One Bright Thing, day 5

#OBTChallenge Day 5

My new goal on the blog for a while is to post one “bright thing” every day…or at least most days. This can be a tough time of year for those of us, like me, who struggle with anxiety and depression. The ordinary day-to-day gets complicated by the weather, the increased hours of darkness, the post-holiday slump, and very often, the news in the wider world.

A few days ago, I was feeling especially down, so I asked myself how I could turn those feelings around and put some light out into the world. The OBT Challenge was born.

Today’s post features music by Felix Mendelssohn; not my own playing this time. 🙂 This is the first movement of Mendelssohn’s Piano Trio in D minor, Op. 49, as performed by the Zukerman Trio.

I’m currently learning this piece, and it’s a big challenge. If you’ve read about me here on the site, you know I’ve been balancing work in music and writing for a number of years. Sometimes that balance leans more one way or the other. Lately, I haven’t been as much of a “real pianist” as I trained to be, and this Mendelssohn is definitely pushing me to get my chops back.

Learning it has been a mix of fun and frustrating. Over the past few days especially, I’ve caught myself getting really impatient with my own limitations. Why can’t you remember those notes? Why can’t you get that passage up to speed? I know the real issue is that I’m scared I “can’t do it well enough,” that I’m not enough of a pianist anymore. But if I let myself get impatient and angry, it only makes the work harder. If I try to keep a sense of humor about it and let myself learn and grow at my own pace, things happen much more easily.

It’s hard for me to be patient and accepting with myself and to honor when I’m trying my best. If I want to be able to do that with others, the buck starts here. This piece is teaching me lessons about more than music. And it’s a wonderful piece too: full of drama and fire and all shades of expression.

Please enjoy the video and visit back again soon. If you like what you see here, please share! Also think about posting your own bright thing somewhere on social media today. It could be a photo, a drawing, a poem, some music: anything that makes you smile and puts some light out in the world. Bonus points if it’s something you create yourself. 🙂

If you post your OBT on Facebook or Twitter, you can tag me (@kfaatz925 on Twitter) and use the hashtag #OBTChallenge. I’d love to see what you share!

One Bright Thing, day 4

#OBTChallenge Day 4

My new goal on the blog for a while is to post one “bright thing” every day. This can be a tough time of year for those of us, like me, who struggle with anxiety and depression. A few days ago, I was feeling especially down, so I asked myself how I could turn those feelings around and put some light out into the world. The OBT Challenge was born.

Today’s post features music by Wolfgang Amadeus Mozart. This is a recording I made of his Sonata in F Major, KV 280. It’s about ten minutes long, and like a lot of Mozart’s music, it’s joyful, sparkling, and full of energy. Guaranteed to give your day a boost.

Please enjoy and visit back tomorrow, and if you like what you see here, please share! Also think about posting your own bright thing somewhere on social media today. It could be a photo, a drawing, a poem, some music: anything that makes you smile and puts some light out in the world. Bonus points if it’s something you create yourself. 🙂

If you post your OBT on Facebook or Twitter, you can tag me (@kfaatz925 on Twitter) and use the hashtag #OBTChallenge. I’d love to see what you share!

One Bright Thing, day 3

#OBTChallenge Day 3

My new goal on the blog for a while is to post one “bright thing” every day. This can be a tough time of year for those of us, like me, who struggle with anxiety and depression. A few days ago, I was feeling especially down, so I asked myself how I could turn those feelings around and put some light out into the world. The OBT Challenge was born.

Today’s post, keeping with the music theme from OBT Days 1 and 2, features music by Robert Schumann. The recording below, which I made a couple of years ago, is about fifteen minutes long. If you don’t have time to just sit and listen, I definitely recommend it as a soundtrack while you’re working. Guaranteed to make the work go faster. 🙂

Schumann (1810-1849) wrote this piece, Papillons, early on in his career. The title literally translates as “butterflies.” Schumann chose it to capture what writing the piece felt like to him: he was riding a wave of inspiration, with musical ideas flying around him thick and fast, a cloud of butterflies.

The music creates a ballroom scene. Schumann puts the listener there, watching the dancers, admiring all the costumes and masks, caught up in the swirl of light and sound. It’s been one of my favorite pieces since I first learned it about 25 (!) years ago: fun to listen to and joyful to play.

Please enjoy and visit back tomorrow, and if you like what you see here, please share! Also think about posting your own bright thing somewhere on social media today. It could be a photo, a drawing, a poem, some music: anything that makes you smile and puts some light out in the world. Bonus points if it’s something you create yourself. 🙂

If you post your OBT on Facebook or Twitter, you can tag me (@kfaatz925 on Twitter) and use the hashtag #OBTChallenge. I’d love to see what you share!

One Bright Thing, day 2

#OBTChallenge Day 2

In case you didn’t see yesterday’s post, my new goal on the blog for a while is to post one “bright thing” every day, in the spirit of lighting a candle when things seem dark. Today’s post features the music of Impressionist composer Claude Debussy.

This is my recording of the first movement of Debussy’s suite Estampes, which literally means wood-carvings, but we can think of it as the stamps we put on mail. Stamps from places around the world.

The first movement is called “Pagodes” – Pagodas – and is meant to take you on a trip to the East. In this piece, you’ll hear Debussy making the piano sound like chimes and gongs, and playing around with dissonant harmony to create beautiful washes of sound. It’s incredibly evocative, and also extremely fun to play.

Please enjoy and visit back tomorrow, and meanwhile, think about posting your own bright thing somewhere on social media today. It could be a photo, a drawing, a poem, some music: anything that makes you smile and puts some light out in the world. (If you post it on Twitter, you can tag me at @kfaatz925, and use the hashtag #OBTChallenge.)

 

A New Daily Challenge: One Bright Thing

#OBTChallenge Day 1

To bring in 2020, I’m repurposing the blog for a while. Let’s see how long I keep it going…

It’s already a tough year. A lot of us are probably struggling with more anxiety than usual because of the headlines, especially the news out of Australia and Iran. January is often a tough month to begin with: after the holidays, when life goes back to normal, but the days are very short and it’s often cold and dreary. All of this gets compounded if you already struggle with mental health challenges.

That’s exactly where I am. So I decided to give myself a new kind of challenge, in the spirit of lighting a candle rather than letting the darkness take over. My goal for myself is to post one thing on the blog, every day, that puts a bit of light out in the world and maybe makes someone smile. One bright thing.

My first one is some music, a recording I made of three of my favorite sonatas by Italian Baroque composer Domenico Scarlatti. (I have a feeling music will be a frequent go-to in this project.) I love these pieces for their clarity, peace, and joy. Other days, I might post a photo – hopefully not always a cat photo 😉 – or a short piece of writing, or even a sketch or watercolor.

I invite you to enjoy the music here and visit back tomorrow. I also invite you to post your own bright thing somewhere on social media today. If you post it on Twitter, you can tag me at @kfaatz925, and use the hashtag #OBTChallenge.

I’d love to see what you come up with. Let’s put some light into the world for the New Year.

 

 

Teaser 2

Thanks for visiting, as always! Today I’m sharing another teaser from a new project I’m working on: a collection of very short, fable-like stories about the experiences artists face. As a short intro, Vera is an artist, in any discipline you’d like to imagine – whatever resonates most with you. Lia is one of her three feline-shaped muses.

If you like this excerpt, you can read another in my post here.

**

It’s raining today, a steady thin drizzle. Vera sits under a spreading tree, leaning back against its broad trunk. The leaves make a green cave to shelter her. Now and then, collected moisture drips off a branch here or there, splashing softly on the grass.

Vera would like to be walking again. Sometimes she welcomes the time to think and be quiet, but right now isn’t one of those times. She’s been thinking too much lately about her art. Sometimes nothing about it seems right. The quieter her mind is, the more she sees problems and mistakes, and the faster they grow.

It’s a little too wet to walk, though. Aurelia-who-is-called-Lia, sitting in the grass beside her, agrees.

“Wait for the sun to come out,” Lia says. She lifts a dainty front paw to her mouth and smooths a few hairs down with her tongue. “We should only walk when it’s nice. Much more comfortable.”

Lia is small and striking. Most of her fur is black, but with enough ginger and beige mixed in to give it a marbled look. One hind leg is orange with tabby striping. Her paws and chest are white. In sunlight, her fur has the sheen of velvet.

Vera fidgets. “When is it going to get nice again?”

Lia cocks her head. “Why are you in such a hurry?”

Vera doesn’t answer. She drums her fingers restlessly on her knee, not looking at Lia, but she can feel the grass-green eyes studying her.

Lia gets up and comes over. She climbs into Vera’s lap, pushing her uneasy fingers aside. Her claws come out, just enough to prick Vera’s leg and get her attention.

“Hey,” Lia says. “Don’t ignore me.”

Vera looks down into the small face. Lia’s ears are mostly black, mottled with a little bit of orange, but she has a mask of ginger around her eyes and a splash of white and beige on her nose. Vera can’t help smiling. “I can’t ignore you,” she says. “You won’t let me.”

Lia arches her back, purring. “That’s right. I get attention when I want.”

Vera runs her hand down Lia’s sleek side, feeling the texture of the glossy fur. The purr is a noisy rumble now as Lia presses against Vera’s hand. Then the purring stops and Lia sits back on her haunches.

“You know you’re just the way you need to be,” she says.

Vera shakes her head. She’s used to the way Lia thinks. “Maybe you are,” she says.

“Maybe?” Lia’s green eyes go wide. “There’s no maybe about it.” She lifts her chin proudly and swishes her tail, displaying the tiny white point on its tip. “Look at me,” she says. “How could anyone be prettier?”

She’s right, of course. Nobody else could look quite like her, with her mix of colors and the funny patches on her face that are somehow perfect. Vera rubs the top of the small round head. “It’s true,” she agrees. “Nobody can match you.”

Lia looks satisfied to the point of smug. “Same for you.”

Vera thinks of a lot of things she could say about that. The whole world can see Lia as lovely and delightful; Lia knows it’s her due, and anyone who doesn’t agree isn’t worth her worry. But Vera is different.

Lia rubs her face against Vera’s hand. “You’re mine,” she says. “That’s all you need to know.”

Because Lia doesn’t have time for anyone who isn’t worth it. Vera can hear that, loud and clear. She’s still not totally sure she believes it, but she smiles.

Lia curls up in her lap. The two of them sit quiet together, listening to the soft rain.

Alafair portrait
Alafair, aka Smidgen, the original Lia

 

Alafair nap
She’s not very fetching…

 

 

 

 

 

 

 

 

 

 

 

 

 

Buried Meteor

Apologies for the lack of post last week. After Tuesday went by, I thought maybe Wednesday or Thursday I would put up a late one, but then it was the end of the week and I still hadn’t gotten my act together. 😉

But I’m glad I waited, because this week’s post probably needed the extra “mental digestion” time. This week I’m thinking about my creative work: ways I’ve avoided it, and why I’ve had such a hard time getting back to it after a rough summer.

If you’ve been following the blog, you know the summer was very challenging for me, involving lots of anxiety and panic. Naturally, doing creative work under those circumstances gets to be difficult (“I can’t sit down long enough! I can’t concentrate! I can’t…”). With the start of fall, I’d hoped and planned that things would get better. Time had passed since a couple of the events that kicked off the panic. I was on a new med. Surely, I thought, come September I’d be able to turn things around and get back to my “normal” self.

The process of re-normalizing has been a lot slower than I’d hoped. Over the summer, I spent a lot of time avoiding any thoughts of my writing or what I want to do with it. More recently, I’ve been thinking about it again, and sometimes actually getting some words on the page…but it always seems like the anxiety is hovering in the background, ready to knock me down again. You’re trying that? You must be crazy. And then I’ll find something else to do instead: laundry, random errands, unnecessary baking (which has its benefits, I admit), or any other kind of busy work to get away from what scares me.

river 1

Avoidance is normal and part of the artistic life. We all know what it’s like to feel intimidated by that project we want to work on, but aren’t sure we can really do “well enough.” For me, though, it’s gone a little deeper than the usual resistance I know. It’s like when you’re clearing a piece of ground in your yard to put in a garden. You dig down and your shovel hits a stone that doesn’t look like much at first, so you try to find the edge of it so you can flip it out of the hole…but you keep digging, and digging, and your shovel keeps hitting it, and it turns out this thing is huge. It’s as if there’s a buried meteor down there, and you can’t put your garden in on top of it, and you don’t know how you’re going to get it out.

In my case,  the buried meteor – the biggest source of my resistance to digging into my creative work, getting back to that so-important piece of life – is my own view of myself. I’ve always known I had some, let’s call them self-esteem challenges. The past few months have shown me exactly how big they are.

waterfall pic

If you were reading the blog during the summer, you know that in June, I had a string of tough writing-related news that culminated in a rejection of my novel Fourteen Stones by an agent we’ll call Agent X. I’d liked Agent X a lot; they’d spent quite a bit of time with the book, I knew that folks on their team really liked it, and they’d been respectful and communicative throughout the submission and review process. Unfortunately, as can easily happen in this process, the book turned out to be not quite the right fit for them. Instead of saying to myself, “Hey, you got really close with Agent X, they were really nice and they did like the book a lot, so you just need to keep trying and you’ll find the right agent for you,” I let my disappointment turn into crashing shame. All the time I’d spent working on Fourteen Stones suddenly seemed like a total waste. It was no good. I was no good.

This might seem unreasonable if you’re not familiar with the process, and especially if you don’t happen to look at the world through the truth-distorting lens of anxiety and depression. Even I knew it was over the top, but I couldn’t seem to control it. I spent the rest of the summer and well into the fall wondering what was wrong with me, why my head felt so messed up, not knowing how I could ever get myself back to a productive place. Sometimes I got more angry than scared, and sometimes – despite how nice they’d been – I got really pissed at Agent X. More than once I wanted to sit down and write them a furious email about how my whole summer had been ruined, four months of my life I’d never see again, because they just couldn’t give me the answer I wanted and it wasn’t fair!

Of course this isn’t an ideal career move. 😉 More importantly, though, very lately I’ve come to understand something else: really understand it, rather than just being aware of it. Of course it isn’t Agent X’s fault that my book wasn’t the right match for them. And it wasn’t their fault that I had so much trouble with that rejection: that I let it take me into such a bad place, and that I then stayed there. The problem, which I knew in my head but had never internalized, was that I was giving away my power.

Let’s say Agent X had wanted the book. I’d have been thrilled, of course. It would have felt like a huge validation…and that’s exactly the problem. I would have decided that Fourteen Stones had been worth every hour I’d spent on it. Not because I’d created something that never existed before; not because that creation was exciting and beautiful and I was proud of it; not because all those hours of work on it had been filled with delight and joy. Fourteen Stones would have had worth, in my eyes, not because of what knew about it, but only because someone else found it acceptable. 

Dangerous, right? And that’s my buried meteor: the belief, lodged somewhere deep in my hindbrain, that I have no worth until someone else gives it to me. The more I dig at it, the more I understand how that belief has affected everything I do.

Having that deeply-internalized self-image has meant that I’m reluctant to take risks. I’m scared to put my work out there, so even though I do it, I do it in a small and limited way. I’m always waiting for rejection, not because it’s statistically likely in this business – which it is – but because I believe that’s what I deserve. When it comes, I take that as a confirmation of my belief that I’m “not good enough.” I’m scared to start new projects because I’m firmly convinced I can’t succeed. And then I avoid work entirely because I’m scared of being scared.

Agent X’s rejection – though I don’t like to admit it 😉 – was actually a gift. I just turned forty years old a few weeks ago, and I’m finally starting to get a good look at the buried meteor that’s been part of my life for as long as I can remember. I want to build a garden in that spot. I know it can be beautiful, but that rock has to come out first.

It’ll take a lot of work. It’s hard for me to imagine really dragging it out into the light and getting rid of it. I can see it, though, and I know what needs to happen next. That’s a start.

waterfall

 

 

 

Coming Back Changed

I didn’t think I was going to write a post this week. My husband and I are spending a couple of days at the coast, so I’d planned on a blog hiatus until next week, but somehow this evening – as I’m sitting in the living room at our rental, listening to the ocean outside – I’m finding myself inspired.

Time away from home can be a terrific way to recharge, but it can also be stressful, as I found somewhat to my surprise earlier this summer. I love traveling, especially with my husband. (Solo, not so much. 😉 ) Usually, I’m able to let my worries sit at home while we’re away, and let myself breathe freely while we’re checking out new places. This past summer, though, anxiety really got in the way of that kind of release during the couple of trips we took. These two days might be different. I’m hoping they will be.

I need some time out of my head and away from the worry. Especially, I want some time to re-ground myself as a writer. This summer was very challenging on that front, and I’m continuing to struggle with questions about what I’m doing, why I’m doing it, and sometimes whether I can still do it at all. (Anxiety is weird that way. You can prove to yourself a hundred times in a row that you can do something – write a few sentences, come up with a halfway-decent paragraph, brainstorm for a story – and anxiety will still insist that, when you try to do it for the hundred-and-first time, you’ll fail. All you can do is keep showing it, again and again, that it’s wrong. Eventually it’ll wear itself out and go away, or so I’m told.) Thinking clearly about the things I want to think about, instead of getting caught up in loops of panic, seems to involve a kind of end-run around that unwelcome “guest” in my brain. Not easy, but possible.

prettyboy view
Loch Raven Reservoir, Maryland

So tonight I’m listening to the ocean and thinking, again, about why we tell stories. Stephen King said that storytelling is “telling lies about people who never existed in order to learn the truth about ourselves” (paraphrasing a bit, but that was the gist of his quote). We create these imagined places and people; we as writers pour ourselves into our fictional worlds, and then we translate all of that onto the page and send it – hopefully – into the minds of other people who may never see or meet us in their lives. And somehow, through this work of the imagination, we create a real connection between people.

A couple of weeks ago, I wrote a post here on the blog about how I’ve struggled with the value of what my imagination creates. I’ve worked through at least some of that, but I continue to ask myself what my work as a writer really consists of, or what I really hope it can achieve. It seems to me that writing can do a lot, it can have a great deal of power…but what, exactly, does that power look like in my own work? What am I, as a writer, seeking to do?

I’ve often thought about how writing can let me show a reader a perspective, a situation, a set of circumstances they may not have thought about before. Beyond a doubt, that can be valuable: show a reader a character whose life is very different from the reader’s own, and maybe you’ll help a perspective shift, just a little. But there’s another piece to this too. As a writer, I want my readers not just to follow my character through their his or her story, but know what it’s like to be that character. Inhabit that character’s heart and mind so deeply that, for a moment, those experiences become personal. After all, isn’t that why we love to read? To taste a different world and a different life, while the pages last?

ocean view 2
The Bold Coast, Maine

When I work on any project, but especially a book, I have to have at least one character I feel in love with. That character becomes my motive power through the project and beyond, when it’s time to talk publication: if I’m in love with that person, I can’t let him or her down. I have to see the project all the way through until it’s out in the world. When I’m writing that character, I’m writing as deeply from the heart as I know how to. My hope, then, is that those words go straight from my heart to the reader’s. And when they do, I hope the reader steps into my character’s life and experience, his own heart and mind, and for those pages, actually tastes what it’s like to become someone else.

If that happens, is it valuable? I’d say yes. It’s actually a kind of magic. The reader moves into a place that never existed until I thought of it; the reader looks out through eyes that never existed until I imagined them. And – if I’ve done my work well enough – by doing those things, the reader has an experience that changes him or her somehow. Can you really go away somewhere and come back exactly the same as you were before you left?

I like to think not, especially tonight, by the ocean. I like to think I’ll come back from these couple of days changed, just a little, with something to help carry me along and maybe make it easier when anxiety gets up to its tricks. And I like to think, too, that my words on the page do something similar for the people who read them. That, having read them, they feel a difference – however small – in their lives and themselves, and that when they come back from the place where I’ve taken them, they’re changed, if ever so slightly. That’s what this work is all about.

rocky point view
Rocky Point State Park, Maryland

Maryland photos by Kris Faatz; Maine photo by Paul Faatz

 

 

Why Imagine?

This one is for my fellow artists, especially the writers…

A number of years ago now, I read an article by a writer whose name I’m sorry to say I don’t remember. In the article, this writer was talking about the experience of getting her first book published, and all the challenges and setbacks that finally led up to that accomplishment. Specifically, she talked about how it happened a lot later than she’d initially hoped when she was an up-and-coming twenty-something. She’d had an earlier first book, which had landed her an agent, but after the usual period of effort, her agent hadn’t been able to sell that book. This experience sent the writer into a tailspin of despair. The rejections and the loss of hope were so difficult that she had to walk away from writing for six years.

When I read this, I was somewhere in the middle of my own first-book trajectory, trying to figure out what to do with To Love A Stranger and what might ever happen to it. (I still didn’t know a whole lot about the craft, and my efforts from that time would definitely qualify as “sins of my youth.”) My response to this lucky published writer wasn’t very sympathetic. You quit writing for six years? How could you do that?! I decided that anybody who could turn their back on the craft for that length of time just wasn’t very serious about it. I saw that writer’s exodus as a kind of tantrum, an “I didn’t get what I want, so I quit!” fit of bad behavior.

Now, though, with the perspective of a few more years and a lot more rejections, disappointment, and loss of hope of my own, I have to say: I get it, sister. I really do.

irvine field view

We writers and artists give ourselves an uphill task every day. We’re creating work that doesn’t exist until our imaginations yield it up and we weave it into something that holds together, something that captures some fraction of the beauty or message or thrill we hoped for when we started. We do it knowing that no work will ever seem perfect to us, and we often have to struggle against our own inertia and the constant intimidation of that “ideal product” that we know we’ll never create. And for a lot of us, the investment of so much time and energy into something so uncertain – will I ever get a return on this? will people like it? will it (maybe, possibly, ever) sell? – feels like a risk we maybe can’t afford.

I felt this way, profoundly, about my second novel Fourteen Stones. I’ve written elsewhere on the blog about the anxiety that set in after a particularly difficult rejection connected with that book. What I hadn’t expected after the rejection, though, was the experience of starting to attack my own imagination and, quite literally, my ability to write. It was as if my brain decided that I shouldn’t imagine things, shouldn’t write, shouldn’t take pleasure in or even be able to do something that had given me so much satisfaction…when, after all, the great gamble on that novel hadn’t paid off the way I’d hoped it would.

We artists tell ourselves we have to be tough, resilient. We tell ourselves we have to get up and keep fighting every time rejection and setbacks knock us into the dust. What I experienced over this past summer made me question whether – assuming I still could manage to do the work I loved – I should still try. Because, after all, if I let rejection knock me down and hold me down for so long, if I “let myself” feel so terrible about it and “let it” make me unable to imagine, create, or put my ideas on the page: if all those things were true, then maybe I just wasn’t cut out for it. Maybe I wasn’t meant to do this work after all.

That other writer might have experienced exactly this when she walked away from her work for years. Or maybe her experience was a little different, but in any case, I now understand why someone would make the choice she did. I understand how it feels to question the value of your work, question the reason and worth behind investing so much in the products of the imagination. Why dream? Why create?

I continue to struggle with this, months later. Once anxiety gets its claws in, it doesn’t want to let go. Working around it every day, one step at a time, the single biggest thing I’ve learned so far is that I must not give up on the imagination.

prettyboy view

Why do we artists do what we do? Why dream, why create, when there’s so much risk, and when the rewards sometimes seem so few, transient, and so very far between?

Because what we create would not exist without us. Because only we can do the work we do. No one else could write my book. No one else could paint your painting, or compose your music, or tell your part of the story that is an irreplaceable piece of the greater story of the world. And – maybe even more importantly – because no change is possible without imagination. Artists dare to dream about ideals. We dare to see people and the world differently. We dare to believe that the things we think, feel, and create in our work can reach others, and that as we reach out in the way only we can, we can create change in the world.

It’s a crazy dream, right? It can feel huge and scary and impossible, but the fact is, our work has power. When someone takes in something we’ve created, they’ll experience something they’ll never find anywhere else. They can’t find it anywhere else, because it could only have come from us. And it starts with the work of our imaginations.

So if this game has knocked you down: believe me, I understand. If you need a break from it for a while, I know exactly how that is. But in the long run, please don’t let it make you quit. Now more than ever, we need to see how things could be. We need the dreams and creations only you can bring to the overarching story of the world.

rocky point view

Trusting It

Thank you for visiting the blog again. Trying to stay a bit more reliably up and running! 🙂

This afternoon, I’m giving a lecture-performance about my book To Love A Stranger. Before I started having major anxiety struggles this summer, this kind of performance was a little nerve-racking, but mostly no sweat. Today, I’m considerably more nervous than usual. It’s a familiar format, and the kind of gig I’ve done many times before, but I’m having to trust that my performance chops are still there, and will do what they need to do.

It feels like a risk. Part of me wants to run from it, but I’ve learned that the worst thing you can do with anxiety is let it win. When the panic starts telling you that something isn’t safe, or isn’t possible, that’s the time to push back and show it how you know better. Over the summer, when I was really struggling, I had a few days where I let the panic dictate. I canceled my commitments (not many, fortunately) and holed up in bed, listening to music for hours on end. The music was great, but overall, taking this approach to panic was definitely not the right thing to do. It taught me that the only way I could respond to fear was by digging myself a burrow and crawling in.

It’s much harder to push yourself to do things when you’re scared, but it’s also the best way to re-wire your brain and learn that the fear reflex isn’t telling you the truth. Anxiety is an interesting phenomenon. Your hindbrain thinks you’re going into danger, and it wants to protect you, so it kicks in your fight-or-flight response, sometimes so intensely that you feel incapacitated. (If you’ve had the kind of panic attack that involves chest pain, nausea, shaking, dizziness, and the other kinds of symptoms that make you believe you’re in the middle of a heart attack, you know exactly what I mean.) All of this fuss on your hindbrain’s part because it wants to keep you safe from what it sees as danger. Meanwhile, though, its perception of that danger is a little skewed: it doesn’t need to protect you from working, or driving, or staying home alone, or any of the once-ordinary things that might be triggering it. You have to teach it this by doing those things that it doesn’t want you to do.

For me, today’s lecture-performance falls into that category of things. My hindbrain tells me it’s very scary, I won’t be able to get through it, it would be safer not to try. But I know I’ve done exactly this kind of performance before and will do it again, maybe many times. I can get through it, I will get through it, and in so doing, I’ll teach myself and my over-reactive anxiety a valuable lesson. I will trust myself instead of the fear messages.

The video below is a taste of what I’ll be playing this afternoon: the first movement of Ludwig van Beethoven’s Sonata Op. 90. (Apologies for my somewhat out-of-tune piano. Also, yes, that is a Christmas penguin in the background. 😉 ) Beethoven is one of the composers whose music helped inspire To Love A Stranger, and I’ll be reading an excerpt from the book in which his music features, and talking about why he’s perhaps my ultimate musical hero if I could only pick one. As I write this, I tap into the familiar pattern of these performances, and I get a taste back of my own excitement and enjoyment at the idea of giving one. Take that, anxiety. 😉

Hope you enjoy the music. As always, thanks for visiting the blog. See you next time!