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North American Review
The Point of Now
I’ve been recently asked if it’s possible to reconcile the work of the imagination with mindfulness. After all, mindfulness means observing the actual, not the imaginary, in real time with as much of an accepting, non-evaluative stance as possible. That actuality could mean perceiving changes in the flow of our internal talk, changes in our physical state as we write, or changes in our emotional condition, again, as we write.
This question feels particularly salient for creative writers who unlike scholarly or first-year composition writers, for example, devote their time at the desk to evoking scenes of elsewhere and the hypothetical interactions of non-existent populations. The imagination equals what could have happened or what could happen, but it’s not what’s happening right now. It’s a positing of believable possibility, the elaboration of alternatives. It’s adorned, what-if-ed, glittery, exaggerated, darkened, or pulled into different shapes...
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