Unearthed this particularly fine birthday card (c. 2007) from my dad today.
Category: Blog
My working theory is that the silence and the sunshine and the singing are key materials of the nest I am always building, to hold whatever thoughts, feelings, rhythms, and ideas become my poems.
Tara writes a monthly guest column on Nicole‘s blog. Every installment holds several gems, but her latest is particularly gemful. The nest! I adore this metaphor. What are my nest materials? How do I tend to build with them? I don’t know yet, but I have hunches. I want to lay them out and inventory them like a bower bird.
An additional thrill is that Tara and I will be working on something together in the next few months. She’s a spectacular poet (in addition to being a thoughtful and lyrical essayist), and sometime last year she shared a new collection of work with me under the title Low Tide Book. (You can hear me explore her idea of “a low tide of the spirit” in Ramble #20, notably before I got with the program and started pronouncing her name properly. It should be terra, like earth.)
I read the poems and loved them, and then I can’t quite remember what happened next but somehow I got to do my very favorite thing and smush two good people together while yelling “MAKE SOMETHING!”
The other person in this equation was my friend Stefan.
I say “my friend” in that way I do to refer to anyone I know primarily through the internet, and it’s true we’ve never met in person, but I do think of Stefan as a friend.
We connected on Kickstarter in 2012 because we were both running our first projects at the same time.1 He ended up with a copy of True Believer and I ended up with a copy of Cedar Toothpick and then we sort of fell out of touch. I do remember that his campaign didn’t have a video, but rather a delightful audio recording taken in a field. Possibly with some bees. Anyway, I loved his attention to quality in paper stock and his creative focus on the minutiae of the natural world. Cedar Toothpick still has pride of place in my poetry shelf.
When we reconnected via Instagram many years later, he floated the idea of collaborating on something. By that point he’d been branching out into publishing work by other writers under his imprint, Bored Wolves. Somewhere in there was when Tara sent me Low Tide Book, and somewhere shortly after that was the moment I realized they were perfect for each other. She had this manuscript full of contemplative poems crafted in conversation with the natural world, he had a tiny, remote cabin in the Polish highlands and access to a boutique printer. It writes itself, really.
So the long and the short of it is that we’re all making a book! Tara’s already written it, and I’m going to illustrate it, and Stefan’s going to publish it.
The title we decided on was Tell the Turning and it’s (as of May 1st) ON KICKSTARTER RIGHT NOW!
1. The ecosystem was much smaller then, so it was common to just become pals with whoever else showed up in the Discover tab. It was nice. ↩
I sent a couple tweets into the aether yesterday after not putting anything out on Twitter for about a month. Maybe it was because I’d just worked out and endorphins were careening through my central nervous system and my blood sugar was about to crash, but when I hit the button and sent them off my pulse went through the roof. My palms were sweating. It felt like I was having a panic response to something I used to do three, five, ten times a day.
I caught myself wondering: What is wrong with me?
☆
By and large, I’ve been blessed with a kind, curious audience in the decade I’ve spent on Twitter. There’s about 10,800 people following me these days and I still feel like most of my interactions with them are positive.
I realize this makes me an outlier—especially as a woman.
I’ve never had a tweet go monstrously viral, never been dog-piled by a group of bad actors, never been the target of death threats or widespread abuse. Sometimes I wonder if this is because I am not doing anything truly important with my life, because it seems as if all the people I know who have suffered these indignities are engaged in vital work. If I’m not a target, I must not be taking any risks. If I’m not taking any risks, I must not be making a difference.
(Is this toxic martyrdom? Or just a truth about the world we live in? I’m still not sure. I’m certain there are plenty of people who engage in important change-making quietly, behind the scenes, but I’m still questioning the balance in my own life.)
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Over the past month, I’ve only heard about Twitter secondhand, and everything I’ve heard has been negative. I’m not reminded of the occasional jokes or moments of connection with friends around the globe. Instead I hear about having one’s attention hijacked by traumatic media. I hear about the misunderstandings, the feuds, and the constant, deafening noise of millions of people clamoring to be heard. It makes me wonder what I have been doing, generating a feed of thoughts there. Am I truly attempting to provide some kind of service? Or am I feeding tokens into a machine in order to keep a tiny, arbitrary bubble of numbers going up?
☆
I’d only logged on because I wanted to respond to a friend’s request for help promoting her latest project. I love helping my friends, and I try to use whatever weird, relatively minimal clout I’ve amassed online for good, but I also felt strangely resistant. I realized I’d cultivated a perverse sense of pride in seeing the days stack up since my last tweet—like I’d be given a challenge coin for every month I stayed clean.
“It’s just one tweet,” my brain reasoned. “It’s not like you’re going back to using the site all day.” But the fact is: I don’t know how to use Twitter by half measures. I need enough time away to get my brain to release its desperate, grasping attachment to all that activity, to the pressure to keep up and stay in the loop.
Thinking about these questions always brings me back to my friend doreen dodgen-magee and her very good book Deviced. She writes:
What happens when we offload our regulation to internet-enabled devices is, basically, a bait and switch. We need soothing, but we substitute stimulation. We need to get calm and centered; instead we gather more data, input, and dazzling digital experiences. This leaves us dependent on stimulation to distract us and make us think we are actually being soothed. On the contrary, being soothed results in calming and working through the feelings related to dysregulation. When we substitute simple distraction and stimulation for this developed ability, we end up amplifying the dysregulation we are already experiencing and rob ourselves of practice in the important work of bringing ourselves back to a regulated state.
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Feeling that panic response tear through my body after so many weeks of calm scared me. It made me realize I’d been engaging in an ecosystem that hadn’t wounded me directly, but still came paired with a constant threat of attack. On a platform of that scale and volatility, every passing thought carries within it the potential for mass distribution, misunderstanding, and destruction.
This isn’t what I want in a channel of communion.
☆
My palms don’t sweat when I write things for Patreon. My pulse doesn’t climb when I record a Ramble. I don’t want to crawl out of my own skin when I blog.
In these quieter spaces, sharing doesn’t come attached to the instinctual certainty that I’ve just kicked a furious ball of snakes.
As Michael Harris writes:
Beyond the sharing, the commenting, the constant thumbs-upping, beyond all that distracting gilt, there are stranger things waiting to be loved.
What stranger things am I loving now?
There’s a list I began in a notebook a while ago that I thought would be short, but it turned out to be long. It’s full of people I know who’ve decided to move, or who’ve made the shift to building shared lives with their relatives, or who are able to support themselves in a creative career somewhere relatively rural.
Looking over it, I realize I’ve been tracking this for a long while. Not interrogating people, mind you, but nosing around. Peering through windows. That kind of thing.
Isabella’s on that list.
We met at the Chicago Alternative Comics Expo in 2014. I still have the copy of her thesis project that I bought there—a gorgeous, oversized accordion book full of fluid aquatic illustrations set to the text of a sea shanty.1 We were clearly destined to be friends, but we lived in different places, so we stuck to garden variety mutual cartoonist admiration—the kind that simmers over social media and receives the occasional top-up from tabling at the same shows. She’s got a magnificent eye for production and packaging design, makes lovely, unusual things, and every so often comes out with something that just wraps up everything hiding in my heart and makes it visible and known.
Do you need to know all of that? Probably not. The important thing is that she just released a new comic and I think it’s glorious.
1. Turns out she originally exhibited it as a series of hanging tapestries and I think that’s just so fucking cool. ↩
Perhaps it’s old age talking, but I feel like it’s not overly ridiculous to be okay with deciding that the superhero movie you thought was cool five years ago is actually a bit shit, on reflection.
Graeme revealed the existence of his blog to me as all good blogs should be revealed: in the dark of a winter’s night, through a fence, his face shrouded in shadow. I’d caught sight of him taking his dogs out to do their business in the yard while I was on a walk, so we had a brief, impromptu catchup—me on the sidewalk bouncing on my toes to keep warm, him clutching a papillon under each arm.
Anyway, I love reading his writing.
It’s been three weeks since Tansy was killed. I Rambled about it a little, but I haven’t really written about it. I didn’t write much of anything for a while there. I logged out of every online account I could think of the day it happened and told myself I would take a week at least to do whatever I needed to do to be okay.
That was new. Time was I wouldn’t have been able to give myself permission to disappear.
For the first few days I needed to tell people. I needed them to validate my experience, to affirm that it was horrific—as if every person I told might take some piece of it away with them, until I was left holding something I could bear. But I couldn’t stand the thought of the wider internet. I had to call my friends.
That, too, was new. It sounds like such a simple sentence. Of course you call your friends when something traumatic happens to you. But I didn’t used to be that kind of person.
Anyway, I didn’t mean to write about my cat or my friends. I was trying to talk about the fact that I haven’t been on Instagram or Twitter for the last few weeks, and that when I finally peeked today, this pair of tweets from Shing was at the top of my feed:
I read them, and faved them, and then I left.
Shing often says things I’ve been thinking with such clarity that I check behind my ears to make sure my brain hasn’t been bugged. The choice of language here—this idea of alignment—encapsulates so much of what I’ve been thinking about lately. Values and how we enact them. The moments when carving away is actually carving towards. It’s also present in Ashon Crawley saying “abolition is performative, it only happens when you do it” as part of a beautiful thread from December 15th, 2020.1
Critical Resistance Portland, the organization I’ve been writing letters with, are currently helping to get information about Economic Impact Payments into the hands of people in prison. Today I printed 25 info packets. Tomorrow I’ll address 25 envelopes, a couple at a time, here and there, and put the packets in the envelopes and then mail the envelopes to people imprisoned in Oregon. Maybe some of those people will be able to get their stimulus checks as a result. It isn’t complicated or particularly glamorous work, but it is important.2
And the thing is…it doesn’t take place on Twitter. All of the people I speak to on Twitter are privileged enough to have access to Twitter, for starters.
Having been off of Twitter for a few weeks, I do realize that I am, in many respects, less informed.
But I’ve also used the time I would’ve spent absorbing that deluge of information (much of it horrific) to distill and illustrate hours of interviews with voting rights activists about felony disenfranchisement and lowering the voting age in Oregon. I’ve reclaimed enough of my brain to align my skillset with my politics—something that is much, much harder to do when I’m caught in the mental landscape of social media, the one that screams “If you’re going to make art about this, it has to be done NOW.“
I have so little time these days.
I mean, time is stretching, in the strange way it often does in Ojai, but there is relatively little of it that is mine and mine alone. I don’t have room to drink from the misery firehose. Instead, I am carving away everything that isn’t aligned. I am dedicating myself to the slow accumulation of calcium carbonate on stone. The drip, drip, drip of incremental progress.
Shing says “my hope in change lies there” and I know, immediately and without question, what they’re talking about.
It’s here, in the practice.
1. It’s been three months and I’m still thinking about it. I could write so many blog posts about the positive use of “performative” alone. He’s a gem. ↩
2. If you’re the kind of person who wants to help with that work, you can sign up to get your own list of names and addresses here. ↩
Usually we get Great Horned Owls in our garden, slow and mournful and resonant, but last night I heard a newcomer with a call like a rubber ball dropped down a flight of stairs.
Listen:
It’s a Western Screech Owl!
This audio recording is from April 4th, 2020. It was captured 130 miles from here in the San Gabriel Mountains by Lance A. M. Benner, a Principal Scientist at NASA JPL, and uploaded to the miracle that is Xeno-canto. If you haven’t come across that site name before…well. It’s a community-driven database of bird calls from around the globe, but that description doesn’t really capture its magnificence. The site’s been around since 2005, and the breadth and quality of the recording collection is staggering. You can look for absolutely anything there, and a great deal of it is licensed under Creative Commons.
Benner has contributed 1,926 recordings to the site.
Isn’t it wild that people just do stuff like this?
The most famous Western Screech Owl in my internet circles right now is probably Coconut the Owl, who took up residence in Austin Kleon’s backyard earlier in the Pandemic and recently received a new abode:
Also apropos of nothing I followed some links about Benner out of idle curiosity and found myself listening to a few of his owl-specific recordings on Owl Pages Dot Com, a site devoted to…well, you know.
This concludes the evening dispatch of Owl News.
I love it when my Patrons prove me wrong.
The best instance of this was when a few of them bullied me into making a $50 tier for the page—which I thought nobody would spring for—so they could give me more money. Years later, I am still flabbergasted that anyone has joined at that level—let alone the very loyal and kind group who have stuck around. They are life-changing types.
So you’d think at this point I’d know not to underestimate them.
But this morning I published a 1,300-word essay about trying to start work on the scripting process for Seacritters, my forthcoming graphic novel project with writer Kate Milford, and thought that nobody in their right mind would read it.
I liked the writing a great deal, and it definitely captured what I was going for, but it was, y’know, 1,300 words. If I’d received it in my inbox as a Patron, I would’ve taken one look and thought “mmmmmmaybe I’ll read that one later.”
Because my attention span these days is, to put it mildly, not great.
So I gave myself a bit of a talking-to about engaging my Inner Editor a little more in the future…but then people started to comment! They began to discuss! And over the course of the morning I realized that a bunch of humans I respect immensely had actually taken the time to read those 1,300 words, and had found them helpful, and were excited for more.
The best feeling.
The other day I was wondering:
The featured snippet that came back at the top of the results rattled my brain for reasons I couldn’t immediately identify.
When I clicked through to the site, long-dormant gears began shifting. It was clearly one of those Internet places that felt unchanged from the early 2000s—the kind of site Robin and I have been yelling enthusiastically at each other about of late—but there was something else. This place was familiar. I’d been here before.
And then it started to come back to me.
I was a member of Halfbakery. Years ago. When? College? High school? If it was high school I was probably using my typical handle. I plugged it into the site’s search bar.
My profile was still there.
![A screenshot of a profile page from Halfbakery for user "Yarr". It reads:
Yarr
Welcome To Sparknotes!
Plot Summary: Piratical intellectual located under English heritage in Southern California seeks fellow eccentrics for witty banter and theatrical/literary madness.
Central Themes: British humor, Technical theatre, Acting, Pirates, Literature, Silly hats, Silly socks, Silly anything, Good food, Drawing, Insanity, Correct use of punctuation, Triple cream 62% Brie Cheese.
Character Analysis: ...
[Dec 21 2005, last modified Jan 01 2006]](https://lucybellwood.com/wp-content/uploads/2021/03/Screen-Shot-2021-03-15-at-1.12.12-PM-1024x356.png)
I was 15. A baby, all things considered, and one hungry for people who would challenge and excite me. The site was one of those insular places full of smart, sharp users who had developed their own language and culture. Some parts of it, in hindsight, were a bit harsh, others erudite and thrilling. I’d posted two ideas which were roundly downvoted by the community at large, but I kept up as a reader. I won’t pretend I went on to become a cornerstone of the community—because I didn’t—but the site clearly stuck in my memory enough to feel familiar when I found it again.
The kicker isn’t just that it’s still going, but that there’s been relatively little (if any) alteration to the interface since I first encountered it in 2005. I barely recognize Facebook if I log in after an absence of three months, let alone sixteen years. This felt like walking into my childhood bedroom and finding things exactly as I left them.
I poked around for a while, seeing ideas from 2006 and 2021 jostling shoulder to shoulder. Eventually I stumbled down a rabbit hole of in memoriam posts for members who had passed away.
Because that’s what happens when you run a community for 22 years. Some of your users will probably die. And if you’ve built a sense of camaraderie and mutual regard, their absence will be felt keenly by a collection of strangers who never knew them anywhere other than this niche, textual space.
A little family in the wilderness. What an odd gem of a thing.