Where’s home for you?
Me, here: a dynamic attention brought to the moment, composing the writing-to-be as close to the impression as possible, allowing no thought—that officious intermeddler—to fill the space into which innocent material will be given, new, as if this moment has never happened before:
…there is a silence, not filled too quickly, lest the response be shallow, ordinary, known. Go there with a new question … go there.
The spotlight’s on in the backyard; the light in the bedroom’s off. I watch the wind, made visible by snowflakes. Expect 8 to 10 inches tonight, we’re told.
The word driven comes to mind–snowflakes driven down like rain, perpendicular. Or pulled down like gravity on meteorites–white, dragging their neon ribbons. Then a change in the mind of the wind: snowflakes waft like May flies in a swarm, short-lived. Then that testy wind laughs. A cyclone in white explodes in silence.
I think of other silent spaces.
There’s the silence in some books. In Marilynn Robinson–I’m thinking of Home or Giliad–and I imagine her writing new lines early in the morning, before she uses language for anything else. No talking, no listening to others talk, no listening to herself talk. You know, that associative chatter in the head. Just stillness. Essential to craft. She places pockets of potential silence at the end of sentences, of paragraphs. Can you see them?