It was Thursday afternoon about four-thirty. Georgia was racing through her mound of homework before we left for gym practice at five. (Do math, do science, write a poem.) The minutes were ticking.

This is where it gets sticky.

She’s finishing gluing drawings into her “Silk Road Journal” (16 pages, front and back, history project due the next day) when she lets out a high shriek. The glue has exploded out the cap from a hard squeeze and blanketed two whole pages. The booklet is a soppy mess. Her artwork is doused. She sobs. I stiffen. She collapses. I look at the clock. And what I think I see is no more time.

I really think that time is up.

How is it that a girl and her mother can get stuck between two pages of the Silk Road Journal? Wedged between the pitiless hours of four and five on a Thursday? Strung between almost-done and starting over? Knotted, tangled and ripped in two?

I don’t want to tell you.

I don’t want to tell you what I told her. About what she didn’t do, didn’t plan, and didn’t finish soon enough. About how little and how late. The cause and the fault. How I couldn’t and wouldn’t and didn’t know how to help.  And what did she expect me to do?

Then she turned to me, through her sobs and streaked cheeks, and asked me the one thing that is still so hard for me to do.

Why don’t you just be the mom? Why don’t you encourage me?

Why can’t I just be the mom, and not the taskmaster, the lecturer, the appointments manager, the critic, the cynic, and the know-it-all? What is more important to show her than love? What is there always time for?

All great people, in their profound humility, remember their mothers most. They remember a mother who believed in them. And no matter how late, believed that there was still time. No matter how little, that there was enough. No matter how dismal the prospects, that it was possible. A mother who loved without measure, without schedule and without hurry.

So we blew off the timetable and moved to the dinner table. I gave her all the room she needed. She spread out and started over, using all the time it took. It went slow, but I encouraged her. She might have learned a lesson about glue, but I learned a lesson that I pray will stick.

When we realize that our child is not the child, then we begin to practice parenthood. It’s never too late to for me to grow up and be the mom. In fact, it’s time I did.

If you are a mom like me with a girl like mine, you might want to pore over Wendy Cook’s Mighty Girl Art Spring e-course where you can spend time becoming yourselves. You will never regret it.

We might think that when we come together in a room and speak our names, extending a hand or a hug, that we are meeting each other. Two discrete beings at a meet and greet. But what we’re meeting is much more and different than that. It is not really two people meeting; it is minds meeting, and not as two minds, but as one. It is inexpressible, but unmistakable. Something happens, and then you might start crying. At that instant, you feel incredibly lucky. Rich, even. As if your own paltry life is suddenly revealed as a priceless treasure.

From time to time people ask me, usually from a distance, if I will be their teacher. I try not to answer that question, because it is irrelevant from a distance, and certainly meaningless over the Internet. I’m never sure what the questioner is asking for — a friend, a counselor, a correspondent, an advisor, a coach, an eye, an ear, a hand? Although I can supply a metaphoric approximation of that from a distance, that’s not what a teacher does.

The teacher and student enter a room that is not a metaphor. They stand on the same ground. What they communicate is words and not-words. You needn’t worry about how it works. To explain it is to confuse it. No one knows how it works, but it does. We always know who our teachers are: they are the ones in the room with us. It’s really not a matter of choosing or asking. What a relief.

To that end, I heard something as I was in the car yesterday driving home from the Zen Center. It was an episode of Radio Lab in which a teacher tells how she broke through the conceptual isolation of a 27-year-old deaf student who had never been given language. “Something happened,” she said, “and then he started crying.”

I did too. I hope you’ll listen past the point where you think you know what it means. That’s the place things happen.

One day a girl looked up at the sky through a veil of clouds and saw that half the moon was missing.

The moon is missing! The moon is missing! No one could convince her otherwise. In fact, she had seen it shrinking for some time, and every night came more proof of her worst fears.

I was right! This conviction was a miserable consolation.

Where others might have seen a sliver of shine, all she saw was the deepening hollow of absence.

There is something you think you don’t have. A virtue, quality, or substance you need to acquire. Courage. Strength. Patience. Wisdom. Compassion. Wholeheartedness. As soon as I name it, you see it as missing from you, quick to disavow the suggestion that you are complete.

I’m only human, you might say. I’m not at all whole and perfect. I’m injured, inadequate, and yes, even a little bit robbed. Especially robbed.

She tried filling the hole with tears, shouts and bluster. She bought a toaster, a Sub Zero, and a Maserati, a pile of shiny objects. They overflowed her house and storage unit. She stomped her feet and kicked up dust. All of it made a mess, but nothing more. You can’t fill a hole that doesn’t exist.

And so, exhausted, she gave up and sat down, head heavy, heart leaden.

She didn’t notice the shadows shifting into light, the wind lifting, the clouds parting, the days passing. One evening she opened her eyes and saw the moon. It was full, of course. It was full all along, doing what moons do, reflecting light. Only our perspective changes. We rob ourselves when we mistake the unreal for the real.

Your heart is always whole, just as the moon is always full. Your life is always complete. You just don’t see it that way.

Just let everything and anything be so, as it is, without using any kind of standard by which we make ourselves satisfied, dissatisfied, happy or unhappy. Then you’ll see the plain and clear fact.

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He went overseas as a missionary. Every three years he brought his American bride and his growing family back to the States for furlough. He toured churches where he towered in the pulpit, gave stirring guest sermons, and said grace over potlucks in his honor. Everyone looked up to him.

But he was not spared the fall we all take into human torment and doubt. At midlife, he broke up his family and left his post. During his time of exile, he visited my mother’s house. Grown, I came home to visit. I sat in the room while he told my mother everything. He needed to say everything, and she was a complete listener. There was nothing but love in the room.

During a lull, he looked over to me in the corner and asked, “Karen, how did you get to be so wise?” I was surprised, because I only knew what I saw. My elegant uncle, eyes glistening, heart breaking; a light undimmed, spilling onto earth.

“By sitting still and being quiet.”

Join me when you’re ready.

Beginner’s Mind One-Day Retreat
Sunday, Feb. 26 9 am-3 pm
Hazy Moon Zen Center, Los Angeles
Register by email here.

If you’re not sure that you’re ready to begin, watch this. Watch it anyway, and you’ve begun.

Ordinary Glories from katherine gill on Vimeo.

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He doesn’t want me to sprout wings and fly. He can fly.

He doesn’t want a song and dance. He has a song.

He has a dance.

He wants a peanut. That, I can do.

For Jena Strong.

Truth is, I don’t consider anything I’ve ever written to be a memoir. I don’t even think I tell stories. I un-tell stories. I unwind plots. I silence my narrator. I do this by listening.

I’m not the virtuoso on the stage. I’m the emperor in the audience. Dumb, dull, and frankly, unimpressed by the racket.

When I write I call myself a diamond cutter. That sounds fancy until you realize that it’s usually just a hairy guy with a chisel. Perhaps I should call myself a sausage stuffer. Some days I’m more like an orange juicer. The point is, I have something in my hands, something we all have — blood, bones and guts — and my job is to turn it into something else. A gem. Or a healthy part of a balanced breakfast.

I start writing when I am sick of my story, sick of its sound, smell and taste. And so I cut it open, air it out, let it go, and then it turns into a larger story, one I hadn’t ever heard before, spilling across the page. It becomes everyone’s story, which we call the truth. And then it’s done.

I’m not even interested in other people’s stories, especially if by page 153 it’s obvious that they aren’t going to turn it into something else. These are the books I don’t finish. Nonfiction that makes itself sacred becomes a lie. Yes, I understand you are still very sad/angry/confused. Write back when you get work.

So imagine my surprise when I saw who’s visiting Butler University in Indianapolis on Feb. 15.

Zen memoirist Karen Maezen Miller
“Memoirs of a Zen Priest”
Talk and book signing
Wednesday, Feb. 15, 7 p.m.
The Efroymson Center for Creative Writing
Butler University, Indianapolis

Come anyway, come anyway! It’s free and open to the public. I’ll be talking about oranges, with sausages on the side.

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Delusion begins with hair and makeup. The line between reality and psychosis is drawn with Maybelline Master Drama Brow and Eye Pencils.

There is no end to delusion. You can just keep piling it on.

There are no bad kids. There are just bad adults behaving like bad kids. And bad kids behaving like really, really bad adults.

The husbands are the sane ones. Just admitting this makes me crazy.

The room is empty except for you. The chairs are mostly vacant, the competition is entirely imaginary, and the judges wish they could disappear.

When you win, you lose. When they crown you a Queen, or Most Beautiful, or Best Talent, or Miss Congeniality, it means you didn’t win. In fact, it means you finished last. You don’t want those titles or sashes. Spit on them! You have to lose for a chance to win big, by coming back onstage later, when you really don’t win.

It’s all about you. “We keep doing this because she really loves it.” At the end of the show, when the kids are maniacal with hunger or exhaustion, tearing off the butt-ugly $1200 dresses that will take their parents two years to pay for, all the moms and dads say that. But it’s not true. You keep coming back because you don’t have a life! You’re sick, or bored, or you don’t want to make dinner, or fold laundry, or pay the bills, or face reality! You keep coming back for a chance to sit in a room with your own child, or at least I do! I’ll keep doing this because this show gives me a piercing view of my own shit while reminding me that if I’m not careful I could be a much worse parent than I am.

I’ll be back because this show is about me.

“Mom, do you see now why I watch this show?”

“Yes, I do, honey. I’m afraid I really do.”

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Meryl Streep says and does things I like. This was what she said about how hard it is to construct a career in the movies, but it applies to everything. It applies to love and commitment, family, work, physical and mental health, and everything else in your life. She means it’s hard to muster enough commitment to see things through. To keep going. To give up your expectation that anything worthwhile happens easily, without disappointment, or without trying really, really hard.

I repeat it here because of what I see so frequently repeated elsewhere about things not working out. By the time you’re approaching your third movie, you’re not new anymore. You’re not today’s darling, but you might yet become interesting. You might become resilient and resourceful, willing to make allowances. You’ll let yourself gain some weight, for instance, and do silly things with your hair. You’ll make a fool of yourself. You’ll take risks for your third movie, and every one after. Because when you do that for your third movie, you’ve realized there is only one movie. It’s called your life, and you don’t want it to end in bitterness and despair. The show has only just begun, and you love it. If you don’t love it, nobody will.

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We spent the day emptying drawers, sorting “keep” or “go,” hauling bags of trash and giveaways, swiping piles of dust. My husband and I have relented to buying my daughter a new bed, a bed entirely of her choosing, to match her self-image and sensibilities, a “teen” bed which will endure as the last blasted bed we buy her. It delivers tomorrow, and so today we cleaned out her room, meaning we cleaned out the most beloved 12 years of our lives. A day like this reminds me that all days are like this. I can’t say it any better than I did in

“Form is emptiness,” Buddhism teaches. “And emptiness is form.” What could it possibly mean? It means this. It means I cried on the night of Georgia’s first birthday.

The bakery cake was ugly. She bawled in bewilderment at the crowd around the table. The presents didn’t interest her. She fled my arms to the cuddles of her babysitter. My shame was complete, but it was something else that brought me to tears. It was the finality. My baby was done with her first year. And despite my hurry, I was not. I had chosen this night to box up her baby clothes, refolding the tiny come-home things, sobbing at the poop and spit-up stains. They were already relics. How could it be over?

People will tell you so many things, passing on their hindsight and regrets. Love them when they are little. Cherish the early days. I would say it all again but I’m not sure you can hear it until you reach the other side, open your eyes and let the tears of recognition come. There is not one piece of life that you can grasp, contain or keep, not even the life you created and hold right now in your arms. I confess I never tried to slow it down, ever pushing forward to some imagined place of competence for me and independence for her. On this night, though, I could see how fast it all would go. How fast, how sad. Every happy day brimming with bittersweetness.

This is how it passes: no matter where we are we think of someplace else. The place before nighttime feedings, the place beyond twelve-a-day-diapers, the certain bliss that beckons from a distant shore.  This is how we spend our lives; this is how we spend their lives, motoring past milestones as if collecting so many merit badges.

We can be forgiven for this tendency, in part, because childhood is full of tests and measures, percentiles and comparisons. Bring your baby to the doctor’s office and they will plot her as a dot on a growth chart. I inscribed these glyphs dutifully on my calendar ­– how many pounds now, how many inches now – satisfied that we were safely on course to get somewhere. Where is that somewhere? Where is that place that I can relax the tension on the reins, ease off the accelerator?

Not one bit of life is a weight or a measure, a list or a date, a tick or a tock. It is never a result or an outcome. What it is, is a continual marvel, a wondrous flow without distance or gap, a perpetual stream in which we bob and float. We are buffered from nothing and yet never quite fully immersed because our thinking mind keeps eyeing the banks, gauging the current, scoping for landmarks and striving for some kind of perfect, elusive destination. There isn’t a destination. Life keeps going. It keeps going within us; when we’re not attentive, it keeps going without us.

Treat this as a race and you will get ahead of yourself.  Life has its own perpetual motion and yet we think we need to rev the engine. What can I do, you will think, to get her to eat more cry less sleep all night take solids roll over sit up start crawling wave bye-bye start walking stop falling hold a cup start talking feed herself start playgroup potty train eat more cry less sleep all night start preschool make friends share toys run hop ride a bike draw write read use prepositions eat more cry less sleep all night? And if there’s nothing I can do to make it happen sooner, why is that kid over there doing it already?

There is a compartment above our hall closet, a compartment that is never opened. Inside is our daughter’s bouncer chair. A bouncer chair is a kind of rocking sling that will serve you for a sliver of time that is dense with sentiment and yet for me now is completely indistinguishable and forgotten. I cannot recall when in her first year she outgrew her chair, but she did, and apparently we didn’t. Many, many things from her past have been handed down or sold, but this one was too important to her parents. We made a special point of putting it in a special place where we will keep it forever and never see it again. What you keep does not keep. Form is emptiness.

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This probably puts me in the category of a Kevin Costner sympathizer.

I’ve begun thinking in apocalyptic terms about what seems certain to be the demise of the US Postal Service. Admittedly, I’m a cultural throwback. I still think of writing as something that you do on paper, with your whole hand, in a cursive script that is elegant and intrinsic, like your DNA. I still think of community as consisting of people with bodies, using arms and legs and good manners to stand in line patiently at the post office, where we buy stamps, grouse about the three-penny price increase, see somebody we know, say a kind word, conduct our minor essential business, and go on our way, until next Monday or Thursday or tax season or the holidays.

I’ve noticed that they’ve started selling greeting cards in my little post office, which is ingenious, really, in a demoralizing way, since the only people who enter a post office these days are the sappy has-beens like me. People who saw those lame Kevin Costner movies in the 1990s predicting the disappearance of the post office, global warming, and the end of the world as we know it. And now we really do know it.

One of the cool things about my family is that I have cousins who grew up in Japan, and one who still lives there. Scattered visits and rare letters were the little we shared growing up, but I always appreciated their artistic sensibilities, which seemed so lacking in the rest of us clodhoppers. My cousin Debbie uses her considerable watercolor talents to practice a Japanese folk art called etegami. You can see her work here. Like all folk arts, etegami is becoming lost and impractical, since it is the art of painting postcards. Yes, postcards. You remember them, right? Postcards were the texts of the twentieth century. A little scrap of sentiment that arrived from a distance. You read it, turned it over, and used it as a bookmark or a coaster. It got spindled and stained. Postcards weren’t often kept, but the connection was. The connection was never lost.

Etegami is the art of ephemera: a one-time, one-off, simple drawing accompanied by a few apt words. Ideally, the drawing is bold and even awkward, spontaneous, original, intensely observed and heartfelt. It is human. All this is expressed on a single piece of paper that, once received, might become a coffee-stained coaster or grocery list. Yes, yes, this is how it really is! A hand brings ink to paper! The paper turns to dust! This is the beauty of our lives, what makes them precious, what draws us close. Nothing lasts but the love for what does not last.

I’m sharing my family fortune this week by giving away a set of etegami coasters by Debbie featuring fruits and this written reminder of seasonal time:
Be careful of the words you say,
Keep them soft and sweet;
You never know from day to day
which ones you’ll have to eat.

The coasters are so beautiful that you won’t want to use them. But do, so you’ll know the true value of what we cannot keep.

To enter the drawing for the coasters, leave a comment on this post by this Friday, Jan. 13. I will ship to the winner, anywhere in the world, via the late, great US Postal Service, which I love.

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