Hello, 2022 ... and all of you here to see it. It's been a trip, huh?
Just before Christmas, in a final furious week of drafting, I finished the first pass at a new novel, which I'm calling Dreaming Northward. It is, as I expected given the brisk pace of my finishing kick, both a fully satisfying arc and a manuscript that needs a lot (A LOT) of work. That's how these things go, at least for me. I write them to see I can get from here to there, then I spend a lot of time cogitating on what I've done, then I rewrite to more fully expose the story I think I'm trying to tell, then I revise, revise, revise to really hone whatever it is that I have. (Followed, of course, by even more editing if—knock wood—the thing gets published, followed then by a beautiful, finished book that I immediately wish I could have another crack at.)
Anyway, I hope to share it with you ... sometime. Probably 2023. We'll see. A lot left to do.
I mention this because my friend Jeff Deck reminded me of something on Facebook today. Here are Jeff's words, which are much more eloquent than mine:
I'm Random Penguin House author Jeff Deck, and I have an important message for you today:
Getting published by a major house will not make you rich.
It will not pay your mortgage. It will not clear up your skin. It will not get rid of those love handles.
It will not make you a bunch of friends, nor will it get you laid. It will not make your distant parent say they're proud of you.
It won't relieve you of the onus (and cost) of marketing your book yourself, either.
What it will do is get your book into physical bookstores. And potentially improve your chances of getting a second book traditionally published. But mostly it's the distribution thing.
Many people fix their eye — and their hopes, and their self-validation — on getting published by a major house. My wish for you is to recognize the value in your work no matter how it ends up being published, whether via the Big Five (Big Four?), a mid-size or small press, or self-publishing.
Recognize the value in it BEFORE it's published, too. The work you put into your story is real. The time you spent improving your own skills along the way should be recognized, and celebrated.
Goals are important for motivation. But you are "worthy" *right now*. And you will continue to be worthy every step of the way.
Writing is a long journey, even (especially) after publication. No matter which publishing route you choose. Belief in your own value — and a daily celebration of your own work and words — will sustain you along the way.
Every word is absolutely true, by the way. I often tell folks that they should celebrate having done the work as much as they celebrate anything that flows from that work. Sometimes, they think I'm bullshitting them. I'm not. The work is sustaining. The rest is ... the rest.
Received some lovely news yesterday. And It Will Be a Beautiful Life was the bestselling book for 2021 at my local independent bookstore, This House of Books. I'm grateful to the bookstore—where I'm a proud member-owner (it's a co-op)—for being such a wonderful supporter of not just my work but of the many, many fine regional writers who are doing such important work here. And I'm grateful to the folks, near and far, who bought a copy from THoB and kept the oxygen flowing to an independent bookstore. The cultural life in my town is much the richer for its presence.
If you'd like a signed copy of the book, THoB will be happy to fulfill that desire. Simply order online and mention in the comment field that you'd like it signed, and I'll hop into my trusty blue Toyota, drive downtown and sign it for you.
And, hey, if it's a paperback you want, I have good news:
The paperback version releases in May, and you can preorder through THoB (I'll be happy to sign those, too, once they come in), through your local independent bookseller (please!) or wherever you get books.
Dispatches from the staying-in-touch department ...
Will the pig run again?
I've written before about my occasional life in pipeline inspection — an association that inspired an entire novel — and had been looking forward to getting out there again in the spring, after the usual wintertime slowdown. Well, maybe, but also looking like probably not. The company for which I did work recently shuttered, and there's an industrywide slowdown, so I may be on the obsolescence end of progress (or regress).
I can't say I'm particularly heartbroken. Pipelines are a destructive, invasive way of delivering extractive sources of energy, and for the future of the planet, it's high time we develop alternatives that are well within our grasp but beyond our political will. On the other hand, there's a practical consideration: We already have the damn things, and we're using them. The job I did was essential to the safety end of matters. Let's hope that continues until we can pull those things out of the ground and return the land to those from whom it was stolen.
I will miss the travel to exotic (read: remote) locales and the chance to meet people in their natural habitat. But that can be enjoined in other ways, obviously.
I recently did something I should have done a long, long time ago: I joined the Authors Guild.
So here's where I cop to self-interest: I began to consider the possibility earlier this year when, quite apart from any involvement from me, my former agency descended into founder-vs.-founder contretemps and my meager royalties from long-ago books started showing up late or not at all. My former agent, also caught in the crossfire as her old shop melted down, was a champion and an ardent defender of my rights, it should be pointed out, and she got my situation squared away, for which I'm eternally grateful. But it occurred to me—again, when my self-interest was compromised, an entirely human condition that I'm trying to rise above—that in this whole solitary business, you have to grab a little solidarity where you can get it and stand strong with those who do what you do.
I'm also reminded of something wise I once heard said by A.W. Gray, a well-regarded crime novelist but better known to me as the father of my boyhood best friend: "The people who need unions the most are those who don't have them."
The rustling around of some of my writer friends tells me November is coming, and that means National Novel Writing Month (NaNoWriMo). And sure as the swallows return to San Juan Capistrano, someone (or several someones) in my circles will openly disdain the whole exercise.
If I wished to be casually dismissive of someone's point of view—to suggest that they haven't legitimately arrived at their thinking—I could certainly do that, but I think not hearing each other has caused us enough problems. My own view is that a communal writing experience, in which thousands upon thousands of people set aside some time and try to create something, is very much a good thing. Perhaps the attendant expectations often get wacky—no, you're probably not going to write a finished novel in a month, and no, laying down 50,000 words and "winning" NaNoWriMo doesn't ensure publication, and no, the act of drafting is not what it's all about—but the expectations aren't the toil or the making of art. You want to spend November trying to pull a novel out of yourself? Bully! Do it!
I won't join you, though, for reasons I'll get into below. And my getting into them might just illuminate what a NaNoWriMo participant can expect from the experience. On the other hand, what do I know and who am I to say? Well ...
1. I've Been There and Done That
In 2008, prompted by my friend Jim Thomsen, I committed myself to a month of writing and had what has turned out to be a dream trip. I drafted my first novel, what eventually became 600 Hours of Edward, in those 30 days. (Actually, it was 25. No, no, wait, it was 17 on account of the off-days; see the breakdown below.)
This, a bit regretfully for me, has become a sort of boilerplate in any account of my subsequent fiction-writing career. It shows up in reviews, gets asked in interviews, etc.: Here's the guy who wrote his first novel in 25 days and got it published and it eventually became an international bestseller and it's just that easy!
It's not just that easy. I've written nine books since then, not a one of them as commercially successful as the first, all of them better pieces of writing (in my estimation), and I've come to view what happened in November 2008 as a one-off, a writing project never to be replicated by me in quite that way again. I had an idea, I gave in to the mania of writing it as quickly as I could because of the format, and I had the good fortune of writing something that has connected more broadly than anything I'd written before or am likely to write again.
I'll take the win and say I've already played the game.
2. For Me, It's About Not Writing as Much as It is About Writing
NaNoWriMo's pitch to prospective participants is pretty irresistible: They say we all have a novel inside us. Commit yourself to finding out.
As far as it goes, a fine idea. And every November, people find their people, fellow writers who are trying to meet the challenge. There are supportive text exchanges and writing get-togethers and coffee klatches, and these are all wonderful things. Writing can be such a solitary, doubt-filled endeavor. NaNoWriMo brings community to the fore.
The thing is, writing novels has helped me learn to embrace the solitude. It's also made me realize that some of the best work I do happens when I'm not at the keyboard, pushing my word count ever higher. It's in the quiet consideration of things, reflecting on the characters and worlds I'm trying to create. It's in feeling the rhythm of the world around me and participating in it. It's in letting the well refill.
All of which is to say that ginning myself up for a writing dash in November is far less important to me than listening inward and doing the things I need to do to stay engaged with my work and with the larger life I have that supports it.
3. The Whole Word-Count Thing
OK, look, I get it: NaNoWriMo is selling "get that novel out," so there has to be an attendant metric by which you measure how successful you were in meeting the challenge.
Word count is just so lacking in so many ways because it puts the wrong objective forward. I can't speak for professional writers who disdain NaNoWriMo—by now, I should be on record as very much pro-the-spirit-of-NaNoWriMo-if-not-necessarily-the-way-it's-sometimes-applied. But many people who've spent a lifetime developing craft, absorbing rejection, trying again, getting better, breaking through will view word count as one of the least important things they do, far less vital than getting the arc right (which will, by its nature, produce the words), clarifying theme, achieving empathy, sharpening the prose, etc. That NaNoWriMo considers 50,000 words success can just feel a little thin when you know just how hard it is to write something worth publishing.
For what it's worth, here's how my word counts proceeded in 2008 (first number is the cumulative total, and the parenthetical is that day's work):
I look at those totals now and feel sheepish that I felt compelled to keep the record and to commemorate it. Why? It wasn't the total that was driving me; it wasn't the prospect of "winning" NaNoWriMo so I'd have a cool pixelated badge I could post here 13 years later. I wrote like mad because I had inspiration on the hook, and having never written a novel previously, I didn't trust myself to let it come to me in a more moderated way. I cannot conceive of an 8,000-word writing day now. I'd probably collapse if I tried it.
But here's the truth: I'm no less excited about my current project than I was about the book that became 600 Hours. I just don't feel the need to sprint. Thus, NaNoWriMo's appeal is lessened.
4. So What To Do?
This ain't a hard question. Do NaNoWriMo, if that's what you're jazzed about doing. Don't if you're not.
Whatever the choice, I'd urge reconsideration of what success is, in literary terms. Success is writing that story, in whatever way you do it and in whatever time it requires. That's it. It's a singular success that stands alone from getting an agent, getting a publishing contract, seeing your story in print, selling a hundred gajillion copies. Success is doing the work. Period. Full stop.
My buddy Jonathan Evison, one of the most talented and generous writers I know, wrote some number of novels and buried them in his backyard long before he broke through to publication. They weren't wasted effort; indeed, Johnny would tell you that work was foundational to everything he does today.
The man speaks the truth.
It's Sunday, September 19, and I'm on Interstate 25 in Casper, the nose of my car pointed north, toward home, a few hours away. I'm tired. My dog, Fretless, lies languidly in the passenger seat. He's had enough after a week away. So have I. Home, my wife, the cat—they all await. We have plenty of gas, had a bite to eat back in Douglas, fifty miles behind us. We have everything we need. The smart play is to get beyond this oil town and open up the cruise control a bit, see what this Toyota can do as we zip back into the emptiness of Wyoming and, eventually, get pulled into the embrace of Montana.
So, of course, I exit the interstate, pick my way through downtown Casper, find CY Avenue—I once called it, in a novel, "the spine of the Casper grid system," which may or may not be true—and follow its familiar path to where I turn off for Mills, a little town north of Casper, and as I do, the well-trod memories come at me again.
What I've come to see has been seen before, many times, and is likely to be seen many times yet, and if this particular side trip is taken as evidence that my life is in reruns, I will say only this in disputing that notion:
Context is important, in all things and especially in this: I find it instructive, or at least perspective-granting, to be reminded of the life I might have had so I can better appreciate the one I'm swimming through.
It's Friday, September 24, the day I'm writing this, and I'm reflecting on a spontaneous turn in a phone conversation with my mother this morning as we talked about other things. We talked, quite organically, about a decision she made for both of us in 1973, my third year. I was a capable kid, even at that age, blessed with an ability to carry on conversations with adults, but this matter was beyond my perception.
She didn't want to live in Mills, Wyoming, anymore. That was surely half of it. The other half was that she didn't want me to live in Mills, Wyoming, anymore. She looked at the present, our life with my father there and what it seemingly held for us, and she projected out her future and mine and didn't like where those lives seemed likely to end up, and she did something about it. She took us out of there, into life with a man she'd met that year, the brother of her best friend, a man who lived in Euless, Texas. Not that it's anyone's business, but they hadn't had an affair. They'd had a connection, a chance meeting at a party that turned into a deep conversation that blossomed into a friendship and has become a nearly 48-year marriage.
We talked about it this morning, Mom and I, this decision that with each passing year strikes me as more and more brave, more and more essential to both of us (and now to so many others—generations of others), more and more the line of demarcation, in strictly selfish terms for me, between where my life was pointed and where it ended up.
I can see now, when I'm more than two decades older than she was then, how much gumption it required for her to do what she did. She was alone there, much of the time. She was 28 years old, and while Dad might not have represented maturity or loving or grace (I love the man, but let's be honest about the limitations), our prospects there were much more certain than they were anywhere else. There was a home well on its way to being paid off, an ascendant business, money in the bank. It would have been all too easy to stay. Many people have stayed for less.
Mom saw the future and she left. I'll never receive a finer gift.
So, you see, Mills, Wyoming, is actually a bit player in this what-might-have-been contemplation. It wasn't Mills we were escaping so much as who was there and what our life was there. It could have happened in Moline or Schenectady or Topeka. Could have, but didn't.
This is, at its heart, a human story, a story of a boy with three parents who've imprinted him in wildly varying ways.
I love my father, a love that shines through my struggles to understand him and his to understand me. It's a love strong enough to withstand my suspicion that my start in life would have been less than it was had I finished my growing-up years in his house. The math of that situation is inconceivable to me, given the way it all went. It would have been Mom and me in some kind of alignment agaInst the gravity of the way he is, the work that was always taking him away from us, and the instability of the home we were living in. I'm certain Mom's decision all those years ago hurt him. I'm also certain, if Dad can access clarity and honesty, that he'd say it needed to happen. For all of us.
And what can a boy like me say about his mother that hasn't been said in better ways by better thinkers? She is pure love when it comes to her children and her children's children, but to leave it at that misses the fullness of who she is. At an age that seems to me, now, to be impossibly young, she was relentlessly wise. She had aspirations for herself (and has them still). To my ongoing gratitude, she could see a time coming when her son would have them, too.
In so doing, she brought me into the sphere of the man who became my stepfather. Back then, he was a 31-year-old sportswriter at the Fort Worth Star-Telegram, a man who had his own broken first marriage, a son, and regrets. He also had a shared hope with Mom that they could make a go of it together. I can scarcely remember a time before his presence in my life, and he has never, not once, treated me as anything but his own. That has made all the difference.
I go back to Mills to remind myself that it could all have gone another way. Could have, but didn't.
So what do I make of Mills, all these years later?
I think it would be presumptuous of me to make anything of it beyond my sliver of experience there. It's steeped in nostalgia and memories and wonder. Its presence on the outskirts of my life has been a professional gift, surely (the old memory + imagination thing), as well as fodder for the occasional facile joke. (One could certainly quip about "welcome to Mills, please set your watch back 20 years" or wax irreverent about how hard the wind blows there.)
The thing is, I've lived enough places and known enough people to realize something important: Most anyplace can be home, depending on who's doing the inhabiting and what they bring to it. I suspect—but don't know for certain—that my life would have harder and less interesting had I grown up in Mills.
It's the not knowing, of course, that makes it such a delicious ponderable. So I go back, and I look around, and I try to imagine who that boy might have been, what kind of man he might have become, where he might have gone and what he might have seen.
And because Mom imagined something else entirely, way back in 1973, I can be ever grateful for the real story that lies alongside the conjecture.
My friend Caroline Patterson has a new novel coming out Sept. 15. It's titled The Stone Sister, and it promises to be an absorbing, fascinating read. It's getting some fantastic endorsements from the likes of Ann Patchett, Annick Smith, and Kim Zupan.
Here's a book trailer:
Several years ago, I would rope my Facebook friends into this weekly crowdsourced writing project called "The Word." The exercise was not my invention. I lifted it from Janet Fitch after I'd read something from her about it, and it quickly became something I did both on my own time and on those rare occasions when I would lead a writing workshop.
It's such a simple concept, full of creative potential: You solicit a single word, then proceed like so: That word inspires a short story that you're to write in a nominal amount of time (say, an hour), and the resulting story must include the word. It's so much fun to give a single word to a large group of writers—say, for example, a group of inmates at the Oregon State Prison, where I led a workshop several years ago—and see the wide diversity of what comes back.
So every week for the better part of a year, I'd say something like this on Facebook: "Give me a word. Any word will do. Give it to me." I'd accept suggestions for an hour or so, run a random number generator, choose the corresponding word, then sit down and write.
Below is an example of a resulting story, taken from my collection The Art of Departure. If I remember correctly, the word that prompted this one was "squab." It ended up taking quite the backseat in the story it inspired.
In September of that year, our neighbor Wayne had this idea that he could get rich by selling groceries Amway-style, and he booted his twelve-year-old boy out of his own bedroom and put up shelves loaded with packages of spaghetti, cans of roast beef, soda pop by the case and other non-perishable goods.
Soon after, Wayne came over to our house and gave my folks the pitch, showed them how, if they just signed up a few friends and those friends signed up a few friends, and so on, they could make as much as $10 million a month, all by making a little bit on every transaction.
“Everybody needs groceries,” Wayne said, mopping sweat off the folds of blubber on his neck. “It’s the perfect plan.”
My pop liked Wayne, liked going out with him occasionally and tossing back some suds, and he paid the ten-dollar membership fee and accepted the tabbed folder that contained the list of goods and prices, as well as several pages of helpful hints for enrolling friends in the program.
“We’ll see what we can do with it, Wayne,” Pop said, showing him to the door. “It’s an interesting idea you have here.”
The old man had said something similar a few times before. We still had a shed full of cleaning chemicals that Wayne had foisted on Pop in an earlier scheme. The stuff was supposed to get rid of deep grime on contact, and sure enough, it performed as advertised. It also ate a hole in our carpet. Pop put the stuff in the storage shed because, I think, he didn’t quite know how to dispose of it, and he didn’t want to hurt Wayne’s feelings. A similar sensibility had driven him to sneak out of the house one night and open the door to the pigeon coop Wayne had insisted he build. The next morning, the flock had flown away, and Pop went across the street and told Wayne that they wouldn’t be making that killing on squab.
“You’re a soft touch, Leonard,” Mom scolded him, and Pop mumbled something about how it didn’t hurt anything.
Mom often said that the old man “enabled” Wayne’s irresponsible behavior; most of Mom’s vocabulary came from the self-help books she consumed with the fervor of the newly touched religious. That idea never seemed to resonate with Pop.
Mom thumbed through the folder. “This isn’t going to work.”
“Why not?” Pop asked. “Seems like a decent idea. Like Wayne said, everybody needs groceries.”
“Yeah, but look at this.” Mom thrust the folder at him. “Now just look at that: Cheer laundry detergent for $2.49. I can get it for a dollar less down at Skaggs. And $1.50 for a two-liter bottle of Coke? I got it for 99 cents yesterday!”
It went on like that for another half-hour or so. After the first few broadsides by Mom against Wayne’s plan, Pop looked for an escape. He tuned in to the Texas Rangers game on the radio, while Mom sat at the kitchen table and lingered over the list of products and prices. Their interplay was a series of exclamations in one room and knob adjustments in the other.
“Two-ninety-nine for Sanka!”
Pop turned up the volume on the radio.
“A buck eighty-nine for Doritos!”
Pop flipped over to Bill Mack on WBAP.
“A dollar-ten for a can of tuna!”
The old man turned off the radio and went outside.
“Rangers lost,” I said. I held open a lawn bag so Pop could scoop a load of early fallen leaves into it.
“Figures,” he said.
I shook the bag to settle the leaves and then tied off the top. Pop fished his smokes from his front pocket and lit up.
“I guess Wayne’s idea has a few flaws,” I said.
“Guess so.” The old man exhaled a string of smoke from the side of his mouth, upwind of me.
“You know, he kicked Ethan out of his own bedroom so he could put food in there.”
Pop didn’t say anything, but I could see his jaws clench. He was chewing on something that was giving him trouble. Whatever it was, I knew I’d never hear about it.
“Men sometimes lose their way, Jon.”
He crushed the cigarette into the brick of the house, behind the hedge where no one would see the mark.
“Come on,” he said. “It’s getting late.”
I shouldn't be sitting here typing these words.
Were plans rock-solid, immutable things, I would be in my car right now, its nose pointed north, my pup Fretless in his bed in the backseat, on my way to a three-day adventure of meeting readers and introducing my new book to new friends.
Plans, alas, are not rock-solid and immutable. They are, as Death Cab for Cutie noted*, "a tiny prayer to Father Time." I'll not be in Havre tonight and Great Falls tomorrow and Helena on Friday, making visits to these independent bookstores that I love. In two cases, it couldn't be helped. In one, it could be, but we—the collective we; remember that?—seem unwilling to do what's necessary, a problem that's far, far bigger than my picayune book event.
Fretless took ill last week, leading to a frustrating series of escalating vet visits (and costs—oof). The poor little guy gave up first on food and then on water, and when his underlying bloodwork numbers and vital signs were otherwise pretty unremarkable, it all became this weird sort of Occam's Razor guessing game. At one point, the thinking was that he might have atypical Addison's disease (he doesn't, thankfully). Twice, the veterinarians pumped a liter of water into him. He has a pharmacy of meds lined up on the kitchen counter.
Finally, we found the culprit: pancreatitis, which is scary but treatable. He'll be fine. He's already well on his way to that, a welcome sight, but by the time we got our arms around the thing, I'd already canceled the gigs in Havre (Havre Book Exchange) and Great Falls (Cassiopeia Books). I hope we can reschedule, either later this fall with the hardcover or next spring when the paperback emerges. It's been years since I've been on the road with a book, and I was jonesing for this trip.
Plans, man. They're tenuous things.
By the time I pulled the plug in Havre and Great Falls, the Helena trip (Montana Book Co.) was already off the board, a casualty of the spike in Delta variant cases. It's a completely understandable decision by the store. Believe me, no one wants live events more than bookstores do. As adaptable as they have all been to videoconferencing and trying to maintain community—the entire foundation upon which they are built—amid a pandemic, they know that there's nothing quite like an intimate gathering of people who love books.
But nothing is more important than safety.
Please, get vaccinated. Wear your mask. Do it for others and for yourself. It's been far too long since we saw each other.
* — What Sarah Said
Jonathan Evison, one of the writers I most admire artistically and, even more important, as a human being, once said that each day he tries to do something for a fellow writer before he does anything to advance his own career. As a recipient of that kindness, I can say it's not idle talk. It's the way Johnny faces the world.
It's an example that can be both learned from and emulated. In recent weeks, I've been teaching myself to make little promotional videos for books. (Look up "autodidact" in the dictionary, and there's my big, dumb face. Or should be, anyway.) For practice, and to put Johnny's ideals to practical use, I've been working up some videos for my writer friends, especially those who have recently released books. (I also did one for my wife, who deserves everything I can possibly give her.)
Because here's the truth: We all need help getting out the word about the good work we've done. This is as true for the writer who gets the choicest pre-publication reviews and bookshelf space as it is for the writer whose book makes barely a ripple. (I've been both writers. I am both writers. I'm speaking truth here.) It's a lonely business, one that can be stingy with grace and validation amid seeming torrents of rejection and self-doubt.
Please consider these books. I highly recommend each of them. If you love a book, consider buying it as a gift for someone else to love. Or tell someone. Leave a review. Reach out and tell the author. The words will be deeply appreciated.
And thanks for reading!
The Center of Everything | Jamie Harrison
Best Laid Plans | Gwen Florio
Regarding Willingness | Tom Harpole
Cloudmaker | Malcolm Brooks
The Second First Time | Elisa Lorello
American Zion | Betsy Gaines Quammen
* — one of an endless number of permutations
9:50 a.m.: Head out of Billings due west with fair Elisa. Destination: Livingston, 117 miles down Interstate 90. There is much I could say about Livingston, although it would be nothing that hasn't been said before by better observers with keener insights. I made a friend laugh earlier today by calling it my Emergency Backup Montana Hometown. That's how I feel about it and the people I encounter there. (It was good to see you, Marc Beaudin. It's always good to see you.)
11:45 a.m.: Meet Kris King for lunch at Neptune's. In my early days of designing Montana Quarterly, Kris—one of the magazine's steady contributors (she does the author interview each issue)—gave me shelter on my overnights to Livingston for final magazine production. She's a whip-smart, offbeat, fun, funny, wonderful friend who has been extraordinarily kind to us, and it was the first time we'd seen her in more than three years. (We moved to Maine. We moved back. There was/is a pandemic.) If you've read my short story Remember Me in Istanbul, you might remember the ex-girlfriend's house that a guy and his wife let themselves into on a winter night. I modeled that house, and the spirit within it, on Kris' place. Now you know ...
Around 12:40 p.m.: Head a few blocks over and get a sneak preview of the forthcoming Edd Enders Retrospective. (June 18-19 in Livingston, and you should totally go if you're within driving distance.) It's one magical thing to be able to stare deeply into a single Enders work, which we're fortunately able to do every morning, as one adorns our bedroom wall. (I mentioned Kris King and her kindnesses; the painting below is one, a wedding gift that we treasure.) It's quite another to see canvas upon canvas, crossing all eras of his wonderful work. What a thrill for us.
Around 1:15 p.m.: Head out for Bozeman, another 26 miles west. We ended up at the Emerson Center, a place I'd often heard about but never visited. There, I dropped off a copy of And It Will Be a Beautiful Life to Rachel Hergett, one of Montana's premier writers about the arts. It was our first face-to-face meeting, another unfortunate byproduct of the pandemic. Can't wait to renew acquaintances again and again. I'm telling you, there was a buoyancy to the entire day in this regard. We're opening up, and hope is flooding in where darkness once settled. I'm allowing myself to dream of literary readings and concerts and sporting events and dinners with friends.
Around 2:45 p.m.: Two more stops, both essential. First, Country Bookshelf, one of the finest bookstores you'll find anywhere. What a wonderful feeling to see the new book paired up in the window with Sweeney on the Rocks by Allen Morris Jones. Allen and I are doing a virtual event hosted by Country Bookshelf on June 30. We'd love to see you.
And then to also see it on the shelves ...
I also scored a Gwen Florio novel. Signed. Who's the lucky kid?
Finally, no trip to Bozeman is complete without a stop at The Baxter and the little chocolate shop in the lobby, La Châtelaine. Elisa had the Hawaiian red salt caramel truffle. I had the French martini truffle (below). We split a Meyer lemon truffle. No regrets!
After that? Eh, there's not much to report. Just a 143-mile drive through some of the most beautiful countryside there is, pulled along by the mighty, north-flowing Yellowstone River, a ribbon to guide us home. In the best iteration of myself, I try to be grateful for the life I have and the way I'm able to live it, but circumstance and the intrusion of transient difficulties sometimes get in the way. Perfectly natural, of course, but also something that can swallow your perspective if you let it.
Today was all gratitude all the time. For this life, for this place, for these friends, for these adventures, for the next bend in the highway ...
Originally published January 7, 2021
There’s no clever way to start this, and from the vantage point of these scant words, I feel as though there’s only one place to end it: with anger.
Darrin Marie Murdoch is dead. As I sit writing this—on Christmas Eve, for publication in a couple of weeks—she’s been dead for four months and ten days.
I’ve known for the ten days. That’s it. And I’m pissed, mostly that Darrin was plucked from this life when she was so young and so loved and so needed (which I’ll get to soon), but partly because I didn’t know she was gone until a succession of thoughts came to me:
1. I haven’t seen updates from Darrin in a while. Facebook and its confounded algorithms are hiding her from me.
2. I’ll visit her page.
3. Oh, god, no.
I could castigate myself for not seeing her obituary in the newspaper or online. I could lash out at our common friends who did know she was gone and didn’t tell me. (I could do it, but I would be wrong and I would be unkind.)
I blame the pandemic. Not for taking her, because that doesn’t appear to be the case. She’d had a host of health difficulties and a recent surgery, and she went to sleep one night and didn’t wake up on the other side of it. This is life and the bargain that comes with it. You gulp in that first big breath, then you start playing your time against a clock that stops at some indeterminate hour. I get all that.
What I don’t get, and what I’m continually angry about in a universal sense, is why it had to be this way. Those of us who have acted responsibly (and aren’t frontline health care professionals or essential workers) have gone into our silos for nine months and counting while the government fails all of us and while we fail each other with selfishness and a miscast notion that freedom can stand independent of responsibility. Our lives have gotten smaller, if indeed we’re fortunate enough to have hung on to them at all. In the house my wife and I share, we wake up, we have breakfast, we split up for work, we reconvene periodically throughout the day, we climb into bed, and we do it all again. We have each other and our pets, and that’s a lot, but it’s also not nearly enough.
Meanwhile, in the larger sense of this country’s collective COVID-19 failure, we’re all losing what binds us even as we’re inured to the loss. It feels as though, on the other side of this, we owe each other forgiveness for the things we have and haven’t said and the things both done and undone. I feel the weight of the penance I need to do, the amends I must make, and the grace I need to offer. I also feel the burden of anger that lights up and burns like flash paper. How does anyone balance all of that?
In April, just a couple of weeks after we arrived back in Montana after a nearly two-year sojourn in Maine, I wrote these words for an anthology called Stop the World: Snapshots from a Pandemic. They felt visceral then. They feel something else now, in retrospect—hopeless even as the vaccines roll out (amid one final failure from the outgoing administration), sadly outdated in the death toll, and prescient in a way I never wanted to be:
We’re alive, if not entirely living as we once thought of it, while we wait for something resembling normalcy to return. As I put down these words, the U.S. death toll has crossed 50,000, a number surely to rise. Only in the awful solitude of my imagination do I dare consider what it might be before these words find your eyes. I don’t want to know. But I’m going to. If I live to see the final toll. If I’m lucky. The word lucky has never been so perverse.
If you’ll forgive the coldly corporate nomenclature, COVID-19 has a cost structure, and the tolls seem random: Some pay with isolation. Some pay with inconvenience. Some pay with sickness followed by recovery. Many millions have paid with their jobs. Tens of thousands, so far, have paid with their lives in the U.S. Worldwide, it’s hundreds of thousands more.
The only bitterly sure thing is that we’re all paying with something.
I was supposed to see Darrin again. Surely, in a normal set of circumstances, I’d have seen her between April and August. Failing that, surely, in a time unencumbered by social distancing and voluntary withdrawal, I’d have been engaged with our shared social structure enough to know she had gone. I would have been at her funeral. I would have hugged her mother, who has lost all of her children these past few years.
I would have said goodbye instead of oh, god, I didn’t even know you were gone.
This is part of the toll.
Darrin was a teacher*. She loved those children with her whole heart. She especially loved the poorest of them, the most neglected, the ones with the biggest hurdles to overcome at the youngest ages. She believed in them, and for that reason more than any other, she should have lived forever.
She was also fun, and smart, and bawdy, and loud, and loved. Every time she saw me--every time—I got a chaste kiss on the cheek. For several years, I had a standing invitation to her book club’s Christmas party, an annual date I hope will be renewed when we can gather again, although in the next beat I wonder how it can go on without her. Nobody loved the food or the drink more than she did. Nobody was more willing to say what she really thought of that month’s book than she was. (I know this firsthand, having a memory of this exchange: “Listen, your last book didn’t have an ending.” “Yeah, it did.” “Craig, no, it didn’t.”)
Goddammit. I should have had time to tell her she was right about that.
*If, like me, you believe that public schools and public education are worth fighting for, and that teachers like Darrin Murdoch stand between the rest of us and the wolves at the door, I implore you to offer a gift to the Education Foundation for Billings Public Schools in the name of Darrin Marie Murdoch. Thank you for considering it.
Craig Lancaster is an author, an editor, a publication designer, a layabout, a largely frustrated Dallas Mavericks fan, an eater of breakfast, a dreamer of dreams, a husband, a brother, a son, an uncle. And most of all, a man who values a T-shirt.