Assume the Worst

Last Tuesday at midnight, I woke up in the middle of a hot flash as Dave was getting up to go to the bathroom. Ralphie, ever alert to our movements, hopped from the bed to investigate the sudden change in status. He followed Dave to the bedroom door where he hovered, presumably because he had to know where The Man One went. After Dave returned and crawled back into bed, Ralphie needed a little coaxing to resume his spot. Instead of curling up and going back to sleep, however, he climbed up to the head of the bed. On hot nights he tends to avoid the top of the bed, but there he was, sniffing, next to my pillow. I hoped he’d cuddle, but he leapt off the bed and rushed to the other window, still sniffing. For the next several minutes, Ralphie chased something around the bedroom–head lifted toward the ceiling and shifting on a dime. It was pretty impressive, but whatever he was trying to catch had some mad flying skills.

“It’s probably the beetle I saw earlier,” I said, so confident. “Ralph, get back in bed; you’re not going to catch him.”

Ralphie ignored me. I sat up and watched as he continued to spin around the room. Then something black swooped over me–it was a little bigger than a Monarch butterfly. “That’s not a beetle!” I shrieked and pulled the covers over my head. “Make it go away!”

Dave, like the good husband he is, got out of bed and looked around.

I peeked from under my covers. “Turn the light on,” I suggested. He did. As I dove back under the covers, again shrieking, Dave said, “I think it’s a bird.”

“It’s not a bird.”

He took a beat.

“No, it’s not a bird.”

Underneath the blankets I shivered, so creeped out by the bat flying around our bedroom.

Meanwhile, Dave and Ralphie watched as it banked again and again around the room. “Wow!” Dave said. “It can really fly!”

I wasn’t interested in its prowess. “Open the door!” It wasn’t a suggestion. (We have to keep our bedroom door closed at night or Ralphie will go charging down the stairs–barking–at regular intervals.)

I heard the door open and a moment later close.

“Is it gone?” I pulled the covers off my head.

“I think so,” Dave said. “It flew around the hall for a minute, but I think it found its way out the door.” He turned off the light and climbed back into bed. Ralphie stood by the bedroom door for another minute before he, too, jumped on the bed, curled up, and went to sleep. Dave started to slip back to sleep.

I, on the other hand, was WIDE awake. A bat had just flown around my bedroom. That by itself isn’t such a big deal. It’s just a (creepy) little winged creature–most likely more afraid of me–that simply wanted to catch some bugs. I  was kept awake by something I remembered hearing while in graduate school: the fiancé of a friend telling a story about a bat flying around in a restaurant–how that had been considered dangerous because of the potential for rabies infection from a fly-by. He was a med student and spoke with authority. Wikipedia didn’t yet exist and instead of questioning him or looking it up in the library, I merely stored this terrifying little nugget of (mis)information in that vault in my mind where such things lurk and moved along.

Until Tuesday. I spent the early hours of that morning convinced that the bat had sprayed rabies ALL OVER my room. I know, rationally, that such a thing isn’t possible.* I’m not an idiot. But at 12:30 on Tuesday morning I wasn’t operating from rational thought. I was operating from fear and a super-charged imagination.

What’s the worst thing someone can do in such a situation? Yep, consult the Internet, whose slogan should be “Assume the Worst!” The next morning I looked stuff up on the Center for Disease Control website. According to the CDC, if you wake up to find a bat in your room, you have to assume the worst. That’s not how they phrase it, but that’s what they mean. I sat in my office wondering how long the bat had been in the room–had we been asleep? Had it entered not through the upstairs deck door as I thought, but through the window over the bed? Had it crawled through that window and hung over me while I slept? Had it landed on me? Had it bitten me or Dave or Ralphie? Stories began to spin themselves–fueled by a catastrophic imagination, an episode of House, and an episode of Scrubs. (Who knew such different tv shows could make use of a rabies death?) To stop the stories from spinning out of my control, I made several phone calls, starting with the Advice Nurse. The one for my doctor’s office had to call back later, so I tried the Anthem Blue Cross Advice Nurse. She was a lovely lady, based in Atlanta, I think, who had had to get a bat out of her house recently. Unfortunately, she couldn’t tell me much–she was searching the CDC website for information. She suggested that I call the CDC and helpfully gave me the number.

So I called the CDC. The sweet lady on the other end read me what was on their website. While I was answering a brief survey about customer service, my other line buzzed. The Advice Nurse from One Medical had returned my call. Another nice woman spoke to me–this one in San Francisco. She didn’t have very much experience with bats. We began to bandy about the terms “post exposure prophylaxis,” which I had learned from the CDC website. Apparently rabies shots have gotten less daunting than they were when we were kids. Now it’s just a series of four shots to the upper arm, not the gazillion shots to the belly we whispered about as children, wide-eyed and thrilled by the horror.

But as nice as she was, she couldn’t give me any advice beyond considering the shots or contacting the Marin Department of Public Health. I asked her what she would do, and she replied, “That’s a good question. It’s kind of a tough call in this case, because you don’t want to take any unnecessary medication, but rabies is fatal.” Yes, well. I took down the number of the public health department and thanked her. She wished me luck.

By now I had to get going–I had a Pilates private session to teach. Plus I was all phoned out. I asked Dave to call the health department while I was gone. As anyone who knows Dave can imagine, he was completely blithe about the whole thing. Maybe not completely, but he wasn’t really worried. He agreed to call them and to stop by the vet’s office. (I made the mistake of looking things up like cases of rabies in dogs with up-to-date vaccines. It can happen.)

Luckily my client that morning was the daughter of another client–a marvelous man and retired surgeon who knows about my health concerns. He happened to drop her off for her session, and naturally I told him–mocking myself as I do to hide my fear. He waved it off, laughing, and said I shouldn’t worry about it, which mollified me for an hour.

Meanwhile, Dave had called the public health department. He told me when I called him from the Good Earth parking lot that they suggested we take the prophylaxis. So he’d called the closest urgent care center that had the shots, and they said to come in as soon as possible. Cue freak-out. I kept myself pulled together to grocery shop, but visions of horrible things accompanied me home. No matter how much I pushed them aside, they kept storming back. Lunch was a tense affair–Dave insisted we eat because who knew how long we’d be at Urgent Care? But we finally made it out of the house and up to Terra Linda.

Dave and I have a lot of experience of emergency rooms together. We had only been dating a few months when I had an acute case of appendicitis that led to a morning at the UC Davis Student Healthcare Center and then the afternoon and night at Sutter Davis Hospital. We’ve also been to Sutter Davis for a couple of serious asthma attacks (mine). I find trips to the ER with Dave very entertaining. Something about medical facilities inspires his already great sense of humor and timing. So it was only fitting that we spent part of our thirteenth anniversary at Urgent Care.

By this point in the day we had come to a clearer sense of the timeline–determining that we were awake when the bat entered the premises–and we were also pretty sure that we hadn’t been bitten. But those damn websites I consulted made it sound as though a bat could swoop in, bite its victim, and swoop away completely undetected. And that it would leave the tiniest of marks, easy to overlook. (Who the fuck writes these websites anyway?). Since rabies is fatal, I was not taking any chances.

Urgent Care was not busy, so we were seen pretty quickly, starting with Dave. Just before my turn, I heard the doctor in the hallway saying, “He’s fine with not getting the shots.” Then he came into the room and calm descended. He told me about Dave’s decision but added that I don’t have to do the same thing. Then he said that he didn’t think I needed the shots, but it was up to me. Naturally I was torn. He inspected me for bites, found none, and reassured me that if it were he, he would not bother with them. I debated–thinking that I might spend the next ten days seeing rabies in a headache or a sore muscle. Finally, my nascent rationality, something I’ve been working on, took over. “Let’s skip it,” I said.

“I think that’s the right decision,” he replied. Then he got up to do my paperwork, sending me down the hall to sit with Dave. When the nurse came in to give us our paperwork, she said, “The nurses all think you made the right choice.” That statement provided the most comfort all day. We thanked the staff for their wonderful treatment and headed home to Ralphie, who had forgotten the whole incident and just wanted to play fetch.

That night over dinner, Dave and I talked about death and fear and life and love. We toasted our thirteen years of marriage, made plans for the future, and reminded each other how lucky we are. We imagined the best.


*I have a theory about the bat spraying rabies: rabies is transmitted through saliva. A rabid bat can drip saliva from above, unlike a land-bound creature that has to bite to spread the disease. In the infinitesimal chance that a bit of infected bat saliva lands on a freshly opened wound or in your eye, you might contract rabies from a bat flying overhead. But that’s just my theory.

Another Flash Fiction Win

My story “Flight” won Flash Frenzy Round 16 at The Angry Hourglass.

I really am planning a post about writing flash fiction. I’ve just been busy, well, writing flash fiction. And finishing the second draft of Margaret Dashwood and the Enchanted Atlas. And writing more short stories. So my blog has suffered some inattention lately. But there are posts taking shape in my head. One of these days I’ll put them here.

Confessions or #IheartTwitter

Dear Twitter,

I feel like I owe you a big apology. You see, when I first heard of you I thought you were the stupidest thing ever invented–and that’s saying a lot since there are all those really dumb inventions that you can find on late night infomercials to compare you to. I remember hearing about Tweeting and thinking, “Seriously? We already have Facebook. What more do we need?”

Then I started writing again for real. And Emily and I started Luminous Creatures Press.  Like a good self-publisher, I read all the stuff about how to get word of your books out to the world. Twitter suddenly seemed a very important part of being a writer. I thought, “Oh, great. I fucking hate Twitter and now I have to join it? Ugh. All right.” Actually, it came down to either Emily or me joining Twitter. Since I am inherently more social, I volunteered. But I didn’t like it, and I did precisely what I wasn’t supposed to do: I tweeted pretty much only about our books.

As you can imagine, I didn’t get much out of you, Twitter, by just tweeting about our books, my disdain for the whole enterprise leaking into my tweets. But I didn’t believe all those blog posts that said that Twitter is a great place for finding a community of writers. All I saw were other writers like me selling their books and telling me to like their Facebook pages. And posting links to five-star reviews of their books. For such a crowded and noisy place, Twitter seemed so desolate.

Then you told me to follow Jessica Grey, which led me to discover Indie Jane. And a strange thing happened. I started having conversations with people. At first awkward and tentative, but conversations nonetheless. From there Jessica reviewed my book, and I read hers (which I liked a lot.) Around this time I also learned that the Jane Austen community is enormous. Who knew? Well, Twitter did.

I started taking more of your advice about whom to follow and that’s how I ended up following Kristen, Allie, Cedrix, Jason, and Clive. (And Willow and Tess and Charlotte…) That’s how I learned about Friday Phrases, which is an awesome game that provides a real feeling of writerly community, and about flash fiction contests on The Angry Hourglass and Flash! Friday. I even met Diane who lives around the corner from me.

When I finally embraced Twitter, I discovered my people, a community of writers and readers whose interest and support I can feel even though we are scattered around the world. Last spring even Emily joined Twitter.

So, what I’m getting at here is that I’m sorry I called you stupid, Twitter, and I’m sorry I hated you. Actually, it turns out that I love you.

Sincerely yours,


p.s. I also love that I can follow the entire cast of Buffy the Vampire Slayer. Watching them interact warms my geeky little heart.

The First Draft Blues

As of today I’m declaring myself about half way done with writing the first draft of Margaret Dashwood and the Enchanted Atlas: Regency Magic Book Two. I’ve made this declaration based on word count rather than plot because I have only a vague idea of the story at this point. A few things have started coming into focus: I sort of know how it will end, I know who the good guy is and who the bad, and I’ve got some cool spells worked out. Plus there’s the enchanted atlas, which is slowly revealing its secrets. Otherwise, every day when I sit down to write, I’m winging it, coaxing the story out from wherever it’s hidden in my mind, figuring out what the hell I’m writing.

But for a few weeks now, I have had the sinking feeling that my story is a great steaming pile of poo. Probably because it is. How could it be anything else? It’s a first draft! Yet as often as I have started new projects, I cannot seem to get beyond my desire for everything to come out perfectly formed from the moment I sit down at the computer until the moment I type “The end.” You know, like that scene in Shakespeare in Love when Shakespeare sat writing Romeo and Juliet in a fury of productive genius, inspired by his love for Viola de Lesseps. If only it were that easy, right?

It’s funny that I should torture myself with such ludicrous expectations. Before I left my fabulous acting career for my glamorous life of Pilates instruction and writing, I taught writing (and a few literature courses) at  UC Davis. With unbridled enthusiasm I used to encourage my students to write really crappy first drafts so that they could get the damn things done and then begin to revise them. Met with their blank, sometimes fearful, stares–I don’t think they had ever been given permission to do really crappy work and they didn’t know how to react–I would repeat myself. “Seriously, guys, just get it written. You can fix it later. That’s what the revision workshops are for,” I would say, doing my best to reassure them. “Tell your editor brain to take a few days off and just write!”

And yet, like a hypocrite, every day when I sit down to write, I find myself sinking into that self-judgy pit of despair that comes with allowing my editor mind to weasel her way into the drafting process. So I’ve decided to bring in a little help. Since I know that I am not alone in suffering these first draft blues, I’ve turned to other writers, compiling a list of quotations about first drafts that I find reassuring. I hope you do, too.

“The first draft is the child’s draft, where you let it all pour out and then let it romp all over the place, knowing that no one is going to see it and that you can shape it later.” Anne Lamott

This is one of many helpful and reassuring nuggets from Bird by Bird. I read it a few weeks ago because of this Margaret Dashwood anxiety.

“I’m writing a first draft and reminding myself that I’m simply shoveling sand into a box so that later I can build sandcastles.” Shannon Hale

I found this one on Twitter in another writer’s pictures. And I like it a lot.

“There is no great writing. Only great rewriting.” Justice Brandeis

My husband reminded me of this one the other day, which I thought was nice of him. He’s very comforting.

“Every first draft is perfect because all the first draft has to do is exist. It’s perfect in its existence. The only way it could be imperfect would be to NOT exist.” Jane Smiley

What more reassurance could I need?

Except maybe this one:

“The first draft of anything is shit.” Ernest Hemingway

Right to the point.

If anyone else has a favorite quotation about shitty first drafts, I’d love to hear it!

And Genius Scratches Its Ass

About a week ago I let myself get distracted from writing with a “quick look” at Facebook. Half an hour later I was watching Elizabeth Gilbert’s TED talk on creativity and the creative genius. It is very much worth a watch, so if you want to take a moment to do that before you finish reading this post, I’ll totally understand. If you don’t want to, I’ll get to the most salient point as quickly and with as much eloquence as I can. Gilbert begins by talking  about the crippling fear faced by artists when they sit down to work on a new project, especially in the wake of success (in Gilbert’s case it was with Eat, Pray, Love, a mind-boggling success that took her by surprise). This fear can understandably inhibit the creative process and has been known to drive artists mad–or at least to drink and do drugs. In order to combat this fear, Gilbert began looking for ways to understand the creative impulse, what we sometimes call genius, and she raises the marvelous possibility that genius is not something that comes from within but is something external to the artist, something that can be invited into the room to give the artist a little help, like, as she says, Dobby the house elf. There’s more to this TED talk, so you really should watch the video when you get a chance.

After the video ended, I finally pulled myself away from the Facebook and went back to work, inspired and relieved. I did a little experiment and extended an invitation to Dobby the House Genius to join me. Ralphie, my dog, was curled up on one end of the couch, but there was ample room for Dobby on the other. And damned if the writing didn’t go just a little bit smoother. The slog was a little less sloggier. I didn’t feel tortured at all, which got me to thinking about something that I’ve been thinking about for some time: a mixture of images and ideas that are best described as the portrait of the artist as a tortured soul, so burdened by the weight of his genius that he goes mad.

When I was younger–in my teens and twenties especially–this portrait fascinated me. There’s just something so special, I thought, about that artist so driven to do his or her work, so driven by his or her genius, that they can be held apart, distinguished, as somehow better than other mortals. Somehow less mortal. It’s a seductive image, especially for an adolescent, because, among other things, it gives permission for a lot of very bad behavior. “I’m an artist. I commune with the divine. I don’t have to live by bourgeois rules.” Who doesn’t want to have permission to say something like that? From the other side of forty, however, I can see quite clearly how that is not a very healthy idea, how, no matter the distinction it brings, genius is not a burden I wish to bear.

But when  I was  a freshman at UCONN, I reveled in that image. Early in my first semester,  I took some time one afternoon to craft a sign to hang on my dorm room door whenever I was writing a paper. First I wrote (in as elaborate a script as I could manage–we didn’t have computers in our rooms back then) “Abandon hope all ye who enter.” Then I poured coffee over the sign and hung it to dry. Later I charred the edges with my friend Paula’s cigarette lighter. I was very pleased with my sign, not just because I had made it myself but also because it was an awesome prop in my ongoing performance of being a Writer. The purpose, of course, was to let everyone on my floor know that I was WRITING and that things could get crazy because that’s what happens when someone is WRITING. I embraced this role because I thought that’s how an artistic person should act, and I was nothing if not an artistic person. I cringe now to think about it, and I realize that I had very indulgent friends, especially my roommate Kim, who happily studied downstairs in the cafeteria so I could write in our room. No one laughed to my face about my pretension. They just kind of took it in stride.

Of course, behind the door with my awesome sign, I was doing the work. I didn’t just sit at my desk, pulling out my hair. Fueled by coffee and chocolate, I wrote draft after draft of my papers, crossing out lines, cutting bits and pasting them–or taping them–to other bits, and then when it was ready, typing the whole thing to be turned in. Without really understanding it, I was actually doing my duty as a writer. For, as Gilbert makes clear, that is the artist’s only job: showing up and doing the work–sitting down to write and writing, no matter how awful or wonderful the words, bringing paint brush to canvas, warming up the body to dance, running lines before a rehearsal or performance, whatever the work, it is the artist’s job just to do it. Genius belongs elsewhere, to Dobby, or to whatever one chooses to envision. And that is a remarkably freeing idea for a type-A-must-get-it-right-and-be-perfect person like me.

It was freeing for Elizabeth Gilbert, too. While she was deep in a draft of the book after Eat, Pray, Love (or maybe it was that one, I can’t remember), she looked up from her work one day and addressed a corner in her office, saying something like, “I showed up. I’m here doing the work. So if this sucks it isn’t my fault.” That moment helped her turn a corner and actually finish the book. Whether her genius showed up or not didn’t really matter after that.

The one problem I have with Gilbert’s notion of genius is that she connects it to the divine. To me that connection undermines the whole pressure-relieving notion of genius as separate. I don’t want to worry about a deity occupying any corner of my house. How am I to keep from taking myself too seriously if I believe that God has taken some time out of His busy day to make sure that my writing doesn’t suck? Isn’t that the point of removing the burden of genius from myself–so that I can get on with my work and not be so tortured? Besides, I’m not a big believer in gods.

As a reaction against this invocation of the divine, I’ve been refining my vision of the genius that I welcome to my office every day, searching for something a little earthier, a little baser. So now I imagine a combination of Dobby the house elf and Tom Hulce from the movie Amadeus: it’s helpful like Dobby, but also crude and irreverent like Hulce’s Mozart. When I sit down to write, I invite this Dobby Mozart to join me. While I’m slogging away, my genius is sitting on the couch with Ralphie. Looking out the window, maybe, or watching me or just, I don’t know, geniusing. If, as I am going about my work, I start to take myself too seriously, my genius looks at me and pointedly scratches its ass.








Killing the Sylph

When I was fourteen years old, my ballet teacher pulled me aside after class one day and told me that I needed to lose some weight. I was about the same height I am now, five foot three, and I weighed around one hundred and ten pounds. While I was not ballerina thin, I certainly was not fat. I had a nice body, actually, a budding woman’s body, strong, with beautiful curves. But Ms. Allenby told me she wanted to consider me for bigger parts in the small company with which I danced, and that to do so, she needed me to be thinner. I don’t remember that “request” bothering me. I didn’t go home and cry; I didn’t feel humiliated or defeated. I was daunted by the woman’s body developing without my control, and I think I wanted–on some level, perhaps not consciously–to stop it. I didn’t really like my breasts or my round butt and curvy hips. I was mortified by my first period. I didn’t like maturing, so the part of the story that comes next makes perfect sense.

I went on a diet–counting calories, cutting out sweets, and planning my meals very carefully. The “request” came toward the end of the summer between eighth grade and my freshman year in high school. By the time school started, I had lost around ten pounds. It was exhilarating at first. Anorexia always is. By mid-fall I had lost almost twenty pounds. Ms. Allenby seemed pleased, and that pleased me. I got to dance some great parts–fun variations in the Nutcracker and Juliet in the Romeo and Juliet balcony scene choreographed by John Cranko. My budding breasts nearly disappeared and my period stopped; my development was arrested and I was relieved. I had a ballerina’s body–not that this picture shows it very well, but it’s the only one I can find.




Almost everyone knows about the many forms of lasting damage caused by anorexia and other eating disorders. I think for me the most pernicious result was how anorexia narrowed my definition of myself–encouraging me almost to erase myself. As a dancer, I equated my body with my whole being, and it reflected my value in a scary inverse proportion: the less I weighed, the more I was worth. The logic is mind-boggling: I’m worth more when I almost don’t exist at all. The book Competing with the Sylph: The Quest for the Perfect Dance Body sheds some light on this bizarre aspiration that I shared with so many young women. In my quest for near weightlessness, for a sylphlike body of air, I created an image of what my body should be. Forever. That was when I was fourteen. Thirty-one years later, I still struggle with this image of my body–from time to time I find myself at war with my own flesh.

A couple of things have happened recently to bring all of this mess back up. In September I started training to teach Pilates. Since then I’ve been working out a lot, and I’ve been a lot hungrier, which means I’m eating more–it’s really hard to do things like hang upside down in Pilates inversions if I’m not getting enough nutrition.


photo copy 2


In January I turned forty-five, something I celebrated with a four day dessertapalooza, which paved the way to sequels in subsequent months. Then a few weeks ago I realized that I was tired of being afraid of food. I’m tired of worrying about how what I eat might kill me. Last summer I stopped eating gluten and dairy to control my asthma, which actually stays under control just fine as long as I take my Flonase. I got sick of being so restrictive, so I started eating things that had been off-limits–like croissants and ice cream. All of these things have led to some weight gain because my forty-five year old body does not metabolize food like it did when I was twenty-five (ah the joys of peri-menopause!). I have no idea how much weight I have gained as I have no scale, but I know that my body has changed. It has more flesh. A lot of this new flesh is muscle–my sister and I develop muscle very easily, probably because of our eastern European peasant genes. But some of it is not muscle. Some of it, in my recovering anorexic’s mind, is excess. Unnecessary flesh.

But my  body–the ideal Platonic vision I created at fourteen–has no excess. I was driving home from Pilates the other day, and I realized that is why I am having trouble with the “extra” flesh on my stomach, thighs, and butt. I see that flesh as not part of my real body, the ballerina’s body aspiring for sylph-hood. There’s certainly no fat on that body. It is sleek, perfect. Anything else is not really me–it might be attached to me, but it is not me. The insanity of that notion struck me as I sat waiting for the light to change, thinking about how I didn’t like the way my thighs feel. In that moment, I wanted to cut off part of my body. Remove a chunk my flesh. Part of me. Jesus, that is fucked up.

I’m hardly unique in this horrifying desire. I hear my friends talk about their bodies in much the same way. They grab handfuls of flesh that they’ve identified as excess, the part that needs to be eliminated from their stomachs, thighs, butts, waists–everywhere that “excess” intrudes. One of my friends jokes (?) about “just getting it all sucked out.” Getting part of her body sucked out and thrown away as though it is trash. What makes a woman think that about her body? What makes anyone think such thoughts?

Of course I can’t answer that question for anyone else. But sitting in the car, wondering how to get rid of those bits of my body that don’t really belong to me, I figured it out for myself. And it pissed me off. When I stop and listen to the voice in my head telling me that there is too much flesh on my body, I hear the faint traces of a South African accent–it is an echo of my ballet teacher’s voice. I was sixteen years old and in the middle of rehearsal when she had me come over to where she sat. She reached out and grabbed the flesh of my inner thighs, saying, “If we could just get rid of this part….” So, yes, I understand the compulsion to just cut it off. I was eighteen years old and sitting in her office trying to explain why I didn’t want to dance anymore when Jean told me that I would be nothing but a fat, plain lady if I left ballet. I think some part of me has been trying to prove her wrong ever since. But the best way I can do that is to ignore the echo of her voice and to change the ideal image of my body to one that is strong and healthy, not frail and sylphlike.

In fact, that ideal body does not serve me well. When I am pared down, when there is no excess, I tend to be much sadder. I’m crankier and harder to be around. And I’m less healthy–my joints ache, my asthma flares up more readily, and I feel weaker. I’m tired and can’t concentrate, which makes most things harder to do.

That I can even see the difference now is progress. That I can also see my body with some measure of objectivity is also progress. Believe me, I know that there are lots of people who think I’m crazy, who must resent my complaints about my body because it is actually beautiful. More importantly, it is strong, well-muscled, and solid. Mine is a woman’s body, not that of some pre-pubescent teenager, all angles and limbs, or of a sylph, weightless and airy. In this body I have a lot of energy and much more focus for my teaching and my writing. My joints don’t hurt, and my asthma flares up far less often. This body, my body, made of flesh and bone and blood, serves me so well. Why would I want another?







I’m not embarrassed to admit that the interweb still frightens and confuses me. I’m a little technologically challenged, so there is A LOT out there that I simply do not understand. Among so many other things, apparently the internet is a great place for the independent author who knows how to navigate her way around Twitter’s hashtags and retweets, Facebook’s likes and pokes, and Goodreads’ giveaways and widgets. Because I had to be dragged into the twenty-first century, I’m amazed by people who actually know not only what all that stuff means, but also how to use it. My friend Milton, for instance, has been blogging for years, and his blog is filled with all kinds of media and icons and, I am pretty sure, widgets. And while I put the link to his blog in this post myself (here’s hoping that it works), I still haven’t managed to figure out how to make my blog look pretty, much less how to navigate my way through all these newfangled thingamajigs.

Nevertheless, I’m trying, and, the other night, frustrated by my inability to follow simple instructions about how to use the Goodreads Author program to my advantage, I asked Dave, “What the hell is a widget?”

As he usually does when I ask an impatient question about technology, my tech savvy husband smiled before responding with a mixture of patience and amusement. “I’m pretty sure I’ve already explained that to you,” he said.

“Well, clearly I have forgotten,” I replied with more than a hint of sass. “So can you tell me again?”

Unfortunately I can’t remember what he said (because sometimes when people talk about things I don’t understand, they sound like the adults in Peanuts cartoons), but I think his response was that it is a general term for a tool, not a specific thing. So I’m still not really clear about what a damn widget is because the Google was not much more specific. But I do know that I’m supposed to use them to encourage people to buy Luminous Creatures Press books and add them to their Goodreads bookshelves and write reviews so that other people will buy the books and add them to their bookshelves and other people….

If I’m really honest, though, I will confess that my fear of technology masks an entirely different issue. Behind my reluctance to learn how to use these technologies lies an aversion to self-promotion–specifically the shameless variety. I don’t mean other people’s shameless self-promtion. Just mine. I see people like the great monologist Mike Daisey on Facebook employing it almost purely as a tool for marketing. And he navigates it like a master. First of all he accepts friend requests from everyone. I know this because I sent him one after I saw him at Berkeley Rep a few years ago, and he accepted it. He also posts article after article and review after review of his work. He must issue thousands of invitations to performances every day. But what strikes me the most about Daisey’s use of Facebook is the complete lack of self-consciousness that I see. He clearly does not feel even the least bit awkward tooting his own horn. Or if he does, he hides it very well.

I do feel awkward. Terribly awkward. I resisted posting status updates or putting up a profile picture on Facebook for at least a full year after my friend Jill convinced me to join. Why on earth would anyone care what I’m doing or how I’m feeling in any given moment? Now any one of the five hundred or so Facebook friends I have could tell you that I’m obviously over that. Then came this blog, which Dave convinced me to write. I’ve also begun tweeting (a verb that still makes me shudder). I signed up for a Twitter account after Emily and I released our first short story collection because the books about marketing your self-published work suggest it. I believe I’m up to a whopping thirty-two followers. That after harboring nothing but disdain for Twitter since I first heard of it. Yesterday I did my first hashtag (does one do hashtags, employ them, or what? What’s the verb here?). And today I retweeted. All with only a little embarrassment.

So I’m learning, and bit by bit I’m getting over my fear or aversion or whatever hinders me from doing what every other successful artist seems perfectly willing to do–tell everyone how awesome their work is. In fact, I am very proud of the work Emily and I do. So much so that I am willing to sit down and learn to make use of the technology I’ve avoided.I think I’m making progress in teeny tiny baby steps. In this blog entry alone, which I’m posting to both Facebook and Twitter, I’ve set up two links to promote my work. And I’m okay with that.

As for the Goodreads author widgets: last night I asked Dave to show me how to use one. I cannot tell you how pleased I was that he had trouble figuring it out.

Maddie’s Purple Party

My niece Madison organized an eating disorders awareness event for her senior project. She invited me to speak (for reasons listed below), and because I knew that I would have a long day of travel before speaking, I wrote everything down. After I finished speaking a few people asked if I could send them my talk. So I’m posting it here–without the deviations that naturally occurred when in front of an audience because I can’t remember what I said:

When Maddie first invited me to speak at her Purple Party, I wasn’t sure what to say. I knew that she’d asked me in part because I have my own eating disorder stories to tell, and since the worst of my anorexia faded away a long time ago, perhaps I could shed light on the recovery process. But I didn’t really want to relive my anorexia story. It’s old, and, frankly, it’s not that different from anyone else’s. Yet I love my niece very much, and I want to support her, so I kept thinking about what I could say if I didn’t talk about anorexia.

The idea came to me, as so many of my ideas do, while I was getting ready for bed one night a few weeks ago. As I was brushing my teeth, a sentence began to form in my mind, so I rushed into my bedroom to write it down in the notebook I keep by my bed for that purpose. Finally I knew what I could talk about. Stories. Specifically the stories we tell ourselves about ourselves and about our relationship to the world.

I call them stories rather than thoughts or even beliefs for a few reasons. I’m a writer, so stories are what I work on every day. I also come from a family of women who LOVE to tell stories. Especially funny stories. I think that’s another reason Maddie invited me to speak—aside from my experience with anorexia, like the other women in my family, I am very entertaining. At any rate, lately I have become really interested in the power of our own stories—how they shape who we are, how they benefit us, and how they get in our way.

We all tell ourselves stories about ourselves—I’m a loser because…, I’m a winner because…, I’m lucky, I’m unlucky, the world owes me something, I’m not good enough…they go on and on. Some of our stories have been with us since we were very small, some develop as we grow older. Many of the stories we tell ourselves come from outside influences: for instance, there’s the old chestnut: ‘girls are bad at math,’ so there are hundreds of young women who don’t even bother with math. I was actually pretty good at math until I heard that I wasn’t supposed to be. Or until I took trigonometry—because it kicked my ass. And then there are the stories that advertising tells us that we absorb often without realizing it. Those stories are scary because they are so patently unreal, and yet we believe them as though they are proven facts. You can all think of at least one seductive advertising campaign that had you believing you needed x product to make your life complete, or stop aging (I’m not growing old gracefully, I’m going to fight it every step of the way), or have perfect hair. And you can all think of at least one little story you tell yourself about yourself.

Although some of the stories we tell ourselves can be comforting, many of them can be harmful. For example, when I was a teenager I began to tell myself the story that if I weighed above 100 pounds I was fundamentally unworthy of being loved. That’s a horrible story for anyone to tell herself—not least because it’s not true! But it stayed with me—perhaps not so clearly articulated—until my thirties—resulting in some really bad dating decisions. I am pretty sure that story came out of my anorexia (which I said I wasn’t going to talk about, but there you are). As you know eating disorders breed a whole host of horrible stories.

There’s a particularly insidious storyline in many eating disorder stories—the victim story. “I am a victim of ED,” it goes. “And that victimhood stems from something in my childhood, in my culture, in whatever it is I tell myself is true, whatever led me to embrace ED.” My problem with this story has two parts—first of all making the eating disorder into a character by naming it ED really bothers me. Giving a man’s name to a disease that largely affects young women seems fundamentally wrong. I know it’s a convenient nickname, but calling an eating disorder ED removes some of –if not all of—the power from the person who has the eating disorder. It becomes a separate entity entirely, not tied exclusively to the complexity of the individual, not allowing the individual full ownership of her—or his—disease. I also hate the victim story because it actually makes recovery—real recovery—impossible. As long as anyone believes she or he is ED’s victim, he or she cannot be free from ED. In taking away our responsibility for our behavior, we take away our power over the disease. As “victims of ED” we are forever linked to ED. I hate that.

Then how might we break free from our eating disorder stories?? I have a deceptively simple suggestion: we tell different ones. The beauty of being a writer in the early 21st century is that technology makes my job SOOO much easier. On my computer I can change anything with just a few clicks. That never gets old for someone who learned how to type on a typewriter (you could probably find a picture of one on the Google). But many of you knew more about computers by the time you were five than I ever will, so you know exactly what I’m talking about. Because of this editorial ease, I see all narratives as amazingly flexible, erasable, rewritable.

That’s why when Maddie asked me if she could say in the program that I would speak about the power of our thoughts I said no. Thoughts are different from stories. Thoughts creep up on us; they surface sometimes almost without our noticing them and then they’re gone. Replaced by a song (Electric avenue has been running through my mind for weeks) or another thought or something else. We can also be lulled into believing that what we think is true and therefore immutable. But stories require effort—we bring several thoughts together into a narrative. Stories have form, plots, characters. We make our stories, so we can change them. We can revise them. Reshape them. Rewrite them.

And that’s a big deal because if you really want to change who you are, you have to change the stories you tell yourself about yourself. That’s where my healing began—and continues—for I am NOT a victim of an eating disorder. [That's my toothbrushing sentence] I am not a victim of my childhood experiences. Not a victim of something my parents, teachers, culture did or didn’t do. Yes, all of these things inform who I am and how I manage to negotiate my way through the world. But I refuse to see myself as a victim. As seductive as that story can be—because it takes the responsibility for a lot of my behavior off of my shoulders—that isn’t my story anymore, and that doesn’t have to be anyone’s story anymore.

But what, you might ask, do I do with this idea, (aunt) Beth? How do I apply it to my life and to my recovery? I’d love to say it’s easy as I’m making it sound with my awesome computer analogy. But it requires a lot of work. You start by thinking, really thinking, about what you want your story to be. Who do you want to be? How do you want to see yourself? Then you listen to yourself to find those stories that get in the way of you being who you want to be. What are the repeating negative storylines? One of mine is that chaos is just around the corner at all times and if I’m not vigilant about everything, chaos will reign. The world will spin completely out of my control and all hell will break loose. I break free from this story in a couple of ways—first of all, I know that chaos always wins anyway—one of the laws of entropy tells us that nature tends toward chaos—and I remind myself that I’m actually okay with that. There’s something kind of exciting and relieving about chaos being inevitable. Then I remind myself that my actions and the universe have absolutely no relationship. None. The laws of physics operate no matter how much I worry about anything—whether it’s about traffic, my husband, my dog, my work, my time, my health, my dog’s health…I think you get the picture. The truth is, I have very little control over most things. But I can either let that fact drive me crazy, or I can change the story. I can tell myself I am the type of person who doesn’t worry about control. I am the type of person who does not worry. (breathe)

That’s only the first part, of course. Because if I’m really going to change the story, I actually have to behave like a person who doesn’t worry about things that she cannot control. I’m working on that. My first step has been to stop the crazy worry stories from gaining traction in my mind by repeating, aloud if necessary, “Just because I can imagine it does not make it true.” That simple, albeit grammatically dodgy, mantra has helped a lot. It stills my mind and calms my stomach. It’s a tiny action I can take to change how I behave.

And that’s where all this leads. Putting the new stories into action. When you figure out what stories you want to tell yourself—the old stories that still work and the new stories that help you heal—then you figure out how to act like the person you want to be. It’s a constant negotiation with yourself and with the world, but it’s a negotiation that puts the power back in your hands. Which is where it belongs.