Showing posts with label marriage. Show all posts
Showing posts with label marriage. Show all posts

Tuesday, November 20, 2012

Happy Thanksgiving from our garden of characters to yours.





Norman Rockwell

Brrr!  It is chilly here today.  Thanksgiving is on the horizon and Christmas is in queue behind.  Brimfield is bustling to get ready for Turkey and stuffing, cranberries and pie and each table set across the small harbor town will be as unique as the people setting them.  Mary spent most of October finding the perfect turkey and cranberry stuffing recipes.  She bullied Burt, proprietor of  Burt’s Fine Meats and Charcuterie, into calling all over New England and most of the mid-Atlantic states for an organic, free range Narragansette bird.  Mike stopped by the butcher early this morning, the bundle now sits deep in the recesses of Mary's fridge, wrapped tight in paper and string.  Mary won’t discover her prized poultry is actually a veniparkey until Thanksgiving morning.  What is a veniparkey, you ask?  It is a curious mix of  turkey around a partridge around a venison roast of course- a Burt Brooks specialty.  The butcher seemed quite happy to change the order when he spotted Mike perusing the glassed displays, too happy in my opinion, but don’t tell Mary.  Mike wants it to be a surprise. Tonight Burt will sneak Mary’s abandoned turkey home and into the smoker behind the barn, far away from his vegetarian wife Sylvia.  He will then guard the location of his contraband jerky with all the finesse of a cold war spy.   But enough about Brimfield and Thanksgiving. It’s time to wrap up our tale of  Mary's garden.  Do you have your tea?  Maybe a quilt or blanket?  Good.  Now, let me tell you a story. -Rebecca



Mothering Nature, Part I
Mothering Nature, Part II

Norman Rockwell

 Mary took to gardening with an intensity most people reserve for national sporting events and primary elections.  For Mary, the idea of gardening brought pleasant images of rubber shoes and pitchforks; fat, orange pumpkins; homespun scarecrows; and grateful children chomping on long, crisp, carrots.  So she was surprised to find gardening to be less zen and more Sun Zu’s The Art of War.  During one of rainiest springs New England had seen in decades, Mary stood outside, braving a vindictive nor'easter making desperate deals with belligerent tomatoes.
"I know the weather stinks,” said Mary.  “I get it!  But can't you please perk up?  Just a little?"  She tucked a blanket of seaweed around their shivering roots.  "I am not asking for much, just some good ol' New England spunk!" Mary wrapped the plants in plastic and considered a space heater.  This wasn’t working. 
Now there are times in one’s life when all you want to be is a grown up.  You want to handle life on your own, call your own shots.  Then there are those times when all you want is to crawl under the blankets and call your Mother.  As the storm battered Brimfield, Mary decided it was time to call Mom.  Armed with a box of tissues and a cup of tea, Mary called her from beneath four quilts.
“Mom,” said Mary, “Mother Nature hates me.”
“What did you do this time?” asked Margie, Mary’s mother. 
Mary sneezed.  “I didn’t buy vegetables and I don’t like the Mayor’s wife and gardening is the pits.”
“Hmm.  Well, that is a lot for her to take I suppose although I don’t understand where the Mayor’s wife fits into it all.”
“It’s just that,” Mary hesitated, sneezed again, and continued.  “Everything I thought gardening would be is wrong.  Corn doesn’t rustle in the wind.  It falls over.  Those stupid rubber boots leak and the bugs eat me and garden.  Mother Nature is a petulant brat.”  Mary sighed.  “Then there is the scarecrow.” 
“The scarecrow?”  asked Margie
“His name is Bob.  The kids made him for me. We have the only scarecrow in 5 counties with a Disney princess tiara, Tinkerbell wings, a light saber and an egyptian cotton head.”
“Bob sounds great.  So what’s the problem?”
“I came down one morning and Bob was tearing across the front lawn.  I thought maybe I was getting a migraine, you know what those do to me,” said Mary, “Then I saw Tex had Bob’s stick in his mouth.  He was trying to play fetch with Alex.”  Tex is the Sullivan’s 140 pound German Shepherd.
Mary laughed into the phone.  “You should have seen it, Mom - Tex tearing across the lawn with Bob the scarecrow dancing above him like some demented Disney character and Alex screaming bloody murder.”
Mary wiped at her eyes with her sleeve.  “We had to lock the Wizard of Oz DVD in Mike’s filing cabinet before Alex would go to bed that night.  I keep picturing Bob and Tex chasing that poor kid.”  Mary took a sip of her tea between giggles.  “Did I mention Alex was wearing his monkey pajamas?” asked Mary.  “I swear, I will never look at that movie the same way again.”
Mary hung up the phone sputtering and laughing so hard tea came dangerously close to coming out her nose.  Worst parent ever, thought Mary, that’s me!
The Great Gardening debacle of 2012, as it would come to be referred to in later years, came one month later over dinner.
"Can anybody tell me what this is?"  Mary held up a long leaf.  Five sets of eyes shifted nervously around the room.
"Um…  A leaf?" asked Molly, sneaking a napkin to her lap to feed the dog her peas.  Mary said nothing.  The dog hated peas.
Mary smiled "Yes, very good.  A leaf.  Have a brownie."
"Well duh!" complained Margaret, the oldest at 13.  "She can't get a brownie for that! It was too easy."
“She’s a baby!” countered Alex.  “That’s like E=MC paired in baby language.”
“MC-squared.” said Mike. 
“I’m not a baby,” argued Molly.
"Shhh!"  Mary said, "Quiet.  It’s a leaf, yes; but, here is the catch."  She waved two double fudge brownies in the air for inspiration.  A hush moved through the dining room.  You could hear a pea drop.  “What color is the leaf?”
“Seriously Mom?" mumbled Margaret.  "It's green.  Even the baby knows that."
“I am not a baby!” yelled Molly.  The dog spit something onto the rug.
"OK, OK.  I know it is green, but…" Mary paused for effect and held up one finger.  "But,” she said again.  “Is it yellowish-green with dark green lines or bright green with yellow lines?"
She searched the faces of her family for understanding and received nothing but vacant stares.  A sick feeling rolled in the pit of Mary’s stomach. 
There it is, she thought, my life in a sad, little nutshell.  I give my blood, sweat and tears to these people every day; but ask for a little support in my time of need and all I get are blank faces, rolling eyes and peas on the floor.
"Great, just great!" said Mary and flung the leaf down.  "Thanks for nothing.  When you don't have anything to eat for lunch but Twinkies and red dye #8 don't come crying to me."
A cheer went up around the table.
“You think she means it?” whispered Margaret to her father.
“Red’s awesome!” Alex cheered.
“What’s a Twinkie?” asked Molly.
“Oh dear,” said Mike.
Mary took a brownie, trying not to look her salad in the eye.  She had failed, failed her garden, failed her children, failed the environment.  Worst of all she had failed to live up to her image of what a practical, sensible, self-reliant woman should be.  Mary figured she might as well hand in her journalism degree and cancel her Martha Stewart subscription.  How could she face the Maven of Home Making now?
"Uh, Honey?” said Mike, looking from the leaf to the brownies and back to Mary.  “Does it really matter? It’s just,” Mike shrugged his shoulders, “green.  Leaves are green."
"Yes it matters!" Mary shrieked, slamming a manual the size of a pickup truck onto the table and opening it to a marked page.
"One means too much calcium and another not enough iron,” Mary read from the manual.  “A bright, greenish-yellow with purple spots suggests a magnesium deficiency.  How could you not know this, Mike?  You’re a doctor."  Mary picked up the leaf brandishing it like a sword.  "Do you see purple spots?"
Mike seemed to think for moment before he rose and moved to the cupboard.  He reached inside, pulled out a large plastic bottle, walked back to the table and set it down in front of his wife.  Colorful bears danced across the white label.  Berrygood Bearivites, A day of energy in each smiling bear” it said.  Mary glanced at the bottle and then back at Mike. 
“They are organic, too,” said Mike and held out his hand for a brownie.
Much later, after the last of double fudge brownie had been scraped from the ceiling fan, Mike and Mary sat together on the porch swing sipping a glass of wine looking out over their gardens.  The house was quiet.  Flowers nodded in the warm night breeze. 
“I don’t know,” said Mary after a while.  “I don’t know what got into me.  I guess I figured bad farmer equaled bad mother.  You know, like if I can’t raise corn how the heck am I going to raise kids?”
Mike smiled and kissed his wife on the head.  “You do just fine, more than fine.”
“But I don’t know what the heck I am doing!” wailed Mary.
Mike laughed.  “Well, if you don’t know what you are doing we are doomed because I sure don’t,” he said. 
“I’m serious Mike.  I can’t grow a cucumber.  How am I going to raise a teenager?”
“Lots of counting to ten,” laughed Mike, “and antacid.”
“But it’s more than that,” she confessed.  “I am supposed to know what I am doing.  People read my columns and assume I am some kind of expert when all I ever write about is how I don’t know what I am doing.”
“Babe, I’m pretty sure that is why they read your stuff, to feel better about their stuff,” said Mike.
Mary leaned her head back to stare at the night sky.  “Do you know Alex went to school yesterday with two different shoes on?  They weren’t even the same kind of shoe - a sneaker and a dress shoe- and they were both the left foot; and he didn’t have any socks on! His pants had a hole in one knee and he was wearing his pajama shirt- not even a clean one! I didn’t notice until he got out of the car in front of the school.”  She lifted her hands up in a helpless gesture and let them fall to her lap again.  “If I can’t get our kid to wear the same shoes to school how will I get Margaret through dating, and peer pressure and college?  Ugh.”  Mary groaned.  “All the other moms seem so put together, so capable.  I’m just - not.  And their kids-“ She trailed off helplessly. 
“Look,” said Mike, turning to face his wife.  “I don’t know what the answer is.  But I do know it isn’t broccoli and brussel sprouts.  We will figure it out together and who cares if Sylvia Brooks serves organic tofu with heirloom tomatoes.  I happen to know her kids stash beef jerky in their violin cases.”
Mary sighed and leaned back into her husband.  “I just want to do it right,” she said. “You know, not damage them too much.”
“If we did everything right,” teased Mike, “years from now, a perfectly nice therapist would be denied his Mercedes.”
Mary laughed.
“You know what they say,” said Mike.  “What ever doesn’t kill us makes us stronger.”
“At least we will go together,” said Mary. 
“Always,” promised Mike.  “Always together.”  He squeezed her hand and held onto it.  They both fell silent, listening to the small noises of one world going to sleep and another coming alive. 
On Monday morning, Mary pulled up to the carpool lane just behind Sylvia Brooks.  As the kids piled out, Mary nearly sprayed a mouthful of coffee across the instrument panel of her Suburban.  Someone had added their own flair to the yellow bumper sticker on Sylvia’s silver Prius.  Instead of reading Go vegan and no one gets hurt, the sticker now read Go vegan and no one gets Burt with a sad face emoticon instead of a period.  Mary smiled all the way to the grocery store.  She was low of frozen beans.

Tuesday, October 11, 2011

Live to Write or Write to Live?

Balance 2011
The writing life is a strange and mercurial one.  When the muse is talking there is no greater high.  When that capricious lady clams up, well, life can be a bit sticky for a while.  But like any compulsion, I can’t stop.  Believe me.  I have tried.  So how do I live with the ups and downs that come with creating?  The business of living any Life, a creative life included, comes down to balance.

Osmosis, The law of Conservation of Energy, Feng Shui, the idea of finding balance is elemental and omnipresent.  But is balance attainable? Is a work/life balance  a reachable goal or  catching lightning in a bottle- the luck of the draw?


During his years as a paramedic, my husband, George, chanced to meet an elderly couple, married 75 years.


 "I just got married," George told the couple.  They smiled at him and then at each other. 

"Ah, new love," said the woman, her gnarled hand patting her husband's across the stretcher.

George smiled back.  "What is your secret?"  he asked.  "Seventy-five years and you obviously still care very deeply for one another." 

Herb (that was the man's name, Herb) looked at his wife.  A moment passed between them before he answered my husband.  "The secret, son,  is to never fall out of love at the same time.  Someone has to fight to keep it together and someone has to be allowed to doubt, if for only a little while."

Sisyphus by Titian, 1549

In other words, they took turns pushing the boulder uphill.  Like a teeter-totter, husband and wife took the highs and lows, ups and downs, balancing one another through the years.  They kept faith in a belief that what goes up must come down, and then go up again.  They found their balance.

Balancing writing and life with four children and a marriage is a challenge. With the demands of both career and family pressing in from all sides, I am learning what it takes to balance my time with family with a compulsion to create. 

Living with me isn’t easy in the best of circumstances and terrible (I suspect) in the worst; but I am a lucky girl.  My family doesn’t seem to mind the moody irritated writer who sometimes goes by Mommy or Rebecca or Honey, or at least they take it in stride.

Ted Krever, author of Mindbenders understands what it is to live a writer’s life. In Part Two of our interview, Krever and I ruminate on the ideas of craft, routine and chasing that ellusive balance between an artist’s internal world and an external life of family, second jobs and social interaction.  I hope you enjoy a glimpse into the inner workings of a writer's effort to live to write and write to live.


Part Two
On Writing: Life and Craft with Author Ted Krever

RM:  As a writer, we pull from our past experiences. What are some of yours you feel most influence your writing?

 KREVER:  David Morrell said at ThrillerFest that if you read his books, they were all chapters in his emotional autobiography. I'm paraphrasing but I think accurately.

RM:  Yes, I remember that.

KREVER:  So it's not so much pulling from the past for me. It's discovering, through writing the books, what I'm struggling with now.  I know myself through my own writing; it's my best guide to my subconscious. And I work pretty hard to keep the subconscious instead of the conscious mind in control as much as possible. Of course, this is something Renn and Tauber deal with a lot in the book.

 RM:  When I was at ThrillerFest, I heard many different approaches to the work and craft of writing.  Everyone seems to have their own process, their own ritual.  What is your writing process?  Do you have a set schedule?

KREVER:  I write constantly, whenever I’m able.  If I can pull out a book or pad or laptop, I’m writing.  Some days, of course, staring at the blank screen in frustration is also considered writing. When I finish a book, I take a day off to pat myself on the back and start another.  They don’t always get finished, but I am always working.

RM:  Wow. A whole day?  Isn’t that a little extravagant?

KREVER:  I’m a hedonist, what can I say? When I have vacation days, like I will this weekend, that means more time to write!  This is something I need to do.  I’m a psychotic mess if I don’t deal with all these voices in my head.  This is lesson #27 I leaned from Neil Young: the more you throw away, the more you have.  If you write constantly and just keep putting it out, you keep finding more.  If you’re cautious and only write a couple of sentences a day, it gets harder and harder. You can't let any piece of the process get too important.

RM:  I think I know the feeling.  The Innerworld, the places and people and situations inside your head need a way to get out.  It creeps up on you and comes out in weird ways if I don’t get it out—like Alien dreams.  But we are talking about you.

KREVER:  It is the overall that matters.

RM:  So, don’t over-think the process of writing then, or the writing itself?

KREVER:  Don’t think, if possible, at all.  Put fingers on keys and go.  Fix it later.

RM: I am frustrated when my typing doesn’t move as fast as my brain and allows that internal critic to voice an opinion.  What do you do when your conscious mind gets in the way of your writing mind?

KREVER:  I’m talking, really, about first draft, where I want the story to come from as unconscious, subconscious a place as I can. Let it come together in rough form and then I’ll refine later. Which is why first draft usually takes me five restarts to come together— very inefficient but useful in other ways. In every book I've ever written, I slogged to within thirty pages of the end of the first draft and I'd write a sentence without thinking and look at it and go "Oh, that's stupid" and then look a second time and it would explode on me.  I've just told myself what the book is about.  And then I have to go back and the second draft is writing the story so it leads to that line

RM:  You surprise yourself. I do enjoy that part of the writing. When you read something from yesterday and think "Really? Where did that come from. I didn't know that!"

KREVER:  Because you never know what the book is truly about until the end of the first draft.  I'm just telling a story. But I think conscious is for later drafts. Unconscious for the first, for the story

RM:  To paraphrase Stephen King:  Write with the door closed and edit with it open.

KREVER:  Because that's the level [the unconscious] the reader should react from.  That is where character and story are the same thing. 

RM:  While in NYC, you accompanied me on a research field trip for my novel.  How do you approach research for your novels and at what point do you begin the fact finding?

KREVER:  Research for me is strictly answering the needs of the story. I don’t start researching until I need to know something or understand something and that’s all I do, though I’m open to whatever I find that’s interesting. I’m always open to being sidetracked because, again, it’s that element of being surprised. It only richens the mixture. And with a book like this, I researched a lot looking for limitations. What would be the limits of Renn’s mind power? What would get in the way? If you don’t have limits, you end up with Superman—all-powerful and essentially pretty boring.

RM:  You mentioned thriller writer David Morrell a moment ago.  There were many fantastic writers at Thrillerfest and all of them gave out advice of one sort or another.  What is the best writing advice you have ever gotten?

KREVER:  Joe Papaleo, my writing teacher, told me a novel is a gross form. Just throw everything on the page and cut back later. Unfortunately, he was dead by the time I learned how to cut back properly.  That's the other hard part. Learning to edit yourself.

RM:   What was the worst piece of advice?

KREVER:  That's a tough question. I guess it was the implied concept that you can learn to write by studying literature.  Literature is great but it has no relevance to the story that's inside you. You just have to let that out. Where it stands in terms of literature is for other people to figure out later. 
You want the best piece of advice that I offer? Don't know whether I made it up or heard it from someone.  C'mon...you've gotta give me permission so I'm not a pretentious little shit.

RM:  Ok.  Tell me.

KREVER:  Write what hurts.  If you write what hurts, you'll be into your subconscious. You'll be into what really matters to you, automatically. So you don't have to worry about what's at stake for the characters.  There's something major at stake for you so there will be for them.

On Living a Writer’s Life

RM:  How much does your writing life effect and or influence your living life, your relationships and day to day living?

KREVER:  I have no life.  I write and my relationships have to fit in with that.
I had no idea what a monk's life writing was until I committed myself to it. It takes everything you have.

RM:  I think it takes a very special person to partner a writer.  There is a general attitude that living with a writer is a tough business.  Would you agree?

KREVER:   Anyone who gets involved with me has to understand some part of me is always humming away in another dimension.  Yes, I think that is hard to accept.

RM:  I know that I become very frustrated trying to live in two worlds- the one in my head and the one where I have kids and bills and laundry. I never feel like I do either very well. Do you have any advice for writers trying to balance life and writing.

KREVER:  I'm no role model. I gave up on life for ten years. I lived for writing and my son every other weekend. Now I'm trying to develop a balance; if I develop any success at it, I'll let you know.

RM:  What do you think the ultimate spouse or significant other would be for a writer?

KREVER:  Just understanding that our madness is our strength. That we can't function without this other world in our heads. If you can deal with that, then it's a normal relationship. But it's understanding that I'm in love with other women that I’ve made up and I am many different men and women all day long. And that my triumphs and failures almost all take place inside.  That's a lot to ask. 

“To be a poet is a condition, not a profession.” -Robert Frost, poet.

“We work to become, not to acquire.”- Elbert Hubbard, author.



 Author Ted Krever and I discuss the business of publishing in part three of our interview

Ted Krever’s books can be found at Amazon.com, at Goodreads.com and  BarnesandNoble.com

For more information about Ted Krever please visit www.tedkrever.com