What I Hear When I Stop Talking

“Silence is not the absence of something but the presence of everything.”

–Gordon Hempton (b. 1952), acoustic ecologist and advocate for the power of natural silence.

My Mother told the world, especially anyone who would listen, that I was born smiling. I can just hear her now–well, obviously I can’t, and certainly I don’t remember it from when I was a baby, but you know what I mean:

“Oh, look. Mama’s Little Mr. Sunshine is lighting up the Coal Camp already.”

Her regular reinforcement, of course, kept me smiling, smiling, and smiling. I never stopped. I guess I don’t know how, even though people are always wondering what no-good nonsense I’m up to or what I know that they wish they did.

What my Mother didn’t tell folks is that I was born talking. All right. Fine. Have it your way. Maybe I wasn’t born talking out loud. But I am certain that I was born talking quietly to myself. And when the time came–and I am fairly certain that it came precociously sooner rather than belatedly later–and I heard words roll off my tongue like orchestral notes at the New York Philharmonic, I vowed to keep right on talking, talking, and talking. I never stopped. I guess I don’t know how, even though people sometimes give me looks that seem to say:

“Shut up. Won’t you please shut up. You’re exhaustive and exhausting.”

Like I said, sometimes they give me that look, but luckily, they never come right and say so. If they do, I don’t hear them. I guess people need to learn to speak up, especially if they expect to be heard while I’m talking.

I guess you might say that I’m one of those extroverts who make it a challenge for people who value quiet to be around. Of course, I’m just guessing. But every now and then, I seem to catch a glimpse of someone giving me a look that seems to be a plea for silence. But I don’t know. Looks are just looks. And the more that I think about it, I don’t think any of those people who suffer my loquaciousness in silence–even the many who have suffered sufficiently to be worthy of sainthood–have ever come right out and asked me to be quiet.

Recently, though, I might have been closer than close to that “Please-be-quiet” threshold. But then again, I might not have been. Who knows? Maybe. I’m not really sure. I’m just guessing.

If I really was close to crossing that threshold, Gary was polite enough and gentlemanly enough not to say anything. I’m not talking about my neighbor, Gary. I’m talking about my Gary from Tennessee. It’s not that he’s the quiet type. Actually, he’s quite the talker, and when he gets going, I’ll swear that he could talk out the entire book of Genesis without leaving out any of the beseeches and begats. Of course, he doesn’t talk in Old Testamentese like that, but when he talks, what he says is rich and robust and layered with details known to Adam and Eve and all of their descendants since the Garden of Eden, including me.

At the same time, I know fully well that Gary appreciates quiet. So far, though, that has not stopped me from talking. When he’s here and he’s doing his thing and I’m doing my thing, little dramas might unfold thusly:

Gary: Weeding. Not looking up. Not saying a word.

Brent: “Just ignore me. I’m just going to the compost heap. What you’re doing looks great. What do you think?”

Or, later in the day or perhaps earlier in the morning.

Gary: Reading on the deck. Looking right at his book. Not saying a word.

Brent: “Isn’t this quiet great? So peaceful. So relaxing. The only sound you can hear is the quiet song of a bird singing from time to time. Oh. Listen. Hear that one? Robin? Cardinal? OMG! Now listen. It’s the crow that lives in the pine tree midway up the mountain. See? I can just barely see it. Can you?”

I don’t think my chatter bothered Gary. It must not have. If it had, he would have said something. But he didn’t say anything. Not one word.

Still, I imagine that when he got in his Mazda, drove down the rutted mountain road, and headed back to Tennessee, he sighed a sigh of relief, verily saying aloud to himself:

“Peace. Quiet. Thank God.”

I’m sure, though, that it was a short sigh because it didn’t take too long before he sent me a text message. Or did I send one to him?

Who sent what to whom and when doesn’t really matter, does it? Either way, texting is talking. Right?

I think so, and the message–whether coming in from Gary or going out from me–found me sitting on my deck, listening to the birds, and thinking to myself:

“How incredibly quiet. I can’t believe how peacefully quiet it is, sitting here, me, myself, sipping on my coffee. Sipping. Sipping. Sipping.”

In that nanosecond, Kay Ryan’s “Shark’s Teeth” talked its poetic way into my quiet:

Everything contains some
silence. Noise gets
its zest from the
small shark’s-tooth
shaped fragments
of rest angled
in it. An hour
of city holds maybe
a minute of these
remnants of a time
when silence reigned,
compact and dangerous
as a shark. Sometimes
a bit of a tail
or fin can still
be sensed in parks.

And I sat there, sipping my coffee, cup held high in mid-air—my morning salutation to quiet, my morning celebration of quiet, my morning realization that much of life is framed by quiet.

In art, it’s the white that lets the red pop. The space the eye travels through to find what matters. The breath between brushstrokes. Without it, everything would shout. And nothing would be seen.

In music, it’s the rest that gives the chord its ache. The pause before the resolution. The silence that says, wait. And because you waited, you feel more.

And in me?
Despite the smile.
Despite the gab.
Even I need the quiet that I so often deny others.

Not just to appreciate it—
but to let it hold me,
steady me,
remind me
that I belong to the silence, too.

The kind that doesn’t ask for attention.
The kind that lets the world be.
The kind that lets me be, too.

A crow calling far off.
A weed pulled in rhythm.
A breath drawn but not spoken over.
A book opened without comment.

Gary nearby, not needing to say a word.
And I? Nearby as well. Listening.
Savoring quiet in silence.

Stillness in Motion: How Ideas Find Me

“I think 99 times and find nothing. I stop thinking, swim in silence, and the truth comes to me.”

— Attributed to Albert Einstein (1879–1955; physicist whose theory of relativity revolutionized modern science, making him one of the most influential figures in physics.)

“Professor Kendrick, where do writers find their ideas?”

Without a doubt, that’s the question that students in my literature and creative writing classes ask most often. I suppose they think that if I can provide them with answers, they can somehow chart the mysterious path to their own ideas.

I’m always glad to answer the question. Why wouldn’t I? Aside from being an educator, I’m also a writer. I love talking about writers and writing. However, whenever I tackle this question, I do so playfully. I like to tease my students into thinking on their own, so I start out with whimsical suggestions:

● Ideas fall out of the sky.

● Ideas drift in on a breeze, like an uninvited but intriguing guest.

● Ideas pop up while you’re brushing your teeth, hiding among the bristles.

● Ideas sneak in on the back of a grocery list when you’re not paying attention.

● Ideas are delivered by the most unreliable carrier: a stray dog that follows a writer home one day, and voila! A bestseller.

● Ideas arrive like magic—or madness—depending on the deadline.

Of course, there is some truth in my exaggerations. To prove my point, I share with my students what writers themselves have to say. Ironically, writers rarely discuss the origins of their ideas in detail. They prefer leaving them behind a shroud of mystery. Or they discuss their sources in ways that reflect the unpredictability of inspiration.

Fortunately, I know a good number of writers who have been outspoken about how they get their ideas, and I talk about those writers with my students. More often than not, I’ll start with Mark Twain, who wrote about what he knew best: the world around him. Students seem to like that possibility–of working with what they know–and most of them have read The Adventures of Huckleberry Finn. Twain didn’t hesitate to let the world know that he based good ole Huck on a real-life person:

In Huckleberry Finn I have drawn Tom Blankenship exactly as he was. He was ignorant, unwashed, insufficiently fed; but he had as good a heart as ever any boy had. His liberties were totally unrestricted. He was the only really independent person–boy or man–in the community, and by consequence he was tranquilly and continuously happy and envied by the rest of us. And as his society was forbidden us by our parents the prohibition trebled and quadrupled its value, and therefore we sought and got more of his society than any other boy’s. (Twain, Autobiography, 1906)

Twain’s contemporary Mary E. Wilkins Freeman–who shared with him the distinction of being two of America’s most beloved writers at the start of the 20th century–used real life as the springboard for lots of her fiction, too. She focused on what she knew best, and she fictionalized it. She once wrote to Sarah Orne Jewett:

“I suppose it seems to you as it does to me that everything you have heard, seen, or done, since you opened your eyes on the world, is coming back to you sooner or later, to go into stories, and things.” (December 10, 1889, Letter 50, The Infant Sphinx: Collected Letters of Mary E. Wilkins Freeman, ed. Brent L. Kendrick, 1985)

Apparently, lots and lots came back to her, enough that she has more than 40 books to her credit.

As an example of her ability to take the mundane and elevate it to the universal, when I teach Freeman, I generally focus on one of her best short stories, “A New England Nun,” and I share what she wrote to her editor Mary Louise Booth:

“Monday afternoon, I went a-hunting material too: We went to an old lady’s birthday-party. But all I saw worth writing about there was a poor old dog, who had been chained thirteen years, because he bit a man once in his puppy-hood.” (April 28, 1886, Letter 13, The Infant Sphinx: Collected Letters of Mary E. Wilkins Freeman, ed. Brent L. Kendrick, 1985)

Freeman gave “the poor old dog” new life, a name, and heightened symbolism in “A New England Nun,” one of the most poignant explorations of sexual repression in nineteenth century American literature. Students–and readers in general–are fascinated to see how Freeman elevated a commonplace observation to a symbol upon which one of her most famous short stories depends.

More recent writers suggest similar sources for their ideas. Ray Bradbury, for example, once said:

“I don’t need an alarm clock. My ideas wake me.”

His ideas included overheard conversations, dreams, and life’s other magical moments.

Or what about Toni Morrison? She maintained that her ideas were rooted in memories and the people around her:

“The world you live in is always being rewritten; it’s your job to find the narrative.”

From her point of view, stories are all around us, waiting to be discovered through deep observation.

More playful than any of the other writers I’ve mentioned is Neil Gaiman:

“You get ideas from daydreaming. You get ideas from being bored. You get ideas all the time. The only difference between writers and other people is we notice when we’re doing it.”

I like his notion that the writer has to be aware of those fleeting moments of inspiration.

Those are just a few of the writers I call upon to help my students discover their own pathways to their own ideas.

If I were teaching today, I’d continue to explore those writers, but I’d include several more, notably Elizabeth Gilbert, best known for her Eat, Pray, Love. From her point of view, ideas in all aspects of life–not just writing–are all around us, looking for homes.

“I believe that our planet is inhabited not only by animals and plants and bacteria and viruses, but also by ideas. Ideas are a disembodied, energetic life-form. They are completely separate from us, but capable of interacting with us — albeit strangely. Ideas have no material body, but they do have consciousness, and they most certainly have will. Ideas are driven by a single impulse: to be made manifest. And the only way an idea can be made manifest in our world is through collaboration with a human partner. It is only through a human’s efforts that an idea can be escorted out of the ether and into the realm of the actual.” (Big Magic: Creative Living Beyond Fear, 2015)

I’m fascinated by Gilbert’s way of thinking. Her magical complexity attracts me, as does Robertson Davies’ straightforward simplicity about ideas:

“I do not ‘get’ ideas; ideas get me.”

And without a blush of shame, if I were teaching today, I’d talk more fully about sources for my own writing ideas. I did that in years past, but my focus was always on research ideas, unless I happened to be writing creative nonfiction essays with my students. In those instances, I’d workshop my essays with them, always sharing the backstories.

However, writing with my students was a luxury that I enjoyed on rare occasions only. I was too busy giving them feedback on their own creative flights. I suppose my professorial situation was comparable to the cobbler who has no shoes.

These days, though, as a master of reinvention, I’m able to focus on my own creative nonfiction essays, totally separate from my ongoing Mary E. Wilkins Freeman research. As a matter of fact, since starting my reinvention in January 2022, I have two collections of creative nonfiction essays to my credit. In Bed: My Year of Foolin’ Around (2023) was followed by More Wit and Wisdom: Another Year of Foolin’ Around in Bed (2024). And in case you’re picking up on a pattern, I’ll have another book coming out in 2025, tentatively titled The Third Time’s the Charm: More Foolin’ Around in Bed. All of those books–and others that will follow–are part of my The Wired Researcher Series.

I’ve written a lot already about writers and writing. I’m thinking about several posts in particular:

“The Albatross Effect: How Letting Go Set Me Free”: Sometimes, we need to let go, not necessarily abandoning our responsibilities or aspirations, but releasing the grip of our ego, our fears, or our need for control. By doing so, we create space for new ideas, new experiences, and new growth to emerge.

“In Praise of Break-Away Moments”: In a world that often pulls us in different directions, these break-away moments are the compass that steers us back to ourselves, to our shared humanity, and to the magical power that transports us to places unseen and emotions unfelt.

“It’s Not a Corset. Don’t Force It”: My greatest discovery about my own writing is my everlasting need to unlace the corset that constricts my thoughts. It’s my everlasting need to let my ideas breathe and expand freely, whenever and however they wish.

“Writers: Our Forever-Friends”: Maybe, just maybe, the need to have writers who are our forever-friends, boils down to nothing more than this. They come regardless of what we are facing. They reassure us that goodness and mercy shall prevail. They remind us to grapple with our soul, to grapple with our spirit.

“Directions to the Magical Land of Ideas”: For me, it seems that whenever I lose myself–whenever I’m doing something that takes me away from me–a door opens and an idea enters, hoping for home and for honor.

In all of those essays, I’m doing what a number of writers whom I’ve mentioned do: exploring my own world. Like them, I also do my best to find in my personal experiences truths that might touch the heart and soul of my readers, whoever and wherever they are.

But one day last week, while doing my indoor biking, listening to Gospel music rock the rafters, it occurred to me that I had never written extensively about the sources for my ideas. But here’s the thing. I didn’t go looking for that idea. I mean, I was just biking and listening to music. Nothing more. Nothing less. And lo! In that ritualistic moment of pedaling and listening, the idea for this post took up residency in my mind.

The idea found its way to me. The idea chose me to be its human partner, just as Gilbert and Davies maintain their ideas find them.

I, too, believe that ideas find their way to me. I’m fascinated by that belief, not so much because that’s how my ideas arrive, but more so because of what’s going on with me when those ideas choose me for their partnership.

I’ve given the “what’s going on with me” a lot of thought, and I’m coming up with some common denominators.

Almost always, I’m engaged in an activity. Biking. Lifting weights. Listening to music. Cooking. Gardening. Hiking.

More often than not, when I’m engaged in those and similar activities, my world stands still. Time stops. Nothing exists except whatever it is that I’m doing. If I had to pick one word to describe what I’m experiencing in those times, I suppose it would be stillness.

Maybe the ideas “out there” looking for human partnerships sense my stillness. Maybe they sense my lostness. Maybe they sense my emptiness. And maybe–just maybe–they believe that I can escort them “out of the ether and into the realm of the actual.”

For now, especially in the absence of any other explanation that I can provide, I’ll hold fast to that belief since it has proven itself true time and time again in my magical world of words. For now, I’ll also hold fast to a smidgen of satisfaction in knowing that what I told my students really is true, especially for a writer like me:

“Ideas drift in on a breeze, like an uninvited but intriguing guest.”