankfully, story can be found just about anywhere: on a morning walk through a stunning forest or over tea and biscuits in a rustic cottage.

Lucky us. We get to find those stories and make them our own.

Found Poetry

Found Poetry

Gwynn Scheltema

Last week, Ruth blogged about Anna Swanson’s “The Garbage Poems” inspired by words on garbage Anna picked up at favourite swimming spots. That reminded me of the fun I’ve had over the years writing “Found Poetry.”

What is a found poem?

I like to think of found poems as word collages. That is not to say I actually cut out the words and paste them (although you can if you wish). I create found poems by recording existing text that I, well,—find.

Like Anna, I could find them on garbage, or on all manner of other things like newspaper articles, graffiti, ads, menus, posters, billboards, brochures, letters, book pages, or even other poems. Charles Reznikoff in his book Testimony, created his poetry from actual criminal law reports! His poems spoke about human violence and suffering in a time generally considered peaceful.

The found poem became popular around the same time as Andy Warhol’s Pop Art and similarly it uses and makes a statement about the everyday text all around us.

Writer Annie Dillard says, “Turning a text into a poem doubles that poem’s context. The original meaning remains intact, but now it swings between two poles.” In more recent times, “Blackout poetry” has embraced the text aspect of found poetry with art. (And it’s fun to do).

What makes a found poem a found poem?


Image by Sue Rickhuss from Pixabay 

I don’t know if there are “official rules” for writing found poetry, but the rules I impose on myself are:

  • consists exclusively of found text, in whole or in part
  • the words of the poem remain as they were found (same order and syntax)
  • omissions allowed but NO additions
  • form, line breaks and punctuation are left to the poet
  • the poem as a whole should make a statement about the source it was extracted from

For me the last point is the most important. It’s not just a case of putting pretty words together, but of recognizing where they originated.

The creation process

My found poem “J.T. Winik, “Lovers” oil on canvas” won first place in a contest some years ago. I used a December issue of The Condo Guide Magazine, one of those free ones that you pick up from newspaper boxes at the street corner or at the GO Station. The poem is printed below and here is how I created it:

I flipped through the magazine and wrote out snippets of interesting phrases from the ads and the articles, and the cover. I ended up with about three pages of “bits.” Most of them were to do with “uptown” or “downtown” and the overarching theme was how condo living was the ultimate way to live. (Not surprising). My poem therefore—according to my self-imposed rules—needed to make a statement about condo living.

One ad/article spoke about renting original artwork from galleries for condos. “Where the Art is” (I used that line) had a photo of Canadian artist J.T. Winik’s painting, “The Lovers”, as one of the illustrations. I ended up using that as my title. Next I noticed that in my list I had the phrases “Uptown girl” and “Downtown queen,” and realized that the phrase “Where the Art is” could be used for its implied meaning of “Where the [he]art is.” I thought perhaps I could contrast the two “women” and their lifestyles and in the process make my statement on condo living.

Image by Gary Ross from Pixabay

With this in mind I chose the phrases that best fit the theme I was building and discarded the rest. I arranged and re-arranged; I joined some phrases together, or used only half phrases, to give new meanings. I played with punctuation and line breaks. For example, “Moonlight washes a glow over snow-blanketed streets” and “Artfully ILLUMINATING” (a title for a piece on light fixtures) became “Moonlight washes, artfully illuminating.” I made sure there were absolutely no added words, and I hadn’t rephrased or reordered any of the snippets.

The final result:

“THE LOVERS” OIL ON CANVAS
Found Poetry in the December issue of THE CONDO GUIDE
 
Right downtown urbanation looks at
Where the Art is
A rather windy November evening
Moonlight washes artfully illuminating
Bohemian city nights in winter – Luna vista?
 
Uptown girl: Silent nights
Live in the glasshouse
Finding ways to hide the light
A perfectly proportioned concrete shade
This is your world
Small, unobtrusive; melody
Bending and refracting
Keyless, virtual
Do you daydream green or grey?
Cool is the underlying theme.
 
Downtown queen
Heady mix of the creative—SOHO
Rent original art steps from the Art Gallery
Celebration of the urban life on the edge of the moment
Connecting them
The dust of everyday life; Garden in Red #7
Bliss coming soon; Navy blu
Mixed media
 
What surrounds you?
Metal and concrete like islands
Niches and unused spaces—intimate
Drawn in by the buzz; late-nighters and
Out-of-towners; Quick move-ins
Dip in the infinity pool; massage rooms?

Desire this palette?
Purchase price does not include parking
If you think you’ve seen it all, think again
Perfection consists of doing ordinary things
What are you in the mood for?

The Poetry of Garbage

The Poetry of Garbage

Ruth E. Walker

I love old sayings. They’re like echoes of little stories, scenes that happened long ago and stuck around like a cautionary whisper through the ages. 

A stitch in time saves nine. Somebody procrastinated into a real mess and the deadline for that edited version is at midnight..

A change is as good as a rest. When you can’t take a vacation, move your computer desk to the opposite wall.

There’s an old chestnut I really like: One person’s trash is another person’s treasure. And it has never been more true when it is trash that finds its way into poetry and visual art.

I recently attended a poetry reading and artist talk at the Haliburton Highlands Museum. A poet and an artist were coming to Halls Island Artist Residency and the program was part of their community engagement for the residency.

April White
Anna Swanson

The poet was Anna Swanson, an award-winning Newfoundland poet and the visual artist was April White, also an award-winner from Newfoundland whose watercolours have been shown nationally and internationally. Both Anna and April live in St. John’s, and in 2016 joined forces for a collaborative work about garbage.

Anna Swanson wrote The Garbage Poems, inspired by a swimming hole in Flatrock, Newfoundland. She loves being in the water — as someone with a chronic illness, she said moving in water gives her physical and emotional freedom. Anna also cares about nature, so she started picking up garbage left behind by other visitors to that swimming hole.  Sorting the garbage at home gave her a chance to look more closely at the trash. Beer cans. Fast food wrappers. Chip bags.

Lo and behold, that garbage was covered in words. Expected words like drink vitamin  antioxidant  burgers soda fresh and so on. But the unexpected words were intriguing to Anna: festival, dream, promise, stormbrewing…she even found the word trigonometry.

Well, that did it. She realized she just might have the making of some found poetry, using only the words on the trash. Anna ended up with a poem series titled The Garbage Poems. But she knew there could be more to this series than words on the page.

In 2016, she teamed up with artist April White after seeing her stunning exhibition “A Day in the Life.”  Watercolours, drawings and texts chronicled one full day in April’s life.

Their collaboration became the perfect match of poet and visual artist. April created watercolour images for the poem-inspiring trash (and subsequent bags of trash as Anna continued to visit various swimming spots.)

Finally, Matthew Howlett, writer, artist and web designer, created an interactive website that invites visitors to create their own poems using the words found on Anna’s trash. April’s renditions of each piece of garbage can be viewed individually. Click on the image and all of the words on that piece of trash appear below for you to take them to create poetry of your own. You can even choose the entire set of all the garbage words, in both official languages, and see where that takes you.

If Anna’s trashy treasures don’t inspire you, the website has a copy and paste option, where you can take a piece of random text and then by deleting, rearranging or repeating, you can create your own found poetry. Here’s the first two lines of a poem I’m working on from the words of an 1860s book on etiquette:

            The true language of a heart

            may not enter a crowd gracefully…

Okay. Not yet genius. But it was fun and perhaps the start of an idea for me to work on.

So now it’s your turn. Visit The Garbage Poems website and read Anna’s poetry, view April’s images and see if you can turn trash into treasure.

Book Nooks

Book Nooks

Gwynn Scheltema

Ever since I was little, I’ve loved hide-away places and I’ve loved books. Put the two together, and I’m in heaven. I was lucky enough to have my own bedroom growing up, and could close the door and read in comfort on my bed. But for all that, I still preferred and created cozy, secret “book nooks” in the bottom of my closet, or under my desk covered with a blanket. I longed for a padded a window seat.

Book nooks don’t have to be fancy, or requiring of great space or large funds. Below are a few ideas gleaned from the internet:

Whimsical window seats:

No need for a window with a wide sill. Just frame out any window with simple shelves, a purchased bench or custom built box. Outdoor furniture cushions, or fabric covered foam and a few throw pillows and it’s done.

This vertical shelf design comes from The Habitat Collective at the habco.com

The horizontal design is from Googodecor at googodecor.com

Convert a closet or old wardrobe

Do you really need all that “stuff” in the closet in the spare room, or the basement? How about converting it to a book nook for your kids or grandkids?

Ever since reading the tales of Narnia, wardrobes have had a magical feel for me. As a child I would have LOVED this Narnia inspired wardrobe book-nook from Blesserhouse.com

Reclaim under the stairs:

Harry Potter made good use of his spot under the stairs. Why not use that space for a child’s Harry Potter hide-away?  Or make it a bit more adult for yourself?

These designs come from media.bookbub.com; http://gurudecor.com/ ; and https://gowritter.com/smart-ideas-for-under-stairs-storage-space/

Repurpose space and furniture you already have:

William Morris said, “Have nothing in your house that you do not know to be useful, or believe to be beautiful.” But when you have a small house, the furniture has to fall into BOTH categories –

Think outside the box.

Here Ikea spice racks become picture book shelves; vertical shelves and cabinets are laid on the floor with a mattress on top. A curtain is hung from the ceiling around a hoop.

These ideas from kidsroomideas.net; https://www.clubmamans.com/ and  www.prettylittlerowhouse.com 

Last word.

In the end, it doesn’t matter where you read, as long as you do. Happy reading!

A Writer’s Voice

A Writer’s Voice

Ruth E. Walker

In my workshops, I often remind writers that their voice is unlike anyone else’s. No one has their life experience, no one thinks with the same brain or writes with the same heart. Writers may share the same topic or scenario or even characters, but none will produce the same story in the same voice.

The voice with which we write is unique to each of us. It’s found in the types of words we prefer to use, the kinds of sentence structure that fits our imagination, the things we choose to include or exclude, the punctuation, verbs and metaphors. Our writing is full of signposts for readers: This is a story by…Margaret Atwood, Charles Dickens, Ernest Hemingway, Alice Munro…

At the same time, a writer’s voice is not exactly a static quality. As we experience life, our deepening well of compost combines with new material and alters our perspective and thus, affects our writing. But essentially, the core of our voice—the beating heart of our motivation and the words that flow from that core—that doesn’t change.

So what does that change in perspective bring us if it doesn’t affect our voice?

Tone.

Tone is the mood of our writing

It’s in the email we fire off to a company to complain about a faulty product. My preferred tone in those emails is more like I’m disappointed but giving you a chance to fix it versus You people suck and I’m never buying a thing from you again. We may be using our writer’s voice with word choice and punctuation but a complaint email is not the same tone one uses to invite friends and family to a party, right?

A recent trip to the Stratford Festival in Ontario got me thinking about the difference between a writer’s voice and tone.

Our playbill included a matinee performance of William Shakespeare’s Henry VIII (a history play that should appear on the stage more often, especially if Martha Henry directs it) and an evening spent chortling away during The Merry Wives of Windsor (a comedy both hilarious and uncannily fit for our times.)

Same author (I thought) on the playbill. Same iambic pentameter. Only…I thought Henry VIII‘s prologue sounded off to me. It all seemed a bit “loud” and “instructive” in tone. Same with the epilogue.

Will didn’t write it all!

A bit of research revealed that a collaborator, playwright John Fletcher, worked with Shakespeare on Henry VIII and likely contributed the prologue and epilogue, as well as nearly half of the play. Admittedly, I didn’t notice the change in voice elsewhere, but I think my reaction to the prologue and epilogue relates to how non-Shakespeare they felt.

Is that because I like Shakespeare’s work so much that I noticed when the featured lines didn’t quite deliver The Bard to my ear? I’m not sure. This is not the only play on which he had a collaborator. But it was a revelation to discover that someone else contributed both prologue and epilogue to Henry VIII, along with full scenes including the last four scenes of the final act.

Nonetheless, the production at the Stratford Festival is outstanding: high moments of drama, tender pathos and a healthy dollop of pageantry is expertly delivered.  Of course, Shakespeare’s trademark irony brings occasional smiles, but the tone of the play is serious and reflective, with a shift into pomp and ceremony at the end at the baptism of the infant Princess Elizabeth.

The Merry Wives of Windsor could not be more opposite with “pomp” placed squarely in over-amorous Falstaff’s pompous conceit and “ceremony” delivered through weddings—only one of which was real. Farcical and staged with plenty of visual hilarity, the tone of this play is decidedly different from the serious historical Henry VIII.

And yet. There is an undercurrent that suggests the mistaken conclusions of a jealous husband  could have unhappy consequences. And how very modern to have two women as central characters, devising a plot to shame a lecher. Thrice. (Falstaff is not the brightest bulb in the chandelier.)  And to have a daughter choose her husband, instead of the choices of her parents, is likewise a modern twist in a time when marriages were driven by economics and social standing.

Tone can’t hide voice

Despite the collaboration in Henry VIII, both plays held the trademarks of Shakespeare’s voice: iambic pentameter in free verse, rhyming couplets to emphasize dramatic moments, themes of love, betrayal, confused identities. His metaphors and similes enrich meaning in a language that is almost foreign to contemporary audiences. And his invented words—nouns and verbs—remain in current use.

Critic.

Bandit.

Swagger.

For more on his wordsmithing, See Grammarly’s 15 words invented by Shakespeare.  But more than inventing words, the worlds Shakespeare invented were stories that hold lessons for our world today.

Not born a genius; he worked for it

As he honed his craft, the sometimes stilted structure of Shakespeare’s earlier plays gave way to more natural breaks and punctuation. His characters moved from near-stereotypes to more nuanced humans with flaws that made them shine. Like all of us, he learned to make language work for what he wanted to achieve on the page…and, on the stage. And his voice remained, naturally, his.

Shakespeare’s plays hold different tones: from sombre and heartbreaking tragedies to hilarious near-slapstick antics and imaginings. But they carry the same voice, one that keeps us coming back to productions since the 1590s. And that is a track record any of us would long to have.