I found joy – as a jellyfish (and other aquatic animals)

By donalee Moulton

My newest book is Melt. It’s the second in my Lotus Detective Agency series, and it focuses, as does the first book, Bind, on three women who meet in yoga studio and discover there is more to life than a downward dog. There are crimes to be solved.

Long before the series was even an inkling of an idea, I was practising yoga – and writing about life as a crow, a bird of paradise, and a pigeon. The article below, originally published in The Globe and Mail, unveils how I ended up birdlike and otherwise on a yoga mat, twisted, inverted, and smiling. 

There were several occasions in the last three decades when I took a yoga class, four by my latest count. Nothing stuck for more than 60 minutes. Now I’m on the mat (as we, ahem, like to say) four or five times a week.

Not sure what happened between decades three and four, but here I am today in my 60s actively seeking out a yoga flow class, searching YouTube for restorative practice and talking retreats with new-found friends. I have blocks, straps, pillows, bolsters, blankets and mats in many colours, designs and grips. I even have a plastic frog in full lotus. Truth is, I have a yoga room.

I’m not an exercise person. I have never had the desire to scale mountains, ski down or hike mountainous terrain. I’m equally averse to water aerobics: surfing, paddling, polo. Give it all the cool names you want – finswimming, aquajogging, wakeskating – and I’m staying on terra firma.

Fact is, I’d rather have an enema than exercise.

Actually, that was the old me. The new me would rather do a downward dog.

I’m not sure which came first – not being good at sports or not being interested in sports. They are indelibly intertwined, like chicken and egg or the yoga pose eagle arms and legs (which I can do).

Regardless, here I am, sports unenthusiast. I want to be healthy. What I’ve never wanted is to work at being healthy because it’s boring and hard (so I had come to believe). Yet, periodically I would propel myself to some gym, some piece of equipment, or even some yoga mat to get my body in shape.

In the case of yoga, that lasted for a full 240 minutes over 30 years. (In the case of lifting weights, running on the treadmill, aquacise, the number is much, much lower.)

The turning point in my yoga journey, it turned out, was around the corner from where I live. An instructor started renting studio space in a new building, and my aunt and I decided to give it a try. We liked it. We really liked it.

I’m not sure why. It may be the variety of poses we learned, that each class was new and different, that we got to know participants. But I had all that before. The reason, I discovered, is not important. The reality is.

At some point, actually several points, my body responded in ways it never had before. My feet touched the mat, both of them, when I did a downward dog; my hands (both of them) held each other doing a bound side angle.

I also noticed a marked improvement in my knee. My doctor had diagnosed a tear in my meniscus and wished me well. When I couldn’t complete a yoga pose because of it, an instructor recommended putting something like a sock between my knee and my bent leg. It worked. As I spent more time on the mat, I used the sock less and less. Today, I get no complaints from my knee, and use socks only to cover my feet.

It wasn’t only my knee that got better. My strength, my balance and my flexibility improved.

Perspective changes on the mat. There is a common yoga pose called child’s pose. You put thighs on calves, buttocks on heels, and fold yourself into a ball. It’s supposed to be a resting position, one you come to after other poses have offended your body in ways you didn’t know existed. For most of us, child’s pose is, at first, the farthest thing from a rest primarily because there is a wide gap between our bottom and our heels. Most of us accommodate, as yoga teaches us. We shove bolsters, blankets and blocks under our rear to close the gap. Still a faint wisp of failure lingers.

I’m in an extended child’s pose during one class and realize I’m enjoying this fetal shape. I am relaxed, breathing deeply, and feeling something new: contentment. I tried to figure out what had shifted and realized, in part, the answer was physical. My rear end was not pointed heavenward; it was nestled on my feet. I was a ball without the need of a bolster.

There are those poses that continue to confound. My legs refuse to rearrange themselves into a lotus, although they are inching closer. Crow pose eludes me. Both feet refuse to come off the floor, but one will, so I’m making progress. And there are those poses I have yet to attempt. Their names will tell you why: formidable face pose, handstand scorpion, destroyer of the universe.

Overall, however, I find a sense of peace and contentment in many poses and in my practice. Indeed, I find more than this. Yoga has taught me that practice is about more than positioning the body. It is about body, mind and spirit. It is about connecting with yourself. It is about finding balance. It is about going to the edge, but not over the cliff. It is about acknowledging growth and recognizing limitations. It is about joy. The joy that comes from sitting on a mat with your heels stuffed into your bottom and your heart soaring.

Ultimately yoga has taught me patience and acceptance. The fundamental reality of any practice is this: yoga teachers cannot count. They put you in a pose, say warrior II, then they suggest you place your right shoulder against your inner thigh while extending your left arm toward the ceiling, bending your elbow, bringing your left arm behind you, and clasping your right hand. It’s like scrubbing the floor while looking at mold on the ceiling.

I can actually do this. And I can hear my yoga instructor saying, “Hold for three breaths,” just before launching into a tale about their morning drive to work. Three minutes later – not three breaths – we unbind and unbend. All yoga teachers are trained to do this.

When instructors tell you to hold for five breaths – a lifetime when your hips are squared, your shoulders flexed, and your legs interwoven – they are lying. Admittedly, they are well intended. Some even come with timers, beacons of false hope.

In the end, it doesn’t matter. I am on the mat, moving in sync with my breath, finding my body moving with me (or against me) and I’m okay with that. I have learned the challenging poses – lizard, dolphin, fish – are friends. We meet here on this rectangular piece of vinyl, and I take pieces of them with me when I roll up my mat, put away my straps and head out the door.

The joy of having been for a time an aquatic animal infuses and informs. It is so much more than legs splayed, ankles nestled, arms extended. And holding for five delicious breaths.

Ish.

In the Right Place

by donalee Moulton

Céad míle fáilte. This Gaelic expression means “a hundred thousand welcomes.”

Nova Scotia

If you live in Nova Scotia, as I do, this is an expression you will have seen for much of your life. (Pronouncing it is a different issue altogether.) A hundred thousand welcomes in any language speaks to the type of people you are likely to encounter when you come here and the values they place on such encounters.

Riel Brava – attractive, razor-sharp, ambitious, and something much more – is the lead character in my first mystery, Hung Out to Die. He lives in Elmsdale, Nova Scotia, about a 40-minute drive from Halifax, the province’s capital. In East Coast parlance, Riel is a come from away.

Raised in Santa Barbara, California, Riel has been transplanted to Nova Scotia where he is CEO of the Canadian Cannabis Corporation – one of the estimated four to twelve percent of CEOs who are psychopaths. It’s business as usual until Riel finds his world hanging by a thread.

Riel’s chief financial officer is found hanged in his office. The police determine the death is not the result of suicide. Still, Riel resists the hunt to catch a killer. Detective Lin Raynes draws the reluctant CEO into the investigation, and the seeds of an unexpected and unusual friendship are sown. Ultimately, Riel finds himself on the butt end of a rifle in the ribs and a long drive to the middle of Nowhere, Nova Scotia.

Fact is, I could have placed Riel in the middle of anywhere. The murder is not location specific. The victim does not fall from the Brooklyn Bridge or mysteriously appear atop Old Faithful, places that are singular. Nova Scotia made sense for me as a writer, and it made sense for Riel as a character. I live here; I know this province better than any other place. I can write about it with ease, and with a personal perspective.

For Riel, who lives uncomfortably in a world where people hug each other because they care and share the pain of others because their brain is wired that way, being in a place where he does not have roots, where he is an outsider, mirrors what goes on within Riel. It’s the right place for him.

Because I am from Nova Scotia, I can also authentically and naturally insert elements of life here. Take the language, for instance. You may discover some new words such as “bejesus” and “tinchlet.” There will be expressions common to the area. “Bless your heart” is one you’ll hear a lot in Nova Scotia, and Riel hears it as well. It does not resonate.

There is also food that has Nova Scotia marinated into it, as Riel discovers. Turns out Riel is now a donair aficionado. (I am not.)

One of the things I have learned as a writer is that I am in control, and I am not in control. I can decide to situate a character in a particular place, and the character will let me know if that is the right place as the writing unfolds. In the case of Riel, he ends up in the dark of winter at a deserted row of cottages called, what else, Céad míle fáilte.

I did not see that coming. I have a feeling Riel did.

First sentence, first page, a first for me


Summer is here—and it has brought with it sunshine, warmth, and my new mystery Melt. I thought I’d share the opening page with you. It’s a different kind of first page for me, but then Melt is a different kind of book for me.

It’s the second in the Lotus Detective Agency series, and my first sequel. The first book, Bind, introduced three women who meet in a yoga studio and join forces to discover who’s stolen a Patek Philippe watch from what was supposed to be a secure locker. It opens gently basking in the warmth and serenity of the Asana yoga studio. There is no basking in Melt.

The first line came quickly. I deleted it just as quickly. It came back and stubbornly refused to move from top spot. I asked others—writers, editors, friends, wonderful strangers who turned up at my readings—for their opinion. Most liked it. Some loved it. Some shuddered.

Now I get to ask you what you think about the first sentence, and the first page. As you’ll read, there’s a bit of theme in these first 500 words.

Luke’s balls are itchy.

His left hand, casually resting on his left thigh, is mere inches from his testicles. He could surreptitiously edge his hand forward and find relief.

“Surreptitiously” is not a word in Luke’s usual vocabulary. It has nothing to do with IQ. Indeed, Luke is smart enough to read the room before he moves his hand a nanometer. He scans the beige walls, the brown tables, the black gowns, the onyx gavel. A courtroom, he concludes, is not the best place to scratch your scrotum. Luke clenches his legs together to stop the itching. Now he has to piss.

Luke looks up to see the judge looking down at him. “I want to confirm your plea. You understand by pleading guilty to trafficking a schedule one drug you could spend 25 years in a federal prison.”

This is not news to Luke. It is not good news, certainly, but it is not a surprise. It is what he has signed on for. Luke’s lawyer nudges him. Luke stands up. He returns the judge’s gaze without malice or defiance. “Yes, your honor, I understand.”

The associate chief justice of the supreme court of Nova Scotia quickly and efficiently takes in Luke’s demeanor, his clarity of voice. She takes in his blue suit, at least one size too large; his tartan tie, with Value Village written all over it; his left hand, which seems to have a small twitch. She looks into Luke Castle’s eyes. She sees what she often sees: fear. What she does not see is hope.

Justice Louise Redmond shifts her gaze to the Crown prosecutor. Then to defense counsel. She reaches for the gavel. “I am not sentencing a seventeen-year-old boy to federal prison before I have a fitness assessment conducted.” The judicial mallet hits its thick round oak base. “Under section 672.11 of the Criminal Code of Canada, I hereby order a comprehensive competency assessment be conducted on Lucas Raymond Castle. Sentencing will follow pending the results of the assessment.”

There is a shuffle of chairs as the lawyers rise. They reach for their files and their briefcases. The court reporter removes the flash drive from the stenograph. The bailiff moves toward the rear door that leads into the judges’ private offices. Justice Louise Redmond is not finished, however. She stands. “I would like to see counsel in my chambers immediately.”  Looking into the public gallery, she locks eyes with an attractive man in a grey suit and black turtleneck that contrasts perfectly with his onyx skin. “Detective Terrell, please join us.”

Justice Redmond walks through the rear door without looking back. The two lawyers look at each other and shrug. They turn to look at Detective First Class Michael Terrell. He shrugs.

Luke Castle scratches his balls.

Three yogis, two cops, and one damn cute dog

by donalee Moulton

Everything that happens in a yoga studio is not Zen. Sometimes it’s grand larceny. Three yogis, two cops, and one damn cute dog join forces to discover who’s stolen a Patek Philippe watch from what was supposed to be a secure locker.  Time is ticking.

Ten yogis are in various stretches, twists, meditations, and yawns when Kristi walks back into the studio. She forces a smile, and the smile spreads of its own accord into her muscles, her bones, her heart. This is her sanctuary. She is at home here. The rawness she feels is still there, but it has moved to the edges now.

cover of donalee Moulton's book Bind

Today’s bind is a yogi squat. One leg is extended; the other is bent. One arm goes under the bent leg; the other goes around the back until they meet. In theory. Lexie can’t wait until this month is over, and it’s only day three. Bhodi looks around the room to see if anyone else has completed the bind. Surprisingly, Honey seems to have easily maintained the squat and the bind. Bonnie begins the countdown until she can come out of the contortion, which for her is a little squat and a hint of a bind.

Kristi takes this opportunity to explain the benefits of binds. “These poses allow muscles to release, relax, and open. You can go deeper. You can also focus on alignment and flexibility while building strength.” She breathes in.

“Dear God,” thinks Lexie, “there’s more.”

“If you make her stop,” Bonnie says to her higher spirit, “I will give you my first born.”

Kristi continues to talk, and smile. “Remember to breathe when you’re in the bind. Don’t tighten. And come out of the bind if you feel any pain. Go to your edge, but no further.”

Archina isn’t sure where her edge is, but she fears she left it behind several minutes ago. Woo Woo unbinds. She believes in the mind, body, spirit philosophy of yoga, but enough of this shit.

If it’s one thing Kristi knows, it’s how to read a room full of yogis. The edge has been reached. She tells everyone to stand up, give themselves a hug, and as a special treat, this morning there will be an extended savasana that includes a meditation. (Kristi always has a guided meditation on her phone.) The room smiles, even Bhodi. Eleven bodies move from the vertical to the horizontal. Archina grabs a blanket; Lexie puts a bolster under her knees; Kevin, the newest member of the group, reaches for his socks.

The Dalai Lama is midway through his 13-minute meditation on the disturbed mind when the studio door opens. Twelve faces turn to look at the human who belongs to the shoes that just clomped into their zen-like state. All twelve agree, zen is overrated. Standing at the entranceway to the studio is a 6’2” man with ripped muscles, ebony skin, and a three-day stubble. “He can bind with me any time he wants,” Kevin thinks.

It takes the intruder less than a second to realize he has interrupted the class at an inopportune time. “I’m so sorry,” he says. “I thought class was over.”

“We’re running a little late,” says Kristi in a voice the class has not heard before.

“Please continue,” says Ripped. “I will come back.”

“Too late now,” says Bhodi. He gets the evil eye from most of the class.

“How can we help?” says Kristi introducing herself.

Ripped steps forward, hand extended. “My name is Michael …”

Before he can continue, Woo Woo interjects. “No, it isn’t. Your name is Lewis.”

The demi-god looks at her in surprise. He’s not alone. The whole class stares at Woo Woo.

“I’m so sorry,” Woo Woo says turning a deep magenta. “I don’t know why I said that.” But she does. Sometimes a thought, an image, a tickertape runs through Woo Woo’s mind. She knows it’s a message, and she usually tries to convey it. On this occasion, she wishes she hadn’t.

Michael turns back to Kristi, leader of the pack. “Terrell. Michael Terrell.”

“Did you want to join the class?” Bhodi asks. The snark is obvious.

“Please,” thinks Kevin. “Please join.”

Terrell smiles. “It’s on my bucket list, but today I’m here for a less pleasant reason. I’m a detective with the Halifax Police Department. I’m looking into a watch that seems to have gone missing from the gym.”

Kristi tries to control her breathing. No one else tries to control anything. Lexie’s eyes fly wide open. Charlene gasps. Bonnie recoils.

Honey farts.

The Anthology Advantage

            As a freelance journalist, writing to deadline is as natural as breathing. When editors assign a story, they provide three essential pieces of information: topic, word count, and delivery date. Miss your deadline and kiss the possibility of a second assignment goodbye.

            This is not about editors flexing their weight. It’s about the reality of publishing. In the days before online everything, a story that didn’t arrive on time meant publications had a gaping hole in their magazine or newspaper. Gaping holes are filled when editors rush around like mad, cursing the name of the writer who missed their deadline.

            When I started to do more fiction writing than reporting, I found deadlines are often self-imposed. I will finish my first chapter by the end of the week. I will write a thousand words of my short story every day for four days. I will edit the story by Monday. I also found self-imposed deadlines are often more wishful thinking than etched in stone.

I missed the rigor of deadlines I didn’t dream up. Then I discovered anthologies. Genre writing is rife with anthologies – and anthologies have deadlines. They also often have themes, the journalistic equivalent of topic. The path ahead is paved for you. Here’s what we’d like you to write about. Here’s when you have to get it to us.

I wrote my first mystery short story, “Swan Song,” in 2021 in response to a call from the Crime Writers of Canada. To celebrate its fortieth anniversary, the national association planned to publish an anthology, Cold Canadian Crime. There was a theme (“cold” in the broadest sense of the word). There was a deadline. Count me in.

Since then, I have written fourteen more short stories. Most of them have been published, mostly in anthologies. A few have been reprinted in anthologies. At least one has been reprinted in several anthologies.

One of my recent anthology short stories is called “Maladaptive Anonymous.” In the story, the main character calls this group, somewhat disparagingly, Daydreamers Anonymous. The anthology, which will be out June 18th, is entitled: Midnight Schemers & Daydream Believers. Just as editors expect you to meet your deadline (or miss out on the opportunity), they also expect you to stick to the topic. You have lots of room to play, but the boundaries are there.

While every anthology editor has their own process, the process is usually rigorous. And appreciated. Judy Penz Sheluk, who edited Midnight Schemers, had three rounds of readers and after the first and third round we were provided with feedback – and helpful suggestions for improvements. There were also at least three rounds of proofreading. At some point, you think this is overkill until in the final proof you discover your main character has titled their head. In the published version, their head is now tilted.

 As a short story writer, anthologies bring me back to familiar ground. I am given three essential pieces of information: topic, word count, and delivery date. This helps me to focus on a theme – and to go to wonderful and wacky places with plots I might otherwise not uncover and characters I might otherwise not create. And I go there by deadline.