Grief: Denying Denial

I never really had a choice about feeling my grief. It wasn’t so much that I embraced it, but that it embraced me. It took hold of my life and didn’t let go, though it is easing enough so that I am able to see the process for what it is.

People talk about denial as if it’s a bad thing. If I’d been able to deny grief and just go on living as if my mate of thirty-four years hadn’t died, I’d probably have done so. Grief is debilitating, disorienting, causes innumerable physical and emotional reactions, makes one susceptible to cancer, accidents, and other closer-to-death encounters and on top of that, it’s just downright painful.

So why deny denial? Because in the end, it’s better to embrace grief, to learn to live with the pain (which does diminish, though according to comments left on this blog from others who have also lost their mates, it never goes away completely. It can resurface even years later). By embracing grief, by learning how to cope with it, you can learn how to feel deeply again, look forward to the future, and embrace life. This in no way negates your loss, but allows you to honor his death with your life.

Another reason to deny denial is that grief will affect you whether you embrace it or not, but the effects of denied grief are not overt ones such as crying, eating too much or too little, sleeping too much or too little, feeling as if you’ve been kicked in the gut, feeling as if half your heart is missing. Instead, grief that goes underground can create in you long-term problems, including the symptoms of post-traumatic-stress disorder. Two friends — both of whom lost their husbands a few month ago, both of whom are deluged with family and family obligations that give them no time to grieve  — were diagnosed with PTSD after days of internal quivering that only responded to drugs. They do not have time to spare for grief, but grief is not sparing them.

Grief is stressful, which is why crying, screaming, beating up on defenseless sofas are necessary — they help relieve that pent-up stress. You can go into denial and hold grief in, but it’s like holding in your stomach for years on end — you can never think of anything else but your stomach. If you hold yourself tightly against memories, dreams, unexpected encounters with photos, you have no time for living. Perhaps you don’t see a purpose for living now, but if you do your grief work (and grief is work, there’s no doubt about that) chances are you will regain your desire to live. You might even be able to love fully again, and that means risking more pain, but after dealing with your grief, you will be strong enough to accept the risk.

At least, that’s the way I’ve interpreted the grief process. You might see different reasons for either denying grief or denying denial.

Introducing Rubicon Ranch: A Collaborative Novel

I am involved in a wonderful project with eight other Second Wind authors. Rubicon Ranch is an ongoing collaborative novel that we are writing online. It is the story of people whose lives have been changed when a little girl’s body was found in the wilderness near the desert community of Rubicon Ranch. Was it an accident? Or . . . murder! But who would want to kill a child? Everyone in this upscale housing development is hiding something. Everyone has an agenda. Everyone’s life will be different after they have encountered the Rubicon. Rubicon Ranch, that is.

Each of us writers is responsible for the development of our own characters. My character is Melanie Gray. She has traveled the world with her husband, a world-renowned photographer. Together they authored many coffee-table books (she did the writing, he the photographs). One of the books told about mountains of the world, one about rivers, one about oceans, one about forests, and now they have a contract to do deserts. After they rented a house in Rubicon Ranch to begin their in-depth study of the southwestern deserts, he died in a car accident.

Now, not only does she have to deal with the pain of losing her husband and figuring out what she’s going to do for the rest of her life, she needs to fulfill the publishing contract or she’ll have to reimburse the publishers, which she cannot do because the advance is all but spent. Since she is not a photographer, she roams the desert bordering on Rubicon Ranch, taking hundreds of photos, hoping that a few of them will accidentally end up being as brilliant as her husband’s photos always were. She finds the child’s body and takes photos of the scene after calling 911. At first she is a suspect but once the Sheriff has ruled her out, he requests her help in reading the desert and desert-related clues. Still, the sheriff does not trust her completely, thinking she is hiding something.

These chapters have already been posted:

An additional chapter will be posted every Monday. Please join in the adventure — it should be fun! We don’t even know whodunit and won’t know until the end.

Grief: All Things Considered . . .

Another Saturday gone, thirty-three of them since my life mate died. Saturday — his death day — always makes me sad. Even if I’m not consciously aware of the day, my body still reacts, as if it’s been marking the passing weeks. For some reason grief hit me hard this past Saturday. Perhaps it was the lovely weather we’ve been having, weather he will never enjoy. Perhaps it was the homesickness for him that has been growing in me again. Perhaps it was just time for another bout of tears to relieve the growing tension of dealing with his absence. Grief doesn’t need a reason, though. Grief has an agenda of its own and comes when it wishes.

I’ve been mostly doing okay, moving on with my life — walking in the desert, writing, blogging and doing various internet activities, making friends both online and offline — but nothing, not even my hard-won acceptance changes the fact that he is dead. At times I still have trouble understanding his sheer goneness. My mind doesn’t seem to be able to make that leap, though I am getting used to his not being around. I don’t like it, but I am getting used to it. Maybe that’s the best I will ever be able to do.

Someone asked me the other day how I was doing. “I’m doing okay all things considered,” I responded. His witty and wise response: “Then don’t consider all things.”

I’ve been taking his advice, and trying not to consider all things — trying to consider just enough to get through the day, especially on Saturday.

I don’t expect much of myself on Saturdays. Often, I spend the afternoon and evening watching movies my life mate taped for us. It makes me feel as if we are together, if only for a few brief delusional minutes. I try not to consider that he’ll never watch his tapes again. I try not to consider the long lonely years stretching before me. I try not to consider that I’ll never see his smile again, or hear his laugh. I concentrate on the movies, and so Saturday passes.

By Sunday, I usually regain a modicum of equanimity, but Saturday always comes around again.

Writers: Be Bold!

When writing, it’s important to be decisive. Passive storytelling, passive events, passive motivations, passive characters, passive verbs, all lead to a story without risk or conviction, full of missed opportunities.

Get rid of the unnecessary qualifying words (quite, a bit, a little, some, somewhat, I guess) and non-specific words (someone, everything, huge, handsome, very, really). Such words detract from the authority and decisiveness of your writing.

Too many flashbacks rob a story of drive, give it a sense of aimlessness. So does a lack of focus. Thank heaven for rewrites! The grieving woman in my NaNoWriMo story keeps reflecting on the past, which makes sense, because for her there doesn’t seem to be much of a future. Still, it does seem aimless since she’s thinking instead of doing something. When I rewrite it, I’m going to take away the aimlessness by having the story revolve around a theme to give it focus.

The worst offense for indecisive writing is backing off from a major scene, skipping it entirely, or doing it in flashback. Many new writers don’t feel they are capable of writing dynamic action scenes, so they skim past it and hope readers won’t notice. Or they have a character other than the hero commit the final act, such a man showing up at the end to rescue the heroine in women-in-peril novels. This isn’t as common as it once was, which is good. If the woman is the hero, she needs to put herself on the line during the final scene and not expect someone else to do it for her.

In More Deaths Than One, it might seem as if I passed the buck — the solution to the mystery of Bob’s identity came in a letter rather than his doing the work himself — but the point of the scene was for him to interact with the waitress, not interact with the villain. I wanted to show her emotion on his behalf, show his reaction to her as together they learn the truth. It was the immediacy of their reaction that I needed. How a character feels, reacts, or emotes, is every bit as important as what a character does.

It’s important to trust yourself as a writer. Trust that you will be able to recognize the truth of your scene and what you want to accomplish (as I did with More Deaths Than One). Trust that when it comes time to rewrite and edit, you will know what you need to do to create a dynamic story, and that you will be able to do it.

Most important of all, don’t skirt around the story. Get right to the heart of the action. Be bold.

Amanda, Amanda, Amanda

Since writing during this month is about word count, not producing a finished work, I haven’t spent a lot of time or thought on visuals to ground potential readers in the scene, I just jumped in with the character and started writing. During rewrites, I’ll go back and add the setting — it’s not a good idea to start every every scene with the character’s name (though many writers do it). Here are some of the sentences I temporarily used to open new scenes. Poor Amanda.

Amanda opened her husband’s closet and stared at his clothes, wondering if she’d ever be able to get rid of them.

Amanda pushed the grocery cart through the aisles, looking for foods that didn’t remind her of meals with David, but every time she reached for a can, bottle, or box, her stomach clenched. 

Amanda checked her emails.

Amanda went from eating nothing but yogurt to eating cookies, candy, cake, crackers, chips — anything she could grab and eat without cooking or having to sit at a table to dine.

Tired of crying, of holding the shattered pieces of herself together, Amanda hugged David’s robe-wrapped ashes one more time and climbed out of bed.

Amanda stared at her reflection in the mirror. The woman looked familiar, as if she had known her intimately long ago, but the woman seemed to have nothing to do with her todays.

Amanda felt her life, her love for David rewinding.

Amanda checked to make sure the box was empty.

Amanda woke to light seeping in from between the slats of the closed blinds.

Amanda wandered through the house, seeing not the shabby furniture, the shelves overloaded with books, the 20-inch out-of-date television, but the home she and David had created.

Frenzied with grief-induced adrenaline, Amanda yanked open the door to David’s closet and slammed his underwear into a garbage bag.

Don’t Mess With a Grieving Woman

This is an excerpt from my NaNoWriMo novel:

Amanda was fumbling in her purse for her keys when a voice said, with low-toned menace, “Give me your purse or I will kill you.”

She jerked her head up. Standing between her and her Corolla were two men who looked barely old enough to shave. One jiggled from foot to foot like a child who needed to go to the bathroom, but the other stood firm, his hands steady on a gun.

The scene didn’t seem quite real. Perhaps she’d wandered onto a movie set? She looked around. No cameras. Just the two men standing before her in broad daylight.

Was there such a thing as narrow daylight? She giggled at the thought. Then stopped abruptly. I really am going crazy.

“What’s with you, bitch?” screamed the man with the gun. “Gimme your purse or I’ll kill you.”

“Promise?” Amanda said, clasping her purse to her chest.

The jiggling man lifted his hands and pointed a finger at her like a gun. “Yeah, we’ll kill you, bitch.”

“Okay.” Amanda stared at them, hope blossoming in her chest. God provides, David had been fond of saying. Maybe God was providing a way out of her grief.

The hand with the gun began to waver.

“Do it, man,” yelled the jiggler.

“Yes, do it,” Amanda said softly.

“I’m out of here.” The gunman took off running.

The jiggler danced in place. “Where are you going?”

“She’s crazy. Or a cop.” The words floated back to them from between a pick-up and a mini-van.

The jiggler looked longingly at Amanda’s purse, hesitated, then trotted after his companion.

Opening a Vein

There’s nothing to writing.  All you do is sit down at a typewriter and open a vein.  ~Walter Wellesley “Red” Smith

I always thought the above was a silly, though poetic thought. If a story really does mean that much to a writer, why are so many books barely adequate? They tell a story, but have no depth, demand no blood in response, give no transfusion.

Even from a writer’s point of view, the idea seems rather overblown. Writing is more of an intellectual activity, at least it always has been for me. But not with this NaNoWriMo project, my grieving woman book. For the first time, I understand the sentiment. I feel as if I am opening a vein while writing the story. Or at least picking at scabs. I thought I was moving right along with my grief, handling it well, but yesterday while writing I hit too close to the truth.

I worried about doing this project, wondering if it was too soon to re-immerse myself into the world of grief, even if only through fictional characters, but I jumped in with both feet. And now here I am, crying again.

I have a hunch that the only way out of this writing dilemma is through, so I’ll continue to open my vein of grief. As Ray Bradbury said, “You must stay drunk on writing so reality cannot destroy you.”

These are the final words of the scene that destroyed my equilibrium:

“Do you need some liquid morphine?” Amanda asked.

David looked up at her. “Is it time?”

“You can have the liquid whenever you want it.”

“I don’t want to go to Hollywood and be an actor.

An actor? Amanda tried to decipher his words. His mind seemed to take convoluted paths when the simpler words wouldn’t come. Then all at once she understood. “You won’t become a drug addict. I promise.” She left the second part of her thought unspoken. You won’t live long enough to become addicted.

Healing the Split In Ourselves

I’ve spent many hours walking in the desert during the past few months, which has given me plenty of time to contemplate grief, life, death and anything else that comes to mind. One thought that filtered through my mind was the idea that when my mate died, I split in two. The me that shared a life with him is grieving still, while the other me, the one who was born with his death, continues to live and grow. As long as I am in the person of this second me, I do fine — I’m strong, in control of my emotions, looking forward to what comes to me in life. The problem is that I keep slipping over to the other me, the grieving me, and when I do, the grief is as new as it was when it first hit me. The task is to reconnect the two parts — both the grieving me and the new me.

This might seem like dissociative personality disorder, though it’s not really a disorder. It’s how we all deal with life. I don’t remember the name of the person, but a psychologist once hypothesized that there are no true moods. What we think of as moods are different personalities. This natural order becomes a disorder when you lose track of yourself during mood swings or when they cease to be a way of dealing with life and become a way of hiding from life. I don’t know the truth of this, nor do I know the truth of my idea of splitting apart, but my idea feels true. I can almost feel the clunk of the gears as I switch from one mode to the other. I don’t switch as often now, which makes me think I’ll eventually be whole again.

Today, at my grief group meeting, I had a graphic example of how I am moving beyond my grief (at least for the moment. It does swing back and slam me in the gut from time to time).

During these meetings, there is a lesson — a topic — that we discuss before going on to personal updates. One of today’s lessons started out: Grief brings with it a terrible and lonely loss. Instead of acknowledging the sentiment, and contemplating my terrible and lonely loss as I was supposed to, I looked at the words, and said, “No, it doesn’t.”

This brought the meeting to a standstill while everyone stared at me.

“Grief doesn’t bring the loss. Loss brings the grief, ” I said.

More silence. Eventually, they agreed with me, probably to shut me up and get the discussion going again.

The point is, I focused on the words, not on the emotion. Of course, this could be more that I’m in writing mode than that I’m moving on with my life, but I took it as a good sign. Because this is the truth: death brings a terrible and lonely loss. Grief is our reaction to the loss, and ultimately it’s how we learn to heal the rift in ourselves brought about by that loss.

My Topsy-Turvy Writing Life

NaNoWriMo is good practice for me, this writing without stopping to think.

I’ve always been a slow writer, but I can also see that the way I wrote and the reason I wrote created the slowness. I used to write at night when all was quiet, then the next morning I would read the work to my mate. The piece had to be cohesive, well written, and most of all entertaining because that is why I wrote — to entertain us. That way of writing taught me to pull someone immediately into a scene, to make characters come alive in a few words, to add a hook or reward on almost every page.

I had my reward in his smile. Whenever I saw his lips curve in a secret little smile, I knew I’d hit the scene perfectly.

He and his smile are gone from my life. I’ve had to find a different way of writing and a different reason. For now, meeting the challenge of NaNoWriMo is reason enough. The very nature of the challenge is helping me find a new way to write. Instead of searching for the perfect word, I write any word that comes to mind, trusting that during the rewrites I will find the right one. If no word comes to mind, I leave a blank space and continue with my train of thought.

I also have no need to write a coherent story from beginning to end for there is no one to follow along as I write. I jot down whatever scene is foremost in my mind. I also write in the morning since it’s quietest here then. Also, by writing in the morning, I can come at the task in an oblique way before excuses begin to get in the way.

Some of what I’ve written will need little revision. Other bits read more like notes for a novel than a fleshed out scene and will need to be completely revised. Other parts are redundant and will need to be junked. But I am keeping up with my word count (probably because I am leaving out the hard bits, like descriptions and sensory details), and that is an important achievement.

I’m getting into the rhythm of this topsy-turvy life. From being one of a couple to being alone. From living near the mountains to living near the desert. From writing at night to writing in the morning. From writing beginning to end to writing whatever scene catches my attention.

I’m still writing the same type of book, though — a non-literary literary novel. The way I understand it, a literary novel is a story that addresses the major themes of life, and the way it is written — the choice of words, the sentence structure, the imagery — is more important than what is written. I fail in the second part — I strive for a simple, easy to read style that doesn’t detract from the story — but I do address major themes, especially in this work. Life. Death. Love. Grief. Relationships. The meaning of life. All while telling a good story. At least, that’s the plan.

I’m hoping someday you’ll be able to tell me if I succeeded.

Desert Revelation

While walking in the desert this morning, I had a vision. Well, not a vision so much as a revelation.

I’d been thinking about my grieving woman novel, which is shaping up to be the story of a woman in search of herself. She is directionless after her loss, has a lot of unfinished business to take care of, and is trying to figure out who she is now that she is no longer a wife. I wondered if people would accept that this woman is finding out all sorts of things about herself that she didn’t know — after all, a person in her early fifties should have some idea of who she is.

Then I realized that even if we have a strong identity and know almost everything there is to know about ourselves, it’s still possible and perhaps necessary to revise our self-concept, especially after going through a trauma such as a major loss.

I saw that our psyches are like nesting dolls or boxes within boxes or doors within doors (choose your cliché). You never see the doors, so you think you know who you are, but a great emotional upheaval can cause a door to open, letting you see more of yourself and what you are capable of, revealing a part of your identity that might have been hidden from you until that moment.

You get to know who you now are, adding to or changing your idea of yourself, rethinking the past in light of this new awareness. You get comfortable with this revised self-concept and then BAM! More trauma, and another door. You never have to go through the door, of course, but if you do, you might find riches of which you were unaware.

What can I say? It was the desert. Wandering in the desert is traditionally a place for both sun-induced absurdities and great insights.