Diane Morrow

A New Path to the Waterfall by Raymond Carver & Tess Gallagher

Posted by Diane Morrow on December 8, 2006 in Guest House, Healing Poetry, Recommended Books

This book is the most beautiful example I know of a written mosaic or collage. It began, as near as I can tell, in September of 1987 when Raymond Carver, a gifted writer of both short stories and poems, was diagnosed with lung cancer. The following March the cancer metastasized to his brain, and, then in June, lung tumors recurred. These are the facts that initiated his illness and which Tess Gallagher, his wife, and a gifted poet herself, describes in the introduction to this, Carver’s last book: A New Path to the Waterfall. Tess Gallagher also describes in her introduction the literal making of narrative in the grip of these facts. First, there are the poems—the elemental pieces of the narrative. Some of these poems Carver had written before the onset of his illness. Many, like “What the Doctor Said,” and “Gravy” and “Late Fragment,” were written and revised during the illness itself. Also during his illness, Tess Gallagher began reading stories by Anton Chekhov and then she began sharing the stories with Carver. During this same time, Carver was reading a book, Unattainable Earth, by Czeslaw Milosz, the polish poet and Nobel laureate. Milosz’s book is a kind of patchwork quilt which incorporates passages from other poets, and this book, according to Gallagher, was key in inspiring Carver to want to find for his own book “a more spacious form”. Then, at some point, something clicked. A new path? First Gallagher, and then Carver, began to see how certain passages in the Chekhov stories could be reconfigured as poems and how these pieces, as well as pieces from other writers, could serve as elements in the narrative that he was trying to make. Finally, the last step: taking all of these pieces and putting them together to make a narrative. In the introduction to Carver’s book, Gallagher describes spreading poems out on the floor of their living room and literally crawling among them on hands and knees and beginning to arrange them into a pattern: “reading and sensing what should come next, moving by intuition and story and emotion.” It’s a vivid and tactile description of finding a pattern—finding a form. And the result—this book—illustrates (among other things) that a narrative does not have to be linear in order to be beautiful. The gaps become part of its beauty. The breaks. The fault lines. The juxtapositions. The pieces reflecting and refracting, one off of another. And all of that white space around and...

Writing and Healing Idea #17: Steps for Making a Written Collage or Mosaic

Posted by Diane Morrow on December 4, 2006 in Forms for Writing and Healing, Writing Ideas

[steps adapted from instructions in the text, A Community of Writers, by Peter Elbow and Pat Belanoff] 1. Write on only one side of the paper. 2. Choose a point from which to start. Like a word. December. Snow. Wind. Or an image. Broken plate. Fractured bone. Mirror. The more a word or image resonates for you—calls to you—and the more it calls up emotion inside you—the more fruitful and deeper the writing is likely to be. But you don’t have to start with the deepest or most fruitful word. You can start with any word or image that feels promising. 3. Write first thoughts about this word or image—whatever comes into your mind. Write for five minutes or ten minutes or twenty minutes at a time. 4. Find lines of poetry or song lyrics that speak to this word. Or newspaper headlines. 5. Write moments and stories and portraits. Notice if a particular moment comes into your mind. Or a person or a landscape. Describe these as if you were describing them to a person who does not know you at all. Describe a moment or a scene as if you were trying to recreate it for a movie. 6. Write dialogue. Between two characters. Between two images. Between you and a friend. Between you and an adversary. Between you and a broken plate. The possibilities are endless. 7. Try exaggeration. Write in superlatives. The plate doesn’t just break—it shatters. It was the most important plate. It was a singular plate. It can never ever be repaired. And there will never ever be another like it. 8. Collect all the fragments that you’ve written. If you’ve written on a computer, print the pieces and gather them together. Print or cut them so that each piece is separate and not connected to another. 9. Choose the pieces you like best. You can also choose a part of a piece. You can choose three sentences that you like—or three words. 10. Take several days in which you don’t look at the pieces at all. 11. Then come back to the pieces. Lay them out on a table or on the floor. Move among them and try to sense a kind of order. Try different things. 12. Consider a title. 13. If you like, write one or two more short pieces. Linking pieces. One way to do this is to ask the question, “So what?” or “What does this all mean?” and then write to try and answer the question. A title can also help guide these linking pieces. 14. Put the final pieces together in the order you choose, and with spaces between and around them. 15. Save your...

A Collage or Mosaic: A Form for Writing and Healing

Posted by Diane Morrow on December 3, 2006 in Forms for Writing and Healing

In A Community of Writers, this a textbook for writing students, Peter Elbow and Pat Belanoff offer a definition of a written collage: A ‘collage’, in the original sense, as used by artists, is a picture produced not by painting or drawing but by pasting actual objects on the canvas—objects such as theater tickets, bits of colored paper or cardboard or metal. A written collage consists of separate, disconnected bits of writing rather than one continuous piece. Usually there are spaces or asterisks at the ‘joints’ between the pieces of writing. I like the word mosaic for this form. The image comes closer to what I see when I look at a written collage. In a collage the fragments often overlap—a ticket, for instance, overlaps a piece of colored paper. But in a written collage, like a mosaic, there’s no actual overlap. There’s white space—the mortar. The white space both separates the pieces, and holds them...

Mosaic: An Image for Writing and Healing

Posted by Diane Morrow on in Healing Images

J., a patient, was telling me one morning about these dishes that she’d bought and she loved them. This was a couple of years ago now. Each of the plates was a different color—primary colors mostly—yellow, blue, red, green. Each plate was also painted with different shapes—stars and spirals—so that a red plate might be covered in yellow stars, a green plate painted with blue spirals. She really liked the plates, she told me, but already one of them had broken. She didn’t intend for the plate to break. She didn’t want it to break. It wasn’t even her fault that it broke. It just, well—broke. She was disappointed at first, but after a while, she told me, she’d begun to give in to it—the inevitability. Plates break. She’d begun saving the pieces, she told me, and when she collected enough of them she was going to make a mosaic...

Writing and Healing Idea #16: A Walk on a Strange Street

Posted by Diane Morrow on December 1, 2006 in Writing Ideas

In a visionary and rather brilliant book, Becoming a Writer, this first published in 1934, Dorothea Brande, offers this advice for writing: It will be worth your while to walk on strange streets, to visit exhibitions, to hunt up a movie in a strange part of town in order to give yourself the experience of fresh seeing once or twice a week. I think this fresh seeing can be of particular benefit when thinking about forms—whenever we begin (again?) to think, about what kind of form(s) we might like our writing to take. A journal? A list? A conversation? A series of poems? A tale of quest? And I would suggest, in light of Ms. Brande’s advice, that one way to foster this process of discovering form is to take a walk on a strange street—or to visit a place where you do not ordinarily go. A place if possible that has visual interest. A museum? A garden? A wood? A downtown landscape? And while you are taking this walk—or drive—you can draw your attention toward forms. You can, if you like, bring a camera with you. This can, sometimes, be a way to frame particular forms—a way, perhaps, to pay heightened attention. After your walk—you can write about what you saw. You can write this as a list or in paragraph form. You can write, in particular, about forms and patterns that you like. What forms and patterns do you find pleasing? What forms in nature? What forms in architecture? Or gardens? Do you like soft rounded forms or sharp clean edges? Do you like formal gardens? Wild gardens? The appeal of particular forms can change over time, so as you write, you may want to focus, in particular, on that which appeals right now. With what forms right now do you feel a particular...

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