A deer crossed my path as I began my walk down Huguenot Street yesterday. I was not startled as I am used to them by now. We also have coyotes, bears and ground hogs in abundance in these mountains. Very few are hit on the road, which is gratifying. People are careful, respectful, even reverent. These creatures live among us, we live among them; we share the environment. And we are, presumably, stewards of this shared environment.
It was early morning and parishioners were arriving for a Sunday service at the Dutch Reformed Church. The sky was overcast and it was still a bit foggy. Then a squirrel joined me, and a white moth, and a couple of hawks, though one of them might have been an eagle.
Afterwards, I went to see an exhibition called "Tonalism: Pathway from the Hudson River School to Modern Art" at the Dorsky Museum on the SUNY campus. Though I am familiar with the Hudson River School and Whistler's work, I had never heard of Tonalism and I did not recognize the other painters. The canvases were luminous and as calming as my walk. All of them were landscapes without a human presence. Interestingly, Tonalism emerged after the chaos of the Civil War; it was contemporaneous with Impressionism in Europe.
I wondered what the analogy to a Tonalist's vision might be in writing. Perhaps lyrical landscape poetry. And then I wondered if a "school" of writers or painters will emerge as an antidote to the chaos and worry we are experiencing—the extreme storms, the droughts, the wars, the inhumane politicians at the helm of too many nations, including our own.
How can we restore our weary spirits? Is it possible to retain a contemplative, creative persona in the midst of chaos? If we stop to observe a deer crossing our path, metaphorically speaking, will our creative life flourish?
I was the only one in the gallery, and I could have stayed there all day, though the guards—all young women, all students, all dressed in black—followed me around. I surrendered to their human presence and asked them questions: Do you have a favorite painting here? What are you studying? And so on. It was my choice to connect—my journalist persona, or educator self, I suppose.
The beginning of the term is difficult for working writers who are also teachers as there is a lot to prepare. I have started two book projects—one fiction, one nonfiction—but did not make enough headway during the summer with either of them. Because I am the co-owner of a publishing business, and also have private students, there are manuscripts to read all year long. Therefore, I must intentionally carve out time and space to proceed with my own work. My students have the same struggle as most of them have demanding jobs. We discuss the challenge often, though I offer no remedy; everyone has to find their own rhythmn, their own antidote to chaos and the obligations of daily life if they/we are to remain committed to the writing life.