An Ice Storm that Can’t Kill 10,000 Hours
Ice glistened on the slabs that rose out of the front yard. The driveway was wet but not slippery because we put salt down in the afternoon, but we couldn’t salt the rocks, so they bore the marks of the cold, cold water that fell on them. When I pulled into the high school, I glanced into the rear view mirror and the grass was grey, laden with the remnants of the storm that brewed yesterday. I wondered how green can turn grey in a certain light, and I thought about the seasons which change like we do. Going back and then forth and back again, the way a road curves around and around a steep incline until it hits the summit, the apex of a place in time. For even summits and mountains alter over time, just at a different pace than the shifting of the solstices.
When we drove down the mountain this morning, a silver Crown Vic in front of us crept down the road. We were in first gear, and I explained to the kids that you gotta let the engine brake for you. None of them was happy with how slow we were going, and I tried to teach them; I asked, “Who drives well in the ice?” Two of the kids piped up, “Stoney does,” and I laughed and said, “The correct answer is no one does, not even him, he’s just done it more, he knows it better and he knows what he can and can’t do, there’s no secret formula, there’s just going slow, don’t be mad at the Crown Vic, they’re doing what they’re ‘sposed to do.”
The kids didn’t have a response for this, so I said, “Find us something happy to listen to,” and Madeline pulled up one of her favorite singers. His stage name is Macklemore, and his real name is Benjamin Hammond Haggerty. Just as an aside, I like people named Benjamin pretty much on instinct.
“What category is he in Mom?”
“I dunno. He could be rap like Twenty Pilots is rap, or he could be R&B.”
“Or alternative,” Madeline said.
“Yeah,” I said.
So we drove about fifteen miles an hour, slower around Kitty Corner and the other steep turns, and we listened to music and no one said much more.
Another one of Macklemore’s songs came on after we listened to “Same Love.” The song after “Same Love” is called “Ten Thousand Hours,” and it’s about how hard an artist works before he or she makes it to the big time. There’s this:
A life lived for art is never a life wasted
And then there’s the hook, where he repeats the following:
Ten thousand hours felt like ten thousand hands
Ten thousand hands, they carry me.
It’s here she asked me what the song was about, and I explained that you gotta put an immense amount of time into any skill or talent until you mature enough to be considered great. After all, Macklemore writes,
You see I studied art
The greats weren’t great because at birth they could paint
The greats were great cause they paint a lot . . .
I repeated those lyrics back to her and she said, “Have I written ten thousand hours yet?”
I considered it as I watched the line of cars ahead of us. They looked like metal parts of a snake doing the mamba, but at a distance from one another. “See,” I said, “They’re giving each other a lot of distance, why are they doing that?”
“In case one loses control it won’t hit the ones in front,” she said.
“Right, they’re being smart,” and I thought about how close her birth father rides her, and how this pushes her out of control, like a race car taps the back of the bumper of the car in front and spins it, that’s how close he takes the curves that constitute her world with her. It’s like he pushes and pushes until she’s in full panic mode, just like she was last night after they held one of those parallel conversations where she says one thing and he answers as if they’re talking about a completely different topic, one she’ll never understand because it’s beyond her. After talking to someone like this, who’s in what psychologists call gas-lighting mode, you decide maybe you’re crazy and your heart starts racing and you wanna vomit because the lack of clarity takes an acridity on in your mouth, and you hand your phone to your mother and ask her to make sense of it all.
But I said nothing of this to her; instead, I said, “That’s right, that’s good. You’ve written maybe five thousand hours, you’re really good—“
“—But I’m in school, it slows me down.”
“Macklemore was in school too, but he worked on his music when he wasn’t all the time like you work on your books, by the end of high school you’ll be at ten thousand hours, by the end of college you’ll be a better writer than me.”
I didn’t say more because Macklemore sang the rest of what I had to say, or almost all of it. I want her to write freely of and for herself, but she writes only in third person. Sometimes we struggle over this, and then I come to my senses and I back the car up and follow her from a distance that feels safer to her fragile artistic self. She doesn’t write like I do. She doesn’t tell her story, at least not directly. Instead, she’s created a Tolkien-esque world that’s dominated by kick-ass women who lead a fight to restore freedom in a land ruled by the hand of Cain. It’s a biblical reference, one the character himself chose, because her characters are so real, they do things like choose their own names, their own destinies, their own friends—but even they are stuck with their own birth fathers.
Her world is lush and real, complex and populated by good and evil. Cain resembles someone of course, but that’s the author’s reality intruding in a way that’s subtle. What isn’t subtle in The Third Eye of Cain is the way the patriarchy is crushed. But the women don’t rule as a matriarchy. The author, mind you, says everyone has a place at her table in her world. And then I realize that she doesn’t think she has a place at the table of her own world; she feels like she doesn’t have a voice she can use.
“When we write Redone Strand, are we going with shifting third person POV?” I asked.
“Yeah, I can’t do first person,” she said.
“Can’t?” I glanced over and noticed the windshield was starting to freeze up, so I turned the knob to defrost.
“It’s never comfortable.”
I nodded. This isn’t an argument we can have now. I can’t make her take on first person in her fictional world when she can’t find the words to express her wishes in the here and now. Turning into the parking lot, I was mad for a moment, but not at her. You don’t get mad at daughters who have panic attacks after they try to talk to their birth dads. You just try to figure things out. Being you, you’re always trying to figure things out, both for you and for her, artistically and otherwise. Like you had this idea for her a couple months back. You pitched it to her of course:
Hey you could write about your life in high school, you could write a deep and funny book, a real world type thing, and you could talk about him, about your conversations, about how you play your clarinet and he tells you to go into the basement so he can hear his new wife play the piano, or how he notices all the notes you don’t hit and all the ones your brother does hit, or you could talk about the popular kids who make out in the hallways, or the teachers who don’t like Columbus Day, or the football players who yell at you when your soccer ball dribbles into their court, or the cheerleaders who show off their Brazilian shave jobs, it would be the greatest of books, I know we could get it picked up.
And she gives me this shy smile and I know it’s my dream for her in that moment and I close my eyes and tell myself, “Let her have her own dreams, in art and in life, she’s made this world, no one else builds entire worlds and writes about them, this is what she’s doing, let her follow her path and she’ll fulfill her dharma.”
All of which is right. I’m her mother and I’m her co-writer and I’m her manager and I’m in her soul family too, and I want her to use her voice to write about her troubles in these times, these hard teenage times, the ones that will pass so fast and yet so slow, from equinox to solstice and on, until she’s no longer under my care. She should create as she will and she should use her art however it feels right. But there’s the issue of her voice, the one that would speak of the thousand shreds that burn like molten rock inside when the pain of him gets caught in her throat and she can’t get any air into her thorax. I want to fix it. I want her to speak of it. Talking helps clear the “can’t breathe” air bubble constriction.
But she can’t and won’t yet. All of these things coalesce and then congeal and then when it gets too hard the ice bridge that’s building in her heart shatters and a sliver stabs her in that special place that she would find a better name for in some ancient language, maybe “whakaraerae,” which means “vulnerable” in Maori. She searches for better words in diverse places, checks with me to make sure she isn’t misappropriating other cultures (to which I smile and tell her no, she’s respecting and honoring them) and then she moves them (the words, the customs, the beliefs) to her world, populating it, always, with things from the past that connect our present to the future. She weaves a tapestry of time and place, and her way of rebelling, of speaking up for herself, is indirect and subtle and beautiful.
But now there’s an ice storm raging inside and she’s building her ten thousand hours and he doesn’t even know that her world is an escape from his reality, or her reality with him.
I don’t have all the answers but I keep hearing something hopeful.
I make my living off of words
And do what I love for work.
Macklemore’s got it figured out. In a way, so does my daughter, because no matter what, she keeps writing. And I keep trying to get an agent to take a look at her world. It’s a good one, where kick-ass women fight for equality and freedom for all. And men fight at their sides. Call it utopian. Or just call it her reality.
Sometimes reality blooms out of a story, just like a flower blooms out of a seed.
Ten thousand hours.