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How to Embrace Your Dark Side Without Getting Lost

 

The-Devil
From the Ghetto Tarot by Alice Smeets.

I begin most days by drawing a tarot card. It's part of my spiritual practice to think about the current challenge or lesson and draw a card that, when it's all working well, gives me insight. One day last week, I drew The Devil.

This can be an alarming card to have pop up in a reading, thanks to the bad rap the hooved one gets in Christian-influenced culture. I'm many decades away from the colorful images of El Diablo that illustrated my Catholic children's bible, and it still gives me pause. These days, I see the world less in terms of good vs. evil and as more of a continuum. But The Devil in a one-card reading is cause to sit up and pay attention nonetheless.

The deck I currently use is the Ghetto Tarot, created by talented photographer Alice Smeets, who based it on the 1909 work of another artist, Pamela Colman-Smith. There's a lot to love about Ghetto Tarot. First, it's a photographic representation of each card in the traditional deck, of which most people are familiar, and set entirely in the Haitian ghetto. The images are stunning and powerful, showing how the themes in the traditional deck resonate well in a culture outside that tradition. Second, this deck uniquely embraces the darker side of the tarot. Smeets offers her argument:

We tend to concentrate on the light aspects of the seemingly more positive cards and are afraid of the apparently negative cards such as Death, the Devil, and the Tower ... That's because we are conditioned by our society, our parents, and our teachers to categorize the negative as bad, instead of helpful. Many of us fear pain instead of welcoming it. But every negative situation is an opportunity to grow and learn, while every positive situation has the potential to spin out of control.

The deck plays on "shadow" as well as "light," with each card in the deck possessing both sides. The Devil's shadow side can be "acting against your convictions." The "light" is "finding and accepting your dark side." 

Drawing The Devil would have been reason enough for me to mull over the idea of finding and accepting my dark side, but sometimes the Divine hits you over the head with things that seem to have extra importance.

The same day I drew The Devil, I went to the library to pick up a book I'd requested through interlibrary loan. I had learned of the book from a review and either hadn't seen or didn't remember the cover, which is this:

  Generation of Sociopaths cover

Yeah, I know. Pretty interesting coincidence. The book is a provocative read, all right, challenging everything I've believed about my parents' generation. Maybe that was the lesson of the day: To go there, to push my thinking into a dark place again. The book sort of chose me, along with a few others on class in society--after this in my stack are White Trash and Poor But Proud. It's all research for an in-progress novel based on a real-life murder.

My previous work is a lot of light: the Dreamslippers Series. Back in 2012 when I began to write those stories, I started to take my first book in a darker direction, and the result is that I relapsed into PTSD nightmares, which I'd been free of for some time. So I backed away from that and wrote a cozy-ish series about a 70-something yogi named Amazing Grace instead.

But of course, some of the darkness seeped in. It's called conflict, and you can't have a story without it, especially if your sleuths are solving murders. Besides murder, I also tackled anti-gay violence, racism, murderous jealousy, BDSM, child pornography, and incest. So, yeah. Even when I've got my head turned toward the light, the darkness fringes. At the corners, at least.

I'd been content to relegate it to the edges. But this Devil showing up in my life with such force made me wonder. A recent bout of writer's block specific to the aforementioned novel-in-progress came to mind. Maybe the block had to do with suppressing the dark side? Not wanting to go where I sense this story will make me go? And if I had any doubt, scanning through my email the same day of the two devil-related incidents above dispelled it, as one subject line in particular jumped out at me:

Writer, give in to your dark side

The email came from one of my favorite follows, Colleen M. Story's Writing and Wellness Blog. And lo and behold, the entire newsletter was devoted to this "dark side" issue, and specifically for writers. The articles? Here you go:

 The email was illustrated with another devil:

Devil girl

At this point, I'm like, OK, OK! Dark side! Got it! Thanks, Spirit! Paying attention now, I promise!

But ugh.

Didn't I already know this? 

Over the winter, my stepson turned us onto a movie he loved called Inside Out. It's a Pixar animated film, brilliantly done, and the gist of it is that [spoiler alert] the character you think is the hero, the one who's relentlessly positive, actually turns out to be the villain. At least of a kind. The movie does a remarkable job of illustrating how terrifically bad it is to suppress feelings because they're "negative." The filmmakers consulted psychologists in making the film. I highly recommend it for anyone who's convinced--or is tired of those who are convinced--that positivity is the only way to go, all the time. You're welcome.

There's a real benefit to healthy expressions of negativity. If someone's wronged or harmed you, swallowing your anger or outrage could actually make you feel complicit in their act, an enabler to your own victimization. Denial, sugar-coating the truth, false positivity--none of these things serve us well. 

But there's a balance to it.

One of many dead manuscripts I have in a drawer is something I finished back in 2007 called Meat: A Memoir. I gave it to the agent I had at the time, and, based on the title, she had high hopes. (She described me at a party once as "very talented and very intense.") She loved the short story collection she was then shopping around to publishers. But Meat? "I couldn't get through it," she told me.

It was all darkness, with very little light.

So that's my challenge, as both a writer and a human being.  To integrate my shadow and light sides, to allow them to coexist without judgment, suppression, or imbalance.

But how do you do that? Here are five ways I strike the balance:

  1. Be honest about your feelings. This starts with your own awareness: If something's bothering you, check in to see what exactly it is. Take a moment to get present; close your eyes; see what bubbles up. Writing can be a very powerful discovery tool as well. Sometimes I'll free-write about my project if I've got writer's block. This story is difficult right now because...
  2. Don't guilt or shame yourself into forced happiness. It's OK to feel angry, disappointed, sad, depressed... feel all the feelings. A spiritual leader I know once advised that sometimes, lying on the couch and sucking your thumb is exactly the right response to the situation. This goes for fictional characters, too. My best writing comes when I "torture" my characters and let them respond in very human ways.
  3. Don't guilt or shame yourself into silence. Talking about the darkness can help bring it into the light. I once had a writing teacher say that Shakespeare's work continues to resonate to this day because most of the characters are speaking at moments of high crisis. This is where the best fiction lies.
  4. Don't let anyone else guilt or shame you into silence. Whenever I get to the point where I feel someone is just not capable of hearing me, I stop the conversation and find other ways to express myself. Truths can be uncomfortable, and when they threaten status quo, there can be a tendency to silence the truth-bearer. But silencing someone is a power play that comes from insecurity. This goes for writing groups, too. If someone's critiquing your work in a way that feels silencing, it might be time to reevaluate whether the critique is constructive or even helpful.
  5. Don't wallow. If you find you've been wading in the darkness for some time, and you're far past the point of gaining insight from it, then it's time to get up off the couch and rejoin the world. But even then, don't do the things people want you to do but rather what brings you happiness. That goes for the writing, too. Like my dead manuscript example above, an all-dark world doesn't actually make for good storytelling. Without the victory, conflict can feel relentless and suffocating. 

What it comes down to is your shadow side and your dark side actually need each other.

Thanks to Alice Smeets for her lovely Ghetto Tarot and Colleen M. Story for her insightful essays. I hope you'll check out their work.

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Sex-Positive Research for Sexy Mystery 'Bound to the Truth'

The armory
The Armory. 

 In case you missed it, the third book in the Dreamslippers Series has a sexy theme. Cat and Granny Grace must find out who killed up-and-coming architect Nina Howell. Her wife is convinced a libertarian talk show host is the murderer. Following the clues takes the dreamslippers into what in another novel might be labeled Seattle's "perverted dungeon" or "dark underbelly."

 But not in Bound to the Truth. After a decade in Seattle and a lifetime studying human behavior, my position is that there isn't anything inherently dark or perverted about sex. And by sex, I mean the activity engaged in between two consenting adults that may or may not have anything to do with procreation but could include any number of "kinky" behaviors. Spoiler alert: Through the course of the novel, Cat explores a shop selling bondage gear, she and her grandmother go undercover in a sex club, and several characters confer on lingerie and sex toys.

 Readers of the series will know this is not shocking new territory for me. As I've said on social media, book one was about religion and sex, book two art and sex, and book three politics and sex. Septuagenarian heroine Amazing Grace is sexually active and forthright about her trysts; twentysomething Cat is exploring her sexuality as a new adult. These women own their desires and act on them, apologizing to exactly no one.

 HUGE CAVEAT: The sex scenes happen mostly off-screen. This is NOT erotica. This is NOT porn. Sorry to disappoint you. Now, continuing on with the discussion...

 Readers of the blog know I've been highly critical of Fifty Shades of Grey, which utterly fails because rather than challenging its audience in any way, it allows readers/viewers to preserve their judgmental prejudices against the kink world and the presumed "broken" people who inhabit it. They can naughtily dip a toe into the world but then ultimately reject it, just as the vanilla protagonist does. With Bound to the Truth, I wanted to treat kinky people with the respect they deserve, rendering a realism that I hope not only transcends clichĂ© and judgment but results in fully developed characters and concerns. 

 While Fifty Shades served as a sort of negative inspiration, and my writing on this book started as a reaction against it, here's a peep show of my research sources for this book, all positive inspirations.

 News flash to any Emerald City resident who hasn't discovered this yet, but when Cat observes in Bound to the Truth that "Seattleites as a population must quietly be getting their freak on in the bedroom 24/7," that comes from first-hand experience. Enter the city's decidedly online dating scene for two seconds, yes, even as a middle-aged divorcĂ©e as I was, and you're immediately barraged with a cornucopia of kinky come-ons. After thirteen years straight of committed monogamy, it was eye-opening, to say the least. If you have single friends who are also dating, you compare notes and see the same. 

 I owe a debt of gratitude to Savage Love syndicated columnist Dan Savage, who not only writes intelligently, compassionately, and wittily on the subject of sex but also launched a brilliantly curated alternative porn film fest. I've attended a couple of Hump Fests, which seemed to both sell out, and I highly recommend them.

 When I wrote as a freelancer for several Seattle publications, I had the opportunity to interview University of Washington sex expert Dr. Pepper Schwartz. A well-respected academic with a long list of accomplishments, the occasion for my interview with her was the publication of her tell-all memoir, which chronicled her experiences entering the dating pool post-50. As you can see from my choice of subject matter and character, Dr. Pepper had an influence. The piece was one of my most popular, too. Originally published in Seattle Woman magazine, it was linked to by Crosscut, where it was in the top ten for traffic that year.

 While I never joined a sex club, I did talk with people who have, and I also toured The Armory in San Francisco. You might recognize the signature building in the image at the top of this post. The Armory is a sort of castle of kink. Tours are open to the public, and knowledgeable guides wearing nothing sexier than street clothes will lead you through many a porn set. The building itself is worth the price of admission even if you profess a distaste for porn; the Moorish castle was completed in 1914, with much of the stone staircases, wainscoting, and impressive corridors intact, not to mention access to an underground cave, Mission Creek running below the structure.

 I also toured the Erotic Museum of Barcelona, but who wouldn't do that on her honeymoon?

 The drag and burlesque communities deserve credit for shaping my thinking on sex. In Seattle, Portland, and San Francisco, you can catch first-rate live shows in which respectful, supportive audiences embrace a diverse spectrum of lovely people on stage in various states of dress, dancing in a variety of suggestive ways. Most notably for me is Seattle's Nerdlesque. In fact, I'm still pondering my affection for and confusion over "burlesque Carl Sagan." Affection because he was one of my childhood nerd crushes. Confusion because I'm not attracted to women, but this gal was a dead ringer for my beloved astronomer, so...

 I'd be remiss if I didn't mention Laura Antoniou's mystery set in the middle of a kink convention, The Killer Wore Leather. And Seattle's sex-positive culture in general for its art shows, film screenings, articles, workshops, and overall work toward making sex something that can be talked about without stigma, shame, and danger. If we could free ourselves from those chains, then the ones some people put on just for fun become simply that.

 I hope you enjoy Bound to the Truth. You can pre-order it, and Amazon will magically deliver it to your Kindle on the day of release. Or Barnes & Noble will mystically transport it to your Nook. Or, or, or...

 Now tell me what you think of all this in the comments! What turns you on? I mean in terms of literature, people.

 


The 1944 Movie 'Laura' Reveals Just How Broken Publishing Is - and Maybe the Whole Economy

Laura23234

Sometimes I like a good film noir classic, as in the 1944 movie "Laura," named one of the 10 best mystery films of all time by the American Film Institute. This one was just right for a Saturday night movie binge because it features a young Vincent Price as a pretty boy gigolo, if you can imagine that, and a victim who's made a life for herself as a successful advertising exec, a rare career woman for her time.

 What I didn't expect in this strange but clever whodunit is that one of the main characters and ongoing suspects is an eccentric writer, a dandy who pens columns while sitting at his bathtub desk. From his posh penthouse apartment in New York, he brags about making fifty cents a word on his writing.

 Hold up, I thought. Fifty cents a word? In 1944? 

 Those of you who've never tried to make a living with your words probably don't know this, but fifty cents a word is considered a good rate today. Yeah, in 2016. I'm part of several online freelancer forums, and there I regularly see rates of $150-300 for a 700-word article, which works out to about 20-40 cents per word. The top echelon magazines reportedly pay their freelancers $1-$2 dollars per word, and there are a rare handful of freelance writers making bank, but the vast majority of words that get written in America today sell for far less. Disturbingly, there are plenty of publishers who expect writers to work for "exposure," or for mere cents per word. 

 Here's what writers today should be making per word, if we take 50 cents in 1944 and adjust it for inflation: $6.82.

 That would be almost $5K for a 700-word piece, which is a far cry from reality. And you wonder why so much of what's out there is written in listicle format and laden with gifs! Even if the 50-cents-per word bit were a dramatic embellishment, and let's say the actual writer pay at the time was half that, at 25 cents per word, or a quarter, at 12 cents per word, which is about what I make today on stories for my local paper, we're still looking at serious stagnation, or even devolution. Depending on whom you ask, the publishing industry is either experiencing a glorious renaissance or is in its death throes. If it's the former, writers on the whole aren't experiencing the golden part of this age, and if it's the latter, then I suppose things will only get worse from here on out. 

 In my overly long, SEO-designed headline above, I promised I'd mention how this relates to the overall brokenness of the economy. This writer wage stagnation/devolution is another example of how we've been shafted in the last generation as productivity has actually gone up but salaries haven't kept pace, pay for CEOs and others at the top soared while most other pay stagnated, and benefits such as pensions and employer-paid health care became a thing of the past. I'm no economist, though, so let me refer you to these nine sobering wage stagnation charts put out by the Economic Policy Institute.

 Sure, EPI is considered by some to skew liberal and/or is tainted by its labor backing. But you know what? It's hard to argue with the data. For example, since 1979, middle-class wages rose only 6% and low-wage workers' salaries actually fell by 5% while those with the highest salaries saw a 41% increase. Here's another: In the 1960s, CEOs typically earned 20 times what a typical worker earned, but today they rake in 296 times what a typical worker makes.

 So writers in this analysis are low-wage workers whose salaries have fallen over time. Our economy is one big film noir movie, but the villain is greed and the policies that support and enable greed. Spoiler alert: The mystery of who killed Laura, the advertising exec, is far more fitting and poignant than anyone in 1944 could have imagined. Yep. You guessed it. The writer did it.*

* Or at least, he thought he did (plot twist!).