Posted on February 19, 2017
“There is no greater agony than bearing an untold story inside you.” –Maya Angelou
On a February Sunday in 2016 I sat calm, spent on the shore of Sidi Kaouki. Two of my closest friends, Kate and Ritchie, were with me eating salads by the sea. We were aware that our time together was short—a hazard of expat life that bonds people fierce and fast. I had told the school I wouldn’t be returning to Morocco in the fall. When offered another contract, I was tempted to stay longer because leaving the kids, friends, and country would be so hard and no job had opened at home. But I missed my kids and though they were adults, I felt they needed me.
We had completed a writing workshop at the Blue Kaouki hotel in a rural area twenty-five miles south of Essaouria. Jason, a writer and our co-teacher, had led the workshop of faculty members. He and his fiancé often surfed at the quiet beach town, so we stayed at their usual hotel, which had a terrace and sunroom where we could meet shielded from the February wind.
We had left school on Friday and while the ride through the rural countryside was beautiful, my gut churned. A policeman stopped the van and climbed aboard, asking us one-by-one where we were from and where we were going. Satisfied with the driver’s papers and our answers, he waved us on. I checked my phone again to see what was going on, and it seemed a terrorist cell had been discovered and members had been arrested near there a few days earlier. Even so, this was not what upset me. After living in Morocco almost two years I knew the country’s vigilance against terrorism — the teamwork of the people and the police meant eyes and ears were always protectively watching and listening. No, I was worried and felt sick about what was going on at home.
My plan had been to return to the same address of twenty-one years after my time abroad, but circumstances had left my house standing empty for a couple of months. I’d hoped to get a renter until I could move back in late June, but no one was interested in such a short lease. I couldn’t afford to let it set empty until then, and I didn’t want the stress of renting it for a year, leaving me with nowhere to live. Given the upkeep of a large yard and an old house, I wondered if it was time to downsize. After months of praying and discussing with my family, it seemed time to let it go.
In 2014 before I left the US, I read an article written by an expat that said there would be great gains from living overseas. I knew I was meant to go to Morocco, but the article said there would inevitably be losses, too. I never dreamed our family home would be one. Today, almost a year since the house sold, I am thankful and believe God worked out all things for good, but I still sometimes wake from dreams where I’m on my deck with my dog or in the kitchen with my kids, and my heart hurts. A year ago… the heartbreak seemed unbearable.
The Crazy Child is an aspect of your personality that is directly linked to your creative unconscious. It is the place in your body that wants to express things. It may want to tell jokes, to throw rocks, to give a flower to someone, to watch the sunset…
To convulsively weep and throw up simultaneously? I wondered, hoping so, because that was what mine was about to do.
The Crazy Child is also your connection to the past. Everything in your genetic history, your cultural history, your familial history, and your personal history is recorded in your body—in your nervous system. Your Crazy Child has direct access to it all. Everything you have done, and everything that has been done to you, is in its domain…
When the Crazy Child writes, it’s a raw, truthful part of you that reveals itself. It has not been civilized…Your Writer and Editor …are valuable aids to writing. But the Crazy Child—your creative unconscious—is the source.
I had thought the workshop would be good for me. I was thankful for a chance to focus on creating something rather than losing everything.
I knew the “Editor”—the critical voice—all too well. It always spoke in “shoulds” and kept reminding me that I should be home in Tennessee this weekend, though logic told me there was no way I could get there and back from Africa in two days. So when Jason sent us off to write from our Crazy Child—not the Writer who wants to organize or the Editor who wants to polish—I felt relieved. Alone I could cry and cleanse my stomach of everything souring there. There would be time to revise the draft others would see later.
When we reconvened I felt weak but better. The dry heaving had subsided. But then, to my horror, Jason said we would share THIS PIECE…NOW. To reassure us, he read from Bird By Bird written by one of my favorite authors, Anne Lamott, on the value of what she calls “shitty first drafts”:
Now, practically even better news than that of short assignments is the idea ofshitty first drafts. All good writers write them. This is how they end up with good second drafts and terrific third drafts. People tend to look at successful writers who are getting their books published and maybe even doing well financially and think that they sit down at their desks every morning feeling like a million dollars, feeling great about who they are and how much talent they have and what a great story they have to tell; that they take in a few deep breaths, push back their sleeves, roll their necks a few times to get all the cricks out, and dive in, typing fully formed passages as fast as a court reporter. But this is just the fantasy of the uninitiated. I know some very great writers, writers you love who write beautifully and have made a great deal of money, and not one of them sits down routinely feeling wildly enthusiastic and confident. Not one of them writes elegant first drafts. All right, one of them does, but we do not like her very much. We do not think that she has a rich inner life or that God likes her or can even stand her. (Although when I mentioned this to my priest friend Tom, he said you can safely assume you’ve created God in your own image when it turns out that God hates all the same people you do.)
For me and most of the other writers I know, writing is not rapturous. In fact, the only way I can get anything written at all is to write really, really shitty first drafts. The first draft is the child’s draft, where you let it all pour out and then let it romp all over the place, knowing that no one is going to see it and that you can shape it later. You just let this childlike part of you channel whatever voices and visions come through and onto the page. If one of the characters wants to say, “Well, so what, Mr. Poopy Pants?,” you let her. No one is going to see it. If the kid wants to get into really sentimental, weepy, emotional territory, you let him. Just get it all down on paper because there may be something great in those six crazy pages that you would never have gotten to by more rational, grown-up means. There may be something in the very last line of the very last paragraph on page six that you just love, that is so beautiful or wild that you now know what you’re supposed to be writing about, more or less, or in what direction you might go — but there was no way to get to this without first getting through the first five and a half pages.
Normally the “Mr. Poopy Pants” part would have made me laugh, but I just wanted to cry. Again. I felt as I had so many years ago—naked and exposed. My paper was worse than undigested food mixed with stomach acid. Following Anne Lamott’s lead…I told Jason my draft was not only shitty. It was liquid diarrhea. How could I not clean it up? It was sure to smell up the place. As the sharing began I realized I had no other choice but to let it go. To let her go. My Crazy Child would wait her turn, then share like the others.
One-by-one we read. Around the table our crazy kids showed themselves. They were from Canada, France, Australia, The Philippines, England, and the US. Collectively they made us giggle, laugh, nod, sigh, and weep. We asked them questions and repeated back their words—their wisdom, their courage—as their writers took notes. When I finished reading, some were crying and Ally, our guidance counselor and one of the most sensitive souls I’ve ever known, got up, walked over, and hugged me from behind. We all left lighter that day because we carried home something of substance—of ourselves and of each other. Our sharing made us vulnerable, and for that we left stronger.
Yesterday I saw on Pinterest writing prompts my daughter had pinned. She and her brother are doing great, and that makes me happy. Recently I took the online class by Brené Brown, The Wisdom of Story, and have finished the first chapter of the memoir I’ve needed to write, it seems, my whole life. I get up at 5 AM before work and continue after school till I can work no more. Glennon Doyle Melton, Brown’s co-teacher, says we must write from our scars, not our wounds. This morning I reread what I wrote at the workshop a year ago. It was stream-of-consciousness–the gushing flow of multiple losses over many years, allowed to surge when the locks were lifted on the dammed pain. It will be there– in my book—because it covers chapters, decades, of my story.
In some ways I’m where I was a year ago. And not. Then I had no idea I’d end up teaching in The Dominican Republic. I’ve told the school I’ll be moving home this summer to be with my family, though no job has opened there. Whatever happens, I know I’m to continue working on my memoir and that my Father loves and has a plan for this Crazy Child, Gypsy, Writer, and Southern Mom–all me.
*I know many of you have told me you want to write your story, too. I have also found these resources to be helpful:
Story Structure to Die For: P J Reece–an alternative plot structure
Anything by Laura Fraser–her memoirs serve as great models and she mentors, too