SaucyVox.com

Go check this out. It's an on-line magazine published by the one and only, inimitable, brilliant, sensual and talented Feith:

SaucyVox has featured one of my birth paintings, Lace of Light (24"x37", watercolour on paper, 1987), on the cover of the current issue.

Now that I have procured a domain name, I shall be posting the entire series of Birth Paintings (1986-89) with writing to go with them as part of my book on the maternal body. I just need to watermark them, and then embark on the process of writing a first draft in my blog. So, that's coming....

A Found Poem from Page 17 of Luminous Emptiness

Earth Treasures:
Treasures to be found in temples, monuments, statues, mountains, rocks, trees, lakes, even the sky.

Of the texts, occasionally they were full length, but usually fragmentary --- a word or two encoded in symbolic script which may change mysteriously once it has been transcribed.

The treasures hidden in the world are triggers to reach subtle levels of mind. When a treaure is found and reveals its essence, it unlocks understanding, or the natural energies of enlightenmnet that compose the mind, where the teachings have always been concealed.

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Aren't artists revealers of the treasures?














Francesca Fremantle, Luminous Emptiness (Shambhala, 2001). This story is about Padmasambhava who sought to preserve esoteric Tibetan Buddhist teachings for a safer time and so concealed them in the landscape, but perhaps we don't need an intercessory, surely the natural beauty and mystery of the world is treasure enough.

The job, any job, holds itself as a tension in my life around which everything else has to revolve, perhaps that's why I do temp work, inbetween there is no job to worry about, and I can, if I am able to withstand the stress of financial worry, something that I am becoming better at, though it's taken years, focus on my own work again...

On another note, I've been in too many offices to mention, let alone recall, and have some ideas about how to architecturally design the workplace so that it facilitates the needs of the people who work there, how to humanize the workplace...

So I need an architect to work with, a business plan...

Will I get this wish?

I thought I had found the perfect job: reception at a small construction and design firm, 24 hrs a week, and I could choose the hours, through an agency, so a temp employee for 3 months, and then on permanent staff with an accompanying raise in hourly rate. It all looked good. Nice people. Quiet location. Typical office work, sorting years worth of papers into files, updating addresses, Xeroxing, dealing with couriers, that sort of thing. Mostly mindless jo-job work that didn’t require thought only thoroughness and care. Leaving me free to explore the ideas ranging through my mind, free to consider what to write next, to think about my art, my kids, my life...

So I picked afternoons. I would go in from noon to 5 every day, except Friday, when it would be for 4 hours. Everyone seemed amenable.

But it was in an industrial area that is not serviced by buses except at rush hour. I hadn’t figured on the difficulty of getting there mid day into my plan. That hour and ten minute trip became more difficult as the weeks wore on. I got sick, too. There was the stress of catching a bus to get me to another bus that only ran every half hour; miss that bus on Marine Way and then I’m late getting into work.

So I went early every day and sat at what has to be the world’s worst bus stop. Oh, covered, yes, at least that, but not much use on rainy days when the splash coming from the trucks' enormous tires was worse than anything falling from the sky. And polluted and smelly. Huge trucks rumbling by without emission controls. And cold. I don’t know why that spot at Victoria and Marine Way is so cold, but it is. Sunless too. When I had bronchitis I could barely breath there; I would stand on the other side of the bus shelter, away from the fumes, trying to ingest whatever oxygen the hills of shrubs and trees were emitting. After the 5 minute bus ride, there was the 2.5 kilometer walk, down roads with more huge trucks careening, across that artery of pollution, Marine Way, again, where I sometimes feared for my life, literally-- those huge trucks and their crazy drivers crashing through the red pedestrian traffic light. Continuing on through a back road leading into the lot of a warehouse where boxcars were often stationed, being loaded or unloaded, and men looking at me in ways that didn't make me feel safe, especially with the private railroad land and thick bushes behind. And no matter how fast I walked, I was always 5 minutes late for work, something one of my bosses duly noted and held against me. I tried so hard to make it work, really I did.

The break-in did me in- I felt so helplessly far from my children due to the lack of bus service mid-day. And then last Thursday the Victoria Street bus broke down. I had to take the one behind it. And, as fast as I ran down the hill from Hastings to Marine Way, hurting my knees in the process, I saw my once-every-half-hour bus fly by. Drat. I was panting in the invisible but heavy pollution of that road and breathing hurt. I sat on the cold bench and waited, misery incarnate. A taxi – oh a solution to getting to the weary job on time, ran to the next road where he pulled in, jumped in, drove for maybe 4 minutes to Boundary Road, and the meter already said nearly $8.00 – and I wouldn't even make that much in the half hour I was trying to get to work for. I told the taxi driver to stop, to let me out, that I wasn't paying any more for the ride. And then I still had a hike to get to work, where I arrived 10 minutes late, and at the end of my tether.

I told my two bosses my tale of woe. And said that I cannot do the half day jaunt anymore, that the transit doesn't service this area, that I can only come in 3 full days a week. A bus comes into the area during rush hour. It takes me 35 minutes to get home. Over the period of a week, I would save 5 ½ hours of traveling time, a whole afternoon’s worth of time.

The next day I am told that I won’t be coming back, that they have called the agency and hired another woman to work half days.

And it was my painting, my painting that has sat for 2 months, untouched, and which I looked at that morning, wishing, wishing, and so I know it was my muse that cut this job short for me, because it just wasn’t working, I need whole days to paint, and, while I could have had that at the beginning of this job, when they were open to flex hours, they got too used to having me there every day, and wouldn’t consider any options other than the one I had originally created.

Anyway, I was just a nameless woman who was hired to make coffee, do dishes, take out the garbage, answer the phone, xerox blueprints, pack a pouch of invoices and timesheets off to head office once a week, clean up an awful filing mess, update a list with addresses 4 and 5 years old (SuperPages came to my aid), chase after tardy submissions of bids on construction projects, they even took away the little ceramic heater that kept me warm, and no-one knew that I wrote, or painted, or took photographs, or have the equivalent of 3 degrees (two BAs, but from a university that doesn't grant double BAs, an MA minus the language requirement, an A student...sigh & ho hum, plus the graduate degrees I didn't finish-withdrawing from a PhD program in my mid-20s, the fiascos with Graduate Interdisciplinary Studies in the intervening years, etc. ho hum), or that I was capable of so much more than they could ever possibly imagine.

Yes, I was bored. But we could buy groceries every week without worry.

Now I have to finish that painting. Not sleep from the stress of financial worry. And find another temp job for next week so we can eat the week after.

I won’t miss that truck heavy highway one bit.

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Dear Readers, I am usually not like this: Was I really pushed to my edge with this situation and was there there anything I could have done to make it work? Or am I simply PMSing?

Many thanks to those who left pure poetry behind in my last post on creative process at Xanga and here. I have read, and re-read your comments, each one like a jewel that opens out the entire universe of each of you.

My own comment in response to Toni Morrison's process has also grown, and I wonder if your articulations of your creative processes hasn't also wanted to become more detailed too...?

I am a napper. My idea of heaven on earth is an afternoon nap. Nothing could be finer. I cultivate nap time: have honed and honoured it. Oh, how I love that afternoon rest! Now that I work afternoons, well, there's after work, and there are still weekends! A napper not to be undone, I have turned the nap into an art.

It was a year or two back when I discovered the trick of writing while 'napping.'

What is a 'nap'? I rarely sleep. Usually I meditate first, this produces a much deeper and more satisfying nap. I sit against a small meditation chair that I place right on my bed facing the window. I recite a mantra over and over. This stills my mind. I fall into bliss emotionally.

As I go more deeply, I lie down, cover myself with a blanket, and let go. Everything spins and collides inward. I am acutely aware of the world around me. My body hums in stillness. There are no particular thoughts; the meditation has cleared them. I rest deeply, healingly. I fall in love again and again with the world. I forget that I have worries.

After 20 or 30 minutes, I re-emerge into the phenomenal world, my room, my dog perhaps lying nearby, thinking of what sort of treat I should have, usually it's cappuccino and chocolate.

When I am writing I 'nap,' but never disappear so fully, always being cognizant of the notebook on my lap. I drift in and out, scrawling words as quickly as I can write.

Toni Morrison says: "I always get up and make a cup of coffee while it is still dark-it must be dark—and then I drink the coffee and watch the light come... Writers all devise ways to approach that place where they expect to make the contact, where they become the conduit, or where they engage in this mysterious process. For me, light is the signal in the transition. It's not being in the light, it's being there before it arrives. It enables me, in some sense." From The Writer's Almanac, February 18, 2005.

My best writing occurs when I am just coming out of a meditative nap. A place where I let go of everything---discovered this being lulled in a hammock strung across my tiny studio. I like to be lying down, with a notebook and a pencil on my lap, or my tiny pocket pc, something private, that only I can see, and drifting dreamily in and out of stillness. It is in this deeply relaxed state that images begin adding their vitality to what I am writing about... It is in this quiet state of mind that my imagination has most freedom... And I have learnt to trust the flow of words, even if they don't 'pull together'; when I come back later, I find nuggets in the tumble of jewels that I can take out, polish and wear...


How about you...? What state of mind do you find best for your creativity and how do you evoke that...?

What's your ritual as a writer?