What does it mean to flow without borders?

/ RCRuiz

I have had in my mind this thought which I came back to me and seems to become more concrete as I try to put it into practice: what do we mean when we talk about a world without borders? Or what do we want to see? Or how might that experience be like if there were only superficial restrictions in place and if we could — as Glissant expressed it, move through to taste the atmosphere of a place. I have to go back to reading Glissant because a lot of things are mixed up in my memory (chemobrain) but this definitely stuck and remained with me and I was reminded of it again when in one of our latest LIMBO meetings, some of the participants asked why is it that we have to put borders in place? Why all these restrictions? Doesn’t the world belong to all of us?

I went home thinking about borders. How do we see borders? Are they protection? Who is protected by these borders? And who are we protecting ourselves from? And why do we need to keep others out in order to feel protected or safe? What do we mean by safety? What do we mean by security?

I asked these questions of myself because I live in a country to which people from other countries migrate to or flee towards to ask for asylum. I live in a country in which the discussion around migrants and asylumseekers is so fraught that one actually risks losing friendships in the process.

I don’t have the power to make change happen on a big scale and I don’t have the power to go out into the large arena and make discussions happen but I thought on how to bring that practice of flowing through borders into a very small space.

For this month’s LIMBO, I thought of asking participants to work together to fill up white space with writing or drawings, with lines or curves or symbols, with whatever they can think about to express their presence in the world. The invitation being this: if someone puts down a mark, how will you interact with it? How will you cross the borders? How do you enter space where you didn’t put a mark first?

It’s an exercise that I find myself wanting to repeat with others. Without our realising it, we have our own concept of borders, even on something as small and simple as a piece of paper. Creating on a space reserved and marked yours feels different from creating in a space that says–this is for all of us. Leave your marks, interact with other marks, there is no one artist, no one author, no one creator, it belongs to all of us.

There are questions that arise from this exercise that I also want to think about and which I find myself curious about: how does it feel to cross over into another space? What changes once you make that decision to leave a mark there? To interact with something that’s there? How does it change the way you perceive the work?

I didn’t get to ask this of the group, but I find myself wondering: How do exercises of collaborative creation change the way we see the world and the way we interact with one another?

In talking about this with a dear friend who is a fellow artist, activist and also a writer in the field, I expressed a vision of a room that becomes filled with doodles and maps and words and drawings. And how, it would be interesting to discover how willing we are to layer on top of what is already there and how that space would not be a work attributed to any one person but it would be attributed to all who collaborated whether the person is invited or comes upon it by happenstance, where those making marks can also be living creatures that we take care of.

Writing this, I realise that I am writing about the world we live in. We are all in the process of creating or re-creating, making or re-making, building or re-building–perhaps we layer over what is already there–we bear witness. We see how systems put in place have shaky foundations and how those who benefit from these systems try to prop them up. We bear witness, we offer criticque. But is offering criticque enough?

Marking the empty page to make something together can involve some risk. Stepping out into the world, making a decision to make or leave a mark involves much deeper and more thoughtful movement. What kind of mark do I want to leave? How will the mark that I leave affect those whose spaces or whose lives I live a mark on?

In any case, for me, the question strikes closer to home and makes me think that if I have marked my children with love and care and the ability to be thoughtful and considerate of others, then some of what I am meant to do has been done.

I wish I could share the picture of our collaboration, but it belongs to the group. But perhaps it’s an exercise some of you who read this blog might want to try on your own. Just take the step. Make the invitation and see where it takes you.

Agyamanac Unay for stopping by. Blessings and peace to you who read this.

memorials

/ RCRuiz

Today is my elder sister’s death anniversary. I considered posting about it on FaceBook which is the social media thing for a lot of Filipinos, but something in me rebels at the thought of remembering my Ate and having people put likes on the post. I know the intention is always good, but my insides just don’t feel in tune with doing that. (But still I’m writing this post because I didn’t want this day to pass without remembering her in some way.)

For a long while, I blamed myself for my sister’s passing. I thought: how could I not have seen it? She was here with me in the months after my husband died. How could I not have seen it? I blamed myself for being so preoccupied with my life and my sorrows at that time–if I hadn’t been so self-absorbed, I might have been able to do something. I don’t know what I blamed myself for not seeing. She spent three months with us and one month after she arrived back in The Philippines, I got a phone call telling me she was gone.

It wasn’t until about a year ago that I had the courage to ask my brother what the diagnosis was. It turns out my sister had sepsis. Something had entered her bloodstream and poisoned her. Sepsis goes so quickly that by the time it manifests, it can be too late.

The cancer I was diagnosed with is also something that doesn’t manifest. It doesn’t show up on blood tests unless you’re looking for it, and because I was pre-menopausal, what might have been warning signs could just as easily be pre-menopausal stuff. That it was found came about because I remembered my sister had a non-cancerous fibroid that was causing her some trouble and I wondered if that might be the same for me. When we sent the test away, we were perfectly confident it would be nothing–but it was something after all. A part of me wonders if it was still my Ate, looking out for me.

We measure grief in moments of time. How many days has it been? How many years? We light candles or we carry out rites of remembrance. We post pictures on social media, we try to find words for our grief.

And yet, for all that she’s no longer physically here, my sister is with me. When I am on the verge of giving up, it’s her voice I hear scolding me. She was really strict with me about not giving up. Ano ka ba? She would say. Okay, if that’s how you want to end up as. (The implication being that if I give up, it’s not her fault if I get called someone who gave up.) Even though she’s no longer here, she still remains my number one cheerleader.

Losing my sister was painful because of how sudden it was. It was painful because there was so much still left unspoken and undone. (We were still going to Paris. We were going to travel together. We were going to grow old and talk about all the books we had read.)

Sister relations are never simple. My relationship with my sister was complex. We were at times adversaries. I remember her banging on our shared bedroom door while I listened to Queen or to David Bowie–and I remember her telling on me. ‘Mom, Rochita’s listening to rock music again.’

But even so, she was also my staunchest ally and my most trusted friend.

Grief softens with time (they say). And it’s true, it does. The sharp edges are gentled. But the missing remains. When I think of my sister, I no longer feel as if I am held fast in that dark moment where the world has lost all meaning or context. I think of how she would want me to walk forward and to take on life and live it as ferociously as I can with as much courage as I can.

Today, as I remember my Ate, I make the decision once again to keep embracing life. Everyday, I make the choice to embrace life and live life. I am present here and I am present now. Now is when I can do what I need to do. Tomorrow will take care of itself.

Blessings and peace to you who read this. Agyamanac Unay for passing by.

thinking about language again

/ RCRuiz / 1 Comment

I’ve been writing in Dutch and this has me thinking about language again and how it relates to taking up space in the world (or making space) and how gatekeeping in language and use of language relates to the question around permissions. Why do we need borders when the world belongs to all of us? Why do we need permissions to cross from one place to another? And why do we as societies feel this need to create perimeters and conditions keeping people from traveling or moving into spaces we have labeled as “ours”?

I have a complex relationship with language. Perhaps this explains my fascination with it. I am also something of a geek and language and the conversations around language have also fascinated me.

Small as the Dutch publishing landscape may be (compared to the US or the UK), it’s still predominantly comprised of white native Dutch speakers. I made a decision to at least attempt to write and publish in Dutch because I believe it’s important to make space not just for my work, but for the work of those who like me were not born or raised in The Netherlands, but have come here from non-western countries.

In 2021, when Martijn Lindeboom and Vamba Sharif asked me to participate in De Komeet, a specfic anthology from diverse writers in NL released by a De Geus, I said an immediate yes. When the anthology was published, some people I know who read my story said that they were at first a bit hesitant because of the use of nb pronouns, but were quite surprised to find it wasn’t preachy as they feared (yay). It was also favourably reviewed in De Telegraaf which is a major Dutch newspaper (so Yay again). The comment I do get from people I know (who’ve read it) is how the reader can tell that I’m not a native Dutch speaker because of my use of language. Here’s where I admit that I did have an editor and first readers who tried to tell me to rewrite some sentences but the rhythm and the off-center use of language made me happy, so I kept them.

I can’t pass for a native Dutch speaker and to be honest, I don’t even want to. It’s the same as I don’t pass as a UK or US raised English speaker, and I don’t want to. The way I use language reflects how I have acquired the language, it reflects the rhythms by which I have learned to speak it or write it. It may seem like a minor thing, but there is a deliberate reasoning behind this. I understand the importance of the rules of language–grammar and such. But as one reader said to me: the use of language in an alien setting by alien characters, reminded me that my characters are aliens and the emotion came across because of the way “the language was used in a way I am not used to”. (That kind of made me go: yep. That was the intention.) (Of course, I have no doubt there were readers who were just irritated and went “another outsider who wants to write in Dutch”. Lol.)

There are different ways of using language and by opening ourselves to these differences, we expand our borders and our perimeters.

Mind you, I’m not advocating for using wrong grammar. I am advocating for knowing and having a grasp of language and at the same time remaining faithful to the rhythm that echoes in your inner ear. (I did adapt a lot of suggested edits because I am aware that while I may be proficient in Dutch, I tend to be more English in my grammar use. But there were definitely one or two sentences where I just said to the editors–this just feels right to me. It conveys an emotion that I want to convey.) So, I am perfectly okay when faced with the criticism that the language use isn’t perfectly Dutch or Dutch as it’s meant to be. It is not meant to perfect, it’s not meant to conform. (Sorry not sorry for being a rebel.)

When we engage in writing in LIMBO, I like to encourage participants to write in the language they are most comfortable in. Perhaps a majority will opt to write in English, but I have discovered that when someone chooses to write in the language closest to them, while we may not understand the words, we are often able to hear the movement of the writer’s heart in the movement of the language they use.

It’s this kind of rhythm and this kind of movement that we want to capture when we decide to write in an acquired language. Maybe it’s not perfect. Maybe the grammer is not 100%. But all these things are cosmetic. They can be fixed in edits, they can be discussed.

We are a multicultural society and when traveling through the city, I hear a rich tapestry of sounds and voices–different languages, different accents, different ways of using language. Dutch interspersed with Middle Eastern languages, Filipino mingled with Dutch and interestingly too–Dutchies who bend Dutch words to make them sound somewhat like English. Language, like society, like culture, doesn’t remain static. It’s never standing still and every year new words are added to our ever-changing vocabulary–not all these words are rooted in the Dutch language.

Yep. I can keep going about language. But I’ll stop here as I have a bunch of things on my to-do list. I am interested in comparing notes though. How do you write in an acquired language and how does the language you’re most skilled at using influence the way you write in another language? And if you’re writing in an acquired language, what made you decide to write in it?

Blessings and peace to you who read this and Agyamanac Unay for dropping by.

some thoughts on boundaries and flow

/ RCRuiz

Yesterday, I attended a workshop called Envisioning 2024 which was organised and led by my LIMBO partner, Lana Jelenjev. I didn’t make the first part of the session as I have students to teach but I was able to join the second half of the workshop in which we were led to think on what Flow and Boundaries mean to us and what kind of response thinking about Flow and Boundaries produces in our bodies.

Thinking on boundaries, I was surprised to discover how my feelings towards boundaries had shifted and changed and how I’d come to see boundaries like an embrace that keeps me from using up all that I am. Boundaries are there to protect and not restrict and so when someone tells me where their boundaries are, it also makes me see that this isn’t a rejection of myself, but it is the other person asking me to recognise what I can do to take care of them too.

I think of boundaries in terms of the culture that exists within the Filipino community where there is often a tendency to cross over and push beyond boundaries set by a person. ‘Sige na’, we tend to say or ‘kahit saglit lang’. It’s harder when the person pushing is an older person because respect for our elders is so ingrained in us that sticking to our boundaries can be made to feel like disrespect. I want to say here that it is not disrespect to say “these are my limitations”. And saying yes to every ask or crossing our own boundaries can be more harmful than helpful to us and to others.

During the course of my treatment, I’ve had someone ask me to be present at gatherings and in response to my “no”, I’ve sometimes been told that just showing my face should be enough and I should remember this is my community. It’s a response that isn’t worth an answer because it tells me enough about the person saying it. I do not always have to be present and if my absence means I am no longer part of the community, then perhaps the community never considered me part of it. It may sound harsh saying it like that, but my community and my family are those who understand why I can’t always be there. Why I can’t always say yes. Why retreating into my shell is necessary for me and how not being present is also part of my healing.

There is a beauty about the way in which the community I am in, right now, approaches this. An offer is made and it is up to the person who needs to come up and say: now, I need. Or now, I want to be present. Or now, I am ready to speak or to be in the group. It’s not that you are forgotten when you don’t speak or are not present–people do check-in from time to time just to ask how are you today. But the beauty of this is how it is absent of pressure that often leads to stress.

Thinking on this, my thoughts circle back to LIMBO and how much being in this space has enriched my understanding of the kinds of worlds that are possible if we allow ourselves to let go of existing learned systems. I think of communities where care is central–not just care for another but care for the self.

You don’t always have to have the answer. You don’t always have to solve the problem. You don’t always have to be present. You can always say: I hear you. I acknowledge your need. But in this moment, I need to not be present. In this moment, I don’t have the answer. I don’t know. I don’t have the answer. And maybe not knowing or not having the answer or not being able to do anything makes us feel vulnerable, but maybe this kind of honesty opens the door to the other so they too can be vulnerable and free.

Blessings and peace to you who read this and Agyamanac Unay for stopping by.

Fluidity and freedom

/ RCRuiz

After the first LIMBO of 2024, I find myself eager to see how future LIMBO’s will unfold. We started the first LIMBO with some discussion and reading and from that discussion and reading we went on to write our own letters inspired by some readings from The Letter Q: Queer Writers Notes to their Younger Selves. For those interested, some of these letters are available on poets.org.

The letter writing was a divergence from the workshop theme/plan which I had in mind, but in coming to LIMBO, I felt what was important was to find out first where the discussion would lead us. Every announced aspect of the session was a placeholder for what might come up as being more important or beneficial to the participants at the moment. I think the fluidity of conducting meetings in this way might be more helpful/fruitful than creating a set program with activities we nudge participants towards. I think of how participants might come up and say: can we do this instead? Or can we work together on something? I’m curious as to that last part as I do want to try something at a future meeting.

For me, LIMBO is an ongoing process and it’s one that I find quite joyful. I do wonder how workshop culture would change if we shifted our approach and started asking ourselves: what is it that those coming to the workshop need in this moment? Is it be possible to make room for a different approach and would a consumer-minded society be willing to embrace a workshop that doesn’t clearly label itself from the get-go?

For all the complexity that comes with it, I find LIMBO to be freeing. No doubt there will be difficult moments but LIMBO is about working together to hold and keep this space wherein we can all just be (as one of the participants so beautifully put it) just be human.

Here’s a challenge that mirrors what we did: Read one or two letters from the Letter Q out loud. Give yourself 30 minutes and write a letter to yourself: could be your younger self, your present self or your future self. No editing. No passing judgment on yourself. Just write. Afterwards, read out loud. Ask yourself: what surprised you?

Blessings and peace to you who read and may you find yourself joyfully surprised.

Bucketlist

/ RCRuiz

There was a time when I was a struggling university student that I used to go with a girlfriend to one of the high-end shops in Ayala. My girlfriend was tiny and fair-skinned and looked like a princess and while she had to make do with her allowance (just like I had to) it was quite obvious that she was from a well-to-do family. In the Philippines, fairness is associated with wealth and my darker complexion as well as my non-fairylike appearance made that people tended to associate me as coming from a lower economic bracket. Not that I cared. But well…anyway…my girlfriend liked window-shopping and so we would window-shop at those high-end stores.

We had a planned dialogue, my girlfriend and I. She would try something on, come out of the changing room and ask me what I thought and I was supposed to say that I wasn’t quite sure if it was really her thing. Of course, she would later on squee about how much she liked it but as we were struggling students, just being able to see what it looked like on her was just as good as buying things.

During one of these outings, she proposed making a list of things to buy. She showed me her list and said I should write one too. To humor her, I also made a list of things which included a watch from some upscale brand. We later parted ways and as tends to happen, we lost touch.

I have to laugh today because I just sat down to write a bucket list (entirely different from the list of things to buy…but it had me thinking of her). She had a pretty long list by the end of one year and I never found out if she went back to buy anything.

The bucket list I’m making seems to keep on growing and I find myself wondering how many people have bucket lists and what happens to those lists should they go uncompleted?

Just this week, I had a long talk with my GP. It was a great talk because we talked about my diagnosis and the implications of where I am in right now. One of the things she said to me was that I had the happy characteristic of being someone who was able to see the good in life no matter the circumstance. I suppose it’s true. I can’t control or change the circumstances, so I don’t really see the point or the use of crying or complaining about it (although I do sometimes grumble about it).

In the meantime, I’ve started on my bucket list and it’s already got thirty things on it. I think of something someone said to me–this is someone who went through a cancer scare and had the works and is now clean. He told me that his partner made a portrait of him while he was in hospital. It was a portrait in pencil, but his eyes staring out from the portrait are striking and full of life. He said to me that his partner had said: Oh, your eyes are good. They’re full of life. You’re going to be okay. I think to myself: but look, I am still full of life, aren’t I? And I think: I am still okay.

Today, I am preparing for tomorrow. Today, I am writing a list. Today, I have the energy to go out and bring things away. Today, I can pick up groceries and cook and prepare for the weekend. Today, I can be present for my youngest son who is still at home. Today, is full of possibility and there is still a lot of today left.

So, today I decided to share on here a close-up detail from one of my paintings. I liked this unexpected detail because it made me think of how while we only see the now moment, we don’t know how today affects everything that unfolds around us. So, let’s just keep on living and doing all that we can today.

Blessings and peace and Agyamanac Unay for reading.

Alive and working

/ RCRuiz

In the lead up to our first LIMBO of the year, I wanted to try a different approach. One that’s more loose and which means also posting to the group more in the lead up to the Sundays. I think of how providing material to think on could become a basis for discussion before we go on towards the work of collaborative or individual creation. This time, I want to focus on the questions around writing and creation of story, character and world. I think of ways in which we tell story and where our stories come from and how sharing our works and our words with one another is an act of affirmation and also an act of recognising and taking and making space in the world. If we can encourage confidence and voice so people can stand up and say: this is what I sound like and will you listen to me? I feel that we will have already done some of what we are meant to do.

These past weeks, I have also been thinking on and off about a piece I’m supposed to be writing in Dutch. It’s an interesting process to be writing in Dutch. Understanding that some of what I say and how I say will give me away to the reader and tell them that I am not a natural-born Dutch person. I think of how the tongue stumbles and wrestles with language and how language can be a stumbling block at times, how it can at times be a wall, but how it also can be a bridge if we can let go of wanting perfection. For the recipient it means being willing to listen even when the syntax or the grammar doesn’t sound as a “real Dutch person” would say it. But on my part it also means a willingness to be vulnerable and admit that I really don’t know how to write everything as it’s meant to be written, but this is the meaning that I want to get across. It’s kind of funny to be going through this process as for a long time I fought against writing in Dutch. It was this weird feeling of: I’ve already had to do my best to write English really well and now I have to work at writing in yet another language. But unlike when I was younger, I find myself less resistant to the process. I suppose it’s a certain knowledge that comes with age.

I wonder when do we become more than a person living in a country? When do we make that transition into being part of a country? And what does this mean for my identity as Filipino? I am still Filipino. Philippines is still home to me. But I am also Dutch and The Netherlands is also home to me. So, it is possible to be two things at the same time and to occupy two identities at the same time. To be Dutch and Filipino. To be at home here and there.

These are some of the things going through my head as I write and work on things that I want to work on. My thoughts are still quite messy, but I like messiness. Life is always more interesting when there is some messiness in it. I remember my sister and I joking with one another about how our chaos was order to us because we knew just exactly where things were and because in the search for misplaced objects, we sometimes stumbled upon the most interesting things. I wonder what my sister would think of life and its messiness at the moment and I wonder how she would feel in LIMBO space. I think she would have fit right in and in a sense I take her with me when I enter that space. Ah. She would have loved it. She would love the space, the participants and everything that LIMBO represents. A space for people to just be and where just being is enough.

One day at a time. I take life, one day at a time. I dream and I plan and I do what I can. One day at a time. Everything else will unfold as it’s meant to unfold and in this knowledge there is peace.

Blessings and peace to you who read this and may 2024 bring you good things.

Hello 2024

/ RCRuiz

I am learning how to do freehand protraits–relying less on a grid and training my eyes and my pencil. I still need to work on proportions, but the results have been surprising. Did you know that turning a picture upside down will actually help you focus more on shapes and lines and will give you a more satisfying rendition than if you are looking directly at a thing? For most of 2023, I had to practice at home by myself as my energy would often run out and I would end up having to skip art classes.

Towards the end of 2023 though, I was able to attend five art classes (what luxury). It became important to me to go to class with a goal. What is it that I’m struggling with, right now? What questions can I ask and how can I put the answers to practice when I am unable to attend class?

There are so many similarities between making art and writing and life and the parallels fascinate me. Because we often start out with a draft–with an idea of where we would like to go–or in my case, I sometimes find myself caught up in an emotion and I let that emotion move my body and take me to what comes out on the canvas. I suppose I am very much a pantser on canvas as I am a pantser with words. Portraiture though is teaching me the discipline of looking and seeing and translating what I see in lines and shadows and angles on the page. We don’t know what we’re making until we see the finished project and even then, it can be tempting to keep tweaking. For the artist, the art is learning when it’s time to stop. There is no such thing as perfection in art, simply the question of: have I managed to convey what I wanted to convey? And does the meaning the viewer attaches to the image make me say: Oh…that interpretation works just as well.

It is satisfying though when you get your meaning across and it’s the same with working with words. Stories work when they mean something to the maker and to the person reading or receiving the story. And in this way, stories become an act of co-creation. The writer creates the world, the characters and the story, but the reader attaches meaning to it and the art becomes the ability to draw the reader in and invite them to create together with the writer.

I’m not a very good fanfiction writer but I find myself in awe of writers of fanfiction who expand the universe and the worlds of stories that have captured their imagination. To have a fanfiction made of your work is, I think, the best possible compliment an artist can hope for. Why? Because it means you’ve made something that has become full of meaning for another person to the extent they wish to co-create with what exists.

Life itself is an act of co-creation. We co-create together with God and with our fellow inhabitants of the earth and together we weave this massive story that is the story of humanity. And it sucks a lot at times. It makes us cry and feel frustrated at times. It makes us angry. It moves us. It makes us want to hit out and hurt someone sometimes. It makes us decide to take action. Co-creating means, we don’t just let life happen. We decide to take part in life becoming.

Reading back, I think this is what 2024 is shaping up to be for me. I spent 2022 trying to stay alive, trying to recover, trying to survive. My 2023, had me learning how to deal with setbacks. It had me on a path of discovering what it was that I really wanted to keep on doing. Here I am in 2024, still alive. I am present. I am doing what I need to do, here and now…bedhead and all.

Agyamanac Unay for stopping by. May peace and love be with you.

Evolution

/ RCRuiz

There’s a Dutch phrase that captures the emotion for what we have gone through–het laat mij niet in de koude kleren zitten. Which means that all we’ve gone through as a family, all I’ve gone through as a person, these things have not left me unchanged or unmoved.

It’s a good thing to be moved and to be changed because it means I am still alive. I am still feeling, I am still living and I am constantly in transition, evolving, changing, not standing still. I think about this as I find myself surprised at how this season, this moment of being in a state of limbo, has feed the creative in me. I write, because I love to write. I make music because I love to make music. I teach because I love seeing how those I teach bloom into their potential. And I make art because a lot of times, when I am making art, I find myself in conversation with my maker.

Before 2022, I never imagined I would be making art as I do today. Or that it would become so important to me or that it would help me talk about what I am going through or that it would be a pathway to growing and knowing myself better. (I used to say that I write because I can’t paint or draw and am basically useless at art.)

When I told my Mom about my diagnosis in 2022, her command was for me to go ask God what his purpose was with me. At that time, I had no words for writing anything. I couldn’t even speak about what I was going through. Imagine being a writer unable to write or say anything about the storm going on inside you?

This was one of the first images I made which expresses what I was going through at the time. It was hope and agony and my soul just crying out. It was: God, if you really see me, then do something.

From that moment, telling the story of that time happened through images. Sometime in 2022, a friend proposed that I should try making use of acrylics. My first approach to painting was to simply splash color on the canvas. To try and put on the canvas or on paper what was in my head or in my heart at the moment.

This stormy canvas was just me saying: here I am in the middle of this storm and the storm is so big, I can’t even begin to describe it.

Making something visual happened because I had no words. But when you are without words for more than a year, and when you are engaging with art making almost everyday for a year, your work changes. One day, early this year, something told me that the way I was working was going to change and so was the art.

I think about the process of art making and how making art led me back to writing and how art that’s on the canvas tells a story just as the words on a page tell a story. We create because we have stories inside us that we want to share and stories will find their way out of the person bearing those stories. If not through words, it will be through other means of telling. (Just consider the plethora of youtube stories, audio stories, film stories..etc., etc.)

The more we engage with telling stories, the better we become at them. The more we engage with a certain medium, the better we become at that medium. Before my diagnosis, I would never have dreamed that I would someday tell stories through painting. After diagnosis, I thought I would never be able to tell stories through words again.

There are a lot of famous saying about life and art, but for the life of me, I can’t remember a proper one at the moment, but I do believe that art and life are intertwined. If anything, being diagnosed has made me more conscious of how important it is to live a life with purpose. To create marks with deliberation and care, to engage fully and be present in the moment, to look–really look, to really see and to also rest and be in the moment and allow moments to flow over me and change me and transform me so I can bring that back to whatever I am working on at the moment whether it is on art, on writing or my relationships.

I keep thinking of that friend who said to me “if only we knew how much time we had”. The truth is, we know. We know our time on this planet is not infinite. We know it, we just don’t want to acknowledge it.

I think about this as I contemplate the story of my life and I find myself wondering about the overall arch and how the completed story will read like or look like if it were in a book or hanging in a gallery. When we are in the process, we only see now. We only see this moment.

This is one of my latest works in progress (yup, I have more than one). I’ve been working on it for almost two months. I do a little work. I put it away. Think about it. Work on it some more. Right now, it’s missing one more element which I am thinking about.

I can honestly say that I don’t know why I am writing this or sharing this at this moment. It just felt good to do so. I don’t know what 2024 holds. I don’t even know what will happen tomorrow or next week or the weeks after that. Today, I am heading to the hospital. I am getting a CT scan. I am doing what I can to keep my body healthy. I am spending time with my kids and with my loved ones. I am writing. I am alive.

Blessings and peace to you who read this. Choose life.

A restless time of year

/ RCRuiz

I’ve recently found myself feeling quite restless. Perhaps it’s because the year is coming to a close, perhaps it’s because the novel I wanted to finish this year is stuck in second draft around the 30,000 word count (there’s still time to finish it though).

I am looking forward to 2024 when I hope to be able to attend the MILFORD writer’s retreat and spend time immersed in the writing (as well as catching up with good friends).

I find myself thinking of liminal spaces and how there’s this restless energy found in that space of being in-between. While it’s good to be in liminal space, to remain there for a long time can sometimes be more harmful than helpful for the creative spirit. I think of a passage from Stella Adler’s book where she writes about “life being out there” and how engaging with what is out there, engaging with life and with the world is what makes us grow and thrive as artists.

Energy that we cultivate in the liminal space has to find an outlet. As a person who was given a diagnosis and is in treatment, I can make a choice to remain in liminal space or I can choose to take the energy I’ve harvested from liminality and put it to use as I engage with the world and step out into life.

I ask myself: what do I want to do? How can I do it? What do I want to achieve? How can I get there?

For me, it starts by going back to the waiting page.

Life continues. I teach. I write. I make art. I make music. I share what I can. I mother my sons. I pick up the threads of life and make a decision to keep on living. Circumstances may change the course of our trajectory, but what matters is what we do and how we respond.

It’s strange how having written these words makes me feel more rooted somehow. I may not know and yet I know. And that’s enough for now.

Blessings and peace to you who read this and may you find strength in your own journey.