Finding Joy in Simple Pleasures: A Path to Healing

On May 29, 2016, I tried to end my life. It wasn’t the first time I’d tried, but it was the closest I came to succeeding. My reasons are not the point here. The point is that, during my long, slow climb back to mental health, I learned that I needed to stop living my life in the past and the future. If I was going to stay alive, I needed to live my life one moment at a time. 

Cover of the book 'A Cure for Heartache' by Mary Jane Grant, featuring an open window view of a cityscape with greenery, an open notebook and a cup of tea on a table, accompanied by cookies.

That is the key message of Mary Jane Grant’s (class of 2016) A Cure for Heartache: Life’s Simple Pleasures, One Moment at a Time (hard cover, Hodder, 2019, sold in paperback as Happier Here and Now: The Restorative Power of Life’s Simple Pleasures). Struggling with grief after a sudden divorce, Grant moved to England where she slowly learned to live her life moment by moment, soaking in the joys of each minute, and learning that life can’t be lived in the past or the future. It can only be lived here and now. 

The therapist I found to help me through that period of my life is trained in a well-researched and fully secular practice of meditation called Mindfulness-Based Stress Reduction (MBSR). One of the techniques she taught me for pulling myself out of depression and anxiety, though not meditation, is a simple practice, of going through the five senses, one at a time, and noticing five things I see, five things I feel, five things I hear, taste, and smell. It’s meant to break the cycle of rumination over past experiences one finds depressing and anxiety over future experiences.

It’s meant to bring the person back to the physical world around them in each moment. 

This is what I thought about as I read Grant’s book, as she explained her process of minding her senses, learning to wander, learning to let go, loving what you do, and learning to appreciate and to connect. Here’s how Grant describes her experience of getting reacquainted with her five senses:

I entered the reading room. Morning light streamed through tall windows. The walls were filled from floor to ceiling with books, and a dozen or more freestanding shelves took up the remaining space. To the left of the entrance door were counters with computer stations. Above, a bulletin board was covered in notices, local advertisements and sign-up sheets for local classes and lectures. A couple of round wooden tables filled the rest of the space. People sat here and there, reading books and newspapers. I went to an empty table, quietly unpacked my things, sat down and closed my eyes.   

Book cover of 'Happier Here & Now' by Mary Jane Grant, featuring a hand holding a colorful bouquet of flowers, with the title and subtitle prominently displayed.

I could hear the occasional rustling of a newspaper and the soft hum of the heating system. 

I took a deep breath through my nose. I detected a faint floral hint from the hand lotion I’d applied before leaving my room. Lately, I’d switched my allegiance from lavender to rose. Maybe it was the influence of England. After all, what was more English than a rose? 

I settled into place, connected my laptop, opened the internet and started my search. My first question was simple: why, when I immersed myself in the present, did I feel so much better? By pulling my attention to the five senses, I gave myself no choice but to focus on what was happening in the moment. I was not stuck in the past or worried about the future. Yesterday, I had learned first-hand that the senses held the key that opened the gate to my present experience. They admitted me to the garden of earthly delights—sights, sounds, smells, tastes and physical feelings—right here, right now. By being in the body, I could calm the mind and soothe the spirit. It felt neither self-indulgent nor hedonistic. It felt beautifully, blissfully ordinary. 

When I was recovering after my suicide attempt, I read Full Catastrophe Living, a 650-page volume by Dr. Jon Kabat-Zinn, a world-renowned mindfulness researcher and originator/teacher of MBSR. I took the MBSR course twice, and underwent a one-year program called Dialectical Behavioural Therapy

If I ever encounter someone going through a rough time, I might tell them, instead, to buy Grant’s 200-page A Cure for Heartache and read it slowly, mindfully, savouring each syllable, and then maybe go back and read it again. Because everything I learned in that difficult time is what I learned all over again from this meaningful little book. 

For more on heartbreak and healing, read:

One Strong Girl: Surviving the Unimaginable—A Mother’s Memoir, by S. Leslie Buxton

Walking the Camino: On Earth As It Is, by Maryanna Gabriel

Heartbroken: Field Notes on a Constant Condition, by Laura Pratt

For more lyric essays, read:

Black Cake, Turtle Soup, and other dilemmas, by Gloria Blizzard

I Don’t Do Disability and other lies I’ve told myself, by Adelle Purdham

The Minister’s Wife: A Memoir of Faith, Doubt, Friendship, Loneliness, Forgiveness, and More, by Karen Stiller

The Rise and Fall of Newfoundland’s Cod Fishery

I can barely remember a time when I wasn’t intrigued by Canada’s easternmost province, Newfoundland and Labrador. I’ve never been there, but it calls to me in much the same way many distant parts of Canada, like Haida Gwaii and the far north, call to me. I hope someday I’ll be fortunate enough to visit more of our country’s far corners. 

Book cover of 'Cod Collapse: The Rise and Fall of Newfoundland’s Saltwater Cowboys' by Jenn Thornhill Verma, featuring an illustration of colorful fishing buildings and boats in a vibrant marine setting with a Canadian flag emblem.

In Cod Collapse: The Rise and Fall of Newfoundland’s Saltwater Cowboys (Nimbus Publishing, 2019), Jenn Thornhill Verma (class of 2019) paints an intimate portrait of the island portion of her home province—not only how physically beautiful it is, but where it’s come from, what its people have endured, and where it’s going. 

In the early chapters of this moving memoir, Verma depicts in vivid detail what life was like for her grandparents, Pop and Nan, and great grandparents. They raised their family in a one-room wooden house. Wood was the only fuel used for cooking and heating, in a home that lacked indoor plumbing and was lit by a kerosene lamp. Wood was also used to build the boats that kept the island’s bountiful cod fishery alive.

Fishing was a hard life, one most parents didn’t wish for their children. And indeed, Verma’s parents did not grow up to be fishers but became skilled professionals in a hospital in Corner Brook. Yet the fishing way of life is also one that many remember fondly, in spite of both hardships and risks that most of us can barely imagine. Verma writes:

When it comes to a career at sea, practice brings some degree of perfection, but luck comes into play a lot of the time too. That’s what comes to mind as I recall what Gene told me about navigating tricky weather in his fishing days. “People used to say to me, ‘It’s thick with fog. You’re not going out today.’ I said, ‘Honey, I got a compass, I knows where I’m to.’ But I said, ‘The other fellers can’t find me.’ On a fine day, yes no trouble. Anyone could go to fish on a fine day, but I often went forty days out here and never saw land. Forty days in the fog day after day after day, nothing, only fog. I could only see to the end of the boat. But I was happy. I would sooner be out there than in here.” And yet, Gene is well aware of the risks of being “out there.” He told me of one dicey situation when he went overboard.

“I went in with an anchor. One Saturday evening, it was thick with fog and mad rough. We were setting a net from here to there somewhere. I was … hauling up the anchor and I don’t know what happened. It happened so fast. Rope come off … and I went down. It got dark. I could see a rope, so I grabbed the rope. The anchor was hauling me down. When the anchor got on the bottom, I got the rope off me and I started to come up. And next thing, I could see the propeller on the boat spin because I had only just slowed the gear. Anyway, I come up and I grabbed the rail of the boat and I got a bit of air.”

The cod fishery supported Newfoundland fishers for hundreds of years. But after World War II, as fishing methods improved, drawing fleets from as far away as Portugal to the Grand Banks and taking far more fish than could be sustained, the government of Canada finally admitted that without dramatic changes, the once-teaming cod population was in danger of extinction. 

The cod moratorium, announced July 2, 1992, immediately put 30,000 fishers out of work—the largest layoff in Canada’s history. It was supposed to last two years; it lasted three decades. Within ten years, Newfoundland’s population dropped by a record ten percent. The moratorium was finally lifted in 2024, but whereas total allowable catch (TAC) at the fishery’s peak was around 240,000 tonnes, it’s now 18,000 tonnes.

Cod Collapse is a story of hardship and loss, but it’s also a story of survival and recovery. It’s a story about a young woman moving away and distancing herself from the place she grew up, not least because “Newfies,” as I remember myself (with shame, now) referring to Newfoundlanders as a kid, who were for many years the butt of Canadian jokes. It’s a story about reconnecting with a past and feeling deep pride in it. And it’s a story about finding other ways to make a sea-faring life work—other fisheries, such as lobster; other ways to use the ocean, such as the offshore oil industry; and other ways to make a living off the land, such as tourism in one of the most ruggedly beautiful corners of our country. 

I’m immensely proud to be a Canadian, proud of every corner of this country, the many I haven’t seen as much as the relatively few I have. Books like this only make me prouder. It’s an amazing land we live in, from the Atlantic to the Pacific to the Arctic. And in an era when our sovereignty is threatened by outside forces, writers like Verma help us all to build that pride by telling the stories of those who make this country what it is. 

Here’s another book about fish, with a very different perspective:

Overrun: Dispatches from the Asian Carp Crisis, by Andrew Reeves.

And here are some books about Canada that inspire pride:

Peace by Chocolate: The Hadhad Family’s Remarkable Journey from Syria to Canada, by Jon Tattrie.

Ring of Fire: High-Stakes Mining in a Lowlands Wilderness, by Virginia Heffernan.

Finding Success with YA Fiction After the MFA in Creative Nonfiction

I don’t usually review fiction in this space, but this week I’m making an exception. 

Cover of the book 'Secrets of the Hotel Maisonneuve' by Richard Levangie, featuring stylized flowers and an ornate staircase.

The University of King’s College Master of Fine Arts program in Creative Nonfiction has, to date, produced more than 50 published authors of creative nonfiction, most of which are listed here. Assuming each cohort comprises about 20 talented and experienced writers, as did the inaugural class of which I was a very lucky member, that means about a quarter of us have had the good fortune to hold a copy of our published work in our hands—an amazing success rate. 

Sadly, that means three-quarters of us are either still searching for a publisher (read excerpts of my as-yet-unpublished manuscript here) or, alas, have moved on. But moving on often leads to other successes. Starlit Simon, a member of the inaugural class, is working on her PhD as well as perfecting the traditional Indigenous craft of porcupine quill art. Moira Dann (class of 2016), whose MFA project about the mothers of confederation sounded fascinating to me, went on the publish Craigdarroch Castle in 21 Treasures (which I’ll write about for BC Day in August) and more recently Fat Camp Summer: Advice I Would Have Given My Parents. And Richard Levangie, another member of the inaugural cohort (class of 2015), went on to write the excellent middle-grade YA novel, Secrets of the Hotel Maisonneuve (Nevermore Press, 2020). 

Hotel Maisonneuve focuses on 13-year-old Jacob Jollimore, who is having the worst summer of his life. Then he finds a 100-year-old letter hidden in a bureau in the Edwardian hotel his parents are renovating, which sends him on a treasure hunt that would challenge even the great Sherlock Holmes. It’s a great plot, and I have no idea how Richard thought up the incredible puzzle clues.

But that’s not all that makes it a worthwhile read. Richard’s writing, replete with references to books like Lord of the RingsThe Hound of the Baskervilles, and The King of Attolia, is also full of clever imagery, like “the minutes dripped by like a leaky faucet,” “paint stripper oozing from his pores,” and “[her] bruises were as purple as pansies.” The book even includes a haiku:

Jacob was so intent that he forgot where he was. An ancient woman crashed into his cart with almost-lethal force, but she didn’t apologize. No wonder everything was so heavily dented. Jacob decided to pay closer attention before someone sent him flying into the. Mangoes where he’d die a quick but horrible death, buried under hundreds of pounds of hard green fruit. 

Maybe that would be his epitaph. He composed a haiku.

Here rests the fool who

Could not solve hard puzzles

Crushed by rock-like fruit.

Not bad, but it needed work. 

One of the things I admire most about Richard is his ability to move on, not just from the creative nonfiction project he worked on for his MFA, but in life. As he writes about himself:

If I couldn’t be a hockey player in the NHL, I wanted to be a doctor. But when I was studying to be a doctor, I realized that what I really wanted to do was tell stories. As a journalist, it started with artists and artisans, and with food and wine, but then real life intervened in the form of a rare brain tumour that knocked me flat. For nearly two decades, I wrote nothing worthy.

When an unexpected respite from the pain took hold in 2012, two novels sprang into my head, waiting for me to write them. I cherished this rare gift, for it felt like Divine Intervention into a life that had forgotten what it was like be alive. I believe that the stories we tell offer us a chance to truly understand ourselves, and come to understand each other. It is a sacred gift, and I feel blessed. 

Not surprisingly, Richard recently inked a deal for his second novel, this time an adult fantasy called Red Tiger. Read an excerpt on his website. I have no doubt it will do well.

Other books to come from grads of the class of 2015:

Run, Hide, Repeat: A Memoir of a Fugitive Childhood, by Pauline Dakin.  

Just Jen: Thriving Through Multiple Sclerosis, by Jen Powley.

Fifteen Thousand Pieces: A Medical Examiner’s Journey Through Disaster, by Gina Leola Woolsey.

The Girl in the Woods, by Stacey May Fowles.*

(*This book was published, but it appears to have been pulled from sale.)

And coming soon:

No Such Thing: A True Story of “mild” Traumatic Brain Injury and My Twenty-Year (so far) Recovery, by Lynne Melcombe.

Finding Yourself in Retirement: Memoir of a Journey of Self-Discovery

Sue Harper’s Winter in the City of Light: A Search for Self in Retirement (self-published, 2019, class of 2016) is about exactly what the title suggests. After years of teaching, the author and her partner retired. A talented artist, her partner knew exactly who she would be in retirement. Harper wasn’t quite so sure. 

the Eiffel Tower with the book title overlaying it

Within a few years of retiring, they went on an adventure: a winter in Paris, where Harper’s partner attended an art course at the Sorbonne. Harper imagined that, during the days when her partner was at school, she would explore the most exciting city in the world, waiting for inspiration to strike, and then withdraw to the small apartment they’d rented and churn out book manuscripts.

It didn’t work out that way. On her own all day in a strange city, Harper had to face her fears, not only about going out on her own to explore the city, but about whether the author she’d thought was inside her was struggling as hard to get out as she’d always thought. About midway through the book, Harper writes: 

When we retire, we have lots of time to doubt ourselves. While the imposter phenomenon is destructive, it’s also difficult to overcome because no one talks about it. One of the researchers who labelled this phenomenon, psychologist Dr. Suzanne Imes, says little can be done to change the imposter’s feelings about herself. She is convinced she’s the only one who feels this way and fears that if she told anyone else she was a phoney “she would meet with criticism or at least very little understanding on the part of others.” …

It’s funny. I never felt fraudulent when I was writing textbooks, teaching, or helping other teachers, even when I earned promotions at work. My doubt seems strongest when I go to school. I’ve tried to pinpoint the reason for this. Was it because I always compared myself to my brother, who scored in the ninety-ninth percentile on the university entrance exams? Or maybe I couldn’t forget my father’s comment when I showed him my 88% in music: “What happened to the other 12%?”

Ouch. 

The point is that retirement is something we do in the winter of life, but we can never forget that winter can also be a turning point in a journey back to light. And ultimately that’s what Harper’s time in Paris became. Overcoming her imposter syndrome enough to complete the Master of Fine Arts program in Creative Nonfiction Writing at University of King’s College in Halifax, she also completed a book manuscript describing her own journey. 

Full disclosure: I met Harper through the University of King’s College MFA in Creative Nonfiction program and later copy edited her manuscript. I haven’t quite made it to retirement myself, but it’s likely when I get there I’ll go back and read it again to help myself face my fears and make my winter a time of new beginnings, as she did. 

Other books about journeys to self-discovery:

Run, Hide, Repeat: Memoir of a Fugitive Childhood, by Pauline Dakin.

The View from Coffin Ridge: A Childhood Exhumed, by Gwen Lamont.

Every Boy I Ever Kissed: A Memoir, by Nellwyn Lampert.

Heartbroken: Field Notes on a Constant Condition, Laura Pratt.

I Don’t Do Disability: And Other Lies I’ve Told Myself, by Adelle Purdham.

Louisburg or Bust: A Surfer’s Wild Ride Down Nova Scotia’s Drowned Coast, by RC Scott.

The Minister’s Wife: A Memoir of Faith, Doubt, Friendship, Loneliness, Forgiveness, and More, by Karen Stiller.

Heartbroken: A Journey Through Loss and Love

Every year for Christmas, everyone in my family puts together a wish list. For the past several years, my list has included whatever books have been published by graduates of King’s University’s MFA in creative nonfiction, minus whichever of those I’ve already read. The list keeps growing—it now includes more than 50 books, of which I’ve read about half—so which ones appear under the Christmas tree is increasingly a surprise.

For Christmas 2023, one of the books was Laura Pratt’s Heartbroken: Field Notes on a Constant Condition (Random House Canada, 2023). I started reading it soon after Christmas. But then a new relationship I was in, for which I had high hopes, ended abruptly and I didn’t have the heart to continue. 

I picked it up again in the summer when I was travelling. Overall, the trip didn’t go well. There was a death in the family right before I left, I had my phone and wallet stolen while I was on a train to northern Scotland, and my sailing charter around the Inner Hebrides was cut short because of gale-force winds, including the tail end of Hurricane Ernesto. Not my best trip ever. 

Reading Heartbroken was a high point while confined below decks to escape the weather. With my own sad relationship a few months into the rearview, Pratt’s book helped me deal with the dregs of my feelings about it. The back cover sums the book up this way: 

“When Laura Pratt’s long-distance partner of six years tells her ‘it’s over’ at a busy downtown train station, she is sent reeling, the breakup coming out of the blue. He, meanwhile, closes himself off, refusing to acknowledge Laura and her requests for explanation. 

“In the following days, months, and then years, Laura struggles to make sense of the sudden ending, alone and filled with questions. A journalist, she seeks to understand the freefall that is heartbreak and how so many before her survived it, drawing on forces across time and form, and uncovers literary, philosophical, scientific, and psychological accounts of the mysterious alchemy of how we human beings fall in love in the first place, and why, when it ends, some of us take longer to get over it, or never do. She weaves this background of cultural history with her own bracing story of passionate love and its loss, and offers some hope for arriving—changed, broadened, grateful—on the other side.” 

What I enjoyed most about this book was the way Pratt weaves together the story of her all-encompassing loss with minute details of a vibrant and passionate love affair unfolding in a club in Toronto, an apartment in Montreal, the Laurentian Mountains, the streets of New Orleans, and anywhere else the couple’s whimsy took them. And then she enlivens the lyrical quality of her own prose with snippets of poetry, fiction, and research on everything from stages of grief to the history of love and the science of memory. In a chapter on happiness, she writes:

This was a beautiful, heartbreaking book. I recommend it to readers of all ages who have loved, whether or not they have also lost. 

PS. Closing in on a year after my four-month relationship ended, I still find myself wrestling with what went wrong, waiting for the day I can simply say “It was fun while it lasted” and leave it at that. 

Books about love and loss:

One Strong Girl: Surviving the Unimaginable—A Mother’s Memoir, by S. Lesley Buxton.

Still, I Cannot Save You: A Memoir of Sisterhood, Love, and Letting Go, by Kelly S. Thompson.

Just Jen: Lessons in Resilience and Inclusion

Today, December 3, 2024, is International Day of Persons with Disabilities. This year’s theme is “Amplifying the leadership of persons with disabilities for an inclusive and sustainable future.” If anyone embodied the leadership traits required to ensure inclusivity of people with disabilities, it was certainly Jen Powley.

Jen was another author in my class (2015) for the master’s program in creative nonfiction writing. I remember arriving a day late for second-year summer residency. My daughter had gotten married on the first day of the residency, so I hadn’t left Vancouver until after the reception and had only arrived in Halifax in the wee hours of the morning. 

The next day, we had our mentor groups in the morning. Exhausted by my very late arrival, I took a nap on the lunch break and overslept. So I arrived late to the afternoon large group session and proceeded to go around on the break to say hello to people I hadn’t seen since the previous year. 

When I got to Jen, she didn’t recognize me. This wasn’t a surprise. She hadn’t been in my mentor group the previous year; her quadriplegia (caused by MS) prevented her from socializing much; and my social inhibition never helps with anything. So, I don’t know if I’d ever introduced myself to her.

Approaching her to say hello, I explained that I’d missed the welcome reception the previous day as I’d been at my daughter’s wedding. Without missing a beat or cracking a smile, she said, through her assistant, “And do you think that’s a good reason?” 

Jen was famous for her dry wit. Introducing her at a conference I later attended where she sat on a panel talking about disabilities, her first-year mentor, Lorri Nielsen Glenn, talked about her remarkable ability to, among other things, say a lot with very few words. I suspect Jen had an ability to zero in on the absurd long before she developed MS, but having difficulty finding the breath to speak honed her ability to “level a room,” as Glenn put it, in just a few syllables. 

Powley’s memoir, Just Jen: Thriving Through Multiple Sclerosis (Fernwood Publishing, 2017) takes us from her diagnosis at age 15 through her adult life, boyfriends, difficulties finding work, activism in the disability community, quadriplegia, and finding the love of her life, not to mention earning several academic degrees in her spare time. (The first time I met her, she dryly described her decision to embark on yet another degree as “much to my parents’ chagrin.”)

In a chapter called Engineering Families, Jen wrote: 

“Having hired twenty-seven assistants over eight years, I was accustomed to saying goodbye. Many of my assistants were students who didn’t stay for more than the years they were in school. Others simply moved on. Working one-on-one with my assistants, I came to know them well, but they usually only knew each other through the emails they typed for me. Some of my assistants met at shift change, but if one worked on Fridays and another worked Sundays, it was doubtful their paths would cross. Occasionally, I hosted barbecues for everyone who worked for me. Introducing themselves, they would say ‘Oh, you’re blah-blah at gmail.com. I’ve read your emails.’ The barbecues were meetings of the Jen community. I would say ‘knees’—to signal that I needed to be repositioned—and four people would get up to adjust me. 

“I engineer families out of strangers, and in the time my assistants spend as part of my family, I hope they see how strong someone who appears so fragile can be. I want them to go into the world as doctors, marine biologists, academics, librarians, and artists who know that differently-abled does not mean dumb or ill-tempered. I want them to raise their children with compassion, and if their mother or brother ever needs assistance, I want them to know they’re strong enough to step up and give it.” 

This book should be required reading for high school graduation because it helps readers learn some fundamental life skills: courage, humility, generousity, humour, compassion. At the least, I hope it’s used in some certificate, diploma, and degree programs for people who wish to work with those living with physical challenges. As Glenn wrote of her former student, “Trust this writer; she’s the real thing.” 

Published in 2017, two years after our graduation from the MFA program, Just Jen went on to become a finalist in the Atlantic Book Awards. Jen Powley died on September 17, 2023, leaving an incredible legacy of warmth, wit, and wisdom. I didn’t know her well, but I know she’s missed. 

Other books on disability:

One Strong Girl: Surviving the Unimaginable—A Mother’s Memoir, by S. Leslie Buxton.

I Don’t Do Disability: And Other Lies I’ve Told Myself, by Adelle Purdham.

Scream Therapy: A Punk Journey through Mental Health, by Jason Schreurs.

One Strong Girl, S. Lesley Buxton

[Note: I’d planned to write about Pauline Dakin’s book, Run, Hide, Repeat, in this post until I realized that Lesley Buxton is giving a webinar in less than a week. See end of post for details and link.]

I knew of Lesley Buxton before I met her. A friend and colleague of mine in Ottawa, where Lesley lived at the time, had shared the unimaginable story of her losing her only child to a rare neurological disease. This had happened just over a year before she began the MFA program (class of 2016). I was, and remain, in awe of her resilience. 

I remember when Lesley began writing her book, One Strong Girl: Surviving the Unimaginable—a Mother’s Memoir (Pottersfield Press, 2018). She didn’t want to tell her story in chronological order because everyone would know the ending before they began. 

Instead, the book opens a few months after her daughter, India, has died. She and her husband are on a plane to Japan, with which India was obsessed, to celebrate what would have been her seventeenth birthday. They’d had a speck of their daughter’s ashes baked into 16 colourful glass beads that they planned to leave in places she would have loved to visit. When I heard this story, I thought that was a far better idea than anything else I could think of doing with the memory of a child, especially one who’d seemed destined to do creative and interesting things. 

Lesley’s story then goes back to a time when India was just 10 years old. It’s the day the first symptom of India’s illness appeared, remarkable only for the fact that Lesley had a dental appointment that day, until India inexplicably fell. Their journey began, the journey that every parent hopes will never begin for them. 

From there, the story moves back and forth in time, sort of the way grief moves back and forth, taking us from the present to a memory in the distant past to thoughts of the future to a memory in the recent past, in no particular order. 

“Mark and I decided, when we headed west through the States to Vancouver, a stop on our way to Japan, that if we wanted something, we’d treat ourselves. By the time we returned to Quebec in the middle of June, the back seat of our car was heaving with souvenirs … 

“In Gibson’s, British Columbia, I bought myself a dress on a whim. The dress had a halter top and a wide 1950s skirt. It was sky blue and covered with pirate flags. I knew she would approve, though she probably would have told me it was too low cut. 

“I never censored India’s taste. A romantic with a flair for the dramatic, she favoured Manga-inspired outfits over low-cut t-shirts and short skirts. She often looked as if she’d stepped out of an anime movie.

“We still have her clothes. Everything is packed in big blue Tupperware boxes. Among them, a cream-coloured satin Regent style wedding dress she liked because it looked like it belonged to a Jane Austen character, and a Goth evening gown which, when she was sick, she used to watch TV in. I have no idea what will become of these things.

“Whenever I buy clothes, the first thing I ask myself is if India would approve. She was very opinionated about how I should dress. Once when I was wearing white pants, she told me, ‘Mummy, you can’t wear white. You’re not Beyonce.’ I’m not sure what I said, but I’m pretty sure I laughed. Now I don’t ever wear white. Too afraid. India might strike me down with a lightning bolt.”

A few years after India died, Lesley and her husband, Mark, moved out to BC, where her sister and parents still live. A few years after that, Mark was diagnosed with cancer; he died in 2022. I remember being in awe of Lesley’s attitude after he passed. I live with depression and often struggle with thoughts of suicide, and all three of my children are still alive and well. I don’t know how I would manage in Lesley’s circumstances. But a short while after Mark passed, Lesley wrote on Facebook that continuing to live well and enjoy life would be her way of honouring Mark and India. It’s what they would want for her. 

It’s no wonder India was one strong girl. Her mother is one strong woman. 

One Strong Girl won the first-ever Pottersfield Prize for Creative Nonfiction.  On Sunday October 27, 2024, Lesley Buxton will present a webinar, Scene Stealing: Creating Textured Scenes Using Your Five Senses, through the Federation of BC Writers. 

Other books about illness and disability:

Run, Hide, Repeat: A Memoir of a Fugitive Childhood, by Pauline Dakin.

Just Jen: Thriving Through Multiple Sclerosis, by Jen Powell.

I Don’t Do Disability and Other Lies I’ve Told Myself, by Adelle Purdham.

Still, I Cannot Save You: A Memoir of Sisterhood, Love, and Letting Go, by Kelly S. Thompson.

“When I Retire, I’m Going to Be a Brain Surgeon”

file0001532482557 - stethoscope

By drummerboy, morguefile, http://mrg.bz/U6R17F

In his book, Here Be Dragons: Telling Tales of People, Passion and Power, Peter C. Newman relates a well-known story about author Margaret Laurence. “The magnificent Ms. Laurence was a proud professional, offended by anyone who didn’t adequately respect her craft,” he writes. “Once at a Montreal reception, a distinguished gentleman came up to her and gushed, ‘Oh, I’m so glad to meet you. I’ve read everything you’ve written. I’m a brain surgeon, and when I retire, I’m going to do novels, too!’ She looked at him with pretend enthusiasm, grabbed him by the elbow, and bellowed, ‘What a coincidence! When I retire, I’m going to be a brain surgeon.’”

I saw this on Facebook the other day and, as a writer of 30 years myself, I immediately nodded in recognition. I try not to get annoyed when I’m at some sort of social gathering where someone asks me what I do and I say, “I’m a writer,” to which they respond, “I’m a writer, too. I write in my journal every day.” No, I’m sorry, that doesn’t make you a writer any more than my balancing my cheque book or doing my own taxes makes me an accountant. It makes you literate. There’s a difference.

At the same time, though, it occurred to me when I reread that Margaret Laurence anecdote that, although I understand the sentiment, the reality in the early third millennium is not the same as it was when she made that statement. In this era, it is feasible for people to retire from whatever they’ve been doing all their lives and become writers. Numerous current students and alumni of the MFA program in Creative Nonfiction Writing at University of King’s college fall into that category. Some of them are likely to finish and publish at least one book, if not more.

Self-publishing makes it even more possible for people to retire and become published writers. It’s easy to say that’s just vanity publishing, but I edit a lot of authors who hope to be traditionally published but are willing self-publish, as well as many who choose a self-publishing model from the start, and I’m often impressed with the quality of writing and the story ideas that come my way, regardless of which publishing model the authors are pursuing.

My point is that, particularly in an era in which people are living much longer and often remaining productive until close to the end of their lives, the notion that one might retire from one profession, move on to another, and attain some degree of success—sometimes a considerable degree—is not unrealistic.

Look at Claire Sower, whom I’ve written about here—a successful writer for many years who is now thriving as a visual artist. And Guenther Krueger—another successful writer who earned his PhD in his late fifties/early sixties and worked at his dream job for the last three years before he retired. Clark Elliott, who wrote The Ghost in My Brain, is a gifted professor of artificial intelligence, not a writer, yet he published a book last year.

The whole point of this Start Now blog is to tell readers that it’s never too late to start something new. There are writers who not only did that but became very well-known and widely admired for their writing: although both Charles Bukowski and Laura Ingalls Wilder started writing earlier in life, neither were published until they were in their fifties, and Frank McCourt didn’t publish Angela’s Ashes until he was 66.

It’s also not unusual for doctors to become writers. Think Oliver Sacks, Norman Doidge, and Peter D. Kramer. (Is it a coincidence they’re all psychiatrists?) On the other hand, my son and daughter-in-law are both in medical school and I can’t imagine anyone retiring and becoming a doctor, never mind a neurosurgeon. I can imagine a person starting in medicine perhaps as late as 40, but it’s at least a nine-year process (after completing a four-year undergraduate degree, usually in the sciences) from starting basic sciences to completing a residency, comprising long, stressful hours every step of the way. So, no, I can’t see a person retiring and becoming a physician.

That’s not to say I don’t see Laurence’s point. I work hard at my writing. I’ve been told I have a gift, which I think is horseshit. I’ve spent over 30 years learning my craft, most recently in a master’s program that had me working harder than I have in years. I have as little patience for people who think writers have a gift and writing comes easily to them as I do for people who refer to themselves as writers just because they’re literate. (I have even less patience for people who use these wrong-headed perceptions as excuses not to pay writers adequately.)

So right after I read that old Margaret Laurence anecdote and nodded my head in agreement, I had to think twice about what she’d actually said and whether it still applies. The spirit of it? Yes, unfortunately, it still applies. But the letter of it? No. It’s increasingly apparent that it is possible to retire from a career, take up writing, be serious about it, finish one or more books, find one or more publishers, build an audience, and maybe even win awards.

I’m glad about that, because it gives me and a lot of other people an opportunity to believe that if we work hard at it, we will be able to achieve what we’ve always wanted to but never before had the time or opportunity to do so directly. But I’d also like it if people would get the message beneath Laurence’s quip, which is as valid today as it was when she said it: writing is hard work and deserves to be taken as seriously as any other craft, art, or profession.

If you’re not a professional writer but you aspire to become one, more power to you. But before you say “I’m a writer, too” or “I plan to become a writer when I retire” to someone who’s already been doing the work and paying the dues for decades, ask yourself if you’d say the same thing to an accountant just because you balance your cheque book every month and do your own taxes every year. And maybe then consider saying something a little more appropriate, like “I write in my journal every day, and I often think I’d like to write more when the kids are grown and I have more time. Tell me what it’s like to be a professional writer.”

Starting Over . . . and Over . . . and Over . . .

Guenther Krueger

My friend Guenther, non-Birkie wearing musician, nurse, therapist, writer, PhD, retiree, and now meditator.

Guenther Krueger is no stranger to starting over. I met him back in the early 1990s when we were both working as freelance journalists. At that time, I had no idea how many times he’d already started over.

Since then, we’ve been the kind of friends who see each other once every few years at social events. It was only recently we started getting together more often, after he read a blog post (which I’ve since taken down for personal reasons) in which I wrote frankly about some of my recent life troubles. He asked me out for coffee, and I found out a lot I’d never known about him, including that he’d recently been through a difficult time of his own, which led to his most recent “start over”—with meditation.

I would not have guessed Krueger was into meditation. To the best of my knowledge, he doesn’t wear Birkies. As far as I could see, he’s always had a sardonic wit and never let things bother him much. But after what he went through a couple of years ago, meditation was what gave him a fresh start—the thing that’s allowed him to ease into retirement and enjoy it instead of fretting over it, the way many new retirees do.

But I’m getting ahead of myself. Krueger’s first “start over” came when he was young, as happens for many of us. His youthful goal was to be a concert pianist but “I only lasted two weeks in the faculty of music at U of T.” He made a pretty radical career switch to nursing, where he worked in pediatrics for the better part of 12 years. He knew he wanted to work in health care and with kids, but nursing “was never really what I wanted to do.”

Then he did a master’s degree in counselling, but when he was finished, he realized he had only three real options: go on to a PhD, work for a company that was helping people get back in the workforce, or go into private practice. The first two didn’t appeal to him; the third, “I found frustrating because it would mean working with clients who could pay but had easily resolvable problems, rather than working with people with more challenging problems but who couldn’t pay.”

(Eventually, he did a second master’s, a liberal arts degree. Although it didn’t lead to a career, he does realize in hindsight that he got better and better at being a student with each degree.)

Then, in his late thirties (the mid-1980s), he realized “what I really wanted to do was write.” Like me, he started by taking a course with Vancouver’s legendary freelancer, Daniel Wood. (We might even have been in the same class.) Krueger remembers one class where the assignment was to write a query. “Daniel read it out as an example of everything NOT to do!” This is one of the things I love about Krueger: instead of taking it to heart, he took Wood’s advice, sent the revised letter to an editor, and “sold my first article on the basis of the very first query I ever sent out.”

He loved freelance journalism but, like most of us, he quickly realized there was not much money in it, so he got into reporting at medical conferences (the same type of work Claire Sower was doing), and picking up other contract jobs, too, as all freelancers do.

(“One of the things I noticed about freelancing is that nobody really understands it,” he says. “You’ll be at a party and someone will ask you what you do. You’ll say you’re a freelance writer and they’ll ask you one or two questions about what you write, not realizing that when you’re freelancing you basically write whatever pays. Then they lose interest.” I know just what he means. I’ve had exactly the same experience a hundred times.)

Around 2000, the medical reporting he was doing began to lean toward advertorial work for the pharmaceutical industry, which Krueger didn’t enjoy. “It was just what paid,” he says. Then in 2003, when he was in his late fifties, Krueger’s partner, Barry, who was then still part of the communications department [edited] at Simon Fraser University (he’s recently retired, though still in demand as a guest lecturer and performer) suggested Guenther talk to a colleague in communications about working with her on some grant applications she was writing [edited]. She was already pretty much assured of receiving a $3 million grant and suggested Krueger do a PhD there so they could work on that project together. “I thought about what I might like to do and realized I was really interested in how people cope with tragic loss,” he says. His acceptance to the program “effectively ended my freelance career.”

This is where things get really interesting for me. Other than my peers in the MFA program, I don’t know many people who are willing to start a new degree in their late fifties, much less a five-year commitment to a PhD. In his early sixties, freshly minted doctorate in hand, Krueger found his dream job on a three-year project at BC’s Children’s Hospital, bringing him full circle back to working with sick children, but in the way he’d always wanted.

Life was good, at least for a while. But in July 2014, his mother and father both died, just 10 days apart. He wasn’t close with his parents, so he didn’t expect to feel the loss acutely, and at first he didn’t. “I was the sole executor of the estate, and I treated it like I would any other project.” The whole thing was wrapped up by Christmas, and when he and Barry later went on holiday to Hawaii, he felt fine.

It was the following August, about a year after his parents died, that he suddenly started having anxiety attacks. “I’d wake up in the night, unable to sleep, and go out for a walk.” He found himself so wound up with anxiety that sometimes, in the evening, he’d go downstairs to his partner’s work space—something he’d never done in a relationship of 30-some years—and just lie down there for the sake of being close to someone who cared about him. “Barry felt badly because he wanted to do something to help, but being near him was all I needed.”

Eventually, Krueger started putting things together. He’d been through three major changes in his life almost simultaneously: the career-capping project at Children’s Hospital  had wrapped up; he’d retired, which meant he wasn’t working for the first time in 50 years; and he’d been so busy with his parents’ estate that he hadn’t had time to think how he felt about their deaths. The losses had piled up, and were now compounded with a prostate issue and a hernia.

Once [edited] he realized this, he says, “I decided I had to attack the problem from all angles.” He went to his doctor to schedule surgeries for the prostate and hernia issues, started seeing a therapist to work out unresolved issues with his parents, and, on the advice of his therapist and some friends, started meditating.

Never one to do things in half measures, “I decided to read everything I could about meditation,” he says. The book he recommended to me when we got together last July was Full Catastrophe Living by Jon Kabat-Zinn. I promptly ordered and read it, and tried to follow Kabat-Zinn’s advice to the letter, but his eight-week program of building up to 45 minutes a day of a type of meditation he calls a “body scan” didn’t work for me.

“I don’t adhere to any one style of meditation,” Krueger says now. He doesn’t sit in a lotus posture, but lies down due to back pain (so do I). He doesn’t insist on any minimum amount of time, either. “I find that even if I sit still and focus on my breathing for as little as 10 minutes, my whole day goes better. I’m less stressed and more able to appreciate life in the moment. I’ve spent my whole life worrying about what comes next, and I’m not doing that anymore.”

Krueger’s partner recently retired and went off to Berlin to teach for four months. After his anxiety issues last year, Krueger was a little worried about how he’d do on his own for four months. “It’s been fine, and I think meditation is making the difference.”

Mid-sixties and still starting over—inspiring or exhausting? I’ll go with inspiring. Oh, and meditating for shorter periods and without doing the “body scan” is working better for me, too.

Claire Sower: Rocking Her Art in the Middle of Life

Claire Sower in her Granville Island studio.

Claire Sower in her Granville Island studio.

I’ve never seen my friend Claire Sower happier. Not that I see her often; we’re colleagues who bump into each other once every few years. But when I saw her displaying her work Art! Vancouver 2015 last spring, and she told me she’d been invited to participate in a show at the Agora Gallery in New York in October, there was a joy in her face I’ve never seen before.

“In my heart, I know this is what I was born to do,” she says of her mid-life switch from computer to canvas. “When I’m not painting, it’s what I want to be doing.”

Like me, Sower started out as a freelance journalist. And like me, as the years went by and well-paying freelance journalism gigs became fewer and further between, she filled in the gaps with contract work. Eventually, she landed a great gig as a medical journalist, writing reports about clinical research that had been presented at conferences prior to peer-reviewed publication. It was a stressful job, with ever-tight deadlines and a need for pinpoint accuracy, but it included world travel and good money—enough to buy a piece of property, not a common thing for a freelance journalist these days.

Her career switch had its seeds in 2007, when the FDA changed regulations regarding third-party reporting of medical conferences so it could only be done by those with university accreditation for providing continuing medical education. The bottom fell out of the industry; many communications companies went out of business. Out of work, other than the usual jobs most freelancers eke out a living on before finding something more life-sustaining, she set out to create a website providing medical information. But the internet was changing too quickly, social media had not yet evolved into the marketing tool it’s since become, and she was competing against dozens of other health websites, like WebMD, and tens of thousands of out-of-work medical reporters.

“I couldn’t keep up. I didn’t have deep pockets.” She was just making ends meet, and getting to the point where she realized, “I don’t want to do this anymore. I want to do what I want to do, goddammit!” She’d always wanted to paint, but “it never seemed like an option. I never had the time or money.”

Then in 2009, a friend mentioned she’d signed up for an art class and invited Sower to join her. Within weeks, she was hooked. After perhaps a dozen classes, “my friend and I went out and looked for a studio,” she says. “We had one within 10 days down on Granville Island. I just knew at the soul of my being this was what I should be doing.”

After a while, the paintings started to pile up and she figured she might as well try to sell them; if you don’t, she deadpans, “eventually, you’ll just be found dead under a pile of canvases.” Her first show was just a display of her work in West Vancouver City Hall, but it generated enough interest to keep her looking for opportunities.

I’ve been admiring and sharing her work on Facebook for a few years now; there’s something about the flowers she paints that draws my eye. She does landscapes, too—there were a few on exhibit when I saw her last May—but it’s the florals that are written about so glowingly in her artist’s bio for the New York show:

Claire Sower’s florals are tactile and interpretive, conveying a strong sense of tension and joy. . . . Eschewing detail in favor of essence, Sower works quickly, using palette knives to build depth by layering paint, allowing colors to mix on the canvas. This brings a sense of immediacy to her work, which conveys a flower’s “living energy.”

The New York show happened through social media. Claire has a website, of course, and a Facebook presence, but finds Instagram a great platform for emerging artists because it’s where a lot of galleries look for new talent. The Agora Gallery in Chelsea, New York, found her there and invited her to participate in a group show, which opened yesterday (October 9) and continues through most of the month (to October 29).

There’s a whole business component to any art, she says, as any artist knows all too well. You can’t just sit back and relax; you have to be constantly self-promoting. You also have to make some hard choices financially; you have to love what you do or it won’t feel worthwhile. You have to be willing to embrace a somewhat precarious existence, have some faith, and let go.

In some ways, that can be easier for a young person at the beginning of their lives, but Sower feels it’s an advantage to be making this kind of life change at an older age.

“I think being older serves me better because having had 20 years as a self-employed writer and running my own business, I have a lot of experience to draw on in terms of how I want to set up my business as an artist. I understand there’s a lot of pitfalls. I mean, yes, there’s debt, but there’s always debt. I think that’s just a way of life these days. . . . I’ve learned to trust my gut, trust my instincts, and they’ve never steered me wrong.”

At the moment, Sower spends her mornings on freelance writing opportunities to help pay the bills; rent from her property helps, too, another way being older is helping her fulfill her dream. But throughout those mornings at the computer, she’s always looking forward to afternoons and evenings at her studio.

Her long-term goal is to paint full time. “I’m going to have a big studio with a studio assistant and I’m just going to rock and roll!”

I believe she’ll do it. Her work is beautiful and original, and she has the drive and passion to get where she wants to go. And why not? People are living longer and healthier lives these days. Why shouldn’t mid-life be a time when we switch tracks and gear up for something completely new?

If you happen to be in New York City this month, visit the Agora Gallery in Chelsea between October 9 and 29 (opening reception October 15). If not, check out her website or Facebook page and see for yourself. Claire Sower’s art rocks—and, by the way, so does she.