The Trap Door

An old dating show had prospects standing on a trap door above a dunk tank while being asked questions. At any moment, the contestant asking could push a button and splash! It was all over and the next person would move to stand on the trap door.

I often feel as if I’m in that situation. The feeling grows stronger when I meet and interact with new people, especially if I have a strong desire for those new people to like me and want to see me again. Everyone can have the “If they really knew me, they wouldn’t like me” feelings, but mine tend to center on a few specific things.

For example, yesterday I spent the day with a group of writers at a workshop (an awesome experience, and I am so grateful I was invited despite my lack of funds.) The social part also went well, but I did have one instance of the “trap door” feeling. It happened during lunch when the topic of psych meds came up briefly and several people expressed the common attitude of all psych meds being bullshit and/or evil.

The gears rumbled to life in my head and I began to project. So, if and when they know that I’m someone who chooses to take medication, they will have contempt for me. They’ll decide I am weak, or lazy, or unwilling to face difficult times, or just a compliant sheep controlled by Big Pharma. They’ll write me off. And if they would write me off for this, how quickly will they write me off once they know I am a drug addict in recovery? Should I speak up and tell all of these things about myself as early as possible so they can go ahead and write me off instead of wasting their time?

I felt the trap door opening under my feet. I felt the familiar brick settling onto my chest. I felt the familiar loneliness that tells me “You don’t belong. Don’t get fooled into thinking you could.” 

These moments are part of life for me, and I try not to let them control my actions. I try not to let them trigger defensive counterjudgments or mentally put people into boxes, but it’s hard sometimes. I’m aware that when I do that I am judging people in the same way I don’t want them to judge me.

Poetry…Because Drugs Didn’t Work Out

I used this phrase when meeting my new psychiatrist and got a quizzical look. He’d just asked me what coping mechanisms I use to deal with my symptoms. I’ve used the phrase before with others, or referred to poetry or writing as my “newest vice.” Some people get it right away, some don’t.

It’s like one of my favorite snarky T-shirts, that says “Writing…Because Murder is Wrong.” That one either gets a laugh or a vaguely uncomfortable look.

Poetry, and other writing, are indeed a coping mechanism for me. Doing them is part of my ongoing efforts to break the old patterns that want to keep me silent, ashamed, and stuck. Doing them can help me get through the disorientation or despair of an episode, or at least give me reference points before and after.

Poetry, and all art, is a form of therapy as well as whatever other purposes it has. Some might sneer at those who seem focused on this aspect of it, or draw distinctions between such people and “real” artists. I believe there’s a place for a critical voice in our process, but I also believe there’s a special corner in some hypothetical hell reserved for those whose contempt or elitism discourage creation.

The word therapy comes from the Greek root for to serve. Psychotherapy translates to serving the soul. Whether it’s our soul or others, or what the ratio is, the service exists. When we create something–anything–we influence the world.

Through a New Lens

Recently I went to a reading at a local art gallery. Poets had been requested to choose a work in the gallery and write a piece inspired by it. At the reading, the artists were present and heard our work.

Few things are as personal as a painting to an artist, or a poem to a poet. I had done ekphrastic (inspired by a piece of art) poems before, but I had never done one that would be heard by the actual artist. I worried that they might dislike my work or be disappointed that my take on the piece was so different from theirs.

As it turned out, the artist did like my poem. I got to talk with her after the reading and she said the poem gave her a different appreciation for her painting. How wonderful! It gave me real satisfaction.

However, it’s important for me to remember that if she hadn’t liked it, it would have been all right. I would have regretted it, but it wouldn’t mean I had failed.

Why? Because poetry, like other forms of art, is the ultimate in subjectivity. Any piece will appeal to and repel someone on this earth. We need no justification for our reactions or our opinions. This is what makes the arts special.

Why to Go to a Poetry Reading

So I recently gave tips on how to attend a poetry reading, but why should you? What about them makes it worth your time and effort? Why leave your comfort zone for it? Here are some reasons I find apply to me.

  1. It gives me perspective. As I hear different styles of poetry read in different ways by  different poets, I maintain a realistic opinion of my own work. I’m reminded of how subjective it is; I am left feeling neither inflated nor deflated about it.
  2. It gives me ideas. When at a poetry reading, I am listening without distractions and my mind wanders in a specific way that promotes new connections. It’s common for me to get a flash of inspiration for a new poem I’d like to write. I keep paper and pen handy during a reading and jot things down between poems. By the end, I have a bizarre mishmash of seemingly random words and phrases that carry the seeds of multiple new works. I may or may not follow up on each of them, but the seeds exist.
  3. It gives me a sense of community. I find groups of people very challenging because of my odd fluctuations of energy–I’m always waiting for people to write me off as they find out more about me or hang out with me long enough to get a feeling for the inconsistencies in the way I present myself. My bipolar disorder and the depressive phases come with it can make me feel “other” more often than not–yet, with all that, going to readings helps me affirm my identity as part of a creative community. It lets me see poets of all ages and backgrounds and realize that no idiosyncrasies have the power to un-poet us.
  4. It changes the way I write and revise poems. When I expect to be reading a new poem out loud, I end up paying more attention to its sound and rhythm. It’s important not to get carried away by this; the way the poem looks on the page is still just as important. However, thinking about sound adds a layer to the process of refining a draft.
  5. It re-connects me with the part of myself responsible for poetry. Daily stresses make it easy to lose touch with this, but after a good reading I feel stronger and more centered. Toxic people, the news, pervasive fears–all of these have lost some of their power when faced with the power of creative thought and the love that drives it.

How to Go to a Poetry Reading

If you are anything like I was, you might be very intimidated by the idea of one of these events. Maybe you don’t know what to expect, or maybe you expect the atmosphere to be uncomfortable. Maybe you think it will be a roomful of snooty intellectuals who will dismiss you as not hip enough, not educated enough, not artsy enough…not something enough.

Maybe the idea of actually reading your poetry to an audience of strangers feels so exposing that you cringe at the thought. Why not just pass around the contents of your underwear drawer, or strip naked and do a Charleston at the microphone?

As someone who started going less than two years ago, I’d encourage you to go to one. It’ll open up new aspects of your writing. Here are some tips that might help:

  1. Get there early. Find out where it is and allow plenty of time to get lost, find parking, etc. The reason to get there early is that many of these places are on the small side and you want to get a seat close enough to hear clearly.
  2. Introduce yourself to people and admit you are new to this event.
  3. If anyone asks whether you’re a poet, you say YES.
  4. Bring your poetry, even if you don’t think you want to read this time. Bring at least several different pieces, because what you want to read might change depending on what you have heard. There is often a break during which you can sign up if you didn’t before.
  5. Allow yourself to notice that you don’t adore every poem that is read at the open mic, or even every poem read by a featured poet. Notice how subjective it all is.
  6. If you choose to read, respect the time limits.
  7. Don’t forget to silence your phone.

I predict you’ll find yourself hearing some poems you don’t think are all that great; poems that make you think “Hey, I brought poems I think are better that that. Or certainly no worse.” Whether on that day or a subsequent occasion, you’ll step up to that mic and read something. After it’s over, you’ll see that no one snorted in derision. No tomatoes were thrown. You did it, and the world did not come to an end.

Sweet, Sweet Deadlines

They can be stressful sometimes, but some of my poems owe their very existence to the presence of a specific commitment about when and how a certain poem will be communicated to another person.

A blessed deadline helped me break out of my winter slump recently. It was an especially useful deadline because it is an event being held at an art gallery and I had agreed to write two poems about two paintings. It wasn’t like submitting to a magazine…miss your deadline and they just don’t consider you. Missing this deadline would have meant flaking out on something that was specifically expected from me and creating a blank slot in the program.

So I got the two poems done. I got them done in time to send them off. I had to finish a version of them even if they felt stupid or awkward or forced.  In doing so, I was reminded that finishing a poem is satisfying even if doesn’t seem like my best poem ever. I was also reminded that sometimes a poem can grow on me.

It will be interesting to see what the artists think of my contribution, but I have gained something from the process no matter what happens.

Porn for Poets

If the main purpose of porn is to inspire and facilitate fantasy, the poetry equivalent for me would have to be ads for workshops and retreats. Magazines such as Poets & Writers contain multiple listings that render me dreamy-eyed and wistful, imagining myself scribbling away under a linden tree on a remote estate or perched, bright-eyed, on a chair as a teaching poet reads my work.

Some workshops are priced lower than others, but aside from the rare scholarship offers   they are all out of my reach.  Alas, just as in porn, sometimes you get what you pay for. On the other hand, there do exist some good, free online resources and opportunities for writers–certainly a cut above the internet’s jungle of free porn options.

It’s important for me to be aware of these and understand that when I feel isolated as a poet, it isn’t because I lack money. Sure, workshops are fantastic, exciting, sexy. I’m getting excited right now just thinking about a couple of notices I read this month. However, a poet can form ties and get criticism in other ways. My most important barriers are emotional and psychological, not financial. My level of connection and my development as a poet are my responsibility. “But I had no disposable income,” is not a suitable epitaph to rest above a grave filled with unwritten truths.

What Do I Want?

Do I know? Do I really know?

I’ve been watching a show called Lucifer, in which the Devil owns a nightclub in LA and has a psychic power to draw out a person’s deepest desires. He only has to look into their eyes and ask. They look mesmerized and blurt out their ambition, or secret love, or person they want to kill.

It makes me think about what I would say, if put on the spot and somehow uncensored. What resemblance, if any, would it have to anything I might predict myself saying? It seems like splitting hairs, I know. If I think I want something, supposedly I do. Whether it is a good idea, or whether I’d be happy if I had it, is beside the point. The wanting is in the thought.

Or is it?

What exists on the surface of my thoughts can be very different from my truth. A lifetime of conditioning, fear-based filters, and cognitive fallacies interfere with a clear vision. We think we want to be happy, but we may have little to no idea what happiness would really look like for us.

What is my real ambition? My real desire? What would I cough up under Lucifer’s gaze?

Sure, I want the basic things most people want. Ego gratification, love, security, good things for others I care about. But there is something else.

It’s hard for me to describe, but I’ve experienced it and I want more. I want to carry it around like a rare jewel and give bits of it to others as talismans. Hell, I want to carry it in myself like a virus and transmit it to others just by being with them. I want people to come away from an encounter with a vague sensation that something is different.

Is it hope? Is it joy, wholeness, love? No words are adequate for the thing I have found somewhere on my journey. The thing that drives me to read poetry, or write it, to catch glimpses of what I desire. It’s illogical and capricious. It’s immortal, indestructible, nonlinear. In the coming era of my life, I am not sure what role I am meant to play. I just know I want to serve the thing.

Maybe Lucifer could draw a better description out of me.

I’m Broke, but Here’s a Poem

I want to contribute, and sometimes what I have to offer seems meager. I recently started taking a tai chi class with a group of people who regularly support some charitable causes, and there are usually various solicitations going on. They’re good causes, but I cringe internally at every speech because I am barely scraping together the basic fee for the class I am taking there.

After a recent workshop, I was inspired to write a poem dealing with the subject. It occurred to me that I could send the poem to the visiting teacher who gave the workshop; that he might enjoy it. It might please him to know that his teaching provoked such thought, or he might like it in and of itself.

Sometimes it seems like a lovely idea. Sometimes it seems lame.

I think I am going to do it, though, because sending it clearly fits in with one of my basic values: the idea that I should present myself to the world as I am, offering what I have to offer, and let others decide whether they want it.

Poetry Dress-Up

I’ve been trying outfit after outfit on my newest poem in progress, and nothing works.

Advice essays by poets for poets often advocate experimenting with different poetic forms. Though free verse is incredibly popular, and is often a go-to, using a form can take  a draft in new directions. I haven’t done it very much–tried to do a pantoum with one draft, but usually blank verse is as close as I come to a form.

However, my current project has me so stuck I am desperate. So I tried doing it as a ghazal. (Basically, that’s a series of couplets that all end with the same word.) Then I tried doing a set of tanka (a five-line Japanese form with a 5-7-5-7-7 syllabic pattern.) No dice.

Experience with forms is something I’ll get more of if or when I manage to take some actual poetry classes. For now, I suppose I’ll try a couple more forms–then, perhaps, give up and put the draft aside for now. There are other fish in the somewhat murky sea of my imagination.

Wait a Minute…We’re Fish!

First, the fish needs to say
“Something ain’t right about this camel ride…”

(Hafiz, translated by D. Ladinsky)

Self-acceptance. We talk about it, we advocate for it, we want it for ourselves–but we secretly fear that having it, or acting as if we do, would mean we are not trying hard enough. We see the logic of an honest assessment of our strengths and weaknesses, but that logic breaks down when we consider giving ourselves permission to choose ways of living that work well for us, instead of breaking ourselves on the wheel until the choice is made for us.

When my daughter was a toddler, our favorite singer was Laurie Berkner.  Laurie had this self-deprecating grin and contagious laugh that I loved, and she seemed to enjoy her own songs as much as we did. Her song “The Goldfish” talks about some fish that are doing different things in each verse: for example, they go through detailed steps of taking a shower. But then, at some point they stop and say, “Wait a minute…we’re FISH! We don’t take showers! Let’s go swimming!”and off they go into the chorus. The next verse they get into another un-fish-like activity and have the same epiphany.

It was one of our favorite songs to sing with, because we loved shouting that phrase. There was something liberating about it. “WAIT A MINUTE…WE’RE FISH!!” we’d shout with the CD, breaking into giggles afterward. It felt exuberant, unapologetic, life-affirming.

I wish I’d embraced this idea more outside of my kitchen or car. I used to feel such shame when I struggled at a job. I’d sneak off for long restroom breaks that were really just an excuse to be somewhere out of everyone’s sight, get myself together, and go try to act normal until I had to take another one. I think it would have helped me to say to myself “Wait a minute…I’m a fish!” or some metaphysical equivalent. Even if, as many do, I needed to keep the job as long as I could for practical reasons, I might have felt less ashamed and uncomfortable there.

I could have accepted the fact that I was uncomfortable there because it wasn’t my right environment. Have it not be a value judgment but simply a fact: yes, things are going to be hard for me, I am going to feel different, and that’s what it is. I’m a fish in the desert, and it’s not going to come naturally…so I’ll do the best I can, and stop comparing myself to lizards, and try to arrange to go swimming soon.

Ah, but now I hear that voice: that critical voice ripping shreds in my little self-comforting speech. You think everyone else at your job felt comfortable? it says. They all probably hated it as much as you did. They were just as scared, just as ashamed, they probably threw up and had panic attacks in the bathroom too, but they are still there! They didn’t end up in the fucking psych ward. You know why? Because they’re better than you! They tried harder! They’re not lazy and they don’t make excuses! 

There it is. If I cut myself any slack based on my mental illness, that voice is right there saying it’s a cop-out. Imagine how hard it is for someone without a diagnosis to make a life choice that goes contrary to what their critical voice says they should be doing with their life! What courage it takes to choose to obey the call of our hearts or personalities for no other reason than wanting to do so: to be ourselves just because we want to, instead of first having to prove, time after bloody time, that being anyone else doesn’t work.

Hafiz joins Laurie Berkner in advocating an acknowledgment of the fish’s dilemma. The fish in his poem has self-acceptance: it doesn’t gaze at the dry sand and say “something’s not right about me.”  If we accept ourselves this way, then we are faced with the experience of realizing what’s not right around us. We get to look at how far we are from our ocean–and how much we long for it.

One-Note Solo

I wrote this on my old site Not This Song years ago–and today, I needed to read it again. I need to remind myself that it’s okay to do things badly; to be a clumsy novice. It’s even okay to do things at which I might never particularly excel. I don’t need a reason or a justification for enjoying something. Neither do you.

When I was in second grade, the school had a choir, but the teacher chose which students were allowed to sing in it. So if you didn’t have a natural ability to carry a tune at age seven, having never had any practice or instruction, you were pretty much told that singing was not for you.

When I was nine, I had one season on a girls’ softball team. Now, it’s quite true that I sucked at softball. I was afraid of the ball; I was uncoordinated, and–something we didn’t know then–I couldn’t see worth a damn. This interfered with batting and catching. So softball wasn’t for me at that time…fine. But was it really necessary for the adults to shake their heads and conclude that I was never going to be athletic? It quite literally took decades for me to realize that, with my adult body, I’m not completely lacking in physical gifts.

When I was twelve, I got an F in art. Seriously? Who gives a kid an F in art? I don’t have a problem admitting that my clay dragon sculpture looked more like a dragon turd. I have a problem with being labeled “bad at art” and living in a culture where that meant I wasn’t supposed to do art any more.

I know, my story’s not unique. What matters is what I do about it now. Starting to write is a big part of this: I’m defying the messages that tell me writing is restricted to an elite class, or that it’s only worth doing if it will be well received. The bad poetry thing is another example. I also have aspirations toward becoming a bad artist someday.

There’s one area where I really made progress as an adult, and that’s singing. Thanks to the urging of a friend, I joined a choir with him in freshman year of college. It turned into many years of singing with various amateur groups. I finally got the experience of being new at something, doing it just well enough to get by at first, and gaining in ability and confidence as I got more practice. That concept we call…what was it…learning?

The best choir director I ever knew once said to us: “Don’t sing tentatively. I’d rather have you all slam into an entrance in the wrong place than do the entrance half-assed.” He meant it, too.

One day we were doing a full orchestra rehearsal, and the soprano entrance was a fortissimo (very loud) high G. When you’re a soprano, there’s one thing you learn about hitting those high notes: whatever the volume, full commitment is necessary. If you sing it any other way it will come out flat. The only way to sing it right is to be willing to risk singing it wrong.

It was probably one of the nicest G’s I’ve ever sung. It rang clear and bright, with a crisp start and plenty of feeling behind it.
Too bad it was one measure early.
I blushed bright red as the conductor prepared to start us all again, but I was able to join in the good-natured laughter and smile sheepishly when the director complimented me on my one-note solo.

Thanks, Maestro, for meaning what you said. That errant note made thousands of great notes possible.

The Fiftieth Person

Once, while preparing to speak at a recovery event, I wrote something like, “Open my heart, and then open my mouth. Let me look like a fool to forty-nine people if it will help the fiftieth person.”

Do I have the courage to apply that idea to poetry as well?

In a couple of days I’m going to read a few pieces of poetry at a recovery event. The audience will be very different from the ones I have faced before–for the first time,  I’ll be reading poetry to an audience of people who may have come for other things and have no interest in the poetry part of the show.  I’m experiencing a much higher level of public speaking anxiety than what is normal for me. I’m trying to revamp some poems into a format that I think is “cooler” or more likely to go over well–and the revamping is at a complete stall.

Not too surprising, I suppose. While my self-care has had some improvements lately, I have been very blocked when it comes to writing. The reasons are both repetitive and unoriginal, but there it is.

At any rate, past experiences give me faith that when the time comes, I will step onto the stage and manage to read. Past experiences assure me that this will happen, and the world will not come to an end. I just have to show up.

Starburst

I now have THREE poems stuck in pre-draft limbo. One has been there for two days, one for two weeks, and one for at least a month. What is this thing in me that will not give me permission to sit down and hammer out a first draft?

Well, besides mental health issues and a lifetime of experience at self-sabotage.

In desperation, I did a starburst on one of them. It looked like this:

FullSizeRender

The starburst is a brainstorming technique. You put a single image or word in the middle and start drawing associations; some will be important and some not.

My image for this poem has been clear from the beginning: a glass mug of hot water with a chamomile tea bag in it. Pale brown-gold threads are drifting out into the water as the tea starts to be absorbed.

The image, like many of those a poet chooses, is a tool for crystallizing a moment and the thoughts and feelings that went with it. The starburst helps me elucidate some of those.

I’d like to say that the starburst promptly galvanized me into action–well, not yet. But I know I’m closer, both because of such things and from having coffee with a fellow poet yesterday.

Fear Not?

I chose today’s piece because fear has been clamping down on my creativity lately. Just like any other emotional state, fear comes in both useful and useless varieties when it comes to writing–with the useless kind, my brain freezes or flees into escapist behaviors. So…

(Originally posted on my old page Not This Song, 2015)

How much does fear rule your life?

Those who do some kind of deep self-examination are often surprised to see how deeply, widely, and diversely fear is imbedded in their psyche. I don’t think I was surprised to find its presence in some deep places, but it was enlightening to see how much of my daily behavior is fueled by it on some level.

It’s hard to admit how afraid I am. It’s easy to buy into the idea of courage and strength being incompatible with the presence of great fear. It’s easy to forget how different we are from one another sometimes; that something only mildly frightening to one person may be a source of utter terror to someone else.

There’s an old story about two soldiers in a trench during World War I, waiting through the tense hours before a charge. One sits calmly, while the other paces incessantly, chain-smoking and talking nonstop. The calm one makes a disparaging remark about his nervous comrade, and the other replies: “My friend, if you were as afraid as I am, you would have run away a long time ago.”

I am afraid the way that soldier is. Too afraid to pretend not to be, too afraid to carry things off with style. I need to comfort myself with stories like this, becasue when I scratch the surface of my skin hard enough to penetrate the thin layers of maturity and faith I find a sea of fear. I think I need a hundred words for the many different varieties of fear, with their subtle shadings of meaning and manifestation.

If you’ve ever been afraid the way I am, you know that it doesn’t respond to logic. Oh, some fears do, or they can be soothed with emotional support, or by questioning them with cognitive-behavioral techniques. But there are kinds of fear so primitive, so nonverbal, so far beyond any mental construct that our attempts to soothe them feel like trying to send a T-rex to therapy.

One kind is what psychologists call “annihilation anxiety.” It’s what it sounds like: fear of utter destruction, unmaking, nothingness. Its roots lie very early in life–in the stage of complete dependence of an adult figure and the terror that losing said figure’s love would mean destruction–and it’s nonverbal and primal enough that sometimes I don’t even realize it’s come up until I’ve been reacting to it for days.

Primal fear comes up in our old baggage and in new baggage that got influenced by the old. It’s what is operating when we do things in our relationships that just don’t make sense; when our therapist and friends and whoever have a clear, obvious idea what should be done, who should be confronted, who should be left, but the thought of actually doing it is–well–unthinkable.

What to do about it? Oh, you already know what I’m going to say. There is no swift and logical cure for this kind of fear. There’s no cure at all–only the chance to go into remission. To fight the fear to a standstill and wait for it to get tired and take a break. But how to fight something you can’t see, or speak to, or argue with? Can a sword cut darkness?

No, it can’t. Nor can clever words convince it to retreat. There are only two things I can do: first, stop acting out in a futile attempt to drown the fear under more familiar pain. Then huddle close to the fire. Feed the fire, watch the fire, and don’t let it go out, and try not to think too hard about what will happen if it does. Feed the fire of my Self; yes, and the Self, whatever mystic force that is. Everything I am that is not nothingness. Everything I am, and was, and will be, that is the opposite of nothingness.

Strolling With Sewage

(Originally posted on my old site Not This Song, 2015)

Sometimes, out in nature, the lovely spiritual metaphor we encounter is a graceful bird soaring through the air. Or it’s a flower, blooming in response to its inborn clock. Perhaps a river, shining silver in the distance and promising change.

Sometimes not.

I was making a pilgrimage. I’d dropped my daughter off at her classes and driven my longing-to-be-virtuous self to a regional park that has a paved, hilly trail around a reservoir. I was going to walk that trail, a trail difficult enough to make me sweat and ache a bit, and I was going to be purified. I’d purge away the recent days of little exercise; scour away the depressive miasma and drop bits of my recent bout of anxieties here and there on the trail, leaving them behind me when I was done. I’d have a nice conversation with my personal God, too, and come away feeling better and clearer.

Yes, that was my agenda–but, as often happens, my agenda did not control. First of all, my body did not appear to be on board with the plan at all. Far sooner than usual, I began to ache and be winded. So what, I told myself. The trail’s less than three miles. You can do it. Look around at the trees; smell that fresh air. Isn’t this nice?

I drew in a deep, intentional breath, and stopped abruptly as I detected a decidedly un-fresh smell. Surmounting the next rise, I heard a loud motor and discovered a sewage truck just ahead of me on the paved trail. Two men in vests were monitoring the pumping of the trail bathroom’s contents through a large hose into the truck. Waving politely, I breathed shallowly as I walked by and inhaled in relief when I got upwind. Soon I’d gained enough distance for the quiet and freshness to be restored.

I tried again to get into the groove of feeling peaceful in nature, and my mind wandered. But my anxiety wouldn’t leave me, and my mind wouldn’t stop skittering around planning the rest of the day, week and year. I asked my God, out loud, to help me open up and enjoy being out here.

As if in answer, a loud rumble approached from behind me. The sewage truck was back, and I hastily retreated from the trail to let it pass. I had a sinking feeling about where it was going, and sure enough, five minutes later the smell greeted me again as I approached the next restroom being emptied. Is this how the whole walk is going to be, I grumbled, and then reproved myself for my lack of gratitude. Think about these two workers, I told myself. This is what they do all day while you get to walk in the fresh air!

Still, it was distracting, and I really wanted to achieve a certain state of mind. I got a bright idea: I’ll stop and rest for a while, and that will give them time to get far enough ahead that I won’t catch up with them. So I found a bench and settled down. Look now, look at the living gray sky and the brown brush. See the rippling water and hear the chaotic bird cries. Get out of your head. But I didn’t get out of my head. I sank deeper and deeper, burrowing into extreme detail of one of my darker genres of phantasy.

There, on that bench in the fresh air, I (as I tend to do) lost and was abandoned by those I love, became an outcast, and moved beyond the will to live. Birds called me, and I couldn’t answer, trapped in my own mental theater. At last I managed to shake myself out of it enough to talk to my God. Why do I think about these things, God? Why do I do this? I got up and started walking again. If you want me to think about these things this way, that’s okay, but if you don’t want me in that place, please help me think about what you want me to think about.

I kept walking, and kept on talking, and began to feel a creeping sense of virtue (at least I’m trying, I’m saying something, I’m making an effort to ask for divine will and that’s a step in the right direction, isn’t it?) when I heard the engines roaring up ahead and detected the familiar scent. I’d caught up.

Inspiration came to me. I was almost halfway around the circular trail now; why not just turn around and walk back the way I came? The sewage truck could complete its loop in peace, and I’d be able to do the contemplative walk thing. So I turned around and began. I continued my dialogue, mostly in my head now, and thought about the stress and depression I’ve been struggling with lately.

Then I heard the sound behind me. The truck was back. For some reason, it had turned around too.

That was the last straw. I started laughing. So, God, getting archetypal on me, I see. Fine. Let us contemplate the spiritual meaning of this portable vat of shit following me around.

Are you trying to tell me that I can’t outrun the shit of my life; that I must coexist/walk with it?

Are you showing me that cleansing myself is going to be less simple and more messy than I would like it to be?

Or are you in an alchemical mood, and just shoving a huge lump of prima materia at me? What do you want me to make of it?

I left with questions, but no answers. I wondered if the real message and lesson had to do with the inadvisability of having a spiritual agenda. I’m not sorry for any of it, though–it was an act of intention. Despite what they say about good intentions, I believe an act of conscious positive intention is one of the most powerful things I can do.

Oak Tree Debate

Have you ever written a story specifically to help you with a poem? I have a poem that’s been incubating for a couple of months now. Like many, it started from an image and a thought, but it will not coalesce into a phrase that serves as a “hook” for the poem I want. So, as I talked about recently, I’ll write about this as prose and see if that begins to help the process.

The time: May, 2011. The place: a residential drug rehab center in Northern California.

The center was set in a lovely area, surrounded with picturesque roads (and, ironically enough, wineries.) The buildings of the center housed about forty addicts in various stages of detox and early recovery.

Once you were deemed past the worst early detox symptoms, you were allowed to leave the house and walk about the grounds. There was an open area, away from the main compound, with a single bench. The bench faced the largest oak tree I had ever seen in person. It was the only tree in the field, and seemed sentient when you looked at it long enough.

People were encouraged to spend time there, thinking deep thoughts. I didn’t need encouragement; it was a pleasure to get away from people for a little while.

So that’s the image: a huge oak tree, spreading its old and complex branch systems against the sky. The pattern of branches seen against morning sky, and midday sky, and evening sky.

Some people might have used the place for meditation, and some for prayer. I sucked at meditation, and while I had nothing against prayer I couldn’t concentrate on that either. My mind was occupied, more often than not, with what I later came to call the Oak Tree Debate.

The subject of the debate was simple: Did I want to live? And, even if I did, did I deserve to live?

The oak tree, it seemed to me, was my judge. It was the embodiment of all that was natural and true, while my drug-tainted, mentally ill and self-destructive presence felt like the embodiment of all that was not.

Even the bench I sat on felt soaked with pain and toxicity. I thought about all the addicts who had sat there for decades before me. Ashamed, grieving, belligerent or hopeless. I thought about how many came back to the bench more than once, having relapsed after weeks or months or years. I thought about what the oak tree might think of them, and of me.

The trouble with presenting a case to my arboreal judge was twofold: I was not competent to be the best advocate for myself at the time, and I did not speak the oak’s language. My case was inconsistent at best, and even if the oak did render a verdict I could not be certain of what it was.

In the end, I had to go from that place without a clear conclusion to the debate. It has continued, off and on, through years of recovery and treatment for my mental health issues. Perhaps it will never end–but when I can, I choose to imagine a verdict that tells me to keep going.

Shapeshifting

What form does the piece of creative writing you’re incubating want to take?

I’m beginning to understand why so many poetry exercises want you to tear apart a poem and experiment with writing it in different forms.

I already knew that changing the voice of a poem can be a powerful tool–if it feels awkward in the first person, try third or second, etc. I already knew that trying out a specific form like a pantoum or sonnet can be a fun way to experiment with one.

What’s really making me see it, however, is comparing works of mine that deal with the same idea or image in prose versus poetry. As I go through old essays, some of them cry out to be used in a poem. At least one of them already has been.

I realize that when an idea or image is potent enough for me, it could give birth to several pieces, each in a different form, each powerful in a unique way.

Knowing this helps me feel more cheerful about revision…the old saying that “a poem is never done” brings a sense of hope and mystery rather than paralysis.

Joining

I’ve been thinking about my two websites lately. The first one created, Not This Song, was focused on my experiences of living with bipolar disorder and living in recovery from my addiction to painkillers. It ranges far afield in topics and uses metaphors from just about anything. This site was created later, to focus on my poetry and my experiences with writing and creativity.

At the time, the distinction made sense. Lately, however, I have been struggling with writing frequently enough on either blog. I’ll want to write, then get stuck about which site to update with those words–and the thought of updating both seems like too much when I am feeling overwhelmed.

Life and art are blending together, and it is harder and harder for me to separate them. I have decided to join them together, making Not My Last Words my only site. I’ll still write about a wide range of topics, but most of the time they will be linked to some aspect of my creative work (or lack thereof.)

Over the next couple of months, I will cross-post my favorite things from the Not This Song archives so that they will exist in the archives here.

If you are a poet who has found this site, I hope the other topics won’t bore you. I hope to create a site that speaks of one person’s creative efforts and progress in such a way that others can identify.

Mentioned

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My first poetry award! I received a Second Honorable Mention in an annual Bay Area poetry contest. At their monthly get-together, I read my poem along with many other winners (there were four categories) and got to hear theirs.

The little kid in me is very excited about this. When I enter a contest or send off a submission, I look at it as gathering experience. I’m still so new to sharing my poetry that I need experience to become comfortable with the process. But I’d be lying if I said getting some recognition isn’t fun. This comes on the heels of doing that small feature, which was also an honor.

Here’s what I want to say to poets who haven’t yet read their work in public: TRY IT!

I first read poems in public on June 4, 2016. That’s less than nine months ago.

Cards

The reading was an amazing experience. My concern that the audience would be small proved to be correct, but that’s really the only thing I would change. The longer time allowed me to get into more of a groove, and doing so allowed me to read a couple of poems I wouldn’t feel comfortable reading at a two-minute open mic. They went over very well.

Because I had no books or chapbooks to offer, I thought I should at least have some cards to give out. So I went and had some inexpensive ones made at Staples. Let me tell you, designing it was a bit of a mental hokey-pokey.

I’ve had business cards when working in biotech. I’ve had them when I was working as a counselor. This is the first card I have had that describes me as a poet and writer. What should it say?

In the end I went with my name, the names of my two websites, my contact info and my unofficial motto of  “One Metaphor at a Time.”

Giving them out to people felt very strange, especially the idea that people who know me only by my poetry will know a great deal more about me if they choose to visit the websites.

I tell myself that’s OK. I write my best when I am my most authentic, even if that means I am authentically broken.

Peanut Gallery

My feature reading is tomorrow night. I’ve enjoyed preparing for it. I have also spent some quality time listening to the peanut gallery of my insecurities. Twenty-five minutes seems like a long time, although I know from other public speaking experience that it will probably fly by.

Beyond the normal insecurities one might have about public speaking, however, are a set of insecurities more specific to the type of sharing I’ll be doing. Here, in the spirit of putting honesty before pride, are some of them:

–I arrive and find that the audience is a fraction of its usual size because of the inauguration and the protest marches. This one has some practical basis, but there’s nothing I can do about it. It will be what it is.

–The audience, of whatever size, is disappointed that only a small amount of my poetry immediately relates to current events. They judge my work as self-involved and frivolous.

–The audience is baffled by the wide range of topics my poetry spans. They judge me to be without a unifying vision.

–The audience discounts anything I have to say because I am at the higher end of my weight range and don’t fit their picture of what a poet looks like.

–The audience sneers at the hints of spirituality present in some of my poems. I am written off as a kook rather than a serious poet.

–The audience is repulsed by the personal things they learn about me through hearing a wider variety of my work, and their view of me is now altered by prejudice and misconception.

There is a sample. The thoughts range from reasonable to ridiculous, but they are mine and deserve acknowledgement. Here’s the good news, though–I have faith that none of these insecurities are going to stop me from enjoying myself. I have another persona that emerges at times like this. It’s authentic, but is somehow able to place hesitation aside. The insecurities will probably come back when I’m done…but when I’m up there, it’s going to feel amazing.

An Honest Poet

As I approach my first experience of featuring at a reading, I need to remember the importance of honesty. To be an honest poet is to present myself and my poems in a way that reflects who I really am as a poet, not what I think my audience might admire the most.

I’ve noticed that I am nervous about my reading taking place the Monday after the presidential inauguration. Emotions may be running high, and it is not unlikely that the open mic will reflect this. My insecurity tells me that I should try to generate some work that would address current events.

I worry that people won’t want to hear a bunch of work that has nothing to do with any of the topics so present in our minds and hearts right now. But that’s not for me to decide: I think being asked to feature means being asked to let people see a broader picture of my work. Presenting a hurried and forced set of work, out of fear or out of a desire to be accepted, would be dishonest. Holding back my most authentic works out of fear that they’ll be seen as self-indulgent would also be dishonest.

Just Call Me Ebenezer

Not because I hate the holidays (even though I do.) It’s because I am being a miser with my poetry lately.

Last post, I talked about how I’ve been asked to do my first feature. At the poetry readings since then, I’ve had trouble choosing what to read at the open mic. I don’t want to read my “best” stuff, or my newest stuff, or the stuff that feels most personal…you get the idea. I want to save the good stuff to read at the event, which is in late January.

Understandable, but I shouldn’t get too fanatic about this for two reasons. One, there aren’t going to be a huge number of people there, and something I read at an open mic will be heard by many who won’t attend this event. Two, and more importantly, I need to stop worrying that a member of the audience at an open mic has heard my poem before. It is OK for a poet to read the same thing more than once.

All of these feelings are part of my desire to show people who I am as a poet. I don’t want to waste any opportunity to speak to someone, and that’s a good way to feel. However, I do my best work when I am not approaching things with an attitude of scarcity.

Twenty-Five Minutes

I’m featuring at my first poetry reading!

To “feature” means that you are the poet who spends a larger chunk of time reading your work, as opposed to the 2-5 minutes during an open mic. I will have 25 glorious and terrifying minutes to read multiple poems and give the audience a greater sense of who I am than a single poem can do.

It’s a small and intimate venue in Berkeley, and there will probably be less than 20 poets there–but it’s still exciting to me, and it’s a great compliment to be asked. Usually the featured poet is more established and published, and I am what is diplomatically referred to as an “emerging” poet.

At first, I told myself that the host who invited me was just being supportive and wanted to give me the opportunity as a growth experience (Me finding it hard to take a compliment; what a shock) but the next week another of the hosts, who doesn’t know me, asked me independently.

I’m really grateful for the kindness and welcome I’ve found so far in the Bay Area poetry community, and I can’t wait until January 23! I’m having such fun imagining which poems I will read and in what order, as well as being inspired to finish some new ones.

Denial, Anger, Poetry

The poets have been getting to work about the latest catastrophe, each on their own timeline and in their own way. Working through shock, outrage, despair and fear as well as they can…and, when they are ready, they’re starting to pour it out into poetry.

I am a coward in many ways when it comes to horrible things happening in the world around me. Sometimes I shut down, terrified that these feelings will catapult me over the thin edge I walk into an irreversible act of self-destruction.

When I went to one of my regular poetry readings on the Sunday after the election, I knew what I was going to hear during the open mic. A part of me wanted to stay home, afraid that it would be too much for me. But I went, and I’m very glad. I’m glad I found enough courage to show up and be present with everyone’s pain and anger and fear.

A few years ago I might have been impatient with it somehow, wanting the poetry to give me a break instead of drawing me deeper into the emotions of the time. Now it seems perfectly natural that we all (yes, me too) tended to have poems reflecting what was going on. A baby cries with the voice that’s available.

What Do We Want?

“What do we want?
Immortality!
When do we want it?
Now!”

—from “The Poets March on Washington” by James Cummins

But seriously…what do we want for our poetry? What do we want it to do? Not that it has to do anything, of course. It can be only for ourselves if that’s what we want—Emily Dickinson ordered that all of her poems be destroyed after her death. We only have them because someone ignored her wishes.

I’m running into this question more and more since I’ve begun sharing my work at readings and preparing actual submissions. I find that my process of revision feels different when I am anticipating reading the poem out loud to a group, as opposed to thinking only about submitting it in written form.

Beyond this, I want to think about how I’d like my poetry to affect other people. Do I want it to help someone understand something? Do I want to make someone feel less alone? Or do I want, in the end, just to give others bits of the oh-yes-I-don’t-know-why-but-yes feeling I get when a poem speaks to me?

If I am sharing my poetry only to get fortune (ha!) or fame (slightly less vehement ha!) or even just to get appreciation and positive ego stroking, I’ll set myself up for disappointment.

What is your fantasy about your poetry’s role?

It’s Alive!

I am the mad scientist of poetry! I have taken something apart, put it together in new ways, injected it with new essence and created LIFE!

There’s a lot of great writing out there about revision, and I love reading it. I love hearing about the ways other poets try to shake up their poem in hopes of finding a better version of it. But I think many of us fear revision because we imagine it as some painstaking, word-by-word nitpicking that will never end…and will suck the joy out of our creative process.

I’ve been known to do that kind of revision; I’ll take out a comma and put it back ad nauseam. It’s important, however, that I understand I’m doing it not to please some omniscient editor but rather to please myself.

What’s really amazing, though, is the type of revision I got to do a couple of days ago. The starting material was an old draft of a poem that has never really pleased me–it existed as a draft, but I wasn’t in love with it.

I opened the word processing document containing the old poem, and opened a blank file next to it so that I was writing a “new” poem using the old draft as reference. My starting point was a change in voice I’d decided to try, so I began with that. As I typed, it took on its own direction with new rhythms and transitions.

I revised the revision a lot, going back and forth to make sure that the things I loved in the original were preserved or given a transformed role in the new version.

The magic moment happened about a third of the way in: the poem surged into life before my eyes. It was not only a better poem than its source, it was alive in a way that the source was not. Where I had not considered sharing the original at a poetry reading, I couldn’t wait to share this.

This is why revision is worthwhile. It isn’t about judging my old draft–after all, without it this one could not have come to exist. It’s about creating something that makes me happy.

Show and Tell

Here’s the greatest benefit I am receiving from starting to attend actual live poetry events and read my own work: When I know I am going somewhere like this, I get like a kindergartener on Show and Tell Day.

I want to bring something new, if I can. I want to bring something I’ll enjoy sharing. If I have a partial draft that’s been in limbo, I get inspired to sit down with it and see if I can whip it into readable shape. If I have a piece that exists but has never been read to an audience, I get inspired to polish anything that might improve its readability.

It’s wonderful for breaking me out of physical, mental or emotional inertia. Right now I’m about to tackle revising an old draft that has been untouched for nearly a year. I’ve been vaguely dissatisfied with it the whole time, but never dug back in…but for some reason, I want to read it tonight.

Who Was That Masked Poet?

I am a part-time Mystery Woman.

Last week, I drove up to the Napa area to attend another poetry reading and open mic. The two poems I read were well received, and it was more useful practice for me. While I listened, read and talked to poets afterward, I experienced a feeling that’s becoming quite familiar: Mystery Woman syndrome.

You see, some of my readers also read my other site, Not This Song, on which I write about living with mental health issues and living in recovery from substance abuse. These two things are a huge part of my life: I try not to let them define me, but who I am is shaped in large part by the nature of the disorders and the nature of the physical, mental and spiritual treatments I apply.

I feel like a mystery woman at these poetry events because nobody there knows anything about me. They have no idea about the mental health issues I have, or that I’m an addict. They don’t know about my past, or my family. Aside from whatever assumptions people make based on my appearance, my poetry speaks for itself.

As I spend more time in the poetry community, this might change, and I have mixed feelings about that. I’m not ashamed of being what I am (in fact, I expect these parts of me to provide much rich material) but I am prone to social insecurity and don’t look forward to extra challenges in that area.

Sudden Ease

Two days ago, over a bowl of oatmeal, I was ambushed by a poem. The seed of it had appeared the day before, and was suddenly mushrooming into near-draft form. Obediently, my half-awake self reached for a pen and wrote things down. In half an hour flat, I had something better than the things I’d been staring at sporadically for two weeks.

“You will find that you may write and rewrite a poem and it never seems quite right. Then a much better poem may come rather fast and you wonder why you bothered with all that work on the earlier poem. Actually, the hard work you do on one poem is put in on all poems. The hard work on the first poem is responsible for the sudden ease of the second.”
—Richard Hugo, from The Triggering Town

If I were reading this in a church, this would be the time to shout “Amen!”

I have thought about abandoning a poem when it feels awkward or stuck…and sometimes I do put it aside for a while. This passage affirms what I think I already knew: working on a poem is never wasted time, even if that version of that poem isn’t destined to become a star. The work of the past two weeks bore an unexpected fruit, that’s all.

Think Small

“Think small. If you have a big mind, that will show itself.”
Richard Hugo

The above quote comes from my latest acquisition in the “poets writing about being a poet” genre. It’s called The Triggering Town: Lectures and essays on poets and writing. I recommend it highly; there are some sections that caused me to get out my highlighter because yes, that phrase, I want to remember that one. I could write a post about each of those phrases, and I might.

So what does he mean when he writes “think small?” He’s talking about how some of the best poems come from a small triggering subject as opposed to tackling a huge, monolithic  one. A small, finite experience or image is used as a starting point, and the mind expands from there.

It makes sense to me. What scenario sounds as it if will lead to a better poem? A poet sitting down saying “I’m going to write a poem about Death now” or a poet musing about the birdsong that distracted them during their grandfather’s burial?

The advice to “think small” is helping me in other ways right now. I’ve been to several poetry readings and open mics lately, following up that first experience, and it’s having a Pandora’s-box-like effect on my feelings about poetry and my generation of new poem ideas. It is very easy for me to get overwhelmed, especially since I now realize there is more going on in my local poetry scene than I could ever have the time or strength to attend.

Think small. What event am I going to next (and for God’s sake, don’t overcommit yourself!) What am I going to read there? Is it ready?

Winning Formula

There’s no one way to stimulate creativity. For me, the seeds of a new poem can come at the oddest times. One thing I’ve noticed, however, is the role played by boredom, fatigue, or concentrating on a task like driving or dishes. A mental state in which thoughts drift randomly and hook up in unexpected ways.

Recently, I had the most glaring example of this…it was the night before my father-in-law died, and I was up at the family’s home being with them in their vigil. We were all catching bits of sleep where we could, in between listening to his breathing. I lay in a trundle bed, stupidly tired, and could not fall asleep. I listened to some music on my headphones, tried again; still no dice.

My mind began to wander, and BAM! the seed of a new poem appeared. Was it a poem about death, or grief, or what it’s like waiting for it this way? No. The poem is (as far as I can tell at this stage) completely unrelated to what was going on. The trigger appears to have been a phrase in a poem I’d read the day before, linked to a different poem I’d been working on, linked to a song I had heard…you get the idea. These things drifted through my fatigue-drugged mind and collided.

And it wasn’t just an idea, it was an idea. One of those juicy ones that gives you a little shiver when it clicks into place.

Those who speak of the drawbacks of technology, or those who caution against the overscheduling of children’s lives, understand that we all need time to daydream. Boredom and random mental drifting are vital to imagination. I know that I interfere with my creativity when I distract myself from insomnia with my iPad instead of just letting myself drift, although I forgive myself because it’s the least of evils at times.

Courage Comes in Many Forms

I am no longer a poetry virgin: for the first time, I read my poems out loud to a group of strangers.

My task was made easier by the fact that it was an informal event, with no lecterns or microphones. We went around the circle twice, and I read a total of three poems in two turns.

My God. I actually did it. I read poems to poets and they liked them.

It may be hard to understand, but this was the bravest thing I have done for a while. It took courage for me to drive unfamiliar roads and find the event. It took courage for me to walk into the room. It took courage for me NOT to walk out of the room in response to the gradual realization that the other poets in the room were all published, and all knew each other, and were all members of the Bay Area poetry scene about which I know nothing.

It took courage not to listen to the voice that said I was out of my league, didn’t belong there, and should stay quiet.

It took courage to read in a clear, resonant voice, not mumbling or hurrying through the poems.

It took courage to read the poems and let them speak for themselves, without prefacing them with a long autobiography or explanation.

It even took courage, when complimented on my work afterward, to smile and say “thank you” instead of making some self-deprecating remark.

Anyway, this is a great stride forward for me. I also gained a lot of good information about other readings and events in my area. Knowing these events are going on creates some frustration about not having the time to go to most of them, but I hope to go to some.

Reading my own work was terrifying, and I can’t wait to do it again.

Saved by the Kidney Stone

I am not making this up, although if I read it in a script I would roll my eyes. It happened last weekend.

The day had arrived…very shortly, I would be reading a poem of mine.

Out loud. To a group of people. Using a microphone. For the first time.

I had been ill, and not taking good care of myself, but I am glad to say I was not trying to talk myself out of going. This reading was going to happen.

Less than an hour before I was due to leave, my spouse–who had been feeling a bit of what he thought was digestive upset–transitioned into severe pain and vomiting.

Now, my marriage is not perfect, but never let it be said I feel no love for him: I did not run off to the poetry reading and leave him writhing in pain. Off to the ER we went.

They took care of him, and found a stone on the scan, and he is getting better.

I am left with a question: Should I search for meaning in this putative accident of timing, or can I let it be?

I am inclined toward the latter. If the universe wants to tell me that sharing my poetry is a bad idea, it’s going to have to do better than this.

Just leave my family out of it, OK?

Training Montage

What would a poet’s training montage look like?

Recently, even in the midst of being quite dysfunctional, I experienced a surge of enthusiasm about poetry. It got started when I attended a small poetry event and committed to reading at the open mic next month. This renewed fire energized me so much that I created the first new draft I’ve been able to do for months! (No, it isn’t Aquamarine. That one’s still a stubborn bitch.)

The point is, I fucking love poetry. And I love how I feel when I create a new piece. I wonder, what would it look like if that love really showed in my daily life? What if there were no barriers between my desire and my ability to act on it?

What if a part of me were not always trying to get me to destroy myself? Would my fire be strong enough to burn through the ordinary barriers of laziness or inertia?

In my fantasy, my desire to write would invade every aspect of my life. My life would be a training montage.

I’d eat well, take my medicine, never miss a doctor’s appointment…to be healthier and live longer to write more poetry.
I’d clean my apartment…to create a better atmosphere for writing.
I’d exercise…to be strong and fit so that the tasks of daily life wouldn’t exhaust me too much for writing.
I’d sing…to keep my voice limber and resonant for readings.
I’d pray and meditate…to clear the path of daily fears and let inspiration through.

It would all, in some way, be about the creating. Every positive action I took would be a way of showing how much I love the magic of the word.

But in my real world, the positive actions I manage don’t meld into a stirring training montage. The love letter to poetry I want my life to be is divided into scraps and snippets.

You Say “YES”

I think of myself as a poet these days, and this change in the way I see myself gives me a lot of pleasure. Not being published yet doesn’t stop me from thinking of myself as a poet. However, it’s one thing to embrace the identity within my own mind and another to lay claim to it with a stranger.

Recently, I found to my chagrin that when put on the spot, I struggle with identifying myself accurately. At a reading with open mic, I was introduced to several poets. “Are you a poet?” they asked, and I got words stuck in my throat.

Well, I’ve never been published yet, my insecurities wanted to say. I’m just getting to the point of doing my first submissions, I wanted to qualify. Well, I’ve only been writing for a few years. With the words came the urge to duck my head sheepishly.

How easy it was to turn my back on my beliefs about what a poet is, or to apply them only to others!

Then an iconic line from Ghostbusters came into my head:

…when someone asks you if you’re a god, you say “YES!”

When someone asks me if I’m a poet, I need to say yes. It’s harder than I thought it would be, but it’s the only answer that makes sense.

The Law of Inverse Importance

Law of Inverse Importance:

“The more personally important, deep or creatively significant the poem, the more likely it is to be stuck in the poet’s metaphorical throat like a peanut butter-covered hairball.”

I think I’m losing my sanity to the Law.

I have a poem in progress called Aquamarine. The seeds of it were planted more than ten years ago, but I’ve only been actively trying to work on it for a couple of months. I’m getting nowhere…or getting somewhere only to discover it’s wrong, wrong, wrong and I need to backtrack, or change the voice, or do other useful revision tricks.

I’ve even tried writing the poem as a story first. It’s helped, but not enough.

In the meantime, I’m also being tortured by the corollary to the above Law:

“When a poem is stalled as a result of the Law, the poet’s preoccupation with this poem can become constant and extreme enough to interfere with the birth of any other work.”

It’s even interfered with writing on the site or on Not This Song.

Many other things have been going on in my life, of course. It’s not as if I have a huge amount of time or energy to spend on writing…but when I do have a chunk of time to enter that space, Aquamarine waits for me at the gate. It wants the password, and I haven’t found it.

There Are Spiders

“There…there are spiders.”
“Enormous spiders, yes. The size of houses, they tell me.”
“And they eat men?”
“Poets, I am told. Twice a year a number of spiders come from the forests into the square of the one town and they must be fed a poet or they will not leave. There is a ceremony.”
“…A reason not to write poetry?”
“I am told they make prisoners compose a verse in order to receive their meals.”
“How cruel. And that qualifies them as poets?”
“The spiders are not critical, I understand.”

–from “River of Stars” by Guy Gavriel Kay

Something about this makes me smile every time I recall it. Maybe it’s the idea of poets as a unique food; desired by spiders the way virgins were legendarily desired by dragons. Maybe it’s the image of forcing a hapless prisoner to become just enough of a poet to be appetizing to an arachnid.

Are poets really different from other people? Of course not…or if we are, it varies from poet to poet as it does with all humans. However, any differences are more marked in societies that don’t see poetry as a part of mainstream life. The book above takes place in a world inspired by certain Chinese dynasties; a world in which poetry was the province of every educated man…the knowledge, analysis, and even writing of various styles of poetry a part of the civil service exams.

The society I live in is far removed from this. My sense of identity seems to have been altered by beginning to think of myself as a poet…is this evolution, or just a delusion catering to one’s natural desire to feel like a special snowflake of some kind?

Does it feed my ego to think of myself as especially delicious Spider Chow?

(Don’t) Leave Me Alone

I’ve had a months-long dry spell when it comes to creating brand-new poems. I’ve done revisions, and explored my role as a poet, but my file of rough notes isn’t yielding any new drafts. Life circumstances have been a large part of this; I have few large chunks of alone time and much stress making it hard to concentrate.

It would be easy for me to blame only this for my lack of drafts, but I can’t. The truth is, I haven’t been using the private time I do have in a productive way. Poor self-care and outright self-sabotaging behavior (An addict being self-destructive?…Oh, the shock of it!) makes some of my solitude not only unproductive but actually detrimental.

I’m one of those writers who likes to works in cafes and libraries…by myself but not really alone. Even that hasn’t done much for me lately; I haven’t settled down to work instead of dwelling or acting on my negative feelings. I don’t seem to be able to make the switch from my other roles and focus on poetry: Okay, Lori, for the next two hours you are a poet. That’s all. You’re not doing mental dances about your marriage, daughter’s health and schooling, recovery choices, money, or worries about the future. You get to be a poet, and you get the privilege of making any feelings you’re having into precious raw material…or using the power of your imagination to concentrate on the other material of your choice.

Today, may the presence of grace turn my alone time into a poet’s blessing instead of an addict’s curse.