another eye opens

There is more to desire than just suffering. There is a yearning in desire that is as spiritual as it is sensual. Even when it degenerates into addiction, there is something salvageable from the original impulse that can only be described as sacred. Something in the person wants to be free, and it seeks its freedom any way it can.

As the well-known contemporary Indian teacher Sri Nisargadatta, famous for sitting on a crowded street corner selling inexpensive bidis, or Indian cigarettes, once commented, “The problem is not desire. It’s that your desires are too small.” The left-handed path means opening to desire so that it becomes more than just a craving for whatever the culture has conditioned us to want. Desire is a teacher: when we immerse ourselves in it without guilt, shame, or clinging, it can show us something special about our own minds that allows us to embrace life fully.

– Mark Epstein, from “In Defense of Desire,” Tricycle, Spring 2005

On the occasion of Martin Luther King Day, Atlanta-based poet Franklin Abbott channels his friend and lover, the late Assoto Saint (pictured below):

WRITING

On January 8, 1981, when Chilean-born Isabel Allende was living in Venezuela and working as a school administrator and freelance journalist, she got a phone call that her beloved grandfather, at 99 years old, was dying. She started writing him a letter, and that letter turned into her very first novel, The House of the Spirits. She said, “It was such a lucky book from the very beginning, that I kept that lucky date to start.”

January 8 is a sacred day for her, and she treats it in a ceremonial, ritualistic way. She gets up early this morning and goes alone to her office, where she lights candles “for the spirits and the muses.” She surrounds herself with fresh flowers and incense, and she meditates.

She sits down at the computer, turns it on, and begins to write. She says: “I try to write the first sentence in a state of trance, as if somebody else was writing it through me. That first sentence usually determines the whole book. It’s a door that opens into an unknown territory that I have to explore with my characters. And slowly as I write, the story seems to unfold itself, in spite of me.”

She said, “When I start I am in a total limbo. I don’t have any idea where the story is going or what is going to happen or why I am writing it.” She doesn’t use an outline, and she doesn’t talk to anybody about what she’s writing. She doesn’t look back at what she’s written until she’s completed a whole first draft — which she then prints out, reads for the first time, and goes about the task of revising, where she really focuses on heightening and perfecting tension in the story and the tone and rhythm of the language.

She said that she take notes all the time and carries a notebook in her purse so that she can jot down interesting things she sees or hears. She clips articles out of newspapers, and when people tell her a story, she writes down that story. And then, when she is in the beginning stages of working on a book, she looks through all these things that she’s collected and finds inspiration in them.

She writes in a room alone for 10 or 12 hours a day, usually Monday through Saturday from 9:00 a.m. to 7:00 p.m. During this time, she says, “I don’t talk to anybody; I don’t answer the telephone. I’m just a medium or an instrument of something that is happening beyond me.”

She’s the author of nearly 20 books published since 1982, among them Paula (1995), Daughter of Fortune (1999), Portrait in Sepia (2000), and the recent memoirThe Sum of Our Days (2008). Her work has been translated into 30 languages, and her books have sold more than 51 million copies. She continues to write fiction in Spanish though she’s lived in the United States for decades.

— The Writer’s Almanac