What I love about Natalie Goldberg's latest is how the book grows, how it swells, how it starts with small, private memories and joins these to the larger world. "The reason we want to write memoir," she says, "is an ache, a longing, a passing of time that we feel all too strongly." The longing calls up stories, calls up details, which are the anchor of any memoir. The details are vital, "but detail devoid of feeling is a marble rolling across a hard wood floor."
Memoir, says Goldberg, "is taking personal experience and turning it inside out. We surrender our most precious understanding, so others can feel what we felt and be enlarged." Our feelings connect us not just to the past, but to the rest of the sentient world, even the political world. We may lead a lucky life compared to others around the globe. We may write about a red wagon or "the slow spring we remember in Ohio, while at the same time atrocities, torture, genocide are happening. It's not wrong that our life has been graced, but it's important to acknowledge that while a rose blooms a bomb is being dropped."
Much of Goldberg's advice on writing we have read before, in her earlier books. But her suggestions here for putting the mind and heart in gear, as we put pen to paper, are perfectly fresh. More and more of us want to uncover and write down our own stories, and Old Friend from Far Away will be welcomed by anyone struggling to set down the sweet or painful pressure of her life, the past as it flows into the present. The book is filled with inventive observations, and with Natalie Goldberg's infectious belief in writing practice. "Stay connected to the power," she says, "the pleasure of writing. Come back to that over and over."
A lovely and trenchant book.