Nightly To Walden

I have never been to Walden Pond.

That confession is an easy admission. I've admitted maybe too many things on this blog but few bother me. This next one though leaves me feeling uneasy and I worry about people finding out. I may have kind of led people to believe otherwise. And so I pause a moment before telling you this:

I have never read Henry David Thoreau's Walden.

It's one of those books I should have already read, that I should know, and that should be a foundation for me. Yet, I haven't read it. I've started it several times and I've read sections of it for a class way back in college, enough so that I wrote a good paper about it. I've read of it many times, admiring the book, the writer, and the writers writing about it. All of which is to say that I know Walden by proxy but have never read the damn thing and every time I start reading it (with nothing but the best intentions), I get distracted and intimidated by the task. I quit. I quit. I quit every single time because it feels like too much.

So I'm reading it now one page per night.

Each night before turning out the light, I open Walden and read one page. I follow the last sentence onto the next page but stop as soon as I can. The next night I re-read from the top of the page (or the bottom of the previous page) and end when I have finished that one page.

It is slow going but what else should a trip to Walden Pond be but slow and deliberate?

At this rate I don't expect to finish Walden until 2019. I hope I make it all the way to the end and maybe turn back to page one and begin again. If nothing else, I hope to enjoy the journey taken slowly as if on foot from Concord to Fitchburg. Going slow, I want to remember that I've long wanted to make my home in a tiny shack near water. For one page a night that's just what I'll be doing. If you need me, I'll be at Walden Pond. Stop by any time.

Work Space

“Appealing workplaces are to be avoided. Once wants a room with no view, so imagination can meet memory in the dark. When I furnished this study seven years ago, I pushed the long desk against a blank wall, so I could not see from either window. Once, fifteen years ago, I wrote in a cinder-block cell over a parking lot. It overlooked a tar-and-gravel roof. This pine shed under trees is not quite so good as the cinder-block study was, but it will do.”

— Annie Dillard, The Writing Life, 26-27

I call my study The Nook. It is a good space for writing. It is very small, warm, and easy to light since my desk is such a small space and I need not worry about lighting the rest of the room. There are good speakers there because I like to write with music, but The Nook is in the basement away from my family so that there are few distractions. But it is in the basement and so the window, a divided pane that I rescued from the curb on garbage night, looks out onto more basement and only a feeble light from the small window across that room.

Annie Dillard wants "a room with no view," and I get where she's going, but given the choice of Nook placement, I would move mine to the attic and have it be windowed on at least two sides. I would push my desk against one of those windows and keep the other to my side so that I could be part of the world I am imagining and remembering.

Billy Collins talks about writing near a window. Just a piece of paper, a pencil, and the window. The poetry is out there and in his head. It filters between and the window is as necessary to the writing as the pencil and paper, almost as much as the poet himself.

I am writing this in a classroom with students who are also writing. One whole wall of this room is windows. The heaters are on and the place is warm. The hallways are mercifully quiet. There are twenty-eight minutes left in the period before another group will come in and probably be less in the mood for writing than this one. Still, I'll find a way to get some words down on the page and screen.

There is no one writing space, not even for one writer. Dillard moved from a cinder-block cell over a parking lot to a pine shed on Cape Cod. While she prefers the cell, I would take the water and move the desk in front of one of the windows. While we have our preferences of work space, materials, and methods, I'm focused on being able to write no matter where, when, or how. Work spaces are good. They are important. Still, the only thing that matters is to be writing. To be making meaning on the page or screen as often and as well as I can. A good work space helps, but wherever I am, there I go, writing across each line and down each page.

---

The more important quote from Dillard comes five pages later:

How we spend our days is, of course, how we spend our lives.

Where is less important than what and how. I would submit as well that when the writing is done, who and whom become important as well.

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And then there is this:

During that time, I let all the houseplants die. After the book was finished I noticed them; the plants hung completely black dead in their pots in the bay window. For I had not only let them die, I had not moved them. During that time, I told all my out-of-town friends they could not visit for a while.

"I understand you're married," a man said to me at a formal lunch in New York my publisher had arranged. "How do you have time to write a book?"

Sir?

"Well," he said, "you have to have a garden, for instance. You have to entertain." And I thought he was foolish, this man in his seventies, who had no idea what you must do. But the fanaticism of my twenties shocks me now. As I feared it would." (37)

It's not the fanaticism of my twenties that shocks me so much as the fanaticism I still want to feel, that I imagine feeling, and that I assume will be necessary to do real work. I feel the fanaticism of someone on the sidelines knowing that to be out on the field I have to do little more than be living the game with every fiber of my being and to the exclusion of everything else. I know that fanaticism is foolish. I know thinking that way is a crutch to support my broken dreams. And yet I still harbor that fanatic kid within me and keep listening to his voice.

SU Women's Basketball Game

With the family at the Carrier Dome where the SU women handily beat Bucknell. Go Orange! Go Family!

Choose The World You're In

Austin Kleon wrote a piece today worth reading entitled The World's More Interesting With You In It. The gist is that we are too eager to delete/unfollow people and all too willing to take ourselves out of the world. It got me thinking about having left social media.

I left Facebook and Twitter in August and have not gone back. Kleon writes, "Don’t disappear on us. Don’t cancel your own subscription. Stick around. Keep going. The world is more interesting with you in it." He's not necessarily encouraging me to return to social media, but I've been told that there are people who miss me some on those platforms. Should I try to make Facebook and Twitter better places? Is there value in me doing that?

The problems with Facebook and Twitter are that I don't respect their corporate values and they don't provide me sufficient value for my investment. I don't "connect" with "friends" and "followers" as much having left those networks but I'm working on that finding ways to connect with friends and make new friends. I've only made the slightest headway but it's a work in progress.

Withdrawing from the world might be a mistake though I've read a couple good books that say otherwise. Thoreau, who famously moved away from the world but also stayed in contact with it is a model of how to move in a direction that goes against or perpendicular to that which most everyone is following seems to me a very good idea. We have to choose our worlds carefully.

I'm happy to have deleted myself from Twitter and Facebook. I'm happy to no longer be in that world because it was a source of more unhappiness than contentment. Here in the real world I withdraw often in order to create something that I then bring back to the world, to others and, I hope, make this world a little bit more interesting.