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.

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 Other Shoe

I’ve been doing something dangerous recently: taking better care of myself.

After a very long downward spiral of diabetes/low thyroid/weight gain/depression feedback loop fun, things have begun to move in the other direction since spring. It began with a desperate, no-holds-barred attempt to bring my blood sugars under control with a change in eating–a change that, surprisingly, worked well. It accelerated when this change, somehow immune to my eating/weight baggage because it was serving the blood glucose meter and not the scale, began to have the side effect of taking off a little weight. It accelerated more when something about what I was doing affected my thyroid and my levels approached normal for the first time in years. My most recent labs are a thing of beauty compared to the values of last year.

So why is this a dangerous thing?

It feels dangerous because a part of my psyche is convinced good things won’t stay. A lot’s been written about the psychology of growing up in a household of substance abuse and/or violence, but you have to be one of us to know the sickening plunge of fear that comes when the unpredictable trouble erupts. Everything seems all right, then the floor drops out from under you and you’re in fight/flight/freeze mode. And because you’re a kid, sometimes the third one is the only available option.

Anyway, that part tends to make itself heard when things are going well. I have an inner conviction that something awful is about to happen, and when something bad does happen it’s taken as a confirmation that I was right.

The more I feel a sense of hope about the improvements in my health, the more convinced I am that some terrible punishment awaits. The resistance I battle every time I write something or do anything else positive is almost palpable. It fuels itself with everything from little symptoms to relatives’ ailments to the news:  “You, or someone you love, or the planet, is going to pay a price for your selfish behavior. It’s only a matter of time.”

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.