Non-Zero

“Just get a non-zero amount of words on a page.”

I have a series of files containing the scraps of future poems. Some files have nothing but the poem title. I open one up, stare at it, and if nothing seems to be happening I close it back up again.

I do this because it is a lot less intimidating to look at one of these than to look at a blank page. The act of establishing a place for the piece to come gets me over a psychological bump about starting something. I’ll put in the words or phrase that inspired the idea, give the project a title, and that is that. Sometimes I will let myself stare at the file for a few more minutes and see if something arrives–but that is not the plan. 

The philosophy of non-zero applies to other aspects of my life. Just do a non-zero amount of exercise. Just make a non-zero effort to reach out socially. Setting the bar that low can get me past inertia, and the non-zero amount might grow. If it doesn’t, it is still better than zero.

Ah, the psychological tricks we need to play on ourselves! What would it be like to be someone who just decides to do things and does them?

Not Enough

How often we get stuck not doing anything because we have been taught that whatever we do will not be enough?

I drag myself to a support group meeting. More frequent attendees ask “Where have you been?” I manage to get to a poetry reading. Other poets ask “Too bad you missed yesterday’s event, are you going to make it to tomorrow’s?” I stumble into tai chi. Classmates say “Haven’t seen you for a while, are you coming to the workshop?”

Now, to some people, all of these things might have a very different connotation. These comments might simply mean that these people like me and want to see more of me. But do you think I interpret it that way? No, I interpret it to mean that I am not doing enough, not being enough, not giving enough to that particular community.

It’s easy for me to think that if I compare myself to people who have thrown themselves deeply into one community and seem to devote themselves to it on a daily basis. If I set a standard like that for myself, a standard that fits neither my health nor my current lifestyle nor my devotion to more than one thing, I will always feel deficient. 

If I have the clarity to question my thinking, I see that my feeling of constant deficiency is not fact. I also see that it cannot be fixed by doing more; that I would still manage to find a way to see myself as deficient because the idea is ingrained deeply enough to defy logic.

For me, and for many, many others who are conditioned the same way and surrounded by a culture that continues to encourage the deep belief, the automatic assumption of deficiency is one of the enemies we battle daily. Like our other demons, it is the enemy of creativity and joy. It wants us silent, bound or dead. What it does not want is for us to get up and do something.

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.

Through the Clouds

I want to believe I’ll be creative for the rest of my life.

I want to believe that if I get very ill I’ll use the time and the change in perspective to write, or at least expand my mind by learning a new language or something. I want to believe that if I die of natural causes at an advanced age, my feeble fingers or quavering voice will still be trying to communicate. I want to believe that my mind is and always will be more powerful than my body.

I want to believe my drive toward thought and clarity can always overcome issues with my body. And there is some truth and merit to the idea; there’s truth in the idea that my mind and soul have a great deal of power. There’s truth in the idea that the battle for clarity is not hopeless and that it’s well worth fighting.

That belief, however, is not always backed up by actual experience. My experience has been that my mind’s activities are linked to the functioning of a physical object known as my brain. This organ, whether I like it or not, is a part of my physical body. It’s affected by every other organ I have. It relies on the contents of my bloodstream for oxygen and nutrients. When my body gets sick, or is affected by hormone fluctuations, or takes a new medicine, my brain gets a different cocktail. There’s a tipping point to these things beyond which it’s very hard to muster enough energy or original thought for any productive act.

The truth is that for someone like me, the state of optimal body and brain function is more like a theoretical norm than an actual one in the sense that there always seems to be something going on. As I age and experience more physical issues and age-related cognitive decline, the clouds may get thicker. This thought scares me quite a bit.

As I often do when I feel fear, I grope for a metaphor. Today it’s astronomy.

Astronomers, as least the old-school or amateur types who must perform their observations from the surface of the Earth, try do their field observations on clear nights. When it is cloudy, they reschedule, because the portable instruments they have may not be powerful enough to get anything useful through the cloud cover.

But what if the climate changed and it was always, or nearly always, overcast? They’d have two choices: give up astronomy or build more powerful instruments (or do all their observations from space, but in this metaphor that seems like a post-death thing and we are looking at this lifetime.)

Even if they began to build better instruments, they’d have to accept that they now get less data for more work. They’d have to decide it was still worth the work and dedication.

I have to accept a similar thing. I have to believe that an effort I make on one of my bad days is still vastly, stupendously superior to doing nothing.

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.

The Things I Must Not Write

Some poems, and stories, and essays of mine are not ready to be written because they concern other people too directly. It’s a pity, because I’m sure they would be rich, and dark, and searingly honest. I know some people write memoirs and let the chips fall where they may, but for me it would feel wrong to write really raw stuff specifically about people who are still alive.

Part of my decision is based on fear, I know. The fears many of us have about confronting sources of our deep and sometimes illogical terrors. I’m all about trying to face my fears more often, but I also know my own limits and know that pushing certain things would harm people who don’t have the capacity to deal with it.

I’ve sometimes been advised to write pieces and simply not share them with anyone–don’t read them, don’t submit them, don’t self-publish them. Occasionally I do write some things for a recovery activity or when working with some kind of counselor. In general, though, I feel frustrated at the idea of writing things I am supposed to keep secret.

It doesn’t make sense. Journaling is so highly recommended for creative types; why can’t I get on board with private writing? Is it that I have a hard time giving myself permission to create without some small chance of it enriching others? Or is it just ego?

Tea Works Better When You Drink It

Pretty frequently, my daughter reminds me that the untouched tea, or coffee, or snack near me is doing me no good sitting there.

By the same token, getting my writing seen and appreciated by more people is a lot more likely if I actually send it out. Submitting pieces might not lead to them being accepted by a certain publication…but not submitting them definitely won’t. Reading at an open mic might not help me get new connections and meet people who like what I have to say…but not reading definitely won’t.

Recently, I sent out a couple of different pieces in response to submission calls I had heard about. Just local things, but I was very excited when one was accepted. I would like to get into a more regular habit of submitting work. I have everything I need to do it; I just need to acquire some discipline and get into a rhythm.

It helps when I have a clear notion of why I want to submit work to publications; what I want to get out of the process. I suppose what I want most is to be more open to possibilities. Also (and this part is important) I enjoy a childlike pleasure in having something out there because it means there’s always the possibility of a nice surprise coming.

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.

Reminders

No matter how well I am doing, I must not forget what I am. No matter how much I am enjoying being a poet, or how invested I am in being a mother, I must not forget the conditions that have the ability to destroy it all if I don’t deal with them as responsibly as I can.

I live with a mental illness, and I’m an addict in recovery. These things become less and less obvious to people as I rack up more years clean and have the good fortune to stay out of the hospital for years as well. But serious mental health crisis always has the potential to happen–and, of course, relapsing back into my addiction would bring all my progress crashing down on myself and my loved ones.

Many of the people I meet these days don’t know about my past. Sometimes I am nervous about if, or when, or how to talk about it. I don’t know to what degree I will encounter stigma. Sometimes I expect, on some level, to be “written off” as a new acquaintance gets to know me. Not that I can’t be written off for many other things about myself, or just for general social awkwardness.

At any rate, my learning and growth have to be balanced with continued maintenance. New adventures have to be undertaken with an honest knowledge of my limitations. Even when I can “pass” for normal, I have to remember and accept that I am not.

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.

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.

You Promised

I just overheard a few lines of a loud couple’s spat. One of them shouted “You promised you wouldn’t break my heart!”

The seventeen-year-old with me commented “That’s a pretty stupid thing to promise.”

I agreed with her, and it made me think about my attitude toward relationships. Have I become cynical about love?

Poetry is full of feelings about love. New love, old love, lost love, unrequited love, sexual love, fraternal love…love in all its forms.

Poetry is full of the ways love makes us feel. Therapy sessions are full of talk about the love we want or our feelings of betrayal about the love we don’t have.

I always wanted the love of others to make me feel better about myself. I used it, along with substances or other forms of escapism, to soothe my fears and frustrations. It didn’t help that I had no idea what love actually looked like. I wanted something, and when I didn’t get it I felt neglected and resentful.

It’s taken me decades to learn that nobody owes me love. That I can’t win love, earn love, manipulate love or simulate love. That love is beyond my understanding or my power to control. Do I feel sad or lonely when I want someone to love me and they don’t? Yes. But I no longer feel like a victim or believe there’s some way I could change it.

I wouldn’t ask anyone to promise they won’t break my heart, and I can’t promise I won’t break theirs.

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.

Too Little, Too Late

The phrase haunts me. Whenever I find a lump where a lump shouldn’t be, or even have a twinge of pain in an unfamiliar place, the fear comes up. I’m turning into a hypochondriac, and I don’t like it.

It’s not just that I am afraid of dying, although I am. It’s that part of me is still waiting for a judgment from the universe–a judgment saying I’ve had enough second chances. A judgment saying my current efforts are too little, too late.

I recently spent time with a fellow addict who is on dialysis. For three years, she tried to quit smoking in order to get on the list for a kidney transplant and could not do it. She finally succeeded—two months before a heart complication showed up and derailed the whole process. Too little, too late.

My blood sugars are lower than they’ve been in a long time–but with every exam I fear the onset of some complication born during the less controlled times. My weight is improving slowly from the place it reached last year–but with every sore knee or backache I fear that I’ll never dance again.

It all feeds into the roar from the ever-present peanut gallery that observes my efforts at writing: You’re too old! It’s too late! There’s not enough time left to accomplish anything that is worth doing!

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:

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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.

Laureate

Last night I went to a reading by California’s current Poet Laureate, Dana Giola. It was interesting to hear from someone who has had such a long and varied career–he’s a former chair of the National Endowment for the Arts, with an MBA and a PhD in literature. He has taught and promoted poetry education all over the state for years.

The contrast between seeing his poetry-as-my-career persona and the more intimate experience of hearing his poetry was fascinating. He, like many poets, writes of love, grief, communion with nature, and all of his human experiences. However polished and goal-oriented he may be in his endeavors, when it comes to his poems he is naked. And thank the gods for it–how else could I feel connected to him and keep any feelings of envy and inadequacy to a minimum?

Because (and this will be no shock to those who have read any of my writing) I do have these feelings. A career such as his is not achievable for me unless I invent a time machine and manage to get started writing well before my late forties. I must focus on what I can do in the time I have, and I must keep my eye on that which makes me want to write whether it leads anywhere or not.

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.

Just As I Am

Today I’m wrestling with a common question: go to a poetry reading or not? One of my favorite monthly ones is happening this afternoon, and I want to go–but I’m not having a good day.

Not having a good day, in this case, refers to my bipolar symptoms. The depression and disorientation are up for me right now, and it is hard to focus. When I am like this, I feel a bit alien and more socially awkward than usual. How much of this is my perception and how much actually affects others is hard to determine.

Would going to the reading do me good? Yes, almost certainly. It’s an opportunity to connect with the poet I am and disconnect from mundane worries.

So what’s trying to keep me away? Ego, of course. Not wanting to show my vulnerability. Wanting people to like me.

Let’s break it down, however. Some of my poems that touch people the most are my most unguarded ones; the ones that expose me. One of my favorite things to say to myself when I am blocked is “When all else fails, tell the truth.”

I’ve written it before, but for me it bears writing again: my best qualities come forth when I offer myself to the world, just as I am, and let others decide what to make of it.

Are We Disposable?

(Originally posted on my old page Not This Song, 2014)

It’s a selfish question that hovers around the edges of my mind when I think about the state of our world. I’m not involved in politics, and I tend to be ignorant of many topics that speak of important developments–I don’t like that about myself, but it is my truth. As my readers know, there are times when my main contribution to society involves working on ways not to be an active drain on it.

Those who share some of my issues are often seen as an impediment to the prosperity of others, and certain voices try to shame us when we use the services our governments may provide to care for those who have trouble caring for themselves. I’d like that to be different, but I don’t imagine it will ever be uncomplicated.

In the end, we are all still animals competing for resources, and only the trappings of civilization introduce the idea of giving any resources to the helpless. Some have said that the measure of a civilization’s advancement is related to how much, and how well, they care for their children, their sick and their elderly.

Whatever one thinks about the world situation, it’s pretty clear that overpopulation will continue to be a problem. Resources will be at more of a premium, and there will begin to be more sorting of which kinds of sick or disabled are worthy of help. Mental health may not be highest on the list. Addiction-related issues are likely to be even lower, since addicts are usually seen as deserving their suffering.

This, from a Darwinistic point of view, may be a regrettable but unavoidable thing. But how much should we resist its progress? How much should we fight to be seen as something besides a liability? Is there a place for us in the future?

Sometimes, when my mind is spinning its catastrophic phantasies, I go postapocalyptic and imagine how long I, and many I care about, would last. I always imagine myself as a liability to whatever group I’m with, unable to function very well without my meds, or unable to see because my glasses got broken. I see myself as useless, without a lot of physical strength or swiftness to build or get things the group needs. I see myself as the first to fall behind and become lunch for zombies–unless a friend gives me a helping hand.

And why should they?

Why should they, unless we have some kind of value that isn’t strictly practical?

Why should they, unless those crowded barracks or underground warrens need us? Unless humanity is incomplete without us? Unless there’s a spark that’s worth maintaining, a spark worth a bit of food or a place near the fire?

Why should any society help its disabled, even when a cold equation might say the help isn’t bringing a sufficient return?

I got on this subject with my therapist during one of my dark and hopeless spirals recently, and we talked about the idea that humanity, by nature, will always need its shamans, its poets and its weird people in general, as well as the wisdom of its elders. “That may be true,” I said, “but you can’t deny that in a crisis state the strong and able will be valued most. The women who can bear healthy children, the physically strong, the mentally stable: these are the ones who can outrun the zombies or will get rescued first. You can’t deny that I’ll be one of the first to go.”

Then he told me that, although it might be true in some situations, it doesn’t mean I deserve it. Then he said something that cheered me up: he told me that if it does happen, maybe I’ll discover that the zombies are in need of poets too. Feeling better, I began to imagine my new dream job as Poet Laureate of a zombie city.

I don’t know if we are disposable. I don’t know, not for sure, whether our existence has intrinsic value. But I do exist, and I am grateful for it, and I have a daughter for whom I want to model values of love and not shame. I want her to see me doing my best, and believing I have something to give the world, so that she might learn to believe the same thing.

So I send love to all my peers, and invite us to go down swinging if the time comes, and hold our heads up until then. As a token of my affection, I enclose the opening poem from my potential future body of work:

Brains

Arrrgh brains brains
Brains gurgle thud howl
Brains brains crunch splat
Brains brains brains.

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.

Beginning the Process

So, I just did the first cross-post from my other site. There will be many in the upcoming weeks. I picked an old post for the first one, but they won’t be in any particular order from now on.

I won’t be transferring everything. Some old essays feel less relevant because they talk about very specific things that were going on at the time. Some may also be edited a bit. But I want to preserve my favorites.

That being said, I also want to have plenty of new posts about what is going on with me now. How the poetry readings are going, what new submissions I am doing, and how I continue to navigate the journey to a more creative life and deal with the roadblocks that appear.

Today I’m heading to a poetry reading in Benicia, CA. I’ve been to it before, and it’s a mellow atmosphere. Familiar readings are nice; I get more comfortable with repetition and more willing to share brand new and less polished works.

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.