Monday, May 31, 2021

Reawakening

After over a year in physical isolation, I am beginning to emerge. It is a strange transition, I am never quite sure when to wear my mask. As foreign as it still feels, I am reluctant to let it go too quickly. Different rules apply in different places. I went to meet several members of a board I’m involved with in a new location. On the door it gave clear directions, cutting through the confusion.  Vaccinated people do not need to wear masks. We happily took ours off and it was the first time in over a year that I saw their faces unmasked without a screen between us. Momentarily, I felt rather daring, then it quickly felt normal.

I've begun to meet weekly in person with a close friend as I record her story. It is quite a compelling one. She is a survivor of the Holocaust, 97 years old. We met each week by phone during Covid and I typed as she recounted. Pre-Covid, we used to go out to lunch each week, but now I pick up lunch and we meet at her home to work on our project.

Memorial Day weekend we met up with my brother-in-law to visit the graves of family members. While one other vaccinated person felt safe to be with unmasked, when we entered a restaurant, I felt flummoxed by masking etiquette. We wore our masks while we got our food, took them off to eat and then what? Do you put it back on when you finish eating?

 

I’ve ventured into grocery stores, still masked, first for a few items, then for a big shopping trip. Over the past year we’ve had groceries delivered and I keep getting messages from Target that my cart misses me, as if I am so starved for connection that I am anthropomorphizing my grocery cart. I’m still shopping for two week stretches out of habit and I have a new appreciation for those delivery people who sustained us over the past year. I celebrated my new-found freedom by getting my favorite foods at Trader Joes (which doesn't deliver) and noticed the slight weight gain that followed. There was a discipline around planning meals that I need to manage to maintain. The same goes for a daily workout. I anticipate schedules getting busier away from home when it becomes harder to fit that workout in. 


It is a reawakening and as I worked with the theme of brokenness and wholeness in the Artists' Lab, I found the echo of my experience in my artwork. As the ice of winter was thawing, my husband and I encountered an area where the ice had cracked and water flowed beneath it. It too felt as if it was reawakening. I had taken a picture of the ice fragments when my husband suggested I film it to capture the movement. I ended up combining a photo, a video and the painting above titled Reawakening, into a short piece that you will find at the bottom of this post.

 

I feel as if I needed this break and yes, I realize a pandemic is a bit of overkill quite literally to make that happen. Let me assure you, it would not be my chosen method of epiphany. But I know that I am a person who likes to be in the middle of things and unless the world stops along with me, I keep going, like a hungry person at an all you can eat buffet.

 

Now the world didn’t really stop. It just allowed me to structure my time from home. I attended writing workshops and a three week course on the Holocaust, lectures on art from London and book talks from as far away as Poland. I presented at conferences and gave genealogy talks on-line. Virtually, I was able to gather descendants from one of my ancestral towns from around the world. I consulted with genealogy clients locally as well as nationally and internationally. I met a new friend who had moved here, introduced through an old friend, and set up regular on-line visits and I connected with old friends who live elsewhere now that Zoom seemed to make reconnecting so much easier. My artists’ lab continued to meet on-line and actually allowed for more engagement with breakout rooms enabling more small group discussions. Nonprofit meetings continued on-line and I managed presentations of my genealogy group to both a local and national audience. In some ways my life got busier and broader in scope, while my physical sphere shrank. 

 

So which world do I prefer? I’m not sure. I think I’ve forgotten what it feels like to spend physical time with friends without the careful precautions the pandemic has required. Sometimes it just seems easier to Zoom. I can picture myself sharing a meal or a walk with friends, but I don’t think all of the nonprofit meetings have to be in person. I am hoping they conclude the same.

 

Now I realize this has been a harder time for my extroverted friends. They have a much more fundamental need for that physical connection. It has also been harder on friends who live alone. Still, living with someone isn’t always such a panacea. As much as I describe myself as an introvert, I live with someone who is even more so. We both got much more in touch with our need for space, even while valuing our connection. We realized that my prior busy schedule had given us both some breathing room. Now we needed to learn to co-exist in the same shared space, often by carving out our own physical turf. Fortunately we also have a studio that provided some additional room.  Our proximity leant itself to working out together at home or walking and our mutual fascination with the politics of our times led to a constant stream of CNN in our home.

 

So I don’t know what the ideal world would look like, but I hope to emerge thoughtfully and incorporate what I’ve learned through this pause. I will be maintaining some of the discipline that I drew on for diet and exercise while allowing friendships and outings to gradually re-enter my world. And I’ll be holding onto the expansion of my world that technology afforded while preserving windows of unscheduled time for the many interests that feed my soul.




Or click on Pulsation of Life to see it full screen

Sunday, May 9, 2021

My Many Mothers


 My mom has been gone for six years now and Mother's Day now seems like a holiday with no significance to me anymore. I have a folder with all of the Mother’s Day cards I gave my mom over the years that she saved and I retrieved after her death. She especially liked the ones that spoke to the genuine friendship between us. I would have chosen my mother as my mother if I had a choice. Who knows, perhaps in some universe I did. I hadn’t planned to write anything, but then I read Heather Cox Richardson’s column on the many mothers we have in a lifetime and began to reflect on some of mine. 

I have often considered what I learned from my mother’s example. One of the most important take-aways was evident. From our own relationship, I learned how to have rich cross-generational friendships with women. That is something that she and I did amazingly well. When I was in my 30s I began to take her on trips to Europe and our relationship matured into a friendship that lost some of the hierarchy imposed by a parent-child relationship. We became two people who enjoyed each other’s company and shared many interests. I began to have some understanding of her life and who she was.

As I get older, I often wonder about how she viewed aging. I would love to be able to have that conversation with her. I know she was happy with her life through all its stages, but I now have an appreciation of how hard-won some of that happiness can be. She made choices along the way to create her path and I am certain it was not always clear sailing. She had a visceral understanding of my wiring because she shared much of it, but the one thing she never understood was my certainty that raising children was not for me. Despite that, she was able to see me not as a clone of her needs and desires, but as someone unique, but also connected. She was able to give me room to be me, the best gift a parent can give a child. And she cheered me on as I confronted both challenges that we shared, and ones unique to me, as I carved out a life of my own making.

 

Because I chose not to have children, I had the luxury of control over my life and my time. I don’t take that for granted. It wasn’t until much later in my life that I began to understand something about the bond that is created by giving to another person, something most mothers realize much earlier even as they bemoan the loss of control over their life and time. I also learned that with the act of empathy and that very commitment of our precious time, we in turn create a rich connection.



When I met my current husband, his mother was in her mid-80s. She lived to 95 and we developed a special relationship in those intervening years. She was an intelligent woman, a reader and a lover of words. I am convinced much of what I appreciate in my husband came from her. She also had a difficult life without much control over her choices. We began to go over each week and do her grocery shopping, laundry and perhaps most importantly, bring things of interest into her life. I thought of our visits as an opportunity to make our time together meaningful and something to look forward to. 

Kitchen Competition 2002 by Susan Weinberg
We began to play Scrabble on each visit and I realized that she loved words more than strategy. If she read a word that would work well in Scrabble, she hung onto it until the next game. One day she put down a seven letter word and got scads of points. I commemorated it with a painting of us together, my first self-portrait and a portrait of us engaged in something we both loved. I hung it on the wall in my home when she came over for her birthday celebration and waited for her to recognize it. 

When I got into genealogy, I gathered information on those long-gone people who had once been significant in her world. She was intrigued with the trail of documents that captured her as a young girl. I interviewed her as my husband painted her.

I had a rather unique role. My husband was expected to show up. I did by choice and that made it a special commitment that she understood as coming not from expectation, but because I genuinely enjoyed her. Out of that giving grew a mutual love and appreciation of each other that felt familiar to me. I had learned it from my mother.

Another mother who has touched my life is my friend Dora. I met Dora in 2010 when she was in her late 80s. I was doing the website for the ancestral town in Poland that my grandfather had come from. Dora had grown up there and was fifteen years old when the Nazis invaded in 1939.  I began to ask her about the town and her story. I also began to forge an unexpected connection, both recognizing some of myself in her and finding a deep admiration for how she navigated her world. 

 

She is a very accomplished woman in life and intellect. After she survived the Holocaust she carved out a life in the United States, becoming fluent in yet one more language. She got a graduate degree in economics, became an accountant and a Holocaust educator. What I found most admirable was how she adapted to challenges within her life. When her vision deteriorated she shifted to books on tape listening to the Economist each week and studying the Talmud by telephone. 

 

Three months after I met her we began to plan a trip to Poland where I was invited to show my artwork. She joined me and shared photos from before the war and during the time of the ghetto. We did several shows in our own community pairing these materials. Over the past ten years we have gotten together most every week. I take her out to lunch and we go to events or work on projects. I’ve interviewed her and created artwork on her stories. Sometimes I assist her with talks to classes and we’ve used the artwork in some of them as a jumping off point for her experiences. During quarantine, we changed our get togethers to several hours on the phone each week recording her personal story. We celebrated her 97th birthday on Zoom and now we’ve begun to get together again in person. We talk about books and life, politics and religion. It has become a friendship with a long history and a model for me in how to face life’s challenges while staying actively engaged in the world and living a life of purpose.

 

When you live well into your 90s, many of your friends are no longer around. Dora has mastered the art of establishing long-standing friendships with younger people. Someday if I am fortunate, I will be on the other side of that equation. So on this Mother’s Day, I am grateful for my mother who modeled that special friendship and all the mothers who have followed in my life.

Wednesday, March 31, 2021

Preserving Their Words

When I do genealogy research, I am interested in both the public and private story. To capture both, I begin with oral history and a newspaper search. Often my newspaper search reveals only the basic framework of a life. I’ve learned that to search for a woman, I need to search under her husband’s name as her given name was by no means a given. If I’m lucky, I may find a marriage announcement or an obituary. On occasion I have found more dramatic stories, bootlegging, prison sentences, love triangles. When I encounter dramatic stories, I often imagine the underlying story behind the public report. 

 

It is through oral histories that you can capture the private story that I can only conjecture. When I suggest oral history, I am often met by the protestation that there is no one left to interview. I suggest talking to cousins as other people may have gathered those stories through conversation. And I always add, look for letters.


A story in my family is that my grandmother was shot when leaving the Ukraine. Many people left illegally as the papers to cross the border were expensive and difficult to obtain. She was believed to have traveled with her younger brother and his wife. Ultimately she ended up in a hospital in France and indeed left Europe from a French port. The brother and his wife arrived in America one week later.

 

Years later I took my own advice and tracked down that brother’s granddaughter. She had been close with her grandmother and heard her stories. I had first encountered her brother who ironically was a history professor. He studied royalty, but sent me on to his sister as the one who knew the family history. My newly discovered second-cousin added another thread to the story. They had to swim a river to get out. I imagined bullets flying as they swam. How she got to France is a mystery but she did indeed immigrate from France and according to my mother's report had an indentation on her arm that might have been a bullet wound.


How did I even know this story? My grandfather told me. Well not me directly. He wrote a few pages of his life history and gave it to my mother. Many years later she gave it to me, the third link in the chain. This history is what got me started in genealogy as I tried to document the story he related. It is from this history that I learned the story of my grandmother’s immigration beginning with her brother’s story.


 My grandfather writes of how her brother was a revolutionary and “someone informed on him and he was caught and later pulled through the streets of the town by a very strong cord and used as an example to the people of what would happen to them if they became also revolutionaries. His parents felt that it would be better for him to go to the United States where he would stay out of trouble.  So, he got married and he, his wife and my wife came to the United States of America.  While crossing the border they were shot at. My wife was taken to a hospital in France, where she remained for quite a while.”  High drama indeed!


My grandfather was also a letter writer and my mother moved away from New York when she married, thus the recipient of letters. Even more importantly, she kept them and ultimately shared them with me. When I began to search for my grandparents’ immigration manifests, my efforts were in vain, nothing emerged. One day I was sharing this frustration with my mother when she recalled that my grandfather had changed his name and that she had a letter that reported that. She sent me the letter where he writes it was too hard to spell so he selected a new name for this reinvention of his life. That letter led me back in time to his immigration manifest.


Donate the Knowledge 2007 S.Weinberg


My grandfather wrote another letter that didn’t deal with his history but gave me a flavor for what he valued. My mother had returned to college as an adult and graduated with honors as a teacher. In his letter to her on this occasion, he wrote a phrase that echoed for me.  “It is good to donate the knowledge to somebody else.” My grandfather closed his letter with another telling phrase. “I’m glad you could be your boss.”  A tailor in the NY garment industry, he never felt that he had that control of his life. It was one of the most important things he could wish for his daughter.



Tuesday, March 16, 2021

Unfolding

 

Burly Tree 2021 S. Weinberg 30" x 30"

I have come to love the process of unfolding. That is a big statement from someone who likes to know where she’s going complete with an estimated time of arrival. I didn’t get to this place easily, but I am beginning to trust that the process will work if I let it. Now that doesn’t mean I get to sit back and watch it unfold. There is some work involved on my part, but I have found that if I do the work and trust the process, I am likely to arrive at an interesting destination, usually one that I lacked the imagination to foresee. It is a lesson embedded in any creative pursuit and quite different from my corporate career where I drove to conclusions. It still feels rather magical to me when it works. It is that sense of magic that intrigues me and I often retrace my steps to figure out how the magic happens. It isn't difficult to trace my journey. I need only read past blogs, but I thought I'd save you the trouble and summarize here.


Broken Bits of Beauty 2021 S. Weinberg

I’ve written this year about my work within the Artist’s Lab exploring Brokenness and Wholeness. The lab discussions give me a starting point, but I don’t leave it at that. When I have no idea where to begin, I just begin with something that relates. In this case I began by constructing a rather whimsical collection of broken bits and then painting them. I had no idea where that would take me, but it served as a meditation of sorts on the theme. 


As I was walking a lot more during Covid, I found myself much more tuned into the natural world around me. When I looked at my photos on my phone they were an amusingly odd mix of nature through the seasons, selfies with my newly silver hair and photos of my toes on the bathroom scale as I studied the pattern of weight loss from all those walks.  It occurs to me that all of these subjects are about process and my documentation of it. As the latter two subjects didn’t seem to lend themselves to artwork, I turned to my nature photos for inspiration.


The Survivor 2021 S. Weinberg 30" x 30"

My part of the work in this process is to operate on multiple channels. I read about related topics, I observed brokenness within our politics, I absorbed what others said about it through poetry and I painted my visual observations. One of my visual observations from my walks was a tree laden with burls, covered with round orbs, layered closely together. It reminded me of a strong man flexing his muscles as they bulged out on all sides. I began to read about burls only to learn that they resulted from brokenness of a sort. Infection or injury creates them and they are from the tissue of buds that don’t fully unfurl. I began to paint the burly tree and named it The Survivor. It looked so ungainly and yet it grew despite its disfigurement.


Inside the Burl 2021 S. Weinberg

Then I looked at an image of what burls look like inside the tree. They reminded me of a maze as they circled and spiraled, hitting dead ends and finding new starts. And of course I painted them. As I painted, it felt much like a meditation. A few weeks later I took a writing class  where the author who taught it had us create a form that looked much like a burl, beginning with a spiral formed of adjacent circles. It was a meditation to get us ready to write and it felt very familiar.




It occurred to me that in last year's Artist Lab I had also painted a tree, nicknamed Methuselah. This 4700 year old tree is one of the oldest trees in the world. I called the painting Tree-time, based on the meaning of dendrochronology which is the science by which we determine the age of a tree and the climate that has surrounded it over time. In that case I was looking at it as a messenger of our climate trends and the warming that we see today. After I painted the tree, I wanted to capture what lay inside that was so critical to the story. To that end, I put the tree rings behind the image.  It occurred to me that I seem to have this inside-outside theme going. For another lab I had done a triptych called Stepping Inside the Chrysalis which opened up to what is inside a chrysalis as a caterpillar undergoes its transformation. In both of these cases, nature offered an apt metaphor to what I was trying to say. 


At this point I had painted the burly tree and I had painted the burls inside of the tree in two separate paintings. As I thought of my prior inside out work, I decided to combine the two and started a fourth painting to do just that as I work those metaphoric possibilities. A burl presents a model of what many of us experience as we have false starts, dead ends, challenges and successes often in a very unpredictable order. In fact, it is all part of the process of life. Brokenness and wholeness are not discrete or static states. Rather they are a connected and winding path, a cycle that perhaps affords us greater awareness of its cyclical nature as we weather its troughs and appreciate those moments when we sense the wind at our back, finding a point of momentary balance.

Tuesday, February 16, 2021

Simply Unfinished

 

Inside a Burl - Susan Weinberg 2021
Process has always fascinated me. How do we get from here to there? And how does our understanding of process allow us to move forward? To replicate a successful experience? Or to get unstuck and start again when things don't work? 

In painting, much of the process occurs long before brush meets canvas. That is especially true of work within the Artists’ Lab where we use Jewish text to identify concepts related to a specific topic. This year the topic is from Brokenness to Wholeness.  

As we explore texts I try to organize learnings in my mind by forming them into statements. We carry our brokenness with us. When Moses came down the mountain with the commandments, he encountered the Israelites worshiping the golden calf and in anger threw the tablets to the ground, breaking them. The rabbis considered where those broken shards were housed, concluding they accompanied the intact replacement in the ark. This is indeed an exercise in metaphor. We carry our brokenness with us and it is the companion to wholeness.

 

The next lab session was during Hanukkah and we explored the lesser-known story behind that holiday. After the battle by the Maccabees, who fought for the right to practice their religion, they came to the temple which had been sacked, defiled. They began to set it right. They used their own efforts to clean, purify and rededicate it. Hanukkah in fact means rededication.  We had that discussion in December and upon my re-reading it a month later, I had a much more visceral sense of what it meant. I had watched the impeachment hearings and the videos of the mob attacking the congressional building, I had a new understanding for what sacking and defilement meant, for the emotions that accompanied it. When Congress resumed later that evening to finish the certification, it was an act of rededication. It is with our own agency that we set things right, decide to move forward into wholeness.

 

The most recent discussion was about related words and their meanings in both Hebrew and English. This came at a time when we have a deep appreciation for how words matter, how they can incite or conversely calm, console and unite. After the lab session, I met with my two granddaughters on these themes. They too are participants in this year’s lab topic, partnering with me in discussion and creative work for the lab exhibition. While the lab introduces me to text, I also explore more broadly. I had been awed by Amanda Gorman’s poem and her presentation of it at the inauguration and realized that it addressed the concept of brokenness and wholeness, a perfect vehicle for a discussion about words.  I began with an exercise where I colored each word of brokenness in her poem grey, each word of wholeness green. For example, Amanda asks, “Where can we find light in this never-ending shade?”

 

After I did that exercise through the rest of her poem, I looked at the words that remained in-between. They were words that spoke to the passage from one state to another. I colored that sea of words blue. I thought back to a discussion in the lab about how there are really three parts, brokenness, wholeness and that liminal passage in between. 


Within her poem, Amanda offers us an important line about process: We've weathered and witnessed a nation that isn't broken but simply unfinished.”  Brokenness need not be a static state, it is a point in time and a point in time speaks to a hope for the future. I gratefully added Amanda’s line to my learnings.


There are many examples of brokenness surrounding us, far fewer of wholeness. But some have managed to reflect both. As I watched the impeachment trial, I was moved by the manner that Congressman Jamie Raskin channeled the emotion surrounding the recent loss of his son into meaning and purpose. His emotion gave his presentation power and authenticity. 


While I am mulling these ideas over, I am also painting. It is a left brain, right brain endeavor. Sometimes I find it helpful to take an image and explore it in a small painting. Each effort is a stepping-stone to a deeper understanding. What I’ve been working on recently is a piece called Inside the Burl. I painted it over a painting that never really worked, a new beginning. In the prior blog, I included an image of the inside of a burl, an image of many paths, some of which dead-ended and had to begin anew. I learned that a burl begins out of a bud unfurled, a potential not fully explored. 

The meaning of the word burl is derived from a knot. When we run into a knot we are stopped and need to redirect, our path is disrupted. The image itself reminded me of a labyrinth which of course led to me to look up the term. A labyrinth is an ancient symbol related to (drumroll!!) wholeness. It combines circles and spirals into a meandering, but purposeful path. It is often used as a meditation tool and my painting did indeed feel like a meditation, requiring a level of mindfulness that doesn’t come to me naturally.
 

But a labyrinth has a single continuous path that leads to the center. It is related, but distinct, from a maze which has dead ends, those obstacles you must maneuver around. Perhaps a burl is more truly a maze. That took me back to the question I've written of previously that Bruce Feiler posed in his book Life is in the Transitions.  What shape is your life? My life is a burl, probably most of ours are. There is potential unexplored, those paths not taken or partially explored until they fail to unfurl. There are disruptions that force us to find a new path and to redirect. The end point is not pre-ordained and there is most certainly not one path. We carry all of our experiences within us and we need not consider ourselves irrevocably broken, but simply unfinished.

Sunday, January 24, 2021

A Thing of Beauty

The Survivor  2021   30"x30"         Susan Weinberg

As I wrote in my prior blog, the theme this year for the Artists' Lab is from Brokenness to Wholeness. That idea is running in the background of my brain at a low hum and it often pops up when I least expect it. 

I took a bit of a hiatus from painting during my retreat over the past year and am now trying to get back into it. I find the best way to do that is, well, to do it. I start by painting something, anything. Often I paint over it because it doesn't work, but I find painting takes on a life of its own once I start and sometimes I am pleasantly surprised by the results. While I delight in pleasing outcomes, the point is just to find a rhythm that I can maintain, trusting that it will eventually lead me somewhere interesting.

In the past, much of my painting was figurative, but I've diverged a bit from that by paintings the things that I notice on our walks. I've never thought of myself as a nature painter but on some level it is still perhaps figurative, just not people. I've become quite enamored with trees since our last lab topic on the environment and have been drawn to those that are marred in some way, a bit battle scarred. There is one on our route which has many bulbous, swirly growths on it.  It looks as if it had fallen on hard times, but survived wearing its scars with pride. I wasn't sure why it grew that way and if there was a name for these growths. 

Much to my surprise, I learned that they are called burls and its limbs were indeed burly. Now I knew of burls in finished wood, but it never really occurred to me to consider where they came from.  Burls are a wart-like deformed growth. They can be caused by a stress, injury or infection. The cells divide and grow in excess and often unevenly, not unlike cancer cells. In this case t
hey don't necessarily affect the life of the tree, it just keeps growing.

The inside of a burl

I often look to the derivation of words for ideas and when I looked up burl, I learned that it originally meant a knot in cloth or thread and comes from burra which means wool. In this case it is a knot in wood. A knot is like a period, an end point. It requires a new beginning to move forward. If you look at what a burl looks like in wood you can see that the grain of the wood is twisted, it has a story, most definitely not a linear one, at least not in the sense of direct lines. Its original path is distorted, disrupted and rerouted, but it turns into a thing of unexpected beauty. It is not unlike a clam shell that produces a pearl from a stress. In this case the stress within the tree creates a burl. Burls  are considered very desirable in furniture or wooden items both for their beauty, but also their strength. The wood is stronger, less likely to separate, because of the many interwoven strands.

So what does this have to do with brokenness? In the lab we considered the fact that our brokenness and wholeness are interrelated. We all carry some brokenness within us, and I would posit that it is often the part of us that is the most interesting. It represents a journey, a history that is part of who we are and who we have become. The path is not always a straight one, it twists and turns as we find our way, and ultimately that can turn into a thing of beauty. Perhaps it is also that very journey that gives us strength to face the uncertainty of the future, trusting that we will find our way.

Thursday, January 14, 2021

Breaking Through


Broken Bits of Beauty 2020  Susan Weinberg

I’ve been thinking a lot about brokenness lately. This has been a challenging time for many, broken politics, broken health, broken habits. From brokenness to wholeness also happens to be the topic for the Jewish Artists’ Lab in which I have participated for the past eight years.  The lab meets throughout the year around a specific topic and uses Jewish text as a jumping off point to explore it. We explore midrash, an investigative approach to text, exploring the white space, what artists call the negative space. It is what isn’t said, but perhaps inferred by what is. We create artwork out of this process for an exhibition at year-end, a visual midrash, a creative investigation of sorts. 

While the topic is, well, topical, I still have to find my way inside it. This year we have a different approach. In addition to the lab discussions, we also are working with one or in my case, two, young people to take what we learn and explore the topic together. I have two very creative granddaughters, age 15 and 16, and I’ve enlisted them in this effort.

 

I always try to find a hook, something unusual, a different perspective that makes it interesting. And I’m not there yet. Not even close. It is very much a process of looking at a topic from different angles, often despairing at times when I don’t know quite where I’m going. I’ve learned that it is all part of the process. In order to create something new, we can’t already know where we’re going.  It is that unformed void, described before that ultimate creation, the world, that we reenact each time we start something new and unknown. I am someone who likes to know where I’m going, so I’ve had to learn to work in this space of not knowing, trusting that I’ll figure it out. 

 

As I contemplated brokenness, I found myself creating a still life in my kitchen. Some broken brown eggshells, a brown leaf fallen from its perch on high and a head of garlic without its cloves nestled in a broken shell, all remnants of their former selves. Every time I see it, I think about this theme. I’ve even tried my hand at painting it as part of my personal meditation. It seemed appropriate to paint it on a small canvas which had an accidental tear.


I also do research, often in the form of reading and in that process I stumbled across a book by an author I have drawn on before, Bruce Feiler. In one of his prior books, he wrote about how young people who know their family story are often more resilient as they approach life, they have a framework for understanding upheavals as part of the broader cycle. Turns out, story continues to play an important role for those of us who are older. His book, Life is in the Transitions explores how people move from what he terms “disruptions” and “life quakes” (a pile up of disruptions) to a new place of wholeness. He chose the word disruptions as it felt less negative, less final, than broken. He had already begun to rewrite the story.

 

We all have a story that we tell ourselves about ourselves. Disruptions threaten that story and in doing so throw us off balance. We are constantly reconstructing our story and reframing it in response to disruptive life events. He also argues that the linear model of life in stages is no longer relevant to today and when we expect life to follow that model we set ourselves up. Life is much more erratic, seemingly chaotic at times. If our life doesn’t follow that linear model we often assume it is broken when in fact we may be using the wrong yardstick.


Feiler went out and interviewed 225 people about their lives, the challenges they faced, whether they entered upheaval voluntarily or involuntarily, and how they dug themselves out. He asked them questions about emotions they struggled with, how they structured their time, the role of ritual, what habits they shed, what new ones they created. 



Crossing the Dalet 2018- Susan Weinberg
I was especially taken with the question, what shape is your life? I had in fact painted that when the lab theme was Crossing the Threshold. I entered it with a question mark formed of broken egg shells, trailing brokenness like a wedding veil. I imagined it as a bit of a Rube Goldberg contraption, random and unpredictable, filled with doors at all angles. Sometimes I go around or under them rather than through. Sometimes I rode them like waves as the current took me in unexpected paths. I abandoned the linear model long ago and as I get older, the linear model is not one that seems particularly inviting nor does it represent my life’s experience. Life has gotten more interesting and I have changed my path significantly at a time when the model would call for winding down.

What I especially found interesting was when he likened one’s life to a story. Stories require conflict, something unforeseen. A breach in what is expected sets the story in motion and story is where we find the resolution.  He introduces the wonderful idea of what Italians call the lupus in fabula, the wolf in the fairy tale. It is the wolf who represents that fearful thing that upends our world.  

 

So, what are his takeaways? Even if we are pushed into this disruption kicking and screaming it is our choice to convert it into renewal. We need to accept where we are and choose to move forward. We must first acknowledge our emotions. We often make use of ritual or turn towards creativity in this process of change. Marking the endings and the new beginnings is part of acknowledging this movement to a new place. Along the way, we must give up old mind-sets and we begin to try new things. Ultimately we unveil our new self and reshape our story, a story that reflects the resiliency of our experience, our struggle and emergence into this new self.