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where the ocean meets the shore {7-29-13}

Kelley Clink

Escapism isn't very Buddhist, but in this modern life it's easy to lose perspective. You fall into a rhythm, become mindless instead of mindful. Hey, that's okay. Hell, sometimes it's necessary. If we spent every moment of our lives being fully mindful, we'd probably go nuts. But when mindlessness becomes the norm, when we spend day after day, week after week, month after month on autopilot, grinding our way through our days and collapsing in front of the TV every evening, it's probably time for a change of scenery.  

Last week my husband and I went down to the coast of Alabama. It's a place my husband frequented as a child, and somewhere that we went together several times while we were dating, but it was the first time we'd been back in nearly 13 years.

Somehow, despite the fact that I grew up hundreds of miles from the ocean, the beach feels like home to me. And I mean any beach. Every beach. There's something about that slanted overlap where the waves stroke the land that roots me right to the center of the universe. Here , the water says. Here, here, here . Now, now, now . 

You are salt , the water says. And metal. You are small. You are temporary.

You are me. 

I feel safe and afraid all at the same time. I feel alive. 

After a few days my heart and mind align again, and I am able to breathe in the present moment. I begin to see the pieces that make up my experience. They are bright and dark, large and small. The moment is safe and scary and simple. It is good. 

 

down with words {7/11/13}

Kelley Clink

I know I haven't been doing much writing on this blog lately. There are a couple of reasons for this. One is that I have summer brain, meaning that I don't want to do anything but float in a swimming pool, lay on the beach, or (depending on how hot it is outside) watch Battlestar Galactica with my blinds drawn. The other is that I'm working on a proposal for my manuscript which, for some reason, is even harder than writing the damn book. The world of publishing makes warfare with Cylons look like a Sunday picnic--but that's a completely different blog post. What I'm really trying to get at here is the toll of market research.

What does market research entail, you ask? Mainly reading a whole lot of books that are in some way similar to yours, so that you can prove to editors and agents that there is an audience for what you are writing. Because it doesn't matter how good your book is if it won't sell.  

Sigh. 

Anyway, I don't have to tell you that I am damn sick of reading memoirs about suicide, depression, and grief. And truth be told, I haven't read that many. I find that by the second or third chapter I know enough about the book to know if it is comparable to mine. But more than that, I find that I am emotionally wiped. I'm not in a place in my life anymore where I want to walk that journey with a narrator.  After my brother died I scrambled for books like this: I couldn't get enough suicide survivor stories. I wanted to know how to make it through my grief.  And even when books didn't offer that kind of advice (or when they tried and didn't succeed), it helped just to know that it was possible to build a life on the other side of such a loss. Now that I am here, in a new, healed life, I don't really want to go back. 

I also find that I am more sensitive to the nature of my reading material than I used to be. Unfortunately depression is a vicious cycle: the more times you experience depressive episodes, the more likely you are to continue experiencing them. My history has constructed a super highway to Despair in my brain, and books about tough subject matter force my emotions into the express lane. 

Long story short: I gotta balance that shit out. 

I am always on the prowl for depressive-friendly literature, and this market research has inspired me to start a list. If I can come up with enough titles, I might even create a page for the list on my site. So here are a few books that I turn to again and again. Make no mistake: they are not all about "happy things." They are books that make me laugh, make me forget myself. They are books find the drop of joy in the sea of terror. We're not talking about saccharine Hallmark rainbows here. These are achingly beautiful books that make me want to live harder. Please share some of yours, and let's see if we can create the market research for my next book.

The Diving Bell and the Butterfly by Jean Dominique Bauby

My Life in France by Julia Child

My Family and Other Animals by Gerald Durrell

Traveling Mercies; Plan B; and Grace, Eventually by Anne Lamott

Pretty much anything by David Sedaris, especially if it's an audiobook

Safekeeping by Abigail Thomas

My Life and Hard Times by James Thurber

 Slaughterhouse Five by Kurt Vonnegut

this week's photos {6/23/13}

Kelley Clink

"For me, the camera is a sketchbook, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously."  Henri Cartier-Bresson

I love the gut-trust and freedom in this quote. So much of creating art is getting comfortable with hunches, chasing down the glimmers in your subconscious. Ideas seem monumental in their initial spark, but doubt soon creeps in. If you want to create something, work through that doubt. Embrace imperfections. Keep sketching. The underside of the tapestry is a tangle of knotted threads--art that makes it out into the world often seems effortless, and most of the time no one sees the hobbled, cobbled patchwork, the scaffolding.  

These are not my best photos, though they aren't by far my worst. They are rough outlines, feelings, tiny breaking buds of ideas. They are experiments. They are sketches.

living photographs {6/19/13}

Kelley Clink

Light is a live thing. Dancing particles and waves, it rises and falls like the tide. It runs through your fingers like water. It laughs. 

You know how that kid from American Beauty thought a plastic bag in the wind was the most beautiful thing he'd ever seen? Well, I think it's this: 

Uploaded by 30KASC on 2013-06-19.

Uploaded by 30KASC on 2013-06-19.

Uploaded by 30KASC on 2013-06-19.

Uploaded by 30KASC on 2013-06-19.

life in an instant {6/9/13}

Kelley Clink

This past year my friend Annette Gendler introduced me to the work of Susannah Conway: a writer/photographer with a soft spot for Polaroids. And no, these ain't your mama's Polaroids--by which I mean they aren't the blinding-flash-overexposed family portraits from the 80s that my brother and I lined up on the piano, watching our ghostly green faces swim into focus. These are dreamy, artful photographs, with a softness that can't be replicated in any other medium. 

After reading Conway's books This I Know and Instant Love , I hopped online and found myself a crusty old SX-70 Polaroid camera and some film from The Impossible Project. I haven't looked back since.

Why Polaroid? Aside from the dreamy quality, I find myself drawn to the tangibility. There are myriad benefits to digital photography, but at the end of the day I like holding something in my hand. I also like how shooting instant film forces me to slow down. There are only 8 exposures in a pack, and that shit isn't cheap. Unlike the unlimited (by comparison) range of a digital camera, where I can blast off like a machine gun and fix the mistakes with editing software, instant demands that I ground myself in the moment fully and really think about what I want to shoot. What do I see? Why is it special? How do I want to frame it? After several months (and more wasted film than I want to admit), I am still getting used to this. But I'm beginning to discover that less is more. That I need to be patient, to wait for the shots that demand to be taken. And--much like in life--to forgive myself for, and learn from, the mistakes.

worth a thousand words {6/3/13}

Kelley Clink

I've mentioned before that I have another blog, one dedicated solely to my photography. For a while now I've been wanting to streamline to a single blog. You know, for my sanity. The problem was that my photography and my writing felt like separate things.  ​Did my photos have a home alongside musings about grief, suicide, and mental illness? Then I remembered: I was grieving the first time I picked up a camera. Less than three months after my brother's death, it was a shield between me and the world, an acceptable reason to be a step removed. I raised it to my eye and the viewfinder cropped life into manageable pieces. Pieces I could capture and pin down.  Make permanent. 

With the push of a button I could stop time. 

Which was the thing I wanted second most. What I most wanted was to turn back time, to go back three months and stop my brother from hanging himself  

Despite his diagnosis of bipolar disorder, despite the attempt he’d survived during his senior year in high school, I hadn’t seen it coming. I hadn’t noticed how depression had crept into the corners of his life and spread, working its way into every crack, until there was nothing left for him but darkness. I was living hundreds of miles away.  I wasn’t there.  I didn’t see.

I picked up a camera three months after his death, looking for something to hold onto. Hoping to learn how to open my eyes.

I have experienced a lot in my life. Over the past fifteen years I have moved across the country twice, earned two college degrees, traveled to the other side of the world, and grieved the loss of all my grandparents. I am a daughter, a sister, a wife, an aunt. I have suffered from depression and anxiety. I have dealt with infertility. I have survived a serious illness. All of these things, and more, have included risks and rewards, joy and pain, failure and achievement. The Sufi poet Rumi wrote, “Very little grows on jagged rock. Be ground. Be crumbled, so wildflowers will come up where you are.” All of my trials and adventures, once I learned to pay attention to them, have served to crumble me.   

My brother’s suicide was not my first experience with loss or grief, but it was the first time I became aware of the crumbling. Moreover, it was the first time I realized that I needed—that I wanted—to be broken down. I wanted to be soft and yielding. I wanted to make wildflowers.

In the first years after my brother’s death, I knew only that I wanted to create: love, life, art. I took pictures, I wrote, I tried to have children. In the decade since then, I have realized that the act of creation is part of my crumbling as well. It enables me to get outside myself. More importantly, it has proven to be the path to connection—to myself, to others, and to something larger and unknowable. The collective undercurrent of all existence. 

Photography, for me, is no longer a way to stop time. It’s a way to settle into it, to become grounded in the present. It’s a way to share my experience, to participate in the larger narrative—to be a thread in the tapestry of life.

I have learned how to open my eyes. I have also learned that I will continue to open them over and over again. That I will spend the rest of my life learning how to see. 

And so I am making a space here for my pictures. My wildflowers.

weeds.jpg
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