The stories we tell

Lately I’ve been reading about … river red gums

I didn’t just notice the river red gums, but also the cracked mud of receding water, rotting gum leaves, greater eastern egrets, kingfisher, heron, ibis, ducks, emus, kangaroos, wild horses, wasps and flies. I even saw (threatened) Murray cod foraging in the shallow water along the lake’s bank, and quickly learnt to look for them at the centre of the ripples of golden tannin their fins sent out. It was the first time I’d seen them surface, amphibian-like, in this manner. The effect was prehistoric. A single galah feather caught in a spider web stretched, strong as rope, between two river gums, waved gently in the corner of my vision.

From ‘Biyala Stories
by Sophie Cunningham

Each month this year, I’m taking a walk through the Aldinga Scrub — the same walk each time, along the Coral Lichen Circuit, which follows a gentle, undulating loop through the Scrub, with spots that overlook both the coast (to the west) and the hills (to the east) — to watch the seasons ring their changes on the landscape. I’ve walked the Scrub so often, taken pictures of the trees and the flowers, listened to the birdsong and the sound of the waves in the distance, to the wind moving through the trees. But I want to know the Scrub better, to know it intimately, to witness it. I want to know its intricacies — the kinds of intricacies that Sophie Cunningham describes so beautifully in the passage I’ve quoted above.

Cunningham’s essay is about the river red gums that grow in the part of the world where she lives: Melbourne (mostly), Victoria. It’s a thoughtful, erudite, poetic essay, at least in part about the stories these trees can tell us, the stories they might add to our own (human) narrative if we were able to listen. (You can read it here.) It came to me, as I read her essay, that I don’t know the stories of the trees in my own part of the world, this part of the world I’ve said so often and so glibly that I love.


Aldinga Scrub: January.
SA blue gums.

The trees of the Aldinga Scrub, like the river red gums in Cunningham’s essay, are struggling to survive. So are the plants of the Scrub, the birds and the animals. Their survival is threatened by many things, including encroaching housing developments; farming practices that have, since World War II, diverted the natural water flow away from the Scrub to nearby crops; pollution; climate change; islandisation; the spread of weeds from people’s carefully curated gardens and lawns.

I’m neither a scientist nor an ecologist; I can’t use any particular knowledge or training to save the trees or the plants or the birds on a large scale. But I can keep witnessing the Scrub: wandering through it, posting pictures of it here on my blog and my Instagram feed, sharing, in the process, the things I see and learn, the passage of the seasons, the stories I discover.

I can ensure those stories don’t go untold. That, at least, is a start.


Aldinga Scrub: February.
Above: Old man’s beard and bent tree trunk.
Below: Bracken fern, dying off in the summer heat, and grass tree spear.


Note:
For anyone who’s curious, Cunningham mentions in her essay that she has an Instagram account in which she posts a daily picture of a tree. I thought this was a splendid idea, so I searched for her account and found it here.

What it means to be free

Lately I’ve been reading about … how to write

Last year, I stopped writing. At the time, I wasn’t sure if I had stopped writing forever, or if it was just for a while. In my heart, I was convinced it was forever. I felt sad, but also strangely certain. I felt, very strongly, that I had come to the end of the writing I could do, and that I had to learn to let go. To move on.

A few months later, I lost my job as the Senior Editor at a university press. I felt far less sanguine about losing my job than I did about stopping writing, because it wasn’t my decision. And because I loved my job. And because I didn’t know what I would do next, or how I would earn an income. If I’m honest, I still feel all of those things now. I still don’t know what will come next.

But for now, I’m taking a break; I’m not actively job-seeking. I’ve been spending my time building a website to set myself up as a freelance editor, and … I’ve been writing again, working on an old manuscript that I thought I had abandoned forever, and feeling — at least sometimes — as though I might actually, one day, be able to finish it.

Look up. Let go. Move on.

I feel freer now to write than I did last year, or indeed than I did during the years preceding that. I don’t know why this is, except that, without the regular schedule of getting up and going to work four or five days a week, without the commitment to a tiring and demanding (though rewarding) job, my mind feels clear. And the clarity gives me courage. I feel brave enough, suddenly, to take a risk again in the creative sphere, to take the risk of failing.

Because I see now, though I didn’t see it last year when I was still deeply enmeshed in my work, that my fear of failing as a writer had, in the last few years, grown very strong. It had become, at least as far as writing was concerned, incapacitating.

It’s true that not all hardworking writers publish. Often the circumstances that drive the industry are out of our control. But the willingness to write through what might seem to be an unending succession of drafts — however you define “draft” — is one factor that you can control.

From ‘What if All Writing is Just Drafts, Forever?’
by Joseph Scapellato
At The Literary Hub

One of the things that’s so tricky about writing is that there are no rules, no surefire ways to creative success. Some writers write every day, without fail, setting themselves a target (whether that’s a word count, or a certain number of hours they spend at their desk, or a publishing deadline). They write draft after draft, like Joseph Scapellato in the passage I’ve quoted above (which you can read in its entirety here), and in doing so they find a way through to the other end: to the finished book.

But, like Heather Havrilesky in the passage I’ve quoted below (which you can read here), other writers approach writing in a less disciplined way, determined to seek only the joy, only the moments of flow.

Why is my routine so messy, random, and kind of lazy? It’s because I don’t force it anymore. I feel like my brain now knows that I don’t actually have to work that much, I just have be in front of my computer for those times when everything is flowing and it’s possible to hit that high note. I’m not going to torture myself the rest of the time.

From an interview with Heather Havrilesky
At Extraordinary Routines

Clearly, there is no one, right path that every writer must go down in order to write a book. What wasn’t clear to me until very recently, though, is that there isn’t even one, right path that an individual writer must go down in order to write a book. The process, at least for me, this particular individual writer, is a learning one. It changes with the book you’re writing, and with the years, and with the state of your (physical, mental, emotional, spiritual) health.

I still don’t know whether I’ll finish writing the book I’m currently writing, which I began so many years ago. Even if I do finish it, I still don’t know if it will be publishable. But for now, I’m grateful to be experiencing a feeling of freedom again, the freedom to be myself, whatever that means, to write because I want to write, without becoming enmeshed in either hope or despair.

Betrayed

Other people’s words about … anxiety

It took me years to work out that what the experts tell you isn’t always right, no matter how expert they may be, nor how much you may have paid them to tell you what they’ve told you. Fiona Wright explores this theme in the passage below, in relation to her own experience of searching for a cure for her anxiety — a cure that the experts she has consulted have not, despite their expertise, as yet been able to help her find.

This was not supposed to be the lesson that I learnt, she writes. And that, right there, is the power that those so-called experts can hold over us: that they can make us feel that way; that we can come to believe, from them, that there is a lesson — one particular lesson and no other — that we are supposed to learn.

It’s enough, I think, to struggle with poor health, mental or physical or both, without also coming to feel a failure for not responding to the treatment or advice that the experts offer us. Betrayal is the word Wright uses — a strong word, but it is apt.

This feeling, I was right to be nervous, is to me the worst of all the things I think and feel out of anxiety, at least in part because it feels like a cruel joke. Clinical psychologists insist that the problem with anxiety is that the anxiousness — that tension in the gut and shoulders, the clamped jaw and cramping rib cage, the wildly circulating thinking and breathless panic — is always disproportionate, always misplaced; that the fear itself, that is, is always worse than the thing that makes us afraid. And so the treatment focuses on exposure, on deliberately coming into contact with the things we fear and then coming out the other side unscathed in order to learn the hollowness of the focus (and locus) of our fear. So when I get this feeling — I was right to be nervous — it always feels like a betrayal: this was not supposed to be the lesson that I learnt.

From ‘A Regular Choreography
in ‘The World was Whole’
by Fiona Wright

Wildly circulating

Note:
Fiona Wright is an Australian poet and writer. In her essays, she writes with candid, almost forensic insight into her experience of living with chronic physical and mental illness. You can read more of her work here.

This new place

Lately I’ve been reading … essays

What makes an essay an essay? Does it have to be scholarly? Does it need a central argument? Must it be informative? Can it be purely autobiographical? How literary, how poetic, how lyrical can an essay — any kind of essay — be?

As William Deresiewicz observed in an essay about essays for the Atlantic, ‘what makes a personal essay an essay and not just an autobiographical narrative is precisely that it uses personal material to develop, however speculatively or intuitively, a larger conclusion.’
Is that, then, the definition of an essay? Everyone has their own theory. According to my own (evolving) criteria, an essay is not a poem (nonfiction though a poem often is); nor is it a speech which operates according to rhythmic and textual laws of its own. Not all works of journalism, memoir or criticism are essays, though they can be if they reach beyond their subject and offer more, including the capacity to move … That’s about as far as my definition goes.

From Anna Goldsworthy’s introduction
in ‘‘The Best Australian Essays’ 2017
Edited by Anna Goldsworthy

As a young woman, I focused my reading solely on works of fiction, but the longer I live, the more curious I grow about the world: the way it works, and how I fit into it. Perhaps in response, I often find myself, these days, turning to nonfiction and, in particular, to essays — those nonfiction equivalents of fiction’s short stories. Like Anna Goldsworthy, quoted in the passage above, I particularly like the reach that some essays, the best essays, have — the places they can take you, if you let them.

Note:
For many years, Black Inc. publishers published an annual ‘Best Australian Essays’ volume. The series has recently ceased, but you can see the back catalogue here.

This is my work

Other people’s words about … the sea

Vale, Mary Oliver. I’m not a fan of all of her work — not by a long shot — but I do love the way she observed and wrote about nature: intimately, intricately, affectionately, quietly, humbly.

I go down to the shore in the morning
and depending on the hour the waves
are rolling in or moving out,
and I say, oh, I am miserable,
what shall—
what should I do? And the sea says
in its lovely voice:
Excuse me, I have work to do.

I Go Down to the Shore
by Mary Oliver

That lovely voice

The sea, breathing

Other people’s words about … the sea at night

I take many photos of the sea during daylight hours, but my photography skills aren’t good enough to capture the sea at night. Some nights, though, when the wind is westerly, blowing from the ocean onto the land, I can hear the waves, through the open windows of my house, as they roll into the beach and fall back, roll in and fall back.

It’s a dreamy, dreamy sound.

The night garden was thick with dreams. Beneath the earth, beneath the eyelids of birds, in the air that came like an exhalation from the sea. Pearl listened. It always felt closer at night, the slump and hiss of waves like an old man dreaming.

From ‘Shell
by Kristina Olsson

The slump and hiss of waves

.

Toxic

Lately I’ve been reading about … burnout

We’ve never recognized social media and smartphones as more toxic and more necessary.

From ‘How Millennials Became The Burnout Generation
by Anne Helen Petersen

What is the difference between burnout and exhaustion? Anne Helen Petersen posits that while women from previous generations knew what it was like to experience physical exhaustion, burnout is a symptom that is both unique to the Millennial generation and uniquely destructive. I don’t entirely agree with her, but I found her article fascinating. As a bona fide Generation X-er, and as someone who uses as little tech as possible, I nevertheless recognised in myself exactly some of the symptoms she describes. Perhaps burnout is a symptom of our lifestyle today, rather than of our generation?

Read the whole article here.