Old Friend from Far Away ...

by Sue Blott
(This blog was originally posted on 2/28/16)

I recall a jump rope chant. I’m six again in the alley beside my house, rope slapping against cobblestones; my red leather shoes with perforated edges tapping the slippery stones; the stones themselves, steely blue grey at their best like ice cubes from a North Sea storm. Aloud I chant as I skip:



​Sausage in the pan
sausage in the pan
sizzly sizzly sizzly
sausage in the pan
 
Something spectacular happens at the ‘sizzly sizzly’ part, something which sets this verse apart from the other verses of the chant. Perhaps a sideways jump, feet to the left, feet to the right, to emulate the zeds in sizzle. I forget. No matter. The memory is what counts...a memory captured by this book, Old Friend From Far Away The Practice of Writing Memoir by Natalie Goldberg. The memory is as rich as the rhyme itself, unearthing sounds and smells and the rhythm of life. I’m glad to have recovered it because it can take me places in my writing, any form of writing, not necessarily only creative non-fiction.
 
Such is the beauty of Goldberg’s book—her explanations and exercises act like fish hooks snagging unsuspecting memories and dragging them to the surface. I bought the book last fall at Banyen Books in Vancouver along with some Tibetan hand-rolled incense and a deep red glass heart. Before I had finished the book’s introduction (entitled “Read This Introduction”) I knew it would fast become another writing book staple.
 
I read it as a bedtime book first, anxious to bask in her words, skipping from mood to mood, exercise to exercise, perhaps cautious of murky memories. If I merely read the book instead of working through it, all those circling shark-like feelings would remain below the calm surface of my consciousness, right? Not so! Several times after I put the book down and began to drift to sleep, a fresh insistent memory or a powerful emotion stirred by the book made me drag myself back from sleep to quickly write it down and snatch its essence. Not necessarily a relaxing bedtime read!
 
Imagine the magic of working through the book, committing to her exercises, absorbing her words. Already I have several poems inspired by a simple read through.
 
Old Friend from Far Away is divided into ten sections. Each section contains an eclectic mixture of short explanations or anecdotes, often from Goldberg’s own life, and exercises.
 
Dip into any section, let her words ignite: “Writing has to move us. Writing is alive, a living process...Whatever is hidden or secretive will look for a way out. You’ll write about a grilled cheese sandwich and bubbling up in the middle of the cheese will be incest, deception, and adultery.”
 
Do any exercise, prepare for surprise: “When did you pretend not to care? Go. Ten minutes.”
“Write a last letter to someone...Allow truth, like an open bowl—don’t try to put a lid on it or a bow.”
 
Natalie Goldberg’s first writing book, Writing Down the Bones, is one of my all time favourites, one I refer back to time and time again, one I regularly recommend to other writers. Old Friend from Far Away is now another steadfast favourite. As I read it, I find one hand turning the skipping rope all those years ago and the other hand holding a pen:
 
Pen across the page
pen across the page
sizzly sizzly sizzly sizzly
pen across the page
 
Something spectacular has happened. I’ve touched the raw nerve of an old memory and ignited it, if only for a book review. But don’t just take my word for it. Read the book and, in Goldberg’s own words, “...let’s pick up the pen, and kick some ass.” Go. I double dog dare you!
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