By Catherine DiMercurio
It’s been a cold spring here so far, though things are starting to budge. Until recently, the daffodils surged about three inches above the soil and then stayed put. Usually, I’d see their lolling yellow blossoms by now, at least at the old house. It’s my first spring here and aside from the bulbs I planted in front of the house in the fall, everything else that might come up in the sandy soil in my new yard is a mystery.
I’m a haphazard gardener. I like to plant, and to nurture, and I love to be surrounded by flowers, but I’m not the most attentive in terms of what plants thrive where. I don’t want to drown in data, but I could be paying closer attention, and maybe with this yard, I finally will, instead of just plopping into the dirt whatever was on sale at the nursery, or whatever colorful bloom caught my eye. But it is also very likely that I will plant something that was on sale, in what I hope is a good spot, and cross my fingers.
At the old house, I prided myself for taming the overgrown yard I inherited when I moved in. In bringing back what had gone neglected. Here, there is much to do too, though I am pleased what is already on the property, a mature rhododendron, a forsythia deep in the back yard, the irises and hostas.
My gardening efforts represent slow processes of growth and discovery and labor. Moving into a new place, waiting to see what will bloom, deciding what to do next, then planting, but also pruning, tending, and doggedly removing invasive species that tend to take over neglected spaces. Already I’ve been yanking out the strangulating vines of an old honeysuckle. I go outside to play with the dog but suddenly my hands are in the dirt.

The slow rhythm of gardening appeals to me, and it’s similar to what I enjoy about pottery. There are many long steps in each process in ceramics, so many techniques to learn, skills to master. Sometimes I think all I can hope for is mild proficiency, not mastery, but I am pleased to be producing functional forms whose shapes and colors are appealing and often delightful. I’ve described pottery as a hobby but it’s really more of a practice. Like writing, it is something I need to do. Making something that is both artful and useful nourishes me, whether it’s a blog post, a poem, a story, a mug, a bowl. These all can be shared, held, used to connect. The haphazard gardening I do is a little different; the need is there but what I’m producing is more amorphous. I want my space to be both safe and pleasing, and the process is long and grubby (and in this way is much like pottery).
In all these things I find the slowness of the processes appealing and soothing; they complement another task I’ve been tackling. I feel like inside me are all these crumpled pieces of paper and I’m trying to find them and smooth them out and understand if what is written there is a riddle or a love note to myself or some secret key to understanding myself or life in general better. Maybe that’s why I’m often at peace in being alone these days, despite the periodic loneliness I wrote about in my last post. Deciphering myself for my own growth is one thing; doing that while interpreting myself for someone else is quite another. I guess that’s what everyone wants, in some fashion. To be known. Just to be known without translation or explanation.
The slowness I seem to be cultivating brings me the opportunity to understand. I try to remember who I was as a child, what delighted me, what made me laugh, what made me cry. I wonder when I began to feel the pressure to fit in, to behave differently, and why it was so hard. I recall that while fitting it in often eluded me, I could achieve a semblance of acceptance by being accommodating, by trying to be less intense, less sensitive, by hiding those things. Looking back, it is easy to see the ways in which whenever I slipped up, conflict brewed, or some other negative reaction surfaced. Now, I love laughing in the kitchen all alone with my dog at something one of us did, talking to myself, delighting in the moon, in my own kite-hearted joy every time I see the lake. I talk to the tree in the yard and make up silly songs. I have stretches of seemingly unsourced sadness that lingers until it has run its course, and then it dissipates. I allow it. I allow myself all the weird and plain and quirky and sensitive and everyday things about me to flourish, things that over the years one or another person has mocked or announced as strange or made me feel uncomfortable or ashamed about.
I am making up for lost time. I am making up for hiding from myself. I am making it up as I go along, how to live now, how to live well on my own terms. And, yes, it’s sometimes hard and sometimes lonely but it is a relief also to not be laughed at for my quirks and my foibles, to not be misunderstood or quieted or subdued by someone who found things easier if I carried myself through the world differently. I want to be around people who recognize my joy and want to share in it, or who see my periodic melancholy without assigning to it sources or blame; it’s just mine, and it will pass. Like anyone, I want to be accepted, respected. I don’t always expect to be understood, especially as I am still learning to understand myself. But it is always a relief when that happens.
I’m perpetually perplexed by people who seem to have themselves all figured out. Perhaps no one does but people carry themselves as if they do. Or maybe it’s not something most people think about. It has become plain to me over the years that the things that often trip me up offer no such obstacles to some other folks. I’ve been teased for being physically clumsy but I think that’s wrapped up in some other, internal clumsiness as well. Maybe that’s too pejorative of a term. There are things I want to make sense, but they never seem to, and they are hard to ignore. It could be something about a past event or a current situation, or something more, but I hate it when I can’t untangle it. Unsurprisingly, I’ve been called an overthinker.
I wonder what the trick is, to be confident in the midst of feeling that everything is in flux, in a state of change, or still being assessed, figured out. In pottery, there’s a type of glaze called a flux and it’s used in conjunction with other glazes. Its components work to bring about movement in the other glazes it is layered with. It’s gorgeous and tricky and fun. Maybe the secret to that confidence I envy in others is seeing the flux of life, of the own innerworkings of my head and heart, as gorgeous and tricky and fun, instead of an unsettled, clumsy thing that I won’t feel comfortable with until it is figured out.
Over the years, I’ve learned to accept some ambiguities that used to cause a lot of discomfort. I’m okay with not knowing how a piece of pottery will turn out; I’ve even grown to be okay with things not turning out well at all. But in life the stakes are higher than clay. We are often in situations for years before we’re aware of whether or not they are “turning out okay.” And typically, it is only after some time has passed can we evaluate what “okay” even meant in any situation.
I think one of the hardest things to do is find the peace within a moment when the larger situation is quite flux-y. Maybe that’s why I’m so drawn to things that urge me to slow down, to ponder the incremental inching of the daffodil stalk, to stare at the lake endlessly and simply hear it and watch the waves undulate, to nurture a lump of clay through all the steps that turn it into the vessel I sip coffee from. If I can stretch out a moment, I can find reprieve from the churning of my brain and its efforts to figure it all out. But what I want to work toward is being able to hold it all, hold the slow, stretched out moment not as escape from the churn and flux but as part of it. I want to feel how it’s all connected, but maybe getting there is a slow, clumsy process too. And maybe I’ll finally accept that there are things that will never make sense, aren’t supposed to make sense, but that doesn’t mean they don’t have something to teach us.
Love, Cath








