Sunday, November 29, 2009

Wordplay and the Artist's Way


I was thinking yesterday about how people decide what they want to do with their lives.  I always say that if I could do anything I want to do, I would make art and write.  I consider whether both of these are forms of escapism, but I don’t think so.  I just have this extreme appreciation for creativity.  When I write, and strangely enough, even more when I make art, I am thrilled by the idea that I am doing something that no one has ever done before.  Now of course, I know that others have written—but not exactly what I have written.  And sometimes it freaks me out to think that I may be the only human on the planet who compulsively sticks dots to her paintings!  Admittedly I don’t always do this.  For example, I am currently working on a series of retro fashion pieces that are made of strips of paper cut from magazines and books.  And I know I am not the only artist who has used this technique.  I would like to think I am using it differently though.  We'll see.  I am about to finish my second piece in the series and I have ideas for a dozen more.

As I was working today, I realized how gluing strips of text onto my panel is very similar to playing with a random sentence generator.  If you have never experimented one of these, there are lots of them online.  Even better is a site titled, “Language is a Virus.” 

http://www.languageisavirus.com/

Just scroll down under “Writing Games” and you will find a wealth of wordplay and inspiration.  Don’t get me wrong, I don’t think that having a computer program generate a poem is a shortcut for doing it yourself.  But it can definitely inspire a blocked writer by supplying a surprising combination of words or thoughts.  The "poem engine" is pretty cool. And so is the "cut up machine."  Then when you get bored with wordplay, check out the writing prompts.  The last time I played here, I clicked on the button and received the following prompt:  "Write household poems about cooking, shopping, eating and sleeping."  I ended up writing the poem below.

AROUND THE MOUNTAIN AT THE END OF A SLEEP

you seem to think

you are as beautiful

as the sun

filtering

slanted through the trees

that you

distract me

like those beams

and drive me

headlong without regard

into traffic coming on

last Saturday

I cleaned the kitchen drawers

spent the drizzly morning

bent on trying to remember

into which clattery pullout

I had stashed my dreams

if I seem to be

invulnerable, you

are sorely misinformed

**************

Not a great poem, perhaps, but good enough to get published in The Sigurd Journal a couple of years ago.  I especially liked this journal because they published an interview with each writer, including questions about the published piece and the writing process.  Unfortunately, like so many printed literary journals, this one is now defunct.

And one last recommendation:  The Artist's Way Every Day: A Year of Creative Living by Julia Cameron.


Friday, November 27, 2009

Shoe Leather and Pleasant Weather

When the weather is nice, I like to walk to my studio instead of getting my car out.  It is about a mile and a half, so the two-way trip is just the right amount of exercise.  Better for me and better for the environment.  The trick however, is getting there without too many offers of a free ride from friends and strangers.  Especially strangers.

A lot has to do with wardrobe selection.  I have discovered that if I wear my ‘painting clothes,’ which make me look perhaps a bit too grubby, I get way too many sympathetic looks.  And it just seems wrong to garner anything even remotely resembling charity when I am not truly in need.  It also seems to be important to wear sensible shoes, not only for walking comfort, but to give the appearance that I am in charge of my journey.  It is as though a solid shoe with anything close to a tire tread for a sole keeps people at bay… somewhat.  And sunglasses seem to help, too.  Never make eye contact.

Well, never say never.  I was also reminded today that it is important as a pedestrian to be very much aware of vehicles backing out into traffic.  And I learned that it doesn’t matter how long you stand near the rear bumper of a pick-up truck, until they actually acknowledge your existence, it is not really safe to proceed behind them.  Sidewalk or no sidewalk.

And that is another issue for me.  Who is responsible for the design and paving of sidewalks in this town?!?!  Anyone who has walked more than a hundred yards knows that if you are on a sidewalk, it is sure to disappear suddenly, and not always at an intersection, only to reappear on the opposite side of the street.  Maybe.

So I pick my way across town, avoiding major intersections, jay walking by necessity, leaping puddles, kicking leaves, and trying to stay away from dogs, even those behind fences, because I don’t really trust some of those fences to keep the dogs contained.

And though my studio is only a block north of the courthouse lawn, yes, I usually circumnavigate the square, because I find it slightly dangerous that no one ever seems to come to a full halt, and mildly insulting that even though the traffic signals are set on a timer, pedestrians are still provided with buttons they are supposed to push to get the light to change in their favor.  People, these buttons do nothing!  And even though I am in danger of sounding like some sort of activist, I can’t help but wonder how much nonfunctioning buttons cost!  I mean, it isn’t like someone just painted a dot on a light pole.  They are very convincing, resisting the pressure of an index finger just enough to make you think a pulse of electricity is indeed on its way to the little blinking walking man that will eventually appear on the pole across the street to let you know it is safe to walk.  And let me caution you that it is not safe to walk, because almost no one acknowledges the right of way of a pedestrian when they are turning right!

To be honest, I don’t know if the buttons are even still there.  I have been avoiding the square so long, that they may have been removed.  Which makes me wonder how much it costs to  uninstall a fake button?!?!

Contrary to the apparent incendiary mood of this blog, I am not inflamed every step of every trip I make to and from the Image Warehouse.  I use the time to think and to not think, (pardon the split infinitive…) whatever the mood requires.  And I so love this time of year between Thanksgiving and Christmas!  Especially when the weather is so unbelievably gorgeous.  I am spending the evening cutting paper strips so I can finish my collage/painting this weekend.  Life is good.  (And no, it is not just the tryptophan talking…)

Wednesday, November 25, 2009

Highest and Best Use


Highest and best use is a term used in real estate.  It states that the value of a property is based on the use of the property with the highest and best use being that which produces the highest property value.  I thought a lot about this idea after reading several comments on Facebook recently, comments related to the perceived decline of Athens, Texas.  I was admittedly at a loss when it came to sorting out the opposing and sometimes accusatory comments, so I did not add my voice to the mix.  Instead I turned, as I usually do, inward.  I turned also toward the things that comfort me: art and literature.  And since Athens was so named because it was hoped that the town would be a center of culture and learning, perhaps this was a good place to start looking for an answer. 

I have a habit of reading many books at the same time.  And I am often astounded when I find connections springing up between the various texts.  I have listed below the things I read today.  They will undoubtedly influence not only my art, but my life as one member of the community in which I have lived for over thirty years.

In The Essential Jung I read, “Jung of course accepted that man is a social animal, and realized that the majority of mankind are content to live in accordance with the collective, social conventions of their time.  But the people who really interested him were not those who were thus adapted, but the exceptional individuals whose own nature compelled them to reject conventional ways and discover their own path.  The development of individuality, the discovery of what an individual really thinks and feels and believes, as opposed to the collective thoughts, feelings and beliefs imposed on him by society, becomes a quest of vital significance.”

This brings up the following questions: Is not a successful community one in which a variety of individuals can co-exist, each following his or her own path?  What is the obligation of a community with regard to the individual?  And conversely what is the obligation of the individual to the community?

In her book, Painting from the Source, Aviva Gold writes, “Our culture and education system brainwash us into believing that painting is open only to a handful of uniquely talented individuals worthy of the title ‘artist.’  Yet indigenous peoples all over the world understand that every human being is an artist.  In Bali, the same word means both ‘human’ and ‘artist,’ and making art is as much a part of everyday life as planting rice.”  

I would like to see the arts become more a part of the lives of everyone in my community.  What can I do to make the arts more accessible?

In his Guide to Yoga and Meditation, Richard Hittleman writes, “Whenever you catch the machine-like ordinary mind playing the record, distracting you, filling you with useless thoughts which consume your valuable time and vital energy, order it to stop!  Tell it in no uncertain terms that you are not interested in these superfluous, meaningless thoughts and that you do not want them to arise again.  If you will issue this order whenever you observe the ordinary mind involved in its antics, it will soon stop forcing your attention upon these things.”  He goes on to say, “Also, during your leisure hours, notice if your mind is cluttered with idle day-dreams, wishful thinking, repetitious thoughts of the past and fantasies of the future.  Such workings of the ordinary mind sap our life-force and lend substance and reality to the illusionary way in which we see the world and ourselves in relation to it.  If you use the above methods of suddenly, unexpectedly getting the ‘feel’ of your ordinary mind, of observing the thoughts which are passing through it at various time of the day, you will become very aware of how much these thoughts include useless concern, false anxiety and foolish daydreams.” 

Would it not be a wonderful environment if everyone would take even a few minutes each day to transcend the clutter that takes up so much of our mental space?

In Wild Mind: Living the Writer’s Life, Natalie Goldberg writes, “The mind is the writer’s landscape, as a mountain scene might be the landscape of a visual artist.  Just as a visual artist studies light, perspective, color, space, we write out of memory, imagination, thoughts, and words.  This is why it is so good to know and study the mind, so we may become confident in its use and come to trust ourselves.” 

Goldberg also says, “Let passion burn all the way, heating up every layer of the psyche, the conscious and the unconscious. “  She advocates the following as a writing exercise:  “Write about something you really loved, a time when you felt whole and complete in an activity all for itself.  It could be something as simple as learning to make a grilled cheese sandwich, or a time your uncle taught you to tie your shoelaces into a bow.  Something you concentrated on as a kid because the ability to concentrate is where the bliss and love come from.  Be specific but don’t forget to throw in a detail about a cloud out the window as you bent to tie the shoe or the chandelier above your head as you leaned down.  This is good practice.  While you concentrate and narrow in, you are also aware of the whole world.”

So this is how I spent my time today, concentrating and narrowing in, becoming aware of the world.  Not everyone contributes to a society by joining a committee.  Some simply do what they do, quietly and with determination.  It takes so many types to make a town.  I am one of many.   I have no answers.  But here is some poetry, a few pieces of myself that I send out into the world today, thankful that I have a safe place in which to pursue my own highest and best use.

“Blue Blood” is the result of the Goldberg exercise while “Seated” comes from the type of meditation discussed by Hittleman.  “Prone” is sort of a combination of the two, childlike appreciation combined with a deeper realization.

BLUE BLOOD

Tree frog on the back door screen,

strangest frog I’ve ever seen.

The back porch light seeps through your skin

illuminating life within.

 

Aortic arches filter light

against the backdrop of the night,

while renal arteries branching, curve

like thin blue fingers through tangled nerves.

 

Your tiny pumping heart shines through

and your life-blood surges, clear and blue.

Translucent Blue Blood, tell me true,

could you be my prince?

 

SEATED

you have taught me

to sit strictly           

with my arms                                   

rotated

turned against

pain and pain and pain 

until I learn

there is no strain           

the body           

cannot           

withstand 

then when the vibrations begin

as I push pain               aside           

   pain               aside with a burst 

till the flower unfolds toward night

till I am darkness on the

left        and pale shadow on the right 

I am right then           

right there                       

right next to that edge

right next to the leftovers

cold squash in the Tupperware 

then the door shuts

and the lights

go                        

…off

 

PRONE

Light beams paint bright streamers

when I move my head this fast.

But once the fog rolls in, the farthest grave

no longer makes a good landmark.

From where I stand on shore, the boats glow white.

They soar serenely, oars like dove’s wings stroking up

 

then down.  Sometimes I like to think you’re lying near,

amidst a sea of shimmery grass, your parachute

draped casually round your hips, your silver plane

against the hammered clouds enticing me

to grab the sun before it hits the earth.  I’ve always

loved you with the vigor of a flowering weed.

 

I like the heavy doors that close the church, the sounds

they make, their thunder.  And I like to shake my head

to swirl the stars.  Come with me to the lake.

There is a ladder by the well.  Or we can climb the dried up tree

and take the single peach that dangles like a teardrop

from a spindly limb.  Come climb with me and see.

 

Fade or multiply, we all diffuse,

and I won’t hang on this cross very long.

So we better sing while we can,

burning, flames in our hands.

Look close enough to see my stamens.

Sigh loud enough to make the candles dance.

'Cause there’s a hole in the sky, and I’m gone.

 

 

 

 

 

Tuesday, November 24, 2009

Laying out Morphemes and Memes


Chicken, cheese, children, Chicago, and child labor.  The sounds alone of these words form a small poem.  With so much alliteration, it just can’t be helped. And then there is the textual chiaroscuro of the proper noun Madame Chiang Kai-shek, all the associations that spill out with that twanging name, followed by a description of Chile, “it clings to the Pacific Ocean side of the Andes Mountains, and covers about half the continent’s western coast.”

As I am slicing through the white space that forms a band of separation between these lines of text, the visual images invoked by the words resonate and morph as they are juxtaposed.  These are the things that make up the background of the painting I started today.  They are all cut from an encyclopedia printed in 1964, the perfect foil for the 60s fashion piece I just sketched out on the snowy white canvas.

As I sat in the doctor’s office waiting room yesterday, I read an interview with poet Michael Waters in a 2006 issue of Arts and Letters: Journal of Contemporary Culture.  Waters talks about how the sounds of words in poems are perhaps even more important than the meaning of the words.  “Any verse is weak when it is not attentive to sound work, to tactile qualities divorced from literal meaning.”  He cites the same idea from William Carlos Williams who refers to, “the words themselves beyond the mere thought expressed.”  The same theories of composition apply to art as well.  Sometimes it is the arrangement of the parts that make such an impact.  In the interview Waters relates a brief story about photographer Henri Cartier-Bresson who takes a postcard of a painting to the museum, then turns it upside down in front of the painting to compare images.  “You can see it more clearly this way,” he explains.  The subject is no longer emphasized.  This method of tricking the brain by changing perspective also works with poetry.  Waters refers to Williams’ practice of reading backward to enjoy the sounds of the words out of context.  He says he starts from somewhere near the end, makes his way back to the beginning, and thus finishing, finds his own sensual pleasure greatly increased.  “I am much better able to judge the force of the work in this way,” he explains.

Waters agrees.  He says, “I like to do this just to hear the sounds that exist on the page.  I remain aware of the way words clamor against each other or with each other, the musical phrasings, the chiming effects that occur.”  This is the very reason I like creating a word collage as the background of my new series of paintings.  The field then becomes a serendipitous series of combinations—words connected in ways they would never have been connected.  With all of the sounds pushing and pulling against each other, it almost created a quietly humming word-scape into which the prevailing image is couched. 

Waters illustrates his word sound theory with comments by artist Alberto Giacometti who said, “One might imagine that in order to make a painting it’s simply a question of placing one detail next to another.  But that’s not it.  It’s a question of creating a complete entity all at once.”

As a visual culture, we have long been influenced by even the tiniest details of the fonts chosen to convey messages, by the way words are presented on pages and screens.  But it seems we are losing that attention to detail.  Many of our messages come generically and imprecisely packaged.  For example, I find myself irritated by the streaming information that appears at the bottom of my TV screen.  Not only is it invasive, it is filled with misspellings and presented in a sans serif type that offers neither visual elaboration nor the appeal of cleanliness and simplicity. 

So when I am playing with my small strips of text, I think about how the letters are subtly joined together with the small lines used to finish off each letter, the way each phrase brings forth a response as I lay it down permanently with glue, the change that occurs as it is connected, sometimes parallel, sometimes end to end, with its word siblings.  I think about how the sounds in isolation impact me, and in the near future, the viewer. 

In conclusion, am including one of my poems below titled, "When the Stream of Consciousness Turns Downward."  It is part of a series called Falling Bodies and was inspired by the writings of D.H. Lawrence.  Please feel free to read it backwards.  

shoulders shoulders shoulders

fingers twine then tighten         soft

rough touch

to such a place

just out of reach

and then

that sweeping urge to power

down the line from hip to knee

the knee that gives then gives then gives

more 

higher up

from hip          to knee

that feather touch

just out of reach

just reaching

shoulders shoulders shoulders

chest two times

I long to 

shoulders

open mouth

to knee

this urge 

this higher up

just so

just

so

 

Saturday, November 21, 2009

Cussing Without Vowels



            It is funny how writers often spin stories from a common thread.  For example, I have written many stories about my mother, so it seemed natural that I would examine her relationship with her own mother eventually as a means of gaining understanding.   The story I posted a few days ago, A Sudden Willingness to Sleep, contained a reference to a story my grandmother used to tell me about how abusive my father was to my mother.  Needless to say, this made a huge impact on me.  I had never met the man who was supposedly my father, and my mother would not talk about him, so all I had to layer my emotions onto was an image supplied to me by my grandmother.  And considering that she only related dramatic, violent tales, it is no wonder that a handful of my stories and poems have grown out of those images.  At this point in my life, I can honestly say that I don't dwell on that history, but it does make for an interesting turning point in a story from time to time.  Note:  As I have previously mentioned, the man reflected upon in these stories is evidently not my father, so my recollection of these second hand facts has evolved yet again.  I am currently working on a piece about what it feels like to suddenly not know who my father is after 50 years of thinking I had the facts straight.

Sometimes inspiration can come from everyday things.  I wrote a poem a while back inspired by a historical marker sign near my grandparent's house.  And the short piece below came about after hearing my grandmother swear.

CUSSING WITHOUT VOWELS
            I’ve always been good at pretending.  I have come to think of it as a genetic trait handed down by the women in my family, sort of like diabetes or colorblindness, and almost as uncontrollable.  My mother was so good at pretending, she eventually lost track of her own personality, and my grandmother had so many versions of her own personal history, I don’t know how she kept all of the complicated, interwoven stories straight.  In the end I guess… well, I guess she sort of unraveled over time. 
For several years we had accused her (only behind her back, of course) of pretending to be forgetful or crazy when it suited her purposes.  But this time I knew Nanny was gone when she looked me in the eye.  The veneer of convenient memory lapses and sympathy provoking confusions had finally cracked wide open leaving her exposed all the way to the brainstem.  The angry part of my mind muttered, “Serves her right.  She never should have pretended to lose her mind years ago, never should have played that role.”
            But then, Nanny had always been good at acting out her part.  I remember when I was about ten and spending the summer with her and Pappy, the pastor from their small community church stopped by their house on a “visitation,” just to let my grandparents know how much they had been missed at church.  I was a little surprised because they almost never went to church, but as I nonchalantly eavesdropped on their conversation, I came to understand that the reason she offered for them not attending services regularly was the critical condition of my grandmother’s back.  She was supposedly in such continuous pain that she could not possibly sit on one of those pews.  As though to underline this statement, at one point during the visit, Nanny tried feebly to get out of her chair to make a minor adjustment of the nearby Venetian blinds.  Then with a tremble and a sigh of resignation, she expressed her sincere appreciation when Brother Avery automatically and most eagerly took care of the small task for her. 
Of course, everyone knew that she had been hurt on the job at Montgomery Ward’s some 40 odd years ago.  The story was practically local folklore.  And though she was very brave about it all, she had just never been the same after her surgery.  What everyone did not know, however, was that her injury came and went quite dramatically and unpredictably.  Perhaps I guess the preacher thought I was the one who had hauled the feather-stuffed mattresses and pillows out onto the front porch that morning for their semi-annual airing out.  And I guess he thought I was the one who had grown and picked the bushel of purple hull peas we were shelling that morning.
Why, I could almost believe it myself.  My grandfather couldn’t have done it; he left home every weekday morning before sunrise to work in the rose fields until just before dinnertime.  People probably thought it was very kind of me to spend so much time each summer helping out the way I did. 
The truth was no one could really help Nanny with anything.  She insisted on doing everything herself just so she could complain about it later.  She was indisputably the queen of complaining and I have often thought she lived for misery.  For example, I knew instinctively that she would be put off by the preacher’s visit.  Even though he told her he could see himself to the door, she insisted on hauling her frail form from her green chenille rocker to let him out.  After all, she had to get up anyway to latch the screen door when he left.  Even if I had done it, she would have had to get up and check it to make sure I did it right, because you never knew who might be traipsing about the countryside.  I had heard countless tales of “scallywags" who could show up suddenly and menacingly at the door.  And I was always amazed that they were so easily repelled by such a flimsy security system as an almost threadbare screen door.  So I wasn’t surprised that the split second that preacher’s car door closed, she cut loose. 
“I don’t know who that…that…pup thinks he is…checking up on me that way!  It’s almost as though he thinks he’s going to catch me doing something I should be ashamed of!” 
And for the rest of the day, she was down in her back, barely able to do her regular chores.  So I picked up the slack, the best I could, until she was somewhat recovered.  It really was very kind of me to spend so much time each summer helping her out the way I did…
Over the years I suspected it was pretty hard for Nanny to keep up with all of her fictions.  She was understandably confused from time to time when it came to keeping her stories straight, especially after Pappy died and she didn’t have anyone to rehash the day’s irritations to each evening.  Sometimes we suspected her of making up tales to get attention.  Like the countless times she claimed she had to haul out her shotgun in the middle of the night because a stranger was prowling around outside.  She never actually had to fire it because the “varmints” were effectively scared off when she warned them she was armed.  Of course, she didn’t just come right out and tell them.  She would yell into the other part of the house, warnings like, “Russell, be careful with that gun!”
But her stories were often so outrageous, it was as though she was just trying to entertain us.  She meant no harm, and she didn’t seem truly out of touch with reality.  I guess that’s why none of us were alarmed when her “spells” became more frequent and her stories more farfetched. 
For a while, we embraced her growing lunacy as if it were the favorite grandchild or long lost niece who was just there for a short visit.  We tried to look on it as though it were an extreme form of flexibility that would help her survive her eventual move to the nearby Chandler Nursing Home.  For a while, she was even a dark source of amusement for us as we gathered together to compare anecdotes.  We could laugh about it because we knew things weren’t as bad as she pretended they were.  I mean… the bottom doesn’t just fall out like that.  Does it?  Leaving a body empty?
And some of her high jinks were so transparent!  The way she could remember that I hadn’t come to visit her last Wednesday.  And the way she would sometimes pretend to forget that I have three children.  The way she could remember to have chest pains if she thought she had forgotten to take her medicine.  Or the way she would forget to put on her clothes, but only when my mother was there to dependably remedy her nakedness.
Some days when I visited her, she seemed more lucid, and almost frantically determined to relive snippets of history as though she had to transfer memories to me before she permanently lost her ability to store them.  Somewhat passively, I would listen, not realizing that whether I welcomed them or not, her memories were becoming my own. 
I remember the way she taught me to cuss without vowels, as if by omitting those little round sounds and running the rest all together, she made rough language somehow less offensive.  I remember the family myths she would tell about how the piss ant got its name, and about how much my grandfather loved her.  And secret family recipes for simple things like teacakes, dill pickles, wilted greens and chicken and dumplings.
I remember the way she laughed until she cried when she told me about the time Aunt Bessa Lee and Uncle Arkus tried to run off with her favorite milk-glass candy dish, only to find a chicken snake in the cupboard!  “It scared the sh-t out of them!”
I remember tall tales about my grandfather’s family, naturally a step or two below hers on the social ladder, and how they were always taking advantage of her good nature in one way or another.  I remember taller tales about the almost unbelievable tragedies that had befallen her.  After all, “not everyone has had her back broken and lived to tell about it,” and tell about it …and tell about it …
I recall even wilder stories about how she saved my life from that “sm btch” who was my father.  About how she rocked me all night when I had the croup and because I wanted only her and cried for only her.  And I heard about how my mother wore a turtleneck sweater in the middle of the summer to cover the fingerprints my father had left on her neck.  And about how she went into premature labor that same year on a wet day in late October and gave birth to my older brother who lived only three days.
            My darker self says that life is often not what we want.  Like being born, it isn’t a matter of choice.  And with some of us, our retrospective selves try repeatedly to wish the whole thing away, or failing that, to somehow revise it.  I guess that’s what Nanny had been doing all those years, trying to make up a life that pleased her, one that allowed her to go on one more day.
Once when I was staying at her house, I saw an old photograph, floating free, as though it had escaped for a while from the brittle brown pages of its heirloom album.  The frozen image of a young woman peered out, almost vibrating with intensity. She had serious eyes, thick dark hair emblazoned by a streak of premature snowy white, a plain dark dress, and black shoes two sizes too big for her small feet.  She looked like she was on the verge of living the next story of her life, as though she had been only momentarily captured and that her energy was barely contained by the white space of the picture’s frame. 
I’m not even sure if the girl was Nanny.  But I like to pretend it was.

Friday, November 20, 2009

Contemplation of Death

Each of the poems posted below is in some way about the subject of death, or more accurately, how one's contemplation of death impacts the way he or she lives life. The paintings I have posted today, however, are very much about life. They are from a series I painted a few years ago, and they are all portraits of some of my students.



ON HAVING WRITTEN LILY DOWN

I have had this dream
several times now
in one form or another,
several times since Dot died,
wherein we are talking
and she keeps telling me
there is someone there
with her. She keeps trying
to give the phone
to some woman named Lily.

Then I hear the hollow clatter
of the swinging, dropped receiver.

Never any real communication.

And I wake up with my tongue pressed hard
against my teeth, checking
for the first signs of looseness.


AS MUCH AS YOU HAVE TO

You don't have to worry
about the meaning of life
why it is important

your world
your ultimate experience
your fantasy land
is a mesmerizing game
with obsolete plastic parts

but why pay twice as much as you have to?

more people
more stuff
more small talk
means less understanding

straight talk
it's
it's
it's
it's all the same thing
it's nickel defense
again and again and again
and we die

seeing is believing
but I expect more


ARS MORIENDI

I will go
the way of a promise
forgotten
the way of car noise
with unknowable purpose
tension building and passing
never seen on distant roads

like the blackest crow
I will stake my form
to a leafless tree
like a lone cicada
I will sing my ageless litany
toward the sky
as I strain and straighten
without shame
like drying grass

when I am blinded
and inclined to sing
no longer needed
to enhance the air around my head
I will exhale

I fear the source of all true art
one day will show itself
and strip itself down
like news-flash-facts

I fear my heart will burst

then if I can't believe in love
then I will go



ENAMORADA
(from Conversations with the Virgin)

Lady of long silence and restraint,
these flailing words are predetermined
to become more active than sound,
for I have found myself again
longing for a sacred heart.

Hot and cold all at once,
my fogged eyes
have been ignored again
by the spirits of the dead,
and my prayers sound
as though I am spitting
bitter fairy tales
in a foreign language.

Abandoned by my mother tongue,
unspoken laws cause me to alter
my discreet black street clothes
for attire perhaps more expressive.
I seek a temporary reprieve.
But real-life stories
confuse the heart.

I want to give up this place today,
to ride off into crimson brilliance
looking for the ideal metaphor,
like someone to come home to
every night.



1:05

I am with you in my sleep
and we are walking up
a steeply twisting trail.
I dream you want to touch me,
but the light is much too dim.

Being lit from within
is such a subtle technique,
but here I lie, a still pale shadow
in this covering of skin.

From the distance comes the cadence
of a droning makeshift craft.
Then there are insects by the millions,
and they're examining my skin
as though the crosshatched lines
have formed a treasure map.

Within the mystery of their humming,
past the limits of my eyes,
the lessening distance of their thrumming
pulls me closer to the light.

I've drawn no audience
and I have never held the fire.

But when the fade comes,
I will go without remorse,
declaring victory, crying glory
in an ageless, rhymeless,
nonbeliever's voice.




MISSING THE MASS ASCENSION
OUTSIDE ALBUQUERQUE, NEW MEXICO
It's most efficient
to fly against the wind,
so we follow our noses down roads
where flamingo windsocks hang from poles
and point forever away from the source.
In the desert I wanted to be moved
by the ascension of a thousand plus balloons,
moon-shaped containers of air
dwarfed by the horizontal,
subjected to the straight sun
and the curved breeze,
but when they dance across the sand like that,
like captive sisters in edgeless waves,
I am troubled by this softness in my knees.
Still, some days are as unsettling
as a severed leg in the highway.
There are things I don't want in my mind.
Things like corpses and abused children.
Things that leave me wanting beauty
with a thirst that makes my teeth clench,
makes my mouth water,
makes salt and violence in my throat...
and I want beauty to be the cure
so I swallow and I swallow and I swallow.
Unsatisfied with the challenge of this box,
as pointless as a flaccid sock,
as delusional as a prophet,
maybe I was wrong to think
I could take the pulse of a planet.
Maybe I have swallowed so many diamonds,
my feet may never leave the ground.



Wednesday, November 18, 2009

A Sudden Willingness to Sleep



The painting above is a detail, slightly smaller than life size, from my portrait of my mother which is titled A Revisionist History of Glenda. The story below is one of many I have written about my mother in which I try not to revise history. It is a last attempt to connect with her memory in some meaningful way without glossing over the truth, at least the truth as well as I can remember it...

A SUDDEN WILLINGNESS TO SLEEP

When my brother and I were young, it was not unusual for one of us to find my mother passed out, usually on the kitchen floor. 

How would you describe the dizziness that you felt before fainting? Did you feel light-headed, off-balance, or like the room was spinning?

I don’t know what caused the fainting.  I thought it might be because she was pregnant, but even after she gave birth to my sister, the fainting continued.  It must have been a reaction to the violence in our house.

            She and my stepfather fought sometimes.  It was the kind of fighting that started with yelling and often escalated to him hitting her. On at least one occasion, she pulled out a butcher knife to back him off.  I’m pretty sure it was the time she told my brother and me, in the heat of the argument, that he had “slept with” (a term I didn’t understand at the time) our housekeeper.  Looking back, I’ve often wondered why she didn’t go for the knife before he hit her…but I was never the kind of kid to ask such questions.

            It was usually the day after the fight scene that we found her on the floor. 

            When you regained consciousness were you aware of your surroundings or were you confused?

The first time I saw her crumpled on the white tile, she was on her stomach with her hips and lower body turned uncomfortably to one side.  Her arms were loosely curled about her head, tensionless hands palms down, and her right cheek was flattened against the pale, horizontal plane.   I thought at first that she was asleep, but her face didn’t have the slack look that sleep brings.  And when I tried to wake her, she didn’t seem quite able to open her eyes.  (I had just started taking swimming lessons, and saw a similarity in her posture to the way I must have looked when I practiced the dead man’s float.  The way her torso was scrunched up and turned sideways definitely mimicked my style.  According to my swimming teacher, that telltale gesture was because I refused to relax…)

            Two and a half years my senior, and obviously more experienced with such situations, my brother knew to get a cold washcloth and blot Mamma’s face until she came back to us.  This pattern of discovery and resuscitation went on for years, and other than the occasional black eye or bruised jaw, she showed no lasting signs of wear or tear.              

Did you experience chest pain or heart palpitations when you fainted?

Maybe it was because I sort of got used to seeing her that way, but sometimes when we found her, I almost felt like she was pretending to faint in order to get attention.  We did feel sorry for her when she fought with my stepfather.  She didn’t really ever seem to be at fault, and we thought he was mean to her.  But after a while, we wondered why she didn’t just pack us up and leave him.  (She had been married before to a mean man and she had left him.)  We weren’t sure if the fainting was an attempt to keep the tide of our emotions predictably surging in her direction or if she was just trying to keep everyone afloat a little longer.

            They didn’t fight all the time.  And we were always reassured afterward that things would be okay.  We learned with time that this was merely parent talk, a coded message sent not so much to keep us from worrying, but to keep us from telling anyone about the fights.  I guess you could say my brother and I grew up in a house of secrets.  It was as though each member of the family lived in an iridescent bubble of potential sealed off from the rest of the household, and most decidedly from the rest of the world.  I grew up not completely understanding the dynamics of the situation, yet somehow convinced there was no real point in asking questions.  Something told me I had all of the answers if I could just be very quiet and listen for them.  So I stayed quiet.

            The only one I ever really talked to was my brother.  Being older than me, Bubba was naturally more confident, and I looked up to him worshipfully.  He didn’t like to spend much time alone, and our household wasn’t the kind where our friends were welcome without making an appointment, so to speak, by way of our mothers.  So by way of default, I was Bubba’s primary companion, and at least on the weekends, he was my primary caregiver.

            We lived in a beautiful, new house that had recently been showcased in the Tyler Parade of Homes, and everyone had his or her own bedroom.  But I liked Bubba’s room best.  And when he didn’t have anything better to do, he was willing to spend time with me there.  We were strongly discouraged from messing up the common areas of the house, such as the living room, the family room, the glass-walled atrium filled with artificial plants…  and my room was much too frilly for adventure.  Besides, Bubba had his own TV, so we usually ended up playing there, and as long as we didn’t make too much noise, we were pretty much left alone.  Except for naptime.

            During the week I usually lay down with Juanita for a half hour or so, and often dozed off as she rubbed my head.  And usually on Saturdays, when Bubba was home from school, we were required to take an afternoon nap.  Neither one of us really felt a pressing need to sleep in the daytime, but we were still forced by Mamma, or the maid, or whoever was on duty, to “just lay there for a while and rest.” 

My room was bright with sheer white curtains that let in most of the sun.  And since I didn’t like my room (it would have been tolerable if my bed had a canopy, but Mamma said they attracted too much dust) I tried to convince Mamma that I was completely unable to sleep there during the daytime.  (I had learned at a very early age that if I complicated the issues enough and just kept talking, I could convince her of almost anything.)  I would propose elaborate scenarios and chatter on about things like remodeling my room.  In a detached voice that told me she was paying more attention to putting on her makeup than she was to my plan, she said we couldn’t change my curtains because they wouldn’t match the rest of the window treatments on the front of the house.   So I proposed putting tinfoil on the windows (I had recently discovered this technique and, believing it to be a necessary step toward the space age, was fascinated by the reflective possibilities…) Mamma practically swooned. 

I told her she could buy me one of those satin sleeping masks, the kind that movie stars wear.  At that point I stretched out on my back on her bed, crossed my arms over my chest like a corpse, snored like a stooge, and played out the act of napping in my imaginary mask… then I sprang up dramatically and warned her there was always the chance I would forget to take it off when I awoke and somehow wander out of my room, out of the house, into the street, and “what good would all of those years of naps do me if I got hit by a car?” 

When I would go off on these practically unpunctuated tirades, my mother would try to ignore me at first, but I could be relentless in a quiet, dogged way, and almost always got what I wanted eventually.  So, I was allowed to take my naps in Bubba’s room.

His room was darker and much cozier than mine.  Whereas mine had bare, white walls, snowy linens, and pale, glass-protected, French Provencial furniture, his had rust-colored corduroy, dark oak paneling, lots of book-filled shelves, and a subdued atmosphere like that of a perpetually rainy day.  But the best part was his headboard.  It was a cabinet of sorts, a rectangular box that stretched the width of the bed, and it had two sliding doors across the front.  When both doors were pushed all the way to the center, they neatly overlapped, leaving just enough room on each side for us to squirm our heads and shoulders into the openings, and just enough light for us see each other’s faces at opposite ends of the tunnel.  It was a crawl space for secrets.  And it carried our whispered words back and forth from one end to the other as effectively as if we were two tin cans connected by a string.  When we were in there, I always felt as though we had stumbled upon a communication invention as conversely primitive as it was amazing.

As equally amazing was the fact that Mamma didn’t seem to care that we liked to cram our heads into the headboard.  She would come in to check on us, turn the radio on almost silently to the “piano music station” to provide us with a little ambient sound (she was always one for setting the right mood) and pull the door almost shut behind her, leaving it was open just a crack--“In case I want to take a peek at you; that way I won’t wake you.”

Mostly we talked about silly things at naptime like whether or not we really brushed our teeth, or what we would take on our next trip to the woods.  Sometimes we pretended we were characters from television shows.  Bubba’s favorite was Rin Tin Tin and Rusty, but I wasn’t crazy about that one because I always had to be the dog.  When it was my turn to choose, I always wanted him to be Maxwell Smart, so I could be Agent 99.  I especially liked to pretend we were in the “cone of silence.” 

Sometimes we were more focused and made plans about things we would do when we got older.  Bubba wanted to be a fireman or a policeman.  (He would someday become both.)  I guess he liked professions that offered the bonus of a uniform.  I just couldn’t seem to lock myself down on any specific vocational plans.  I couldn’t decide if I wanted to be an astronaut, a ballerina, a stewardess or an accordion player.

But the limited circumstances of my life up to that point were definitely helping me narrow the spectrum of my career choices.  I didn’t really know enough about the space program to adequately fuel my imagination, and my mother couldn’t seem to find the time to take me to dance lessons.  And while I definitely liked the idea of being a flight attendant, I had flown a couple of times and was beginning to think it might get boring after a while.  But I was truly hooked on the notion of playing the accordion.

I had been virtually steeped in the Lawrence Welk Show since birth, and for a while, wanted desperately to become one of the Lennon Sisters.  (But, as my brother pointed out, I was way too young and would probably not stay blond forever…)  Besides, I was truly enthralled with the kinesthetic energy that accompanied the accordion.  I had accumulated quite a collection of polka records (given to me by the sympathetic music lovers in my extended family), so when I was forced to play in my room, I would lope about the pristine space to a 2/4 beat, playing a pretend accordion I had fabricated out of two shoe boxes and a wad of duct tape.  With my right hand splayed across the cartoon face of an inked Hush Puppy, I manipulated imaginary keys, while the fingers of my left hand pushed crayon-drawn buttons and I rhythmically squeezed the instrument’s crudely constructed bellows.  Not surprisingly, no one seemed to understand my obsession, and my mother assured me quite emphatically that not only was the accordion impractical, it absolutely was not an instrument suitable for a girl.  She must have been right, because I have yet to possess a squeezebox…

Bubba and I eventually outgrew our headboard conversations, but we still spent time talking about the future.  Sometimes when we were upset by one of Mamma’s and Daddy’s fights, we ached to leave home.  And though we still felt more sympathetic toward her (he, after all, was the one we were most afraid of), when she failed time after time to follow through on our evacuation plans, we decided we could live without her, too, if we had to. 

But still, she fainted every once in a while.  Bubba said he thought it was because of the pills she was taking.  I had seen the twin yellow moons set each morning by my stepfather against the backdrop of her breakfast plate, but because of the v-shaped cut-out in the center of each pill, I assumed they were like the vitamins he gave us.  I learned years later that the little yellow pills were Diazepam, more commonly known as Valium, a psychotropic substance often prescribed for chronic anxiety disorders.  Mamma began taking it right after it came out in the early ‘60s, perhaps as an alternative to barbiturates.  It was supposed to be safer and less likely to lead to an overdose, but was later found to be highly addictive.  (Evidently Valium has also been used at times by military snipers to relax muscles and slow breathing for increased firing accuracy… It’s probably just as well that Mamma didn’t know this at the time.  You know, with the knife and everything…)

Bubba had the idea that the pills were somehow supposed to keep her and Daddy from fighting so much.  If so, they didn’t work very well.  No matter how much we talked about our lives and how they might change, I could never draw a clear picture in my head of a safe, quiet place that I could see myself going to at the end of the day.  I was upset when my parents fought, but to be honest, I was almost as upset when they got along.  It was as though when they were in agreement, they were still in opposition to me.

The only thing that helped me get by during those years before I went to school full time was the fact that John (I had come to think of him this way instead of thinking of him as Daddy) worked out of town most of the time.  I’m not sure what he did exactly, and I never bothered to ask my mother.  In fact, I almost never asked anyone direct questions.  I had developed a tendency to limit myself to the information I could take in directly through experience.  In a strange way, this put me more in control of my environment.  In other ways, it left me vulnerable both mentally and emotionally.  I was like a mirror, able to reflect only those events and ideas that passed directly before me.  At times this dubious ability protected me, but at times, it made me open to things I wished I had never witnessed.

For example, one night, not long after my sister was born, Bubba and I had to ride with Mamma to the nearby town of Troup to pick John up at the train station.  He had been away on a business trip and was returning by train instead of plane because of some bad weather in the area.  It was well after our bedtime, so Mamma, having left the baby with my grandparents for the night, put us in our pajamas and packed us in the backseat with pillows and blankets to make the thirty minute trip to the depot.

It was rainy and dark and almost unbearably cold, and the defroster on Mamma’s car wasn’t working right, so she took the cloth “emergency diaper” out of the glove compartment, and every half mile or so, she would make a swipe across the inside of the windshield to clear it of vision-impairing fog.  Even though she cautioned us repeatedly to sit back, we couldn’t keep from leaning over the back seat, chins propped on our arms, as though we could somehow help her see where she was going.

Every time she mopped the windshield, we could see the rain-drenched scene before us, but only for a few seconds, then the road would begin to disappear in the inevitable fog.  At one point the traffic on the two-lane highway suddenly stacked up.  We slowed down almost to the point of not moving, and I could see the cars in front of us, one after another, stopping, starting, then finally stopping for good, as their brake lights flared and faded, flared and faded, and then stayed lit.  Down the road a bit, I could see a row of headlights pointed toward us, stretching over the hill into invisibility.

Mamma was preoccupied with keeping the windshield clean and moved her car only in response to the movements of the line of cars in front of us.  After fifteen or twenty cars swished past in the oncoming lane, it was our side’s turn to go, so we proceeded forward impatiently as though we had earned the right to do so.

Suddenly Mamma said, “Oh my god!!  You kids sit back!”  We braced, expecting her to brake abruptly, but when she continued to creep forward, our curiosity made us stretch even taller to see what was going on outside the car.  I was in the seat behind her and couldn’t see much, so I turned to the triangular window at my left.  It was covered with convex water droplets, pregnant round dots that constantly grew heavier and ran together in small, clear tracks down the pane.  Beyond the veil of the speckled glass, I saw lights, red and blue, flashing painfully bright, a warning that something dangerous or criminal had happened nearby.

In that moment, I was convinced that John’s train had crashed, that he had been killed, and that there would never be any more fights or fainting spells at our house.  Then I saw the bodies.  At least, I assumed they were bodies, various human-shaped forms draped in rain-soaked white sheets, laid out randomly on the side of the highway.

Since Mamma had just said we were still several miles from the station, I couldn’t figure how they had gotten off the train.  I imagined a fiery explosion and screaming people being thrown through the air, flying like aliens.  Then the traffic stopped again.  I saw more police cars with their strobing lights.  And then I saw another car, a mud-streaked white one, upside down in the ditch and caved in on the top.  On the back corner, one yellow-orange light flickered off and on in an unpredictable rhythm.

Bubba touched Mamma softly on the shoulder and asked, “What happened?”

“It’s a car wreck,” she answered, and this time when she told us to sit back, we did.  That’s when it hit me.  John wasn’t dead.  And our lives weren’t about to change.

On the way home from the train station, I heard Mamma telling him about the wreck. She pointed out the section of the road where the bodies had been temporarily laid to rest.  He thought for a moment… and said matter-of-factly, “The curve is too flat.  It should’ve had more bank to it.” 

Mamma was silent.  From her seat on the passenger’s side, she leaned toward the left and wiped the fog from the window.

“Were the kids upset?” he asked.

Mamma peered over her shoulder to the back seat where my brother slept and I pretended to… “I don’t think so,” she answered quietly.

Later that night in my street-lit white room, I pulled the sheet over my head and lay very still.  I wondered what it was like to die.  I wondered if people would line up and look at me some day, a faceless mound held down by a clinging sheet.  I tried to imagine the faces of the people who had died that night, but I could only imagine their tiredness… their sudden willingness to sleep…

I wanted so much to be able to sleep.  At an early age, I had developed an ongoing relationship with insomnia.  I came into the world afraid there was a monster under my bed and a bear in my closet, and more often than not, I would wake up in the middle of the night screaming for someone to come save me.  My mother had been worried for a while that I wasn’t getting enough rest.  As I got older the problem would become exacerbated to the point that I would eventually go to a sleep specialist.  A few electrodes later it was revealed that I was a “hyper” sleeper, cycling through R.E.M. sleep in half the time of the average specimen.  Studies have shown that it is during these periods of relatively light sleep that memories are formed.  It has also been hypothesized that disruption of R.E.M. sleep can improve depression.  I guess on some level, even at an early age, I was attempting to control what my brain took in, how I stored it, and how I would deal with it later.

The day after the trip to the train station, when it came time for our naps, Bubba and I were worn out from the night before, and we didn’t argue.  But we didn’t put our heads in the headboard either, opting instead to lie like mirror images, facing each other with only inches separating our faces.  With Mantovani playing softly in the background, I told him how I had imagined the train wreck, and I admitted without shame, my disappointment when I had realized the truth.  He didn’t say anything, but his eyes agreed.  We never talked about it again. 

As we grew older, there were lots of things we stopped talking about.  Some things it just doesn’t do any good to hash out.  They’re beyond our control, and for that matter, were never a matter of choice to begin with.  Like being born.  Some of us try repeatedly to wish life away.  Most times I try not to think about things like that… or about the other brother I never knew, the one who lived only a few days… or about the fact that I was born less than a year after he died.  Or about the stories I’ve heard about the purple shadows my father’s fingers left on my mother’s fair skin, and how she went into premature labor on that wet day in late October…

My other brother lived no stories and he had no name, so sometimes I write about him.  I write about wanting to feel close to him, like the space of one minute on the face of a clock must, out of inescapable necessity, be close to all of the others, no matter how minute the connection at the center of the circle remains.  Sometimes I pretend, that since I came after him, I was his replacement.  I pretend that I burst out of a wasted womb and onto the scene like an enthusiastic stand-in.  And I make up stories.  Enough for two people.

I never did find out for sure what it was that made Mamma faint.  Maybe it was the Valium, or the natural aftermath of the violent episodes, first with my father… and then my stepfather.  Either way, I guess there were times she just couldn’t go on in an upright position.  Maybe it was the promising coolness of the hard floor that pulled her down, the flat, grid-like tiles so different from her warm, round, vulnerable body. 

Is this the first time you fainted?

I think Mamma wanted to escape to a place where the boundaries were clearly defined, and that she saw the squares on the floor not as limits or fences, but more like a map, a guide, presented in predictable, manageable pieces. 

And I think there must have been times she just needed to lay there for a while… and rest.