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Quote by Kendra Adachi

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The PLAN: Manage Your Time Like a Lazy Genius

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Kendra Adachi

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“Rain in the Northwest is not the pounding, flashing performance enjoyed by the eastern part of the nation. Nor is it the festive annual soaking I'd been used to in Southern California. Rather, it's a seven-month drizzle that darkens the sky, mildews the bath towels, and propels those already prone to depression into the dim comforts of antihistamines and a flask.”

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“Though it was mid-July, the morning was brisk, the sky a gray cotton of clouds, and Puget Sound a steely, cold blue. Most of Seattle grumbled, worn with winterish weather, impatient for the elusive summer sun. With umbrellas tucked away in the trunks of cars, sunglasses lost and separated from their original purchasers, the Pacific Northwest was a bastion of misty air and pale, complaining residents.”

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“If we treat our forests right, we can at least ameliorate the declines in forest extent and diversity and the consequent impoverishment of the aesthetic, economic, climatic, and spiritual benefits we count on from them.”

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“My bedroom is separated from the main body of my house so that I have to go outside and cross some pseudo-Japanese stepping stones in order to go to sleep at night. Often I get rained on a little bit on my way to bed. It’s a benediction. A good night kiss. Romantic? Absolutely. And nothing to be ashamed of. If reality is a matter of perspective, then the romantic view of the world is as valid as any other - and a great deal more rewarding. It makes of life and unpredictable adventure rather that a problematic equation. Rain is the natural element for romanticism. A dripping fir is a hundred times more sexy than a sunburnt palm tree, and more primal and contemplative, too. A steady, wind-driven rain composed music for the psyche. It not only nurtures and renews, it consecrates and sanctifies. It whispers in secret languages about the primordial essence of things. Obviously, then, the Pacific Northwest's customary climate is perfect for a writer. It's cozy and intimate. Reducing temptation (how can you possibly play on the beach or work in the yard?), it turns a person inward, connecting them with what Jung called "the bottom below the bottom," those areas of the deep unconscious into which every serious writer must spelunk. Directly above my writing desk there is a skylight. This is the window, rain-drummed and bough-brushed, through which my Muse arrives, bringing with her the rhythms and cadences of cloud and water, not to mention the latest catalog from Victoria's Secret and the twenty-three auxiliary verbs. Oddly enough, not every local author shares my proclivity for precipitation. Unaware of the poetry they're missing, many malign the mist as malevolently as they non-literary heliotropes do. They wring their damp mitts and fret about rot, cursing the prolonged spillage, claiming they're too dejected to write, that their feet itch (athlete's foot), the roof leaks, they can't stop coughing, and they feel as if they're slowly being digested by an oyster. Yet the next sunny day, though it may be weeks away, will trot out such a mountainous array of pagodas, vanilla sundaes, hero chins and god fingers; such a sunset palette of Jell-O, carrot oil, Vegas strip, and Kool-Aid; such a sea-vista display of broad waters, firred islands, whale spouts, and boat sails thicker than triangles in a geometry book, that any and all memories of dankness will fizz and implode in a blaze of bedazzled amnesia. "Paradise!" you'll hear them proclaim as they call United Van Lines to cancel their move to Arizona.”

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