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One woman lives in Norway in the last years of the 19th century. She is assured, articulate, and well dressed. She exudes self-confidence. But she has unfinished business with the man she walked out on 15 years earlier. The person and career she’s built for herself are in jeopardy if he doesn’t make good on his promise to divorce her.

The other woman lives in present-day New York City. She is an architect and an Iraqi refugee who, with her husband and son, have just gained citizenship after eight years. When she sneaks outside for a cigarette and is haunted by voices from her homeland, she reveals her own struggle between embracing this new life and longing for the culture and traditions that have given her meaning.

Meet Nora and Noura. Both women are unmistakable spinoffs of the Nora that Ibsen made famous in A Doll’s House more than 200 years ago.

This winter, two local theaters staged productions based on Ibsen’s classic. I was fortunate to see both, and was fascinated by the playwrights’ different interpretations. The Jungle Theater is in its final week of A Doll’s House, Part 2, by Lucas Hnath. He flashes forward to explore how the freedom Nora sought and seemingly found is still at risk because of a society that was slow to change in granting women equal rights.

The Guthrie Theater staged Noura, by Heather Raffo, who described the sources of her interpretation. “Noura was provoked by many things. From the fracturing of Iraq to a shifting American identity. From the rise of polarizing ideologies to modern marriage and motherhood. It is at the explosive intersection of these issues that the characters . . . attempt to balance their individual pursuits with a search for community.”

Raffo added, “I believe it is a balance with which many of us struggle.”

The question Nora/Noura face is familiar. Women especially struggle to achieve some kind of balance. As they strive to grow in their many roles—professional, mother, daughter, partner, caregiver—can they be fully realized? Or will one or more of these roles become unsustainable?

Some, like Nora, literally walk away from one life in order to create another. I relate more to Noura, and recognize her ambivalence. Because I often don’t trust myself to make the “right” decision, for a long time I chose to live in the in-between place—to have a conventional life (marriage and children) and, however tenuously, hold on to my personal dreams.

Both plays end in ambiguity. We don’t know whether Nora and Torvald will try to repair their relationship within the context of marriage. We don’t know if Noura will construct a world where she can stop living in exile from herself. Maybe not offering a clear resolution is as it should be.

In my memoir, I describe my attempts to find space to pursue my own writing while raising a family. I started several book-length projects, took classes at The Loft Literary Center, and joined a writer’s workshop. In one of the middle-grade novels I worked on, the mother-journalist tells her son she’s taking an extended assignment overseas. Even as I explored the emotions that rocked the boy, I was speaking through the mother.

How do mothers give up what they love for what they love?

In our great pursuit of freedom—of expression, to pursue our dreams, to enjoy parity at work and at home, to be ourselves—we do so in the context of a much more complex social structure, whose laws, expectations, and roles of conformity threaten to pull us apart, as individuals and as a community.

Regardless the generation, this question will always be there. For women, there is no simple answer.

My sister and I have different memories of our mother’s pain. Camille recalls Mother going into her bedroom—directly off the dining room—and crying.

I recall Mother going into her bedroom and lying down after lunch. I knew not to disturb her. She’d been on her feet since before dawn and I figured she deserved the rest. I didn’t connect this daily quiet time as a way to manage pain.

Much later, I realized how much our mother suffered in silence. She didn’t complain. She didn’t blame. She didn’t make her pain ours. But pain isolates us. It can make us bitter. It can shrink the world to our small sphere and put us at its center to the exclusion of everything else.

Mother was diagnosed with rheumatoid arthritis in her 30s. It came as no surprise. Her mother had had arthritis, which eventually turned her hands into bent fists. Mother’s arthritis wasn’t just in her hands. Her shoulders, arms, and back ached. As the bones in her feet crumbled, walking became painful. The largely manual labor that constitutes managing a house and 3 children took its toll.

Despite this evidence—heredity and Mother’s hard-to-ignore swollen joints and crippled fingers—I had decided I wasn’t going to suffer. I gardened relentlessly. I carried things much heavier than I should have. I denied a chronic disease that had been in the female DNA of my family for generations. Arthritis was something other people had. Something old people had. Even when my brother, beginning in his 40s, mentioned the stiffness in his neck as arthritis, I refused to see what his pain had to do with me.

One thing my siblings and I agree on, now that we recognize arthritis in our own bodies, is that Mother suffered. When I was in grade school she underwent an experimental treatment. Desperate for relief, she had liquid gold injected into her bloodstream. The gold had been shown to reduce the inflammation that brought on pain.

Instead of the improvement she’d hoped for, she discovered she was allergic to gold. Open sores covered her entire body. Doctors doing their daily rounds gave her more attention than she liked. When she came home from the hospital, she lay wrapped in a white sheet on a lawn chair in our den. She didn’t want to stain the furniture.

After that, Mother returned to the typical oral meds, graduating to methotrexate, a chemo drug that also counters the symptoms of arthritis. The stronger the meds, the harder it was for her sensitive stomach to tolerate. In her last years, she wore a fentanyl patch. It didn’t take away the pain but eased it considerably.

Unused to having much discomfort, I was blindsided this past weekend by lower back pain, neck pain, and swelling in my thumb joints, where my arthritis mostly lives. My hands were on fire.

Pain does something to a person. Pain is something we often suffer alone, in silence. It pulls us into ourselves. Suddenly that seemed too much. I couldn’t hold all the pain myself. I called my daughter and blurted, “I’m scared.” What if this pain persisted? What if I suddenly couldn’t bathe or get dressed or lift a pan off the stove? What if I couldn’t drive? What if the life I had taken for granted was no longer possible?

That’s the degree to which I’d been in denial. I believed that I would fare better than most. I couldn’t accept the full weight of what being human, what aging, entails. My blind faith that I could prove myself again and again ignored one simple fact: my fate is the same as yours.

I trace my back and neck pain back to overdoing it at the gym, but the flare-up in my hands remains a mystery. After a day of much rest and ice packs, I am better.

The person coming out of pain is humbled. I felt myself again, joyfully, not just a dark knot of cells raging inside. How quickly pain caused me to forget, just as quickly as its absence restored me.

As I scrolled through e-mails early this morning, I learned that a friend’s husband, still in his 40s, had died. He’d had brain cancer for 4 years. In the loving arms of his family, he took his last breath. He had had numerous surgeries, many rounds of chemo and radiation, cautious times when he seemed to be winning.

Through it all—the pain, the setbacks, and his brave openness—he loved life and all the people in it. He admitted his fear. In doing so, he didn’t let it defeat him.

My one bad day pales to others’ chronic pain and ultimate loss. But it was the reminder I needed.

My instincts this morning told me to get to the exhibit at the Minneapolis Institute of Arts before it closed tomorrow. I did. Write-ups in the paper had mentioned powerful images. One person who shared his impressions with me panned the raw explicitness of the art, which included nude public demonstrations. In Chances Are, a novel by Richard Russo that I just finished listening to, the Vietnam War’s impact on young men’s lives is a strong undercurrent.

Call it coincidence or convergence, but I had to see the exhibit, “Artists Respond to the Vietnam War.”

For a fully immersive experience, before entering the gallery I donned a headset so I could listen to a playlist that included “Purple Haze,” “We Gotta Get Outta This Place,” “Riders of the Storm,” and other songs written during and inspired by the war. The soundtrack had the added benefit, I discovered, of drowning out the chatter of others so I could concentrate on the art.

Of all the garish colors, bold graphics, and gruesome images included in the exhibit, “War Room” moved me the most. It is an actual room that viewers walk into. The walls are layered in black. The space itself isn’t small—maybe 10′ by 10’—but the overwhelming darkness feels  claustrophobic, or, as the artist intended, boxed in, as America  had become in Vietnam.

The first image I thought of was the Vietnam War memorial in Washington, D.C., which I saw with my son 20 years ago. Also black on its surface, this artistic work had a quite different, but no less powerful effect on me. The smooth granite wall extended beyond my vision, as if taking in all of history with its list of names that we were drawn to touch, and the other monuments reflected on its face.

In both installations, understatement is still a statement. Or, as Toni Morrison said, “All good art is political.”

In a particularly moving video at the end, several Vietnamese artists were interviewed. They explained how and why they created art in the context of the horrors of war. For some it was a way to preserve a sense of humanity and beauty. Some hung their pictures like clothes on a line to dry, a kind of portable gallery for soldiers to see and be heartened by before going into battle. Mostly these artists portrayed individuals. Almost sketchlike in their simplicity, with a minimal wash to bring dimension and life to the faces, these portraits were a counter narrative to the thousands who died.

I was a mostly oblivious 15-year-old from the suburbs when demonstrations broke out in my home town of Chicago during the 1968 Democratic National Convention. The only recollections I have of that riot, Kent State, and other protests are based on what I saw on TV, just as the war itself was curated for those of us at home.

My age group just missed the draft, so I didn’t know anyone who went to Vietnam or was killed. Somehow, I didn’t see myself as political. But war lives on—in me, in art, in our understanding of what it means to be human. When I recalled the newspaper’s headline this morning—”U.S., Iran, Escalate Threats”—I realized that “War Room” is as relevant today as fifty years ago. War lives on.

I lingered longer than most at the video of the artists being interviewed. They described themselves as warriors, a term I never would have considered for myself. Their weapons were pencils, brushes, paints, paper, camera. Their role was to document war, bear witness to what they saw, portray the truth that is at once painful yet necessary to remember. Art lives on, even if people don’t.

I came home newly inspired to finish the book proposal I’d set aside during the holidays. Or was it more than that? Had the exhibit stirred the political in me, made me a warrior in my own right?

I describe my story as part memoir, part manifesto. Memoir because it’s my experience of loss, grief, and self-discovery. Manifesto because it documents the many, often insidious, ways silence has kept women from fully realized lives.

To write about that and hope the world listens: that’s political.

At a recent exhibit at The Museum of Russian Art, I saw a serigraph by American artist Ben Shahn (1898-1969) entitled “Alphabet of Creation.” In it he depicts the Hebrew alphabet as stylized, interlinking shapes, stark black on a white background. As a writer, I was intrigued. Words are my tools, and letters the building blocks for how we communicate. We cannot tell or hear a story without them.

Shahn saw beyond the alphabet’s functional purpose. He believed that letters hold a spiritual meaning as well. The alphabet represents nothing less than Creation itself, a way to feel intimately connected to God.

John makes that same connection when he opens his Gospel with “In the beginning was the Word.” God is the source of all creation. We cannot speak without calling forth God’s name. When we tell stories, we often start with “Once upon a time . . .” and use 26 letters in endless combination. This first verse of John uses a mere 13 letters to announce the only story that matters in our lives.

All year we long for this story of love, and Advent prepares us for its Incarnation. Jesus’s birth marks our own beginning in a fundamental way. Beyond daily injustices, beyond a dying world, beyond our broken hearts and fractured language, a New Creation awaits.

“In the beginning was the Word, and the Word was with God, and the Word was God.” The story of Jesus’ coming is the one Word we desperately need.

For those of you who read my blog, you know that periodically I go for a stretch without posting. It’s not that there’s nothing to write about. If I’m deep into work on my memoir, I’m less inclined to write here. Lately, life has been pulling me in many directions, and it feels as if there’s almost too much to reflect on. What follows is more patchwork than whole cloth.

The Zen of the Y

This past summer, I trained for my hiking trip to the Canadian Rockies. I went regularly and worked a plan. My goal was to be physically able to hike each day and enjoy it. I didn’t look beyond the trip. But when I returned, I realized I missed going to the Y. Not the getting up and out the door at 5:30 a.m. part, but how I felt during and after a workout. Without realizing it, going to the Y has become a life habit, which for me means moving and staying flexible so as to meet aging on somewhat even terms.

Besides learning about the Bosu, kettlebells, and the TRX, I look forward to seeing the “regulars.” Margaret (we’re Tuesday, Thursday, Saturday gals) gives me her latest movie recommendation and chides me for being lazy if I miss a day or arrive after 6 a.m. Tony, a Monday through Friday guy, cracks jokes as he alternates between machines and weights. Chris seems to live there, and is determined to keep off the 60 pounds he lost a year ago. And if I’m lucky, I see someone from church or the neighborhood.

At the Y we put our earbuds in and do our own thing. There’s no competition, no judgment, mostly encouragement and admiration, along with gentle teasing.

In a recent article on weight lifting that I happened upon: “The perennial wisdom traditions and decades of psychological research point to three basic needs that, when fulfilled, allow people to thrive.” They are autonomy, mastery, and belonging. So I keep going to the Y, where it is all about showing up.

Wisdom Ways

I just finished a four-session class on contemplative prayer offered at Wisdom Ways, a center for spirituality at St. Catherine University. Over the years I’ve dipped in and out of contemplative prayer, knowing just enough to be dangerous (as in falsely believing I “get” it and could do it anytime I want but am a bit busy now so check with me later), but not enough to make it a regular practice, like the Y.

The instructor, a former Episcopal priest, used passages from three Gnostic Gospels,  Philip, Thomas, and Mary Magdalene. Again and again they invited us to participate (practice) in the search for truth, and to do so with the heart. I wasn’t the only one who came each week with an excuse why I didn’t have time to sit quietly for 30 minutes each day.

In Mary Magdalene: “The Son of Humanity already exists within you. Follow him there, for those who seek him there will find him.” In other words, we keep seeking what we already have, something it’s taken me more than 60 years to recognize.

Art for More Than Art’s Sake

As thirsty as I’ve been for physical and spiritual exercise, my mind has been challenged by various art forms. This fall the Pillsbury House Theatre presented “Jimmy and Lorraine: A Musing.” The playbill described it as a meditation on the American political climate of the late 50’s and early 60’s through the lens of two significant artists of the time, James Baldwin and Lorraine Hansberry. Both came to the Civil Rights movement through their art, but ultimately, politics and the black experience informed their writing. Can the two ever be separated?

I’ve discovered Kate Walbert’s novels (A Short History of Women) and short stories (She Was Like That), in which she explores the real lives of contemporary women and the struggles they face around work-life choices, having children, and relationships in painfully honest ways. Her bravery in naming women’s reality and avoiding predetermined narratives inspires me in my own cross-generational look at the women in my family.

A current exhibit of the work of Theaster Gates at the Walker reveals a man of broad artistic abilities who strives not only to reclaim and repurpose found objects that might otherwise be destroyed but also to salvage from history the stories that haven’t been told. (For a recent example, see the movie The Report.)

Two days earlier I heard Esi Edugyan, author of Washington Black, talk about how her own experience shaped the creation of her title character. Questions of displacement, identity, and belonging become more potent when looked at from the perspective of a young black boy who has only understood himself as a slave.

What does it mean to be at odds with the history before you, she asked, a history in which you aren’t represented and didn’t write the laws? “True agency,” Edugyan said, “is as urgent as love—and just as elusive.” Think about that, as I still am.

A Walk

When it warmed up enough this week to venture out for a walk, I headed down to the Mississippi River. I enjoy the view from along the bluff, where recently I’d seen a coyote at dusk. Already the river is frozen, locked down for the season. I’ve been feeling this same inertia, even stuckness as winter sets in.

I stopped and took in the vista, sensing there was something else to see, something I could only see with my heart. Beneath the white sheet of ice a river moved, living water, in perpetual transformation.

Yesterday I spoke with a group of about 30 women and 2 men about how writing has helped me grieve. Then I asked them to think about how they learned about grief.

The stories they shared were heartbreaking. One woman’s first child died at 6 months. When she told her father, he replied, “That’s water over the dam. Just have another one.” Another woman admitted, “I stuffed my pain; I simply couldn’t face it.” A few of us recounted how a grandparent’s suicide was kept a secret for years, as if not talking about the loss would somehow make grief go away. Many shared platitudes they’d heard, like “we shouldn’t be sad because our loved one was in heaven,” that became excuses not to take time to honor the pain of loss.

Most of us admitted that these former models reflect a different, unhelpful attitude about death. Now our generation has been left the hard work of trying to dismantle these lessons in order to arrive at a healthier way of grieving.

When poet Gregory Orr was 12 years old, he went hunting with his father and younger brother. Orr accidentally shot and killed his brother. He became a writer in large part because language gave him a way to grieve. “Words don’t change the disorder,” he said, “but hold the chaos.”

Like Orr, I’ve discovered that when I write about loss, I bring my chaos to words and language meets me with a container to help reorder the chaos. Talking with a grief counselor—or anyone who understands grief as necessary—can serve the same purpose. Those conversations can be the vessel into which we pour the emotions, the tears, whatever we can’t make sense of about our loss.

The loss of a loved one touches us all, so why do we have so few examples from our own lives of healthy grieving? “Death is scary, ” says writer Meghan O’Rourke, “and people don’t know what to say.”

I agree with O’Rourke, but I also think her response is too often used as an excuse, not an opportunity to change how we view death and our response to it. We need to learn a new vocabulary for loss and grief.

Each of us faces loss differently. Any feeling we might have is legitimate, not “abnormal” as we may be inclined to think when the world is moving to 4:4 time and our tempo keeps changing as we stumble through grief. We desperately want to fall into step with everyone else, to prove that we’re coping and will soon be fine. But what about the questions and anguish that haunt us at night? Aren’t they worth our attention?

Death is part of life, and nature is our best teacher. The seasons cycle through birth, growth, and dying year after year. Why, then, is it so hard to grieve?

I think it’s fear that stops us. Fear that if we unlock our heart, our pain and vulnerability, our own mortality, will stare us in the face. Fear that our faith is insufficient for the sorrow we feel. Fear that this natural cycle will stop with us and the end will be THE END.

We avoid grief at our own peril. And that peril is this: if we can’t confront our own pain, we can’t be present for others. We perpetuate the sense of being all alone with grief, instead of recognizing that honestly facing the inevitability of loss in our life connects us as humans.

Writer Gail Caldwell may have made the best case for why we should grieve. Near the end of her memoir Let’s Take the Long Way Home, about losing a dear friend, she writes, “I know now that we never get over great losses; we absorb them, and they carve us into different, often kinder, creatures.”

Grieving is a holy way to feel the ongoing presence of a loved one who has died. Who doesn’t want that for themselves?