Dear Writers, wild ones, For 2019, how about we give a load of stuff up? Let’s bring THE END to the things that aren’t serving our writing. It’s easier to do it together, don’t you think?Read More
A year ago, a stooped 27 year-old man came to me for poetry tuition.
He had a mop of black hair and smelled of spirits. He came because his father had read my CV, and thought, that with my qualifications, I might be able to help his son.
Jed told me that all he wanted to do was to be a poet, but ‘nothing comes out right’. He didn’t care about my qualifications, but he liked the concept of writing ‘Wild Words’. He said it would be nice to feel like a wild animal when he wrote, but instead, he usually felt more like his little brother’s hamster, going round and round on its wheel.
As we talked, he asked me crossly why I hadn’t yet asked to see his writing, and motioned to the groaning backpack sitting at his feet.
But I didn’t need to look at his writing to understand what was going on, I only had to look at his body. His skin was sickly white. His hands were blue with cold, even though the room was warm. Sometimes, when he told me about the subject of his poetry, colour rose in his cheeks, but it was quickly followed by a deflation of his body, and a draining of colour. And then of course, there was the smell of alcohol.
He asked me, even more angrily, why I hadn’t asked him for the reasons for his ‘writer’s block’, the reason he couldn’t write well. I said that I was sure he already knew the reason, and that he’d probably already thought through it a thousand times, to no avail. I was going to try a different approach. He looked sceptical.
He told me the reason anyway. Apparently, his father was a well-known poet. ‘I’m scared that I will never write like my father’ he said. ‘And it’s seizing me up’.
I asked him then to remember a time when he did write well, when the words flowed.
He told me about a writing competition he had won when he was twelve. I invited him to close his eyes, to remember that experience, and to see how it felt in his body. He told me he felt a warmth, a relaxation spreading from his chest out through his limbs.
Next, I asked him to think about a time when he sat down to write but felt blocked. Where in his body was that physical sense of block? He told me it was in his stomach. At this point he started telling me again about his fears of not matching up to his father’s success. I told him not to think, but to just stay with his bodily experience. If he scanned his body, despite the feeling of block in his chest, was there a place where he still felt the warmth or movement from the writing competition experience? He said yes, there was. It was in his hand. I then got him to move his attention back and forth between his stomach and his hand, touching into the block, and then back again to a place of relaxation.
Through doing this in the session, and by practicing it at home, he gradually found that he could pick away at the edges of the feeling of block his stomach, and integrate it with the feeling of flow in his hand. Eventually that enabled him to find flow in the whole of his body. This process led spontaneously to writing ideas flowing from his body on to the paper. He was an unblocked writer.
The day this happened, he called me immediately. He was excited and laughing, but also confused. He told me, ‘I’m writing, the words won’t stop coming, but now I have another problem, I’m writing a comedy screenplay, not poetry. That’s not what I want to write. I’ve always wanted to be a poet’.
The psychotherapist Peter Levine has a saying- ‘The body knows’.
This is what I told him. Your body knows what it needs to say. From then, my work with Jed, which lasted six sessions, became about helping him to find his own voice, rather than meeting his father’s expectations, or trying to follow in his footsteps.
The Weekly Prompt
Write a 1000 word prose piece, or a poem, using the prompt ‘The Body Knows’.
As always, I’d be delighted to read what you come up with, if you’d like to send it to me.
This article was first published on the 29th November 2013
As human beings in modern society, we no longer live in an environment where we are called upon to use our instinctual drives- to respond physically to danger, or to pro-create in order to survive.
We crave that sense of flowing energy, of aliveness. Unable to access this it, we try and use our rational minds as a substitute. They make a poor substitute. Human minds have a tendency to over-activity. They scroll repetitively through the same issues. They overanalyze, they worry, they are anxious. Imagine, for example, you are writing. Just as you feel the words start to flow, the telephone rings.
Instead of taking pro-active action to either answer the phone and deal quickly with the caller, or, to ignore it and carry on writing, the thoughts proliferate. I wonder who that is? Should I answer it? If I answer it that’s the end of my writing for the day. But if I don’t answer it, well, it might be Jimmy needing my help, or Gran, or it might be that new neighbour locked out of her house. I’m not sure what to do. Damn it, I’ve wrecked the writing now anyway! And round we go.
All this rumination uses up energy that could be channeled into the action of writing. It also keeps us trapped in a loop of hyperarousal that is not fulfilled. We freeze in body and mind. Energy is not released on the page, but remains trapped. The story cannot form itself fluidly and naturally. The words do not live on the page. Instead they mirror the state of our body and mind. They are static and lifeless.
The experience of being frozen is commonly referred to as ‘writers’ block’.
Some of us know the extreme form of this, when we unable to think, to get our hands to move on the keyboard, or when we stare for hours at the blank page. Many more of us, however, experience it in more subtle ways, as a sense of creative frustration, or just as an inability to get power into our writing.
The Weekly Prompt
Thinking of writers’ block as a physical, rather than a mental state can help us to address it. When you next write, notice any moments when you feel ceased up, frozen, or static in your body. Conversely, also notice any times when you feel movement, or flow in your body. This is the beginning of the process to free the wild words.
This article was first published on August 22nd 2013
Drifting. Twisting and spinning. Floating. Riding invisible currents in soft blue skies, being carried by invisible forces towards unknown destinations, no questions asked just going. Moving forwards. Not in a linear fashion, but with unexpected drops and falls, only to be pulled upward again before being suspended by tiny hidden threads and dancing on the spot. Enjoying the moment. I was enjoying this moment, I stood silently watching, mesmerised by the tiniest of dandelion seeds, a tiny feathered speck in a vast sea of sky.
It had caught my eye as I ambled along the roadside, a sudden movement, a spectral flicker that danced before me and held my attention much more intensely than the passing traffic. In fact, the steady whir of cars had melted away into some other forgotten universe, along with the music of every-day life; phone calls, incessant chatter, methodical machinery. This seed was dancing to a different tune. A tune that began to fill my ears, hesitantly at first, a twitter here and a low rumble there but it slowly built. The melancholic melody of the blackbird mourning its song that is stolen away on a wind that whispers its remnants through the leaves. Another layer of sound appeared in the form of insect’s wings flitting through blades of grass, as they gingerly stepped on flower petals that nodded in acknowledgement of their presence. Still steadily building. Swallows chattered overhead, their melodies mixing with the piping call of a dunnock from the hedgerow, the wind continued to swirl through everything, bringing all the songs together into such a crescendo that I was certain I could hear the scratching of snails slithering in the grass below. I was bathed in a cacophony of sound and light, vibrant greens and illuminated blues – all because of one delicate little seed, that kept on trundling forwards.
Suddenly I was aware of my feet. The soles I had taken for granted for so long were claustrophobic in their cages. They were yearning, aching to connect with the flat, warm earth below them. It was as if they were being called back to the soil, to take root. I let them. I released them into the light and let them sink back to where they belonged, into the earth. Rooted to the spot my mind was free to travel with the dash of life that still delicately danced in front of me. Together we travelled high over rich green fields, high enough that the fields revealed to us their secrets hiding in the shivering grass. Secrets of earth dwelling creatures; hares that lay close to the soil with blazing amber eyes. A soft summer breeze carried us further still, this time through the shadows of huge mighty oaks. The trees stretched and twisted every limb and digit upwards, aching to point out the buzzards that wheeled on thermals above.
On and on we went through fields, across streams and rivers. I felt the salt of sea air on my skin and felt it fizz and crackle as it was dried by the sun. From that spot on the pavement, rooted to the earth, I saw all the elements, felt all the earth had to offer. It raged through my blood and boiled around me. This guttural need for nature, for wild, for a connection to it all. A constant seeking force, that I know would never be truly satisfied until I learnt to root myself in one spot and connect with everything from there.
The seed wouldn’t be able to travel forever to find what it needed, it would just stop in the right place. Now is the time to take root, it would think, here is good. Granted, some seeds travel farther than others, some spin and whirl, others take their time to find the right spot, and there are some that just know where they are going to go. There are also seeds that will never settle fully, they undergo arduous journeys across vast expanses, tentatively testing the surface to find the perfect spot. Sometimes even when they find the perfect spot some unforeseen energy moves them on and forwards again. Forever searching. Eventually they are all grounded in one way or another. Their guttural need overrides them, and they need to sink their feet deep into the earth. Ready to grow into something spectacular. Ready to undergo a process of change.
I’m like a seed. Willing to grow. Wanting to be at one with the earth. I long to reach my fingers down into the dark loamy soil, to plant myself deep in the earth and wait to see what grows. Will I take root and hold onto my surroundings, gripping them for strength and comfort and vitality? Or would I perhaps be like the dainty dandelion seed, blown forth on a whim and carried forward by an unseen entity, taking in all the ups and downs, twists and turns. Will I enjoy the moments I am suspended in before I am carried forward again? Moved on to be closer to the place that I will take root. Will I tolerate the uncertainty of not knowing where my roots will be? There is a chance I might never touch down, may never make contact with the soil but instead be flung out and onwards. Stolen on the wind like the blackbird’s song.
Jeni was the winner of the Wild Words Summer Solstice Competition 2018. Below she describes her creative process…
Sometimes my words come together easily, other times they hide in dark, remote, innate places that I didn’t even think I owned. Sometimes they need coaxing out, teasing and bribing and guiding, gently with reassurance. Sometimes they don’t come at all.
This time they raged, like a river in spate; frothing at the edges, desperate to reach their final destinations. The torrent picked up all the words it could find, forcing them out into the open before spitting them out in a tangled mess on the page. One big jumble. One big relief. They were there, they were out. All that was left now, was to pick through the deluge and make sense of it all.
Apparently, there were things that I needed to say. I guess, you could say I was feeling the conflict of my own situation; currently touring the U.K in a campervan, with my other half and our dog, and wondering how I could find some way of grounding in this existence. I was so drawn to the notion of being wild and free, travelling to find what’s out there but also the idea of growing roots as well. I knew I needed a way to ground myself on such a journey and the seed title leapt off the page at me.
I had a vague direction that I wanted the piece to go in and I could visualise the journey of the seed drifting away over forests and fields. I kept visualising my hands and fingers covered in earthy black soil. The cold, clammy dirt accumulating under my finger nails, the ache for a physical connection with the earth. But that was it. My plan went no further, and it wasn’t until I was sifting through my linguistic debris that I put together the idea that roots didn’t need to be an attachment to one singular place but an attachment to nature as a whole.
Writing this piece helped me to come full circle and find my love for writing again, it stopped me from hiding my words and gave me the courage to get my wild words out there and be heard. To make my connection with nature, to plant my seeds in the soil and watch my words grow with them; tall and strong and truthful.
Thank you for letting me share my first wild words and for helping them grow.
Hard Time Moon
We know it tires you. Wrapped in all that red; the red tent and the red sleeping bag and the red warmth; wrapping up the blisters, the damp drizzle that seeped through your rucksack into your clothes; burrowing into dark like a lemming, drifting through sleep not finding it; mapping out your route on the inside of your eyelids, for distraction. Perhaps you are deaf to us: the echoes of generations and civilizations drifting down from the moon, sticking like frost to the outside of your tent. Perhaps we are dead to you: bone splinters trampled into soil by your walking boots, again and again. Know then, that we are more than that. We are the spirits who sift through your waking dreams and thicken the air with our mutterings. We are the pathfinders who cloak ourselves in answers.
Listen. There is a path up the eastern hill, made by herders and hunters throughout the years. It is the least steep of all the paths, you must take it but beware of slipping in the grass, for tomorrow this drizzle will turn into rain. You will reach a rock after the first incline. A stream runs down it from the second incline and spills down onto the ground, where it forms a puddle. If you rest here a reindeer herder will appear. He carries a drinking mug in his hand and fills it from the water cascading over the rock. Ask him for the safest way. He will ask for your map in return, for there is no need for a map on a mountain. You will get it back if you agree to pick a petal from every flower on the mountain, and give him the petals at the end of your journey. You will accept. The herder will point you the safest way: due northwest along the second and third incline. Trust the arctic heathers; the flowers will bend their heads to the wind in the safe direction. Follow the heather to the fourth incline, where the grass shifts to stone. You will see a flat stone half way up the incline. If you rest here a hunter will appear. He carries a dead ptarmigan strapped over his back. Ask him for the safest way. He will ask for your compass in return, for there is no need for a compass on a mountain. You will get it back if you agree to count the stones in every cairn of the mountain and tell him the number at your journey’s end. You will accept. The hunter will point you the safest way: eastnortheast along the fourth and fifth incline, then across a snowfield. Trust the cairns, they will guide you past the loose stones and the sinkholes under the snow. You will see a field of stone beyond the snow. If you rest here, a wise man will appear beside you. Ask him for the safest way. He will ask for your watch in return, for there is no need for a watch on a mountain, even without the sun. You will accept, and the wise man will tell you that the safest way is determined by your eyes. Flies will spurt out of his mouth as he speaks, and when they are dispersed he will be gone. Now you must turn your whole being into an eye. See the mountain lift the mist over its head and give you itself, in all its pathways.
You reach the summit. There is a cairn on the western side, which juts out over the cliff and points towards the Bluehammer mountains. It is two metres tall and one and a half meters wide. A banner in the Sami colours, red, blue, yellow, white, is wrapped around it. Take a rest here. Perhaps you will wait for the men to come. We know your people: you map endings into summits, always forgetting that where there is a way up, there is a way down. You will wait for the men and curse their lateness, measure the sun’s progress through the sky and count the inches your shadow grows, until you lose patience, throw the petals to the ground and kick the cairn, dislodging a few stones. You stomp down the hill, thinking of the red you will wrap around you at the bottom, by that river down there, a silver lining cutting the wood in half - until another red, sharp like reindeer blood, slices your red thoughts to bits. You have slid on a rock and hurt your foot. You cannot put your weight on it. You limp across the stones, skirt across the snowfields. You follow the reindeer. The bulls have shed their antlers on the rocks and you tie these together to form a stick. You make it down to the river. Three men sit on the shore.
“Show me the petals,” the herder will say.
“Tell me the number of stones,” the hunter will say.
The wise man will say nothing.
You will say: “I lost the petals and forgot to count the stones, but I have this stick made of antlers.”
The wise man will stand up. You see now that he has a limp. He will take the stick and put his weight on it. “This stick is good for walking. You have passed the test.”
“But I lost the petals and the stones.”
“We knew you would. We knew you would forget about the mountain and think only of sleeping in your camp at night. We knew you would fall, and be forced to work with nature to find a solution. You have learnt your lesson.”
The men will hold out their hands, and present you the map, the compass, and the watch. They will laugh. Flies will spill out of their mouths as their contours blur. Three will become one; one will become none.
Josephine was a runner-up in the Wild Words Summer Solstice Competition 2018. Below she describes her creative process…
The first draft of ‘Hard Time Moon’ was originally the product of a writing exercise in class during my MA in Creative Writing at the University of Birmingham. We were studying narrative sequences of prose proems, and had just been reading John Ash ‘The Road to Ogalma’ from his collection The Branching Stairs. Our teacher gave us ten minutes to write something inspired by the piece, within the themes of navigation, discovery, and the idea of the quest.
I jotted down the first thing that came to mind. A wanderer struggling to find a way up a mountain, asking the locals for help. As my assessment for that module, I’d chosen to write a sequence of walking-themed poems and prose poems titled ‘Footprint’, so I was using the writing prompts in class to get ideas for new poems and prose poems for the collection.
As I started proper work on the piece, it became evident that it needed to end with a moral message. Like in a fable, the protagonist had to be taught a lesson. A keen hiker myself, I felt it necessary to convey a message of respecting and getting to know nature. Too many times out on the trail I’d seen rubbish strewn across moors and mountainsides, or people marching from hut to hut in two days without getting to know the landscape. Too often I’d heard on the news about people attempting to “conquer” a mountain unprepared, and being picked up by mountain rescue. My piece, then under the working title ‘The Road to Mount Helags’, would be my way of asking people to treat nature with respect.
In order to convey this message, I made the mountain as a character increasingly alive throughout the drafts. The tone became more ambiguous, conveying the idea that nature to a certain extent will always remain unknowable to us. Whenever we venture into the wild, we are nature’s guests, there at her mercy. We do not “conquer’ mountains, but the mountain allows us to reach the summit. The Sami and the obscure tasks they give the wanderer can be interpreted as manifestations of the mountain’s natural and spiritual power; ways of showing that the wanderer is there only on the mountain’s terms.
I am delighted and grateful to Wild Words for this opportunity to share my piece with a wider audience.