Maternal Dementia

I want to be in the cloud. Not the up-there-in-the-ether-all-safe-and-stored-and-accessible-from-any-device cloud, I mean the creative cloud, the cloud of that fuzzy, I-don’t-know-but-something-might-be-emerging cloud, both thrilling and unnerving at once, the cloud of my imagination. I want to go there and stay there and live there, mindfully navigating life in a writerly way, a painterly way – even thought I don’t paint – or a musical way, any way that might be an artistic way.

Once upon a time I had my fingers in glue stick and construction paper, cutting out magazines and making and pasting creative little things. I wrote daily in my journal, I did multiple free-writes on the same prompt. I remember feeling perfectly capable of taking time, without the gnawing sense that I might be wasting it, time being that precious commodity that we all have exactly the same amount of but some people seem to use more industriously than others. Not that industry is the truest measure of contentment. I would like to do less.

I would like to tether myself to this cloud and move deliberately, through the potentially artistic moments of my day. Spooning a mountain of frothy milk into the coffee in my favorite mug with just the right swirl and then doing nothing but sitting and drinking it; handwriting funky postcards to far flung but not forgotten friends before opening email and RSS feeds to respond to the “urgent” news of the day. Drawing a flower on the steamed-up mirror after a unhurried hot shower – better yet a drawn-out bath – and taking the time to add detail to each of its pedals; sitting pensively on the barstool, imagining the life of the Asian woman with gray squared-off bangs sitting across from me at the café; stopping off at a bookstore on the way home to browse the stacks randomly, pulling titles off the shelves and reading paragraphs, just short snacks in a feast of enticing literature.

I want to mount those family pictures on the bathroom wall in that funky frame I found, produce that little film of my mother walking through the rooms of our old house, finish that scrapbook of Buddy-roo’s blessing before she realizes her sister’s is completed but hers – though its pieces are ready to go – has never been assembled. I want to read without being interrupted or without collapsing the book on my chest in utter exhaustion. I want to, when I’m feeling haunted by a passage in Shostakovich’s 5th symphony, sit down in that moment to listen to it with the Bose headphones I bought (an indulgence) to block out noise on long-haul flights when the real reason to own them is that they make everything seem alive and present and close around you.

I just want to live in a more artistic way.

I’ve decided to stop talking about being too busy. It’s a boring line of conversation, and frankly, everybody’s busy. It can’t be denied that I juggle a fair amount between work and children and De-facto and friends and the administration of our household. The latter being the most tedious, but I have not yet achieved the zensibility of regarding piles of paper-needing-attention and unwashed laundry and children’s toys and books strewn as anything but an aesthetic assault. I think back to when I lived alone – I’ve never been an everything-at-right-angles person, but it was easy to sustain some amount of sloppy kind of order in my surroundings, which permitted me to vault into the messy cloud of my own creativity without stopping at the toll booth to get there.

There is nobody standing over me insisting that I attend so diligently to the administrative details of my life (and my family’s). I had a dream that I simply stopped caring: No need to remember to stuff the little morning snack packs in their school cartables, no hounding them to straighten their rooms or finish their homework, no longer picking up the random empty glasses left on the floor behind by the couch. I let them leave all the drawers pulled out and cupboards wide open, the wet laundry festered in the machine because I couldn’t be troubled to hang it out or run it in the dryer, the furniture was no longer visible as every surface had been covered with blankets, princess costumes, doll clothes, train tracks, little bits of paper and plastic, and books left open face down to mark the page. In the dream I regarded it all with amusement, and simply joined them, unbothered by shoulds and oughts, basking single-mindedly in my unfettered imagination, up there, in the cloud.

“The tricky part is right here, after the storm in Kansas,” De-facto said, pointing to the creased sheet of paper that had been folded and stuffed in his back pocket, removed and unfolded, again and again. These were the set change instructions and they looked relatively simple, which was what worried me. He was in charge of the sets for the performance; he’d crafted and painted many of them, built the stage extension and choreographed the scene changes with the director. His crib notes made sense, to him.

I’d been in the audience the night before, the opening night of the school’s English section performance of The Wizard of Oz. I know it’s easy for proud parents to crescendo their praise to a distorted level, but I think I am not exaggerating when I report that the production was a first class piece of children’s theater.

A truly dedicated group of parents, affectionately named the Yellow Brick Road Crew, started the engine on this production way back in March. The director of the play, a multi-dexterous woman with talent and tact motored it forward with a professionalism that far exceeded her volunteer status. The rehearsals started as a Saturday morning activity. Then Sundays were added, then Wednesday afternoons, too, as the dates of the performance drew near. Lines were memorized by small, elastic brains, songs transposed and rehearsed until they could be sung by heart. Dance steps were choreographed, even practiced by adults in the café, trying to figure out how four kids might skip together arm-in-arm on a narrow stage. A week earlier, the dress rehearsal for their classmates was chaotic and choppy – as a first full run-through in costume with sets usually is – and even then, the teachers and peers were seriously impressed. But the real test was opening night, in front of a (paying) audience of adults, teachers and family members. The debut was a glowing success, acclaimed by all the spectators who were present, many I suspect, who had come with modest expectations. It was, after all, just a primary school play.

Except it was so much more. Yes, the sets were low budget, sheets of calico painted by harried (but artistic) parents and a few exceptionally obedient children. The lights (operated by a father in oven-mitts) and mikes were borrowed and jerry-rigged. The costumes were puzzled together on a shoestring budget (though brilliantly executed). But it was the actors who really brought the stage to life: twenty-some kids under the age of eleven, who’d learned not only their lines, songs and dances, but also memorized their cues for entering and exiting – no small feat because in order to give more children parts in the play, there were multiple actors for many of the roles: five Dorothys, three Scarecrows, three Tin-men, two Wizards. One actor would exit stage left, her replacement would appear through the center of the curtain at the start of the next act. Short-pants was Glinda in act two, after the house lands in Oz, and then the Scarecrow in act three. This called for a high-speed costume change during the song “We’re off to see the Wizard,” as Dorothy (played at that point by Buddy-roo) and the munchkins (played by a gaggle of kindergartners and first graders) danced on the yellow brick road.

Short-pants has a natural temperament to be the Good Witch of the North and there was a sweet and special chemistry on stage with her sister (who was truly lovely as Dorothy), but it was in the role of Scarecrow that she really found her stride. It was like she able to access the part of her that really is the Scarecrow, that slightly clumsy, brainy, loyal, lovable friend. During her solo number, as she side-stepped across the stage singing “I could think of things I never thunk before,” my throat got all lumpy and choked up and my eyes got a little teary.

The casting had been handled marvelously, every child had a chance to try every role (although we learned only recently that Buddy-roo refused to read for any part other than Dorothy). Then the kids were seriously coached. They weren’t just reciting their lines, the director had drawn each actor into his character. She’d guided, suggested and cajoled to help them breathe life into their parts. But she also got out of the way to let each child interpret the characters on their own, and let their creativity come out. The children were clearly having a great time. This was observable and palatable; you could feel how much fun they were having on stage.

I think most of us in the audience were in awe: of the actors, of the director and the transformation she’d alchemized, of the world-class musical parents, who did more than accompany the performance; their music was like a soft blanket underneath, supporting the kids without ever upstaging them. We were in awe of the people behind the scenes, committed parents who were sorting costumes and props, working lights and projectors. (De-facto even donned a green wardrobe to blend in with the cast while hanging scenery.) This was a real show.

With a good performance under their belt, a bit of feedback (speak louder, project to the back of the room), the kids seemed confident and excited to have another go for the final show. My role, on night two, was to sit with the littler actors and help to keep them quiet between their munchkin scene and at the point when they’d all wrap themselves in green satiny capes to become the citizens of the Emerald city. But the guy who’d partnered with De-facto on the sets the night before expressed a desire to see his child in the performance, so I volunteered to switch duties with him. He briefed me and it seemed clear enough. Besides, I was working with De-facto. We work together all the time.

“After shaking the curtains for the storm,” De-facto said, “put out the props and then you have to run to blow the bubbles for Glinda.” My eyes were glazing over as I was reading through his set instructions, trying to make sense of the timing. Much of what we had to do happened between acts: changing the background scenery, placing or turning a painted cardboard tree on the stage, putting the witches legs out under the house; but it had to happen quickly and at the right time. In some cases, the only cue to help me was the previous line in the script, so I knew what I had to do, I just wasn’t always sure exactly how long before I had to do it.

The curtain shaking (“shake them hard,” he’d said, “but not so hard that you knock over the sets,”) went well and before I knew it we were blowing bubbles, a pointless act, really, as my little bubbles hardly flew far enough on to the stage to be seen and the giant-bubble releaser he was blowing through only seemed to work when he was practicing with it backstage. It was a minute later that our friend, the guy who’d worked with De-facto the night before, snuck backstage and said, “where are the legs?”

The legs! I ran for them, slipping and falling, toppling Dorothy’s suitcase under the prop table. We managed to push the legs out under the set of the fallen house, fortunately in time for the moment when the wicked witch turns to them and tries to pull the ruby slippers off and they recoil back under the house.

At least I’d messed up on the scene with my own kids. But I didn’t want to mess it up for any others. My confidence shattered, I pestered De-facto for the rest of the show, “Now? Do I do it now?” It was comical, how the two of us were running around changing sets and props. At one point we were holding the curtain back to create a great-and-powerful shadow effect for the wizard and I noticed the heavy (and possibly dangerous) canister of helium at the edge of the prop table, on the verge of falling onto the floor where it very easily could have rolled out on to the stage. I couldn’t reach to move it, the shadow of my arm would have been visible to the audience. I pointed to the table and mouthed to him, “the helium” but he couldn’t make out what I was saying. “What?” he mouthed back, fumbling over the table, touching every item on it but the helium can. Mouthing unintelligible words back and forth, our faces wrinkled in masks of confusion and frustration. If we could have spoken, we’d surely have been screaming at each other. “What?” “Grab the helium can for Christ’s sake!”

A frenzy of activity between each act, and then the lull before the next set or prop change, during which we’d stand around laughing hysterically at ourselves. I mean, we’ve produced some complicated events for our clients, but here we were scrambling to keep up. It was the Wizard of Oz, after all, a story we both knew by heart. How hard could it be? Then all of a sudden, the act would finish and we’d be scrambling again. At one point a costume crisis – key elements of the wizard’s garb went missing – had us running around like chickens with our heads cut off in search of a turban hat and the sequined cape, a panic which made De-facto late for one of his cues.

Having been in the audience the night before, I knew it wasn’t the end of the world that I’d missed the cue on the legs. If you weren’t seated in one of the front rows, you couldn’t even see them. At least they appeared in time for the moment they were most needed. I think our crazy panic during most of the show was contained back stage. Though we couldn’t see it, we knew what was happening on stage was another fantastic performance. The kids were awesome, each one of them giving something of themselves to the audience, in a poignant song, a creative gesture, a comical dance or an ear-piercing scream. What a gift they gave us, our little thespians.

What a gift, from the Yellow Brick Road Crew, all the time and attention given to our children so they could have a real theater experience, filled with all the hard work and risk and exhilaration that come with acting.

What a gift, to the parents. Despite occasional complaints about lost weekends and schlepping to all the rehearsals – even for those of us who were involved only on the periphery, it felt like it took a lot of time – this production brought us closer together. We bonded. I got to know people I didn’t know before, and the ones I knew, now I know them more. I have developed a deeper respect and affection for the other parents at the school; all it took was a make-believe storm in Kansas to help me see that all these amazing people have been there all along, right in my own back yard.

I never imagined that they would turn out to be so lovely. When I watch them from a distance – not when they’re crowded around me and clinging, demanding my attention, but from afar, as they interact with others – I am a little bit amazed. I knew I would love my children, but I didn’t consider how much I might admire them. Or at least that this feeling of admiration would happen while they were still so young. Both Short-pants and Buddy-roo have poise and a thoughtful exuberance, and in certain settings they rise to the occasion in remarkable ways. They have become such big, little girls.

Last week, our annual voyage to Sestri Levante, Italy, for the CREA conference. We go every year to see friends and reconnect with colleagues. We go to sharpen our saws as facilitators and practitioners of creative process. We go to experience our own creativity in new ways. We go to be in service – we are volunteers – to give back to this community because it has given us so much, including our current careers. I realize now there’s another reason we go: for our children.

The girls weave in and out of the sea of adults attending the conference with ease and enthusiasm. It doesn’t hurt that the kind of people who attend a conference on creativity have a special knack for appreciating the wisdom of children and recognize well that we all could be childlike in adult bodies if we’d only let it happen. When I am at CREA I feel an enormous gratitude toward this community for being so open to my children, and for giving them a chance to interact with adults who truly respect them and engage them in very attentive way.

This has a huge impact. Short-pants and Buddy-roo are the kind of kids that can look people in the eye and can carry on conversations with people of any age. Because they are not merely seen, but heard as well, they believe in their own voices and they know how to articulate their thoughts and feelings. They share themselves with others. Occasionally I do have to remind them not to interrupt, but they heed this reminder because they know that when they are in a conversation, I will wait until they are finished, too.

At CREA, they are free-range kids. It’s a safe environment. There’s a bit of parenting-as-community; friends volunteer to take the girls out for a walk or to get a gelato. The CREA kids program is very ad hoc, friendly colleagues volunteer to devise creative 90-minute activities for the children of all the parents attending the conference. A rat-pack of creative kids runs around, often without serious supervision. But the rules are clear: don’t leave the hotel grounds, don’t cross the street, don’t go near the pool. Otherwise, they run freely. My kids live independently at CREA.

There are, of course, exceptions. For example, each morning I’d enter the dining room, looking to touch base with the girls, who’d get up and dress themselves and make their own way through the grand hotel foyer to the dining room. They’d find a table of adults, always delighted for their young company. They’d pick up plates and bowls and select fruit and cereal and a slice of sweet cake or focaccia from the buffet table and settle in for breakfast.

Of course we’d preview this the night before in very deliberate, repetitive conversation about how in the morning Mama had to run an early writing workshop and Papa wanted to go to an early yoga session and how they should get dressed and leave the key at the desk and how we’d join them in the dining room when we were done with our programs.

“Yes, mama,” Buddy-roo would say, full of disdain for our apparent over-parenting, “I know what to do. I’m a big girl, after all.”

She seemed to relish – at least in the evenings – the idea of this grown up activity, managing the morning all on her own. But every morning in the dining room, Buddy-roo would give me the cold shoulder: a dramatic toss of the head to look away from me, the 2-inch long pout and the narrowing of her eyes as she’d bite into her long slice of foccacia.

“Are you angry?” I’d say.
No verbal response, only the folding of her arms.
“It looks like you’re feeling a bit mad at something.”
Then she’d let loose the angry tears.
“You left me alone! There was nobody there when I woke up!”

At the age of 7 and 9, I suppose, meltdowns occur. (At my age, too.) Short-pants, who has no problem making her own way to breakfast, leaving Buddy-roo to wake up alone in the room, is an extroverted introvert and loves the chaos of crazy, creative people – up to a point. She, too, had her grumpy moments, storming away in tired tears because of the overload of noise and energy.

But if you take the long view over the full week of the CREA conference, a week when both their mother and father are often distracted and delighted by others things and not always paying full attention to the parenting part, our girls do just fine. In fact, they are growing into interesting people because they get to fend for themselves a little bit. CREA is a good and safe place to do that, and coming back each year is like periodically measuring their height and marking it on the wall; we really see how they’ve changed, and how they’ve grown. We see them for who they are in the company of others, learning to express themselves, to convey their own creativity. We see who they’re becoming, in and of their own right. And I couldn’t have imagined – nor could I be more pleased – to be the mother of such lovely, big, little girls.

They paired up automatically, so accustomed to their organized method of moving from point A to point B. I suppose it must happen ten times a day: down and out of the school at each recess and back up the stairs for class, or when they descend the dark stairway to go to lunch, and again at the end of the day before they rush out the door into the arms of waiting parents and nannies. They fall into line, two by two, ready to be herded along.

Holding hands (sort of) they followed the teacher across the street and to the bridge to Ile St. Louis. We parents – the five who’d volunteered to assist with the trek to the children’s library – fell in step, guiding any stragglers back into the line and pressing the lollygaggers for a bit more speed.

I’m not that parent who eagerly volunteers to help with every activity at school. The adult hours I have are precious to me and I’ve never been a rah-rah-stir-up-the kids kind of mom. But Buddy-roo’s pleas for me to be a chaperone on one of her monthly library trips were too insistent to say non. Besides, I like a good library.

The maitresse received us with a formal enthusiasm and we responded in kind. Despite my occasional grievance about the amount of homework she levels on our children, I do try to give her the benefit of the doubt. Buddy-roo seems to be fond of her, and there are anecdotes of her individualized attention to students in the class that indicate she truly cares about helping the kids learn and succeed. It’s hard not to respect a woman who passes
the entire day with nearly thirty 7-year-olds and still smiles. During the Christmas concert rehearsals, the parents had an impossible time controlling this unruly pack of kids. Watching their teacher do it inspires awe.

“I’m counting down from twenty,” she said, “and when I’m done, all children will be quiet.” The French word she used was sage, which also connotes being well behaved. She started counting backwards and by the time she was at eleven, the foyer outside the library was soundless except for the shuffling of winter coats and an occasional cough.

That’s when we entered the library. A staff member watched the children file in, and the five adults accompanying them. “Non, non, non.” We were too numerous, he said. It was not possible for everyone to be upstairs in the storytelling room. I was one of the three mothers relegated to wait on the ground floor. We sat at the table and whispered to each other, recalling our younger days in childhood libraries. I was cheered by the whimsical décor and the stacks of bright, colorful books so I pulled out my iPhone and snapped a few pictures.

“Non,” said the librarian sitting at her desk, “c’est interdit.” I explained that I wasn’t making a phone call, just taking a photograph. “C’est aussi interdit!” That was also forbidden.

Finally we three moms-in-waiting were invited up the curved staircase to join the children. “Maman!” Buddy-roo broke her vow to whisper, “Why weren’t you here for the story?” I explained that there’d been too many people. Except I hadn’t seen anyone leave before we were summoned, so I’m not sure what was the reason for being banished below.

Children were rifling through boxes of books, strategically placed around the room to permit easy access from many angles. The mother-helpers were reading stories to small clusters of children, other kids were reading to themselves or rolling around on the cushions on the bench by the window. A pillow fight ensued.

“Mais non!” the upstairs librarian admonished the children fiercely. A few moments later he yelled at them for letting the cushions drop to the floor. “Non!” I heard it again and again, he was constantly correcting some child for some act of anti-library behavior. It doesn’t help that there is something particularly dismissive about the French way of saying non. Is it because it’s another language, not my native one? Is it because of its clipped sound, sharper and more abrupt? Is it the pleasure that seems to accompany its repeated use?

Children – in France and elsewhere – must hear no or non hundreds of times a day. No, you may not watch a movie during breakfast. No you may not wear your princess dress to school. No you may not talk in the cafeteria. No you may not, until you’ve done your homework. No you may not, just before bed. No you may not, it’s time to go to bed now. All day long a series of negative commands are fired at them, reminders of all the things they cannot do. Slowly we’re beating the optimism out of them.

Not that I’m opposed to no. In the how to raise kids debate, De-facto and I lean toward setting limits. (Or so I think, but do we ever really see ourselves clearly as parents?) I believe kids need structure and boundaries; too much freedom and too many choices can be overwhelming and anxiety-producing. Though I’d pale in comparison to a Tiger Mom, I see the value in being strict. It just feels so restraining to be negative and forbidding about it. Isn’t it possible to set limits and use yes?

I try to say yes, when I can, or at least say no without saying no. Yes, you may have another piece of candy, tomorrow after lunch. Yes, you can watch a movie, after you’ve done your homework. Yes, you can wear it on Saturday when we have a princess tea party. Yes, you can sleep with me, next time Papa’s traveling. It may just be a no in disguise, but at least there’s hope within it, hope for a future possibility, something to look forward to, an alternative to the restrictive, option-less brick fortress that stands around the land of of non.

I’m tucked under the comforter of my bed, the space heater generating barely enough juice to keep my hands from freezing, the children tumble into a world of instantaneous imagination in the living room below me. They weave stories as they go, shouting out commands to each other – it’s always in the past tense, “and then you were calling for help” – turning the plot into a new direction. A wood-crafted puppet theater becomes the television, Buddy-roo pretends to change the channel, a box of chalk as her remote control, and Short-pants performs a feat of improv, acting out each program: a news report, a weather forecast, a show about dancing animals, a documentary about the first woman doctor, Elizabeth Blackwell.

When the puppet theater accidentally falls over, the two of them shift seamlessly to a new scene. Buddy-roo calls a repairman on her pretend phone, Short-pants runs out the side door and comes around to knock on the front door for her next role. “What’s the problem ma’am?” She says in her deepest alto voice. Buddy-roo explains the catastrophe: her TV has fallen and broken and what will she do? The repairman inspects the damage. “I’ll have to take it to the shop, for a few days.” The damsel in distress cries out in despair and faints on the couch. (Art imitates life.)

There are so few toys at this country house, mostly remnants of broken ones, old board games and puzzles (with pieces missing) handed down from the neighbors down the road, a few old Barbies and a their torn dresses, a small plastic stove, some costume jewelry that the mother-in-love brought after a major paring-down-of-her-possessions. But it is enough to amuse them for hours. We have more toys and more books at home in Paris, but the “I’m bored” cry is heard there, and not here, in the country.

In the country we wake up naturally, without an alarm. There is no school. There is no rushing through breakfast. There is no out-the-door-you’ll-be-late. There is no internet (unless I walk down the road to borrow our neighbor’s wi-fi). There is nothing but the slower rhythm of time that is more natural, more civilized than what motors us in the apparently civilized city. I do not know if I could take this suspended pace all the time, but several times a year, as it coincides with the school holidays (it’s winter break now) it is just what the country doctor ordered. Fresh air. Deep sleeps. Long walks. Manual labor. Less media.

In the evenings after dinner as night lays down around us, we huddle around the wood stove. There is no checking of the email or watching a DVD or answering the phone or Skyping with a client in a far away time zone. We sit, the four of us, around our stove and talk. And laugh. We play Mille Bornes. We tell stories. We look at each other. We’re a family together, we four.

Did I say the four of us? I am mistaken, because we have an extra body here. As we were packing she caught my eye. I was startled by her as is often the case, there’s something so wrong about That Big Doll, something about her height coupled with her anatomical proportions and those oversized, alien-like eyes – if I catch sight of her out of the corner of my eye I jump a mile. “Should we bring That Big Doll?” I asked. The girls hopped up and down, cheering.

I had to get her out of the apartment. That Big Doll has become a liability. The boy guests at our house are a bit too fascinated that something their size could have such breasts, and the conversations she is provoking amongst my children, though hilarious and manageable, are conversations I’d rather have a few years from now. Removing the object of their origin may not thwart those discussions – Pandora’s box has already been unhinged – but I’m sure we’ll all live happily ever after if we don’t have to look at her every day.

That Big Doll made the car trip on her back (her preference, I suppose) on the panel under the rear window of our rented car, evoking interesting glances from cars on the auto-route. She was a bit out of sorts in the country at first; clearly she’s a girl used to the streets of the city. She quickly acclimated, however, and has shown herself to be quite the nature girl. Who knew?

Short-pants peeks into the bedroom where I’m working and hands me a piece of paper. Please come to the show ‘The Four Accidents’ at 3:30 pm. Signed, the Puppeteer. She watches while I read, waiting for my response.

“You’re going to do a show!” I know my enthusiasm is important to her.
She nods her head, her two front teeth like barn doors in the middle of her smile.

“Is it going to have a beginning, a middle and an end?” I ask.

She nods again. You may think me harsh on this count, but if you’ve sat through any of those homemade productions that go on forever with no clear plot line, you know the pain I’m trying to avoid.

“And tension,” she volunteers, “that gets resolved near the end.”

That’s my girl.

At 3:30 there’s murmuring in the living room, as the crowd of three plus That Big Doll assembles to view the advertised performance. The puppets dance on her fingers as the four accidents are revealed, one by one. There’s a wizard, a princess, a knight and a chef, all of whom suffer in their own way. When a dragon sets the castle on fire, a repairman arrives to rebuild the castle, with his invisible team of helpers. But between each accident, this narration: “And they live happily ever after for a few days.”

It seems our little playwright has a practical streak.

Tomorrow we return to Paris. I’d stay another week if we could; I’m thoroughly rested and relaxed from the fresh air and slower rhythm of life. But work calls and for that a more steady internet service is required. It’s true if we installed a connection here, we could stay on and work from the country house as easily as we do in Paris. But then we wouldn’t have the feeling of being truly unplugged. Our afternoons wouldn’t be surrendered to walks in the woods, visiting the lambs down the road, pruning in the yard, plastering in the new room. We wouldn’t linger around the wood stove every night with the same feeling of freedom and peace that comes from having no other option, really. I wouldn’t want to be here forever, without the Internet, but I can live happily ever after without it…for a few days.

When I phoned to make my reservation, I braced myself. “It’s a magical morning here at the Disneyworld Yacht Club resort! Thanks for calling! How can I help you today?” It must have been a gag reflex that induced my coughing fit, the agent had to wait for me to recover before collecting information for my reservation. He chirped right along and I answered, wondering what he was like during off-hours. Did he get mad at his kids? Did he shout profanities at his wife? I shouldn’t complain: it was an effortless procedure to reserve my room, and any extra questions I had about my arrival in Orlando were answered in the most upbeat but efficient way. A final, effusive moment of customer service as he closed the call: “Ma’am, I do appreciate you making your reservation with us today, is there anything else I can do for you?’

“Well, yes, in fact,” I answered him, “You could be a little less cheerful.” He laughed. “Okay, ma’am, I’ll try.”

Perhaps I’ve been immersed in the French pessimism for too long – it’s not that I don’t wish I could get this kind of delighted-to-help you attention at home in Paris – but something about the happy-on-steroids tone of everything Disney provokes my sarcastic evil twin sister. Arriving at the Orlando airport, every wider-than-necessary smile and über-friendly remark as I made my way to the Magical Express transfer bus grated on me. On the magic bus, a TV commercial the length of the ride from the airport to the hotel offered up a numbing combination of deep, enthusiastic voices and flashing lights and colors. Then the exuberant welcome from every staff member as I entered the hotel lobby. I kind of wanted to scream. It was as if my heart couldn’t handle so much hospitality. Or hype.

The purpose of my trip was professional; that’s why I found myself in the world’s most famous family resort without my own. The participants of the training I was running hailed from many different organizations, but a handful were cast members, ergo the invitation to hold the workshop at Disney. We were hosted in a large meeting space at the far end of EPCOT, on the second floor of a pavilion that is no longer used. This meant each morning we strolled through the park to get to our meeting room, and the gate we were escorted through was just beside England and Canada. By the end of the week I knew by heart the music tracks that accompanied each country’s faux-setting. Further along in the park, near the iconic geodesic dome a sound track of futuristic schmaltz attempted (I think) to conjure up a feeling of the wonder of technological efficiency. Funny how the sterile technology we imagined years ago, when EPCOT was first designed, looks much different from the real technology we know today, which rather than simplifying and minimalizing seems to be sloppier, and more complicated and distracting.

Midweek one of the cast members participating in our program made a special announcement: everyone at the training was invited to a press event at the Magic Kingdom. This entailed V.I.P. passes to a private party in the evening when the park would otherwise be closed. My enthusiasm wasn’t entirely feigned; I appreciated the generous gesture. But did I want to immerse myself further into this cheerful, hand-waving, ever-smiling world? Later, when announcing the details about where and when the bus would collect us, I asked – as if it was to benefit the participants who might be worried – how we might leave the event mid-way if we didn’t want to stay. It wasn’t impossible, we were told, but it wasn’t easy to do. I wondered if I’d be better off staying in my hotel for a quiet night.

Opportunity is not something lost on me, however, and although I was reticent to commit to the event, I remembered some 20+ years ago when I worked in the media and I was flown to Disney to attend a promotional weekend. It was fun. We’d had easy access to every ride, attraction and Disney character roaming the park without ever waiting in line. It had, of course, ruined all subsequent visits to Disney where the snaking lines, though creatively managed, meant spending the same amount of time standing and waiting as playing and riding. It’s not every day you get invited to a V.I.P event, I reminded myself; probably a good idea to take advantage of it.

The coach circled around to the side of the park and we were driven through parts of the behind-the-scenes space that looks remarkably plain, ordinary. It was about as back-stage as you can get, but as soon as we walked through the hidden gate into Frontierland, a row of lively cast members lined the walkway with trays of drinks and snacks and high-spirited greetings. Throughout the park, rides were open and running, and line-less, so we stepped immediately into the elevator of the haunted mansion and without any delay into the carriages that meander through the caves of Pirates of the Caribbean. Our Disney colleagues who’d arranged our entry didn’t just dump us in the park and go off to do their own thing. They took us around, optimizing our time in the park and illuminating little details that we’d otherwise never notice. The restaurants that usually offer the typical fast-food fare of American families were instead set up with buffet tables holding a more sophisticated spread of food and drink. After we dined, we were prompted toward Main Street, USA where dessert and coffee accompanied the special light show and fireworks.

Of course I had a photo opp with the famous Mickey and Minnie, and though I couldn’t resist making an aside about the sexual advances I endured during Mickey’s embrace, it was my only snarky comment of the night. That’s because before I could stop myself I started to have a blast. As the night sped by, I let go of the suspicious energy I’d been carrying all week, and I immersed myself in the full Disney experience. I ran through the park, jumping on my tip-toes, laughing, shouting out “look, it’s Donald!” I could feel the smile permanently pasted on my face the entire time, and looking around at all the (mostly) adults there, I wasn’t the only one. At every turn another delight was proffered – a just-baked chocolate chip cookie, cheesecake served in a creative plastic dispenser (my editor was off, “It’s a cheesecake tampon!” I shouted, causing even the Disney server to laugh.) An amazing projection show that dressed the Magic Kingdom’s castle in forty different costumes and colors, sent stars and photographs tumbling out its windows, an animated performance that dropped everyone’s jaw to the ground. And if that wasn’t stunning enough, the finale of fireworks left everyone buzzing.

This is what Walt Disney had in mind, I suppose. Certainly his world was designed to delight children, but he must have known how it would be just as important – and a much harder a task – to delight their parents and any other adults who found themselves, sometimes begrudgingly, in his park. At Disney last week I relearned something I purported to know: how to play. Not just going through the motions and being a little bit playful, but giving into the magic and surrendering willingly to the child inside.

I hadn’t mentioned to Short-pants and Buddy-roo that I was going to Disney. It felt wrong to boast about such a treat to them, and you may recall I wasn’t that enthusiastic about going. But now I’m thinking a visit to Disneyland Paris is imminent. I’m even dreaming of a Disney cruise as a future vacation. (They christened a new boat this week, too.) Who knew I could come around to being so enthusiastic? Maybe that extra little hug from Mickey was all it took to be seduced by the Disney magic.

I once hosted an All Soul’s cocktail party. I remember because it was kind of an eccentric occasion, on a weeknight and in honor of a rarely celebrated holiday, at least rarely celebrated with cocktails. I made the invitations by hand. I can still – twenty years later – picture the paper stock I selected, a heavy construction grade in burgundy and rusty orange, and a patterned paper with both these colors and black in a marbled design. Thick felt-tip calligraphy pens, in black, brown and rust, a few lines of clever text, burgundy envelopes and stamps with an autumnal spirit.

I invited all my friends and colleagues from work, thinking of each person individually as I hand-made every invitation. When the exercise was over – two hours and two glue sticks later – I stared at the pile of crafty envelopes and felt supremely satisfied. The work I did then (and do now) keeps me in brain. It was a nourishing pleasure to have been working with my hands.

One year, back when the Paris metro tickets were green, I saved all my used ones and cut them into the shape of a fir tree and pasted them on to home-made Christmas cards. It took me the entire evening, at least twice though Ella Fitzgerald’s Swinging Christmas album and nearly a bottle of wine. I remember feeling it was an evening extremely well spent. I’m tactile, I love to cut and paste.

But during this last year? I made a goal book, the result of an inspiring goal-setting exercise into which I inserted my favorite activities of cutting and pasting and making collages. But that’s about the only cut and paste I managed to get to.

What did I make? Aside from the meals, and the beds?

I made a tribute to my mother that honored her well. I made new bonds with my siblings. I made new friends. I made trips. I made mistakes. I made progress. I made a lot of memories. I made a living. I made love. I made my way. I made it up as I went along.

But next year, I’ll make more things with my hands. It makes me happy.

I’m participating in Reverb10, and this post is in response to a prompt from author Gretchen Rubin: Make. What was the last thing you made? What materials did you use? Is there something you want to make, but you need to clear some timer for it?

I watched them run ahead toward the grand dining room, confident, at ease. Short-pants set her book down on a table and grabbed a plate, Buddy-roo was already surveying the buffet table and deciding how to choose among the abundance. They forged into the crowd forming around the tables, picking through the platters of seafood, pasta salads, Italian meat and fried vegetables and filled their plates. On the way to their table, they stopped to chat with adults – new friends and old – engaging them in conversations about how the conference was going. My big little girls, so poised and polite. I stood aside and watched them, shaking my head.

We have been taking our girls with us to the CREA conference since its inception in 2003. That first year Short-pants was just under 2-years old. The hotel found for us a babysitter who spoke only Italian, so each day I made little drawings of bottles or a sleeping child next to the hands of a clock, indicating her schedule. I was also pregnant at that first conference; Buddy-roo was the wild idea growing strong-willed in my belly.

Which is to say that the girls are well loved among the community of leaders and participants who return to CREA each year. Many are friends we know from years attending the Creative Problem Solving Institute, (CPSI), the original creativity conference (which also happens to be where De-facto and I first met). The one year that I came to CREA alone, I was chastised for not bringing the girls. “They are our inspiration,” my friends said.

We are not the only people in this clan who have children, but perhaps we have been – up until now – the only ones crazy enough to bring our young creatures to the conference for the whole week. This has never been easy. Both De-facto and I are usually running core programs that require our attention as facilitators for most of the very long days, and there’s always a bit of extra planning and adjusting of the program to do in the evenings that requires our time and attention. A wide menu of concurrent activities calls to us at any given moment, not to mention nights dancing at the CREA pub or hanging out at the bar with friends. There’s a lot to do without the kids around, let alone when they are tugging on your shirt for some mama-time after missing you all day.

We’ve experimented with different child-care formulas: hiring a local babysitter through the hotel, bringing our own babysitter from Paris, using the mother-in-love, taking turns trading the kids off to each other. It’s never ideal and there’s always the feeling of being totally stretched. Yet it has always been worth it: our kids have something special in them as a result of rubbing up against all these open-minded, open-hearted adults, some of them eccentric, many of them equally as childlike, all of them in awe of the sacred uninhibited spirit that lives in children who have not yet had their creativity taught out of them. This community covets that spirit, and in turn, keeps it burning in our children.

This year, with a bit of coordination in advance, a few other CREA friends brought their children, too, and we initiated the first unofficial CREA kids program. Ten youngsters from the ages of 6 to 14 – an entire pack of CREA-rats – made the Grand Villa Balbi Hotel their playground. My friend, la maman créative, brought her mother to help with oversight and to work with the kids to produce a journal every day about their activities. The mother-in-love and other CREA leaders and parents helped us to create a schedule of events and activities for the kids. There was a session on creativity by playing with light, another on meditation. Two about knitting, with fingers and with needles. One leader even organized a Harry Potter tour – arranging in advance with locals in the town to pretend not to see the kids when they passed by in their invisibility cloak.

Short-pants herself facilitated a session on how to make mandalas, which I was unable to attend because I was running program. A bunch of the kids helped la maman créative to lead a session titled Taking time to be Creative as a Family. De-facto was there for that, but unfortunately, I couldn’t attend – a session I was running was scheduled at the same time. The irony of this wasn’t lost on me.

I did find one opportunity to play with the kids: We rolled out a 10-meter long sheet of blank paper on the sidewalk in front of the hotel and set out jars of paints and brushes. The instructions were this simple: paint. “What do we paint?” was what most of the adults asked. The kids didn’t wonder why or what or how. They simply got down on their hands and knees, picked up a brush and some color and started painting. They didn’t need instructions. They just started.

The beautiful thing about seeing the gang of CREA-rats running around the conference is that you see immediately how they belong there. It is in their nature to be creative. There is no hesitation to step into the flow of their imagination. Most children don’t even know that they are being creative; they are simply at play. It is their way. This is, perhaps, why their presence at the CREA (or the CPSI) creativity conference is not only natural, it is just what we need.

(If you’re interested in attending one or both of these creativity conferences, the next CREA is April 13-17, 2011 and CPSI, which has an official youth program, is coming up very soon, June 21-25. You can also read more from other bloggers who’ve been to CPSI: Jonathan Vehar, Cynthia Rolfe, Amy Basic, Gregg Fraley, Pablo Munoz, Whitney Ferré and Missy Carvin.)

While volcanic ash reached across Europe like a gray blanket, I was nearly oblivious to it, sequestered with colleagues and friends who meet every year to attend an annual European Creativity Conference known as CREA. Last year, I was here without De-facto and the girls, and though the week was filled with planning and preparing and running an intense core program, I still had room to connect with old friends and colleagues who, like me, return to CREA each year. I had time to breathe around the edges.

But this year, I arrived à la masse. Suitcases packed haphazardly, things I’d hoped to plan in advance were left to plan on the fly. I even forgot my rings and my watch – always present on my hands and wrist – at home by the bathroom sink. It took almost the entire 10-hour drive through France and into Italy to recover from our chaotic departure.

Not that this is so very unusual. Just watch me run around like a frenzied woman most days of my life. Pursued by a to-do list that stalks me – my own ugly shadow creeping behind my back with Sharpie in hand, adding small boxes to the bottom of the Post-it notes strewn about my life. Despite any determination to be grounded and centered and somehow effortlessly juggling it all, I am too often hurrying. I am too greedy; I want to experience all the interesting invitations life offers. I forget the limits of my stamina.

Chaos

My colleague brought a recording he’d made, one that suggested the sound of chaos. We used it in our workshop, for an exercise about sound, silence and memory. The sound was a dissonant mash-up of noise, primordial, and lacking order or pattern. Still within it I could find some sporadic harmonic quality. It was a music that asked nothing of me, but rather, for a those moments that I closed my eyes and let it fill up my chattering mind, the sound of chaos pushed all those busy thoughts out and left me with the temporary calm that I seem always to yearn for. Could chaos be useful?

Silence

How scarce is silence. Rare and almost impossible. It is no wonder I am so distracted. I can close and cover my eyes to be in darkness, but it is impossible to be in absence of sound. A tone rings and finishes but the white noise of the background persists; the ventilation, the cars outside driving by with their aggressive engines, muffled but audible. Each building has its own hums and hems and haws. The noise of the world around us is relentless. We are never left in peace.

Except my mother, who lived for the last half of her life with a significant hearing loss. What was her silence like? Was it quieter than mine? And why didn’t I ever ask her this question?

Memory

The sound of the furnace in my childhood home, revisited this winter as I slept on the couch beside my mother. The familiar cadence as the motor kicked in and buzzed and vibrated the walls, a noisy old engine heating the tired old house that protects my memories. Another memory marked by sound: that of an iron releasing steam as it is set upright, the rhythm and moan of my mother’s ironing. All these sound-ful memories to do with my mother. Is this natural, because she’s gone? Or is much of memory to do with the maternal?

Which makes me wonder what will be the sound of the memories I leave to my daughters? Will it be the sound of my chaos?

Lest I become the cobbler with shoeless children, I am occasionally reminded to practice what I preach professionally and enact a few creative, reflective and even visionary exercises with my own family. This time of year is good for such activity; the idea of a new beginning conjures up a tabula rasa and the urge to rectify any imperfections of the previous year.

I had stellar inspiration: Four women, three of whom I don’t even know. This is the beauty of social media; if you follow a few new and fascinating people outside your circle of known friends, you’ll get a few new and fascinating ideas.

The zen-like social-media maven Gwen Bell wrote a blog post about creating a personal manifesto that I wanted to eat, it was so nourishing. Also via one of her tweets, I discovered the mixed-media artist, writer and designer Lisa Sonora Beam, who adds a special aesthetic to the activity of goal setting. Both of these women inspired me to be deliberate about documenting our goals for the coming year.

More inspiration came from writer Gretchen Rubin, who I really wanted to hate because she’s so, well, happy. Except when you make even a short visit to The Happiness Project, it’s really hard to resist getting in step with her life-is-short-why-waste-any-of-it-not-being-happy philosophy. Even my prickliest friends would agree it makes sense.

Then there’s my colleague facilitator Delphine, the Maman Creative whose blog is all about mindfully engaging her children’s creativity. From her I get ideas of things to do with my kids, not just for them.

So I put Gwen, Lisa, Gretchen and Delphine together and came up with the idea of the All-Family Personal Goal Manifesto Collage Day.

De-facto has plenty of fruitcake in him, so he was up for it. If it involves cutting and pasting, I can count on Short-pants and Buddy-roo to participate. So this is how we spent the entire afternoon on the first day of the year: I’d dug out every magazine in the house and set out glue-stick and tape and scissors so my peeps and I could create our personal manifestos for 2010.

I tried to simplify the process to three steps: 1) Imagine who you want to be in 2010, and make a collage to demonstrate it; 2) Make a list of goals that will help you become who you want to be; 3) Make a collage about those goals.

Later it became: 1) Just make a collage of your goals for 2010. (This was an instruction that Buddy-roo and De-facto could handle.)

The flipping of magazine pages and ripping and cutting began.

Short-pants and written her goals the night before, when I first suggested the activity. (She is not the recipient of the procrastination gene that De-facto and I both share.) She re-copied her first draft and set about bringing it to life with images. You might notice that the #1 goal on her list is “Get more independince.” She’s been walking around saying, “I declare my independence!” ever since she finished this exercise.

Buddy-roo didn’t seem particularly interested in articulating any of her goals; she was more in the mood to shop. Her collage soon became a book with six pages of pictures: women in elegant dresses, a pair of high-heeled shoes, a sterling-silver jeweled bracelet, a Dolce & Gabbana perfume flask and two designer kitchens. The visual cues were undeniable; It could have been a mood board for any luxury brand. I made a few gentle suggestions, like, “Can you add any images to represent things you’d like to do, or things you’d like to learn in the next year?” She answered my prompt by gluing in a picture of Jennifer Aniston. “Tell me about that,” I probed. “I want to grow my hair out,” she said. Then she pointed to another picture I hadn’t seen yet, “And I want a horse.”

De-facto finished his collage first, a complex composition of his aspirations for the year, which he prepared with running commentary about all the other facilitators we know who do strategic goal-setting activities. “This isn’t how Frank Prince would do it,” he said.

“Just pass the glue,” I said, in my newfound happy voice.

I was, of course, the last person finished, still searching for that perfect image to convey the rather abstract concept of “letting go” when our dinner guest arrived and I realized I had to clean up and start cooking. I thoroughly enjoyed this very tactile activity, elbow to elbow with my most loved people, the table covered in magazine scraps and sticky fingers. It was a vrai moment of being aware; I was happy, even in the midst of the simplest activity. (And that’s one of my goals.)

Gwen Bell says, about this process, “When you write your goals, the whole world opens up in front of you.” I know this to be true; when you write something down, it takes form and shape. But what happens when you wrap your goals in a picture of long, blonde Jennifer-Aniston hair?