CREATIVITY
|
Book
of Moments
by
Shelley Berc
Paumanok
Review
If
I were to tell you how I write it would be like describing the
formula of a tragic love story—the excitement of the first meeting
(the conception of the idea), the first kiss (beginning of the actual
writing), the relationship (the passion and struggle of making the book,
sentence by sentence, page by page), and the inevitable destruction of
the romance (the ending words of the book and the book then lost to its
maker forever). This metaphor would be true whether I was writing a tragedy
or a comedy. It would also not be true because writing a book is not as
sure and known a quantity as a classic tragic love affair—not my
books anyways or my peculiar meandering process of writing. I believe
a book is made up of the moments we spending looking around at our strange
and eclectic world and that these moments of seeing are a kind of reading
which is the real book of every writer—the one she must read in
order to write herself. The writing of individual books is actually
tangential to the true book, which is a form of touching with the senses
upon every inch of everything that is. As I write this I am aware of
the waves (I am at the sea) Greek music on the radio in the background,
the restaurant cat rubbing up against my legs as he begs for food, the
quality of the late afternoon light and the high pitched little girl
whines of the Americans at the table to my left. These will all, whether
I like it or not, find their way into the book I am writing at the time,
(though most often in heavy disguise or denial). It can’t be helped—they
are the fabric of my writing space. But most of all-- and this is what
draws me to writing—I am aware of the soft firmness of the keyboard
beneath the fingertips and the excitement and curiosity I feel at what
might come out of my hands and this board—what surprises, what
things I do not know, what transformations of all that I sense in the
immediate world around me.
I believe books are made up of minutes of acute awareness and so each book is a book of moments. The book of moments is created in time—the minute by minute tapping of fingers on a keyboard-- and out of time—the world of the deep-mind, which has no sense of hours and minutes. Each time I write a book, a play, an essay the work is dependent on two things:
1) Seeing
an image or an idea or a sound and
2) Stopping everything I am doing it to give it my full attention.
Each moment is filled with such images that are sparks of wonder. They
can either be passed over or attended to. That’s the only real decision
that an artist ever makes—listen up or ignore. Art comes from the
moment-to-moment attention paid to vision and its patient transcription
and/or transformation by the see-er. Some days its almost impossible for
me to move rationally through the day, getting things done including writing
because I am experiencing such an explosion of sight. Seeing is what makes
me crazy to create; it can also make for serious attention deficit disorder.
To be en-tranced or en-chanted by sight, like love, can make it impossible
to get anything done.
I see a white day lily growing out of a cracked white clay pot and my
mind like a camera flashes the image into me, as if I am inside the lens
of the camera. And there the image physically seems to explode. There
is such an urgency to this sensation of upheaval that the scattered bits
of the original vision must find their way back out again or destroy me;
and that journey out is the making of story. The image once exploded within
must out and that is the reason for the urgent fingers upon a keyboard
and the books that will come from image after image piled up, encircled
by the artifice of form that gives them a structured garden to live in
and flourish. The first lesson a writer learns is that once the image
is absorbed in the way I am alluding to, it cannot be disregarded, passed
by like any number of things we pass by each day so we can get on with
our lives. If we ignore these signs, therein lie frustration, bleakness,
terrible anguish and probable paralysis for the writer.
The separate images, fragments, sounds, snatches of conversation of each
day we are alive form a mosaic--a journey map that manifests itself through
me, the writer, as the elements of story. To another artist, the transformation
of impressions might manifest itself as a dance or a musical composition
or a painting. In the process of alchemy all artists share a common cauldron
called life. But how we mix it up, is a matter of wild differences which
has always amazed me because our tools—paint or paper or bodies
in the air--are really quite finite as is the time in our lives we have
to do our work. As it is I often feel that I am not so much writing as
painting. Letters, words, sentences, paragraphs, chapters! These are my
colors, my textures, my brush strokes echoing the moments of sight.
Moment: Man moves round white table off a beach as white sea gull flies
off from a cliff at the same time.
The intersection of these two unrelated events creates the hole which
human imagination in its quest for connectedness attempts to fill in.
The machinations of this drive to make sense, to derive causality between
gull and man lifting table, not to mention the common color white, is
the root of story telling. The double image of bird and man and their
props—table and cliff-- create movement or action, which is the
raison etre for story. In certain stories, especially those built of the
mosaic of moments, it is hard to distinguish landscape from action, character
from environment, music of language from the arc of meaning of the story.
This is because such story telling is based on the natural phenomena of
the web formation which is really a series of interconnected spirals or
labyrinths. A writer envisioning in this manner is replicating the journey
of the hero (herself a human spiral of double helixed DNA) which follows
the rocky road of the maze; in this case said maze is an obstacle course
of characters, images, philosophies, songs and possibly even apple pie
recipes. A writer writing in this manner is in love with life’s
riddles and would sooner have a new one to solve than have the answers
to those already set before her.
I write to discover things I don’t know. For me writing is a kind
of reading, as I have said, of moments--those chosen moments when one
stops the action of real life to see deeply into one particular sound
or image, thought, or memory. Writing then becomes its twin—that
is reading, which is a form of seeing that stops time and life to turn
them into another kind of time and life—that of the imagination.
Artists tend to read nature, read humanity, read the divine as if they
were books. When I read this book of life, I am drawn to put my interpretations
and my reactions down in words and so another book is written out of the
life book seen and absorbed, exploded within the writer’s body and
poured back out into the creation of a new book which I happen to call
mine.
My books settled comfortably on a shelf always unnerve me. They never
seem real to me and I surmise that probably they are not. The real book
is invisible—the book of moments that has a thousand titles and
a thousand stories, some written, most merely dreamed while walking down
a street and seeing-in-passing a day lily in a cracked flower pot waiting
to be read.
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