Upon celebrity suicides

We were unmeant to run frantic through this life
Conquesting things and one another
Achieving that which is admirable to everyone but ourselves
We can look upon our lives
And feel badly that we don’t feel better
about them
and the unrest within

I too have tasted that insatiable appetite
Always looking for what’s next to fill us
Moving through at top speed
Not stopping
For to stop requires reconciliation
Between ourselves and our lack of being
For some too unbearable to face
So we just keep going
In the face of insurmountable
Oddity
denying the spiritual nature of our reality.

To say that depression shows the darker side of humanity
Is a misclassification
Rather the darker side of humanity can bring on our depression
manifesting itself
In less focus on the reality of our humanity and instead on
the having, the wanting, the comparing

It is that human hamster wheel that is of our own creation
That can bring on a lack of meaning
This numbing ourselves from the downs of life
Which also numbs the ups
Unintended consequences abound
It is an inability to be with
Pain, and failure and disconnection
That never finds our way through the inevitableness of those states
That takes away the chance to revel in how we can bounce back
That we cannot find the beauty and stillness that already exists within us
which we mistakenly believe we must create from nothing

We take that which is known and create an unknowing
Holy… holy… holy…
it scares us to be almighty

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Poem of Light

 

Every once in a while an amazing book comes along… All the Light We Cannot See by Anthony Doerr fits the bill. If a book can have beautiful cinematography with only words, then this one does. The words, the imagery, the humanity of our being have left me raw with emotion. As my grandfather was a WWII vet, the story and feelings are especially poignant for me. As part of processing all the emotion this book has awakened in me, I’ve pieced together a poem from of some of my favorite phrasings from the book:

Open your eyes and see what you can with them before they close forever
all of light is invisible
how does the brain which lives without a spark of light
build for us a world full of light?

all have seen things they wish to forget
always there is a sense of a tide behind them, rising, gathering mass,
carrying with it a slow and vindictive rage
every day, on his right and left, another soul escapes towards the sky
there is something to be angry at, he is sure, but he cannot say what it is
everything rustles
he feels only the raw, impassive surge of the moonlight as it strikes the tent above him and scatters

body seems to have gone weightless under his blanket,
beyond the flapping tent doors
trees dance and the clouds keep their huge billowing march.
the moonlight shines and billows: the broken clouds scud above the trees
leaves fly everywhere
but the moonlight stays unmoved by the wind, passing through clouds, through air, in what seems like impossibly slow, imperturbable rays
they hang across the buckling grass
why doesn’t the wind move the light?

the cords of his soul not yet severed
Claire de Lune, the light of the moon

he is everyone who has left her finally coming back

what I want to write about today is the sea.
it seems big enough to contain everything anyone could ever feel

What you could be
it was not easy to be good then
we all grew up before we were grown up
in many ways, her memories of her brother have become things to lock away
some griefs can never be put right
feel all over again the seering pain of his absence
memories cartwheel out of her head and tumble across the floor

this woman has dropped a molten kernel of memory into her hands

how to see her is to believe once more that goodness, more than anything else, is what lasts.
you must never stop believing
sound of bees
somewhere, someone is figuring out how to push back the hood of grief, but she cannot, not yet
to feel the sentences hoist her up and carry her somewhere else
stillness, that is what he radiates more than anything else

he sees what other people don’t
birds
what the war did to dreamers
you did this to me
to not have the war be the center from which the rest of your life spiraled

memories strobe past
she sees herself walking out of the smoking city
smoke is a suspension of particles, billions of drifting carbon molecules
bits of living rooms, cafes, trees, people
only the strongest people can turn away from feelings like that.
his poem

the fault in our stars

Of course I should have foreseen that it would take someone else’s writing to make me write again, as I am that type of writer.  A word, a phrase, an idea and metaphor and an entire body of work of someone else’s helps me to rediscover my own genius (I use this term loosely).

And so it was, or is, with The Fault in Our Stars by John Green.   The book is technically in the “teen” genre (or so says the baby blue sticker imposed on it by our town’s library) and was apropos recommended to me by my teenaged daughter #1.  This book is teen literature in the same way that the Harry Potter series is kid’s literature, meaning that it is and it isn’t only for the targeted younger reader, as its messages and themes are perhaps equally relatable when taken beyond face value as an adult.  And that is part of the insidious beauty of this book;  as an adult reader you have little expectation of greatness when picking up a teen book.  The main character is a funny, intelligent and irreverent teen, who happens to have a terminal illness, which she has thus far managed to dodge with one  miracle fictitious drug intervention.  The irony is that as adult readers, we can be unarmed by the insight into life and life’s mysteries offered by a teenage girl, who by identity and number of years walking the earth, has experienced so much less life than you, but also so much more given her inevitable (like us all) but accelerated (unlike most of us) march to the end of life.

The main character’s star-crossed lover has also looked death in the eye, but has beaten his cancer, at least for now.  He understands the tenuous dance between life and death, fear and love and all the lies between, and they become each others confidants in a world that is so real yet unreal for them.

There are so many single words, short phrases, clever literal and liturgical references in this book that make the writing brief, yet beautiful and poignant.  Some of the lines that struck me the most:

-A fear of oblivion and a recommendation to ignore it

-the late afternoon light heavenly in its hurtfulness

-there was no through (as in friends helping me through my cancer)

-incessantly reminding your lungs to be lungs (and at one point reminding them “to get their shit together”)

– the only solution was to unmake the world to make it black and silent and uninhabited again, in the beginning when there was the Word.

-the world went on as it does, without my full participation.

-some tourists think Amsterdam is a city of sin, but in truth it is a city of freedom.  And in freedom, most people find sin.

-that feeling of excitement and gratitude about just being able to marvel at it all

-if only my memory would compromise

-some infinities are bigger than other infinities

-I thought being an adult meant knowing what you believe, but that has not been my experience.

-I  believe the universe wants to be noticed.  I think the universe is improbably biased toward consciousness, that it rewards intelligence in part because the universe enjoys its elegance being observed.

-so much depends on this observer of the universe {my side note, which quantum physics has proven at a sub-atomic level}

-I owed a debt to the universe that only my attention could repay, and also that I owed a debt to everybody who didn’t get to be a person anymore and everyone who hadn’t gotten to be a person yet.

 

I was unarmed by the voice of a teenager inflicted with a terminal cancer, who can not breathe- the one vital life force we can most easily take for granted.  We can all take in her sermon-of-sorts because we aren’t expecting it, and we haven’t already steeled ourselves to the fact that it’s coming.

The book was made into a movie.  Who should play the lead male character was decided by a social media vote.  This is where I start to lose my visceral connection to this book.

My daughter asked if I wanted to see the trailer when I was about 1/5 of the way through the book.  “Absolutely not,” I said, “I want to picture the characters as I picture them, not by how and who they were cast.”  “Yah,” she said “I kind of wish I’d finished the book before I saw the trailer.”

I’m struck by the vast expanse between the star-crossed lovers with the remitted cancer and slow terminal illness, while my own teenaged daughter’s greatest current medical malady is acne, which I am gently reminded of while crying through the conclusion of the book, when her dermatologist’s office calls me to refill her prescription. And I thank my lucky stars that that’s the extent of her needed medical intervention.

Calistoga

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biking through half-lit evenings
of childhood summers
cricket songs
in dark freedom
of pedaled breezes
hair flowing back
song of youth
I am older now
but perhaps more free
in mind, in body
but the remembrance feels freer than all

let me go
cricket songs echo
cloaked in cool darkness of summer nights

my face younger
my worries less solid
it all lies before me
the fears, the dreams
losses to come
wisdom to gain
suffering with a longer term purpose

I am older now
with children of my own
who don’t bike at night
that freedom generationally lost
like my own childhood
years ago

sky where roof used to be

Sky where roof used to be
where everything you’ve lost is found
air full of past
burn destructed and then reborn

belonging in harm’s way
courting gratitude
for memories held that don’t
wisp away like smoke
embers fall from grace

ledges of life
roughly reassembled
out of synchronicity
papery images of past

going home
I drive by
burned roof open to moving sky

This poem was inspired by actual events (I guess all poems are, in one way or another).

One morning, driving to school, we noticed that a house on a street near the school had partially burned. My youngest daughter remained fascinated by the sight of it for weeks, as did I. We wondered what the story was: who lived there, were they OK, and what caused the fire?

Then the story appeared in our local paper. A woman had lived in the house with her cat, she had Alzheimer’s. Her son lived next door. Early one morning she was sitting out on her front porch when a neighbor (not her son) noticed the fire and helped get her off the porch and save her cat. She may have left the burner on, heating water for tea, she can’t remember. No one was hurt in the fire and everyone is grateful. It was her dream house, it will be rebuilt.

A few days later, driving by the remains of the house I was struck by the phrase, “sky where roof used to be” as through the jagged hole in the damaged roof you could see the juxtaposed blue sky and the clouds moving through it. I was inspired to construct a poem based on that phrase and the story of the woman, and wanted to have a photo of the damaged roof with the sky. I kept meaning to stop and take the photo. One evening, driving home from back to school night, I remembered again that I needed to take that photo. I kept driving as I felt the pull to get home as I’d been gone for several hours. Then something inside compelled me to turn back and actually get the photo taken.

The next morning I drove by the house again and the roof remains had been demolished to make way for the rebuild.

I finished this poem a few days later.

Appropriate language

The longer I stay away, the more daunting it seems to come back…  This is my blogging experience.  I have been writing…some.  Following is a work I produced at a summer writing program (SWP) way back in June. It was such a blessing to have been able to take a week out of a busy summer home with my kids and devote it to writing.   The poem includes borrowed words and phrases from poems of Alice Notley and Doug Oliver, old American folk music, and some Bob Dylan songs, which means it is an appropriated language poem of sorts, which is double layered in here since Alice Notley’s “In the Pines” poem (which is one of the sources) also contains appropriated language.

I
And you go walking
flurries on the other side
featureless trees alive with night
clear to the bottom
uneasy in their resting place
will to go, jettisoned, distracted

II
The usual crowd was there
wrong about everything
think how they sound
lonesome eerie veiled sound
of the periphery
holes filled with background
burden
glory well of sorrows
flashes false
a price is no price
subtled in habit
arrow on the dark night of grief
taking down the stars above
plantations burning

III
a bird, end down, slept in the pines
a movement takes under
seems to be all there is
if the cold wind sun never shines
where will you go?
tears are calling
to cross over everything unresolved
crickets, not a word of good-bye
going home travel loves motion
white linen
my magic, god like mysterious fortune
a face you almost remember
there’s plenty of rest here
heavily guarded, my own soul.

Poems wisdom transfer

In an age if sound bit spoonfeeding
is it fair to require so much work?

interpretation through experience
(and dictionary consultations)
to unlock
the hidden meaning in your prose
or pride?

without accessibility, what is it but idle
fodder for the trained elite
to be discovered and dismissed?

yet answers gotten freely
through no effort of your own
blow off quickly in idle winds as well
so what is the poet and the philosopher to do
but embrace the unraveled paradox
as truth

with me, the bride of cleverness,
(overlooking it’s divisive powers)
seeking unity.

There’s a reason it’s called a living room

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These objects
are not yet ours
in our home
new and lovely, smelling of pleasant stores
visually appeasing
my sense of ownership
and borrowed space.

Too beautiful to be not functional
but the tempered balanced arrangement
scares my use until later
maybe I will light that candle.

For now I wrap myself in a throw
and then will attempt to arrange it
back like it was
rumpled yet beautiful,
actionless, yet foretelling diagonal movement.

Patterns and blues intermix
to break my matching rules,
yet it works better than matching
it complements
for matching creates precise limits
and I want to embrace it all instead
yet have a unifying sense
of belonging
together.

Just enough, not too many
singular pieces to be traded in and out in the future
perhaps repurposed in another room
or life
new with old, never completely starting over
bringing in pieces from the past.

In a room of living that I once said was dead, redundant space.