I held onto the metal bar above the doorway into the basketball court, doing leg raises. He stood on the other side of the chain-link fence, behind a storage container to shield him from the wind. He was drawing on a pad atop a tripod. I wanted to know what he was drawing, but I could not decide if I would go over and ask. By the time I finished my exercises, I had decided that I would.

I walked over and asked, “Do you mind if I take a look?” He stopped drawing, looked up, and, after taking a moment to resurface from his deep, drawing thoughts, said, “Oh, yea, sure, it’s not finished, but …” Then he took a step back and lifted his hand, palm facing up, to point at the pad, signaling to me that I was invited to see. I stepped into the studio he had made with a dirt floor and two walls—one, storage container; the other, chain link.

It was a pencil sketch of a tree. There was smudging that made a sort of background and eraser marks that looked like calligraphy—one art form within another. It was obviously a tree. The trunk and the branches were clear to see, but it was still unfinished.

As I was admiring the sketch, I remembered that I was meeting a stranger at the same time as I was admiring an artist’s work—both of which are events normally accompanied by certain manners. I said, “The eraser marks are interesting.” And explained how they looked, to me, like calligraphy.

He then explained how he used the eraser as part of the drawing process. He would erase to create a lighter shade and then wipe across it with a cotton swab to make a purposeful smudge.

We went back and forth about the sketch itself. He taught me about his methods and I asked questions. Lately, he had been using a ruler to get the scale right. Otherwise, he said, he would get carried away with drawing a certain part of the sketch—say, one bough—and then it would end up out of proportion with the rest of the sketch. So his solution for this was to buy a ruler at the art store and make tick marks along the length of the page that corresponded to different parts of the tree. Scale had been on his mind a lot recently. He wanted to draw the tree as it was.

I cannot remember all of what Henry said. I tried to be present in the conversation, rather than just trying to remember. But I do wish to record a few certain things he said that really struck me.

I explained to him that I was a writer and that I knew what he meant about how you can’t be too willy-nilly when you’re getting down your first draft because then you will create a mountainous task for yourself when it comes time to edit. The closer you can get it on the first draft, the more time you can spend getting it even closer during editing. Of course, this is balanced with not being so focused on getting your inspiration crammed so perfectly into what you preconceive as the proper form that you end up choking the energy and vibrancy that gave life to the work in the first place. We agreed there is a balance between form and energy, structure and chaos.

I also told him that sometimes I have an experience and become frustrated when I struggle to write it such that it is equal to the beauty, sadness, joy, brilliance, or whatever I am feeling so greatly myself because I wish for others to feel it too, via my writing, but I know they will not be able to if I cannot fit the writing within a tight enough pipe that it gets to them like a firehose.

And that is really what we were getting at. I may be putting it in different words but I can feel now, writing it, the same as I did an hour ago, talking to Henry about it, so here it is. There is a dichotomy. Many analogies demonstrate it clearly—solid and fluid, structure and chaos, form and energy, wind and tunnel. Let’s use solid and fluid—water in a hose, to be precise. The water is the energy. The hose is the form. Making art is the process of turning on the water and having it flow through the hose.

The water is what the artist feels. It is the emotion, idea, or inspiration. It gets into the artist. A painter beholds a nature landscape. A dancer is filled with potential energy for movement. A comedy writer overhears a funny conversation.

But does the artist have a hose? Does the painter have a keen painter’s eye to see the colors in the autumn leaves and choose the corresponding colors from his palette? Has the dancer trained and flexed her muscles so that her body is capable of the great leap to which her spirit aspires? Does the writer have the skill to translate the elusive rhythm of spoken comedy to the written word?

This is not the kind of hose that can be bought at the hardware store. It is more than just the painter’s brush, the dancer’s body, or the writer’s pen. It is the craft itself.

Many times I have been overflowing with water that I cannot force into my hose; in other words, I am overwhelmed with an experience that I cannot write. I can write some of it, but there are holes in my hose. There are holes because my craft is still of an amateur. My vocabulary has not expanded to the far reaches of the language. I have not read enough to gather a sufficient stylistic inventory. My words don’t sing in perfect harmony with the music of language.

The water wells up in me and I drown in the ecstasy on which I am already drunk and would readily pour out into the glasses of others so that they could be drunk with me. But my hose is holey and all that comes out the other end is a dribble. I cannot spray out of myself strong enough for my readers to be dancing in the water as in a sprinkler during a hot summer day.

On this, Henry gave me advice. He said that my experiences as a young man are ephemeral and I need to freeze them while I can. That means writing down my experiences with the writing skill that I now possess. As I grow as a writer, my craft will develop. Then I can return to my earlier works and raise them to the level of my heightened craft. Henry said that he had done this with sketches from his younger years.

A text from Henry the next morning (07/05/21) at 3:51am:

I can see the distant bay but I cannot touch it or use any other senses to flesh its reality. My awareness of rests on its image in my mind. Without embodiment, reality drifts into fantasm. “Feeling of reality” (referring to a term used by Andre Gide) is a little litmus strip one end is informed by all the senses and is rooted and the other has less sensation and is more ethereal and seems fantastic.