More Than Words

I feel as if I somehow gave birth to two beautiful aliens.

The gallery opening was amazing. The work of sixteen artists on display, along with the ten poems that served as inspiration for them. There were two paintings that used my poem as their source.

How do I describe the way seeing them felt? To say I was touched is ridiculously inadequate. Especially since the subject of my poem was so personal (it’s about my daughter) it was overwhelming to see works that artists made with so much time and care.

I got to meet both artists and talk to one of them in more depth about her process. It was clear that the artists put their hearts into the pieces; that my poem resonated with them strongly enough to bring forth this kind of dedication on their part.

Staring at one of the paintings, I felt my mind journey into the depths of the abstract scene portrayed. I felt the world in it take on a life of its own. I had a visceral experience of the fact that a poem can be more than words, more than a set of ideas. That a poem, or any other creative work, can be a spark that ignites an unknown universe.

The Fear of Sentimentality

Recently, I finished a first draft of a poem called “Ladders.” I liked it a lot when I finished it, but now realize that I am hesitant to read it at an open mic or send it anywhere because I’m afraid that it will be heard as sentimental, schmaltzy, cheesy, overly inspirational, or other adjectives that might relegate it to a realm better suited for Hallmark cards than serious poetry.

Why am I afraid of letting some of my poetry reflect the unabashedly inspirational parts of my writing psyche? My prose essays drip with it; I have no hesitation about expressing fierce compassion towards others, trying to spread illogical hope, or digging for beauty in dark places. Why am I afraid to let more of it into my poetry; that a poem speaking inspiration directly to others will be dismissed as too sentimental?

I have spiritual and metaphysical beliefs, and I’m not ashamed of that. I’m a person who had tasted a tiny bit of nonlinearity in this universe, and I’m not ashamed of that. I’m passionate about giving others a feeling of acceptance, wholeness, being valued, or just being seen, and I’m not ashamed of that. My poetry should not be ashamed of that either.

It’s appropriate for me to look at a draft and ask if the tone is what I want the tone to be. It’s appropriate for me to ask myself if the poem needs revision to change the tone to one I think will be more effective. But these questions should not be asked out of fear.

Stream of Consciousness

For a week or so I’ve been trying to do daily personal writing in the style of Julia Cameron’s The Artist’s Way. In this book, she recommends a thing called “morning pages.” It’s supposed to be three pages of complete stream of consciousness, done without any pauses or editing. You’re not supposed to stop, even if the result contains things like “pause…mind blank, eager to be done, blah blah blah why can’t I think of a single thing to write right now?”

She’s not alone in recommending stream-of-consciousness writing, or course. A poetry exercise I read about calls for ten days of ten pages a day, to be examined later for potential poem material.

I chose 1000 words for my daily target, which may or may not be as many words as three pages but it is a nice round number. The new writing software I’m working with lets you set session targets, which is perfect.

I’m trying to do this to help with my resistance to writing anything that is not meant for a fate involving other people. I’m also doing it because it is supposed to be good for creativity. You’re advised to put the pages away when you finish them and not look at or reread them for a while. For me, I imagine rereading them after a month or so and highlighting phrases I think would be useful for an essay or poem.

I have two main fears about doing this. Firstly, I am afraid that doing it will exhaust my writing energy for the day and I will spend less time working on other things. Secondly, I’m afraid that I will fail at doing it consistently and experience the familiar negative emotions that come with starting and abandoning something.

The Importance of Being Evil

I cannot be a whole person unless I understand and accept that I am partially evil. This understanding took me years of work, and the acceptance of it will probably be a lifelong task. 

The idea that we all have evil is not new, but I am not concerned with that. Nor am I taking on the endless task of defining what exactly evil is and is not. I am only speaking for myself: some of the things I personally define as evil undeniably exist in my psyche. There is some dark crap in there, and it’s not going to go away. Self-improvement and spiritual work can help me improve my behavior, but there are some things that cannot be changed. I will never be pure. 

Why is understanding this so important to me? It’s hard to explain. It’s hard to explain the huge leap in self-acceptance I made when I was able to incorporate these parts of myself into the whole. It’s hard to explain how much closer it makes me feel to the rest of humanity (a feeling of closeness I need, since I so often feel alienated.)

Instead of my self-esteem being based on inherent goodness, I can base it on my behavior. Now I don’t have to feel like an impostor every time an uncharitable thought or angry fantasy comes into my mind. 

I can be angry at people doing bad things and still understand that I am not a different species from them. I can know that however dark and twisted the labyrinth of their actions and motivations might be, it is still a human labyrinth and I have one too. I can understand that I am just as capable of terrible things as anyone else given a different set of circumstances, different brain chemistry, different trauma–even different past life baggage if you’re into that kind of thing. I’m not better than anyone. I am a potential supervillain.

Battling addiction, mental illness and general despair requires a powerful sense of self. Anything that makes me more connected with that sense of self has the potential to save my life and give something to the world. I’d rather be a partially evil person trying to act non-evil than someone whose useless quest to be good helped to kill them.

Ant Logic

I remind myself again and again about how subjective poetry is. How it’s possible for the same poem to be liked, ignored, sneered at, or adored by different people. When I forget, I think of a poem called Ant Logic. It was written by Susan H. Maurer and published in Rattle Magazine in 2016.

The poem consists solely of the phrase “ant logic” repeated many times.

I liked it. I thought it was quirky and cute. But I have to admit, I was surprised to see it published in a prestigious magazine that receives thousands of submissions for every issue and has turned down pretty much every poet I know.

Well, an editor took a liking to that poem and decided they wanted it. They didn’t need a reason; they might not even be sure why they liked it. They just did.

So Ant Logic has come to be an encouraging symbol for me of why I should submit pieces to publications or contests that appeal to me. It’s impossible for me to know what will appeal to an editor or judge.

So send your Ant Logic in. Read your Ant Logic at an open mic. Be proud of your Ant Logic.

Everyday Resurrections

How have you come back from the dead lately?

Today is Easter Sunday, and some people are celebrating the event of their savior returning to life after being crucified. Easter is also, according to some, an evolution of far older spring holidays celebrating other resurrections as well as the general truth of nature’s resurgence into new life after the sleep of winter.

Celebrating resurrection in any form appeals to me. What greater cause for joy can there be than to see something dead now living; something asleep now awake. For me, one day a year to celebrate resurrection is not enough.

How many times a year do I come back to life? How many times in a year do I emerge from the metaphorical tomb and feel the sweet air on my skin? Each time I come back from a dark phase, I step into a new life with new hope. Never mind that my enjoyment of it might be temporary–I am here now; the darkness did not kill me this time. Once again I see beauty; once again I feel gratitude.

The passing of a dark phase isn’t the only kind of resurrection I experience. I awaken from a small death when I devote myself to learning something new or succeed in putting down a behavior that’s sucking the life out of me. I awaken from one when I reconnect in any way with the part of me that can’t die and remember that it exists. I awaken when that spark of knowledge reignites a flame in the dark.

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.