







Lexi one year ago today. We were going to see a California Condor release. Vermillion Cliffs, Arizona, October 11, 2022.








Lexi one year ago today. We were going to see a California Condor release. Vermillion Cliffs, Arizona, October 11, 2022.
Wherever you find yourself, even if you find yourself lost, you can always map your way back with love, which is greater than any one man.

In parting, try to choose love. Because without it? What are you and what is anyone to you and why are you even on this glorious, broken Earth that we all need to share and share alike, not just with each other but with all living beings, all lands holy and desecrated, all trail leading out and out, away always away, but also back again.

I’m going home. I’m going home. Oklahoma, I’m coming home.

Take a little ride on my donkey, which is my surrey with the fringe on top, which is an American Airlines ticket and my seat in its belly. Don’t wail. I’ll be alright. We all will.

Nevermind. I don’t mind. I tried here. I really tried.

O as in zero, which is all, not none. I’ve said this all before. BefOre. Don’t you feel it here in Southern Utah, in our ore? Or …

O of want, that old bone Pinksy saw on the shore of his imagination. O of openness. O of passage.

No binaries or even trinaries. One. One. All one. AllOne. OneAll that reduces to our single sound, our collective O.

Yin yang. Here there. One space that is t/here. I’ve said this before. All of this before. BeforeAfter. T/hereT/here. LightDark. YinYinYangYang. Chitty chitty bang bang.

You’ve no choice if you choose to love. It does not tip the emotion wheel to one side, the one you like. Joy grows its roots in hell. Jung said that, or something like it. And grows its leaves in heaven.

Love is like just like that. We don’t have to know why. It’s precocious. It’s in the garden right now gleaning fallen pomegranates so others can eat, even birds, even slugs, even you.

Love scoops us clean and makes us more, more than whole, overfilled, stuffed.

To wreckage and back again.
To gutting and back again.

Because love is ruin. Love is ruin. All love leads to despair and back again to love, a Mobius strip, topological.

When we live through our deaths, we are reborn. When we live through the deaths of those we love, we die. Repeat. Repeat. Ad astra. Ad nauseum. Ad infinitum.

Despair: The hummingbirds have left. Joy: The white-crowned sparrows have returned.

I just got really excited about a cute pill sorter.

My heart is a grenade.

I love the land. I’m just tired of being with it all by myself.

Here we are in no-time, living with what seems sudden and what’s been moving within and between us for years, decades, generations.

Now, there aren’t even fireflies to distract and enchant. There’s only darkness, even in daylight.

How slow and fast it feels all at once: both like a river carving a valley and like a blinding cataclysmic event.

All was hope and promise, soft-bodied and flashing.

Words buzz through the air like the fireflies I watched for hours on summer nights in Oklahoma during my childhood.

None of this is right. None of this is love.

Some processes take so long time is imperceptible. Some events occur so quickly even words like “instant” can’t capture their speed.

I find your orientation toward time unhelpful.

May we hold each other’s shame with care until we realize there is no shame. Our delicate shame. Our gentle shame. Our terrified shame. May we gather around our collective shame like it’s a heart(h) where we can meet and greet it for what it is: s(h)ameness and name(less).*
* also known as love

My dog smells like the desert.

Currently, in Utah, people are screaming about California condors being released in the state. They don’t want any more “Californians” here. Sigh.

Sure, you’re free to denigrate one another, but why?

A short sentence came to me suddenly, as if uttered from afar.

I dressed and groomed myself gently, as if I was tending to someone else, someone I dearly loved.
The gorge was below, just as I knew it would be. The gorge that is a fact. The gorge that is an emotion. The gorge that is a process.

My MRI earlier this week reminded me of telephone dail tones. I’d completely forgotten about that sound.

It was all a sea: the river a sea, the sand sage a sea, conscience a sea that surrounded me, that surrounds every living being.

Remember when we didn’t know if someone had hung up on us until we heard the dreaded dial tone? We’d wait, hoping it wasn’t so, then the signal would start: callous, cold, indifferent.

One thing I won’t do: Go quietly.

I saw two cups and, in my haste, mistook them for a single cup. In my mis-taking, I divided my perceived single cup and suddenly had two cups again. But they were crucibles. Contaminated and useless. Each half couldn’t contain anything, not even contaminants, without the other. We are ore. We are bright, sometimes. We are chlorinated, sometimes. We are isotopes, sometimes, that glow hot like embers, like iodine-131 or it’s cousin, I-123.

Then the bots started controlling the narrative.
My mother was named after a vaudeville dancer and circus performer. That performer also had a Pullman boxcar named after her. That means my mother was named both after the performer and after the Pullman car. So I can legitimately refer to my mother as Circus Mama, Vaudeville Mama, and Boxcar Mama.
I’m going use all three nicknames when referring to her.
My mother would absolutely adore these terms of endearment if she were still alive, especially Boxcar Mama. I can see her laughing and taking a drag off her Virginia Slim then tapping her too-long ashes into the amber-colored cut-crystal ashtray before picking up the cordless phone to call her two oldest children and let them know their little sister is at it again with the wordplay and, as a result, she will henceforth be known as Boxcar Mama.

Me with my dog Shi Shi. Taken by my brother. Norman, Oklahoma, 1982.
Whenever I play chess with my body, it always wins by making me vomit or have diarrhea or both in a phenomenon I aptly refer to as diavomarrhea. Let me give you this example:
Me: Let’s go to sleep now, body. The second half of the night was hellacious. We really need to rest.
My Body: How about, instead … just hear me out … we have violent diarrhea all morning long? Hmm? How. [claps] About. [claps] That? [claps] Let’s to that. [Jumps up and down with glee]
And here’s the thing: My body never bluffs, ever. It’s down to destroy me. It really is.

Clare, last night I saw horses, more than a dozen of them. First, I saw the dust they were raising as they ran, then I heard their hooves on earth, that dry drumming, then I saw them through the trees just on the other side of the Virgin River. They weren’t wild but they had enough space to act wild. There they were in the sage and dry grass moving like the river when it’s boated, fluid like that and strong, wanting nothing but this moment, nothing but each other. Keep writing your horse poems, Clare. A horse is a heart outside the human body who reminds us we each carry a heart within us, one that beats like a hoof hitting dirt. We need horses more than ever. We need your poems.

I am grateful for this pain. This pain is a compass. This pain is a signal. This pain is my dearest friend, my greatest protector, my guide, my heart. This pain is everything.

Me: I’m going to stay up late. I do my best writing at night
Also Me: In bed at 9:29 p.m.

I’d rather be trampled by horses than trammeled by poets.

The word of the day is ikigai, the convergence of one’s personal passions, beliefs, values, and vocations, translated loosely as one’s reason for being. What’s your reason for being?

As long as there are poets, something will survive.

There are lots of ways to lose if your focus is love. Lots of ways to gain if your focus is power. Pay attention to what you’re losing and what you’re gaining.

Bleary, I just misread “The Middle Ages” as “The Middle Oranges.” Now, I can’t stop thinking about The Middle Oranges, that period in history that can be divided into Early Oranges, High Oranges, and Late Middle Oranges.
Maybe, in all those words Frank O’Hara wrote about orange, he said something about The Middle Oranges. We’ll never know, will we?
I write a line
about orange. Pretty soon it is a
whole page of words, not lines.
Then another page. There should be
so much more, not of orange, of
words, of how terrible orange is
and life. Days go by. It is even in
prose, I am a real poet. My poem
is finished and I haven’t mentioned
orange yet. It’s twelve poems, I call
it ORANGES. And one day in a gallery
I see Mike’s painting, called SARDINES.— Frank O’Hara, from “Why I Am Not a Painter”

Gray wind. Gray branches. A horse on the hill and no ships in sight.

My suffering dies inside Ocean Vuong’s poems.

Lay it all aside and love.

To those who live with trauma: I’m glad you survived; I’m sorry you lived through what you lived through; I see you; I love you; I carry you in my heart.

It’s OK to buy blueberries and not eat them all. We all love imperfectly.

Morning: fire. Evening: fire. The first, literal, accidental, and brief. The second, metaphorical, intentional, and eternal.

Emotion is consistent. It’s only specific emotional states, which we perceive as separate from emotion as a whole, that are inconsistent. We learn that. We learn that we feel happy or sad or joyful or sorrowful or, or, or, ad nauseam. We cleave and cleave emotion until it’s all these little slices of pie sitting beside each other or across from each other. We’re doing the separating. We’re creating the binaries, the opposites. Emotion is emotion. It’s a whole. And, as a whole, it’s a constant.

I saw two cups and, in my haste, mistook them for a single cup. In my mis-taking, I divided my perceived single cup and suddenly had two cups again. But they were crucibles. Contaminated and useless. Each half couldn’t contain anything, not even contaminants, without the other. We are ore. We are bright, sometimes. We are chlorinated, sometimes. We are isotopes, sometimes, that glow hot like embers, like iodine-131 or its cousin, I-123.

This page from The Dance Magazine, dated July 1928, features Mignon Laird. She was one of the dancers at the time who had their own domestic zoos. Laird’s father was involved with the circus. I believe he was promoting circuses, but he also had elephants at one point and aspired to have his own circus. The Thornton side of our family knew the Lairds, and my mother was named after Mignon.
Betrayed by cheese, my heart burns in summer’s darkness. Still, I want more cheese.

Remy Shand in my head. Death flits in a dream. Hard pass. Take a message.

All y’all, I don’t want to be up right now, but up I am so howdy.

Ever wonder why we crave what we crave at night? The fridge seems to know.

Folks here pronounce hurricane so it rhymes with hurry come, so don’t wait.

The world is harshing my gig. Still, I soldier on in Gen X armor.

I ate all the cheese in the fridge. It was good, and I’m a little shit.

Water, water, where’s the water, we ask an imagined aquifer.

Bringing soda cake to a Utah funeral. Who the fuck are you?

What will you conjure today? Second wife, third heaven? Lord, have mercy.

Remy Shand in my dead. Heads flit in a dream. We pass slant messages.

Go out or stay in. How should I know? My heart is a revolving door.

Deseret is still here shadowing our maps the way clouds darken land.

Almost asleep again. Good time to write down everything that matters.

On aging: My upper lip shrinks like a slug doused in salt. Goodbye, face.

Can’t write fast when the heart burns: from cheese or from love. This is just to say.

Is it light where you are? Here, I see the stars and Elon’s satellites.

Tod: a unit of wool by weight, a load, a bushy mass of ivy.

Why did I write about Tod? Who cares? Why shouldn’t I write about Tod?

Nightmares slip from our folds when we wake. Still, we dream a dream of dreaming.

Got your syllables right here, baby. Seventeen of them. But whose count—

How is language a sage sea studded with prickly-pear cacti in bloom?

Fuck the day. Fuck the month. Fuck the year. What planet am I on? Tell me.

Only Utah light is the light that lets the light in. So they tell us.

Moqui marbles take shape in Snow Canyon. Not yet round but getting there.

Some days, everything is blech. Do not despair. You can unblech your life.

All the stem cells in the world can’t rebaby this skin. Boo wa wa wa.

Things I crave: beans and rice, world peace, lists that aren’t trite. Five more syllables.

These aren’t haiku. They’re American Sentences, some rural af.

These aren’t haiku. They’re American Sentences, some Utah af.

Fucking off my time deciding if it should be af or AF.
So I’m ill again. The usual with a side of falling to the floor hard this evening when my lower extremities tightened and everything from my toes all the way to the middle of my thighs contorted until I looked like something with gnarled roots—maybe Donne’s mandrake—that had been unearthed and hosed off before being tossed to the ground until it could be transplanted elsewhere or fed to the wood chipper or cut into little slices as part of a fiber-filled culinary adventure.
I mean, I know I’m not fibrous. I’m meat and bone. But I’m doing an extended tree metaphor thing here, so just let me be fibrous for the purposes of this essay.
My floor routine went on for several excruciating minutes and I couldn’t get my legs under me and I couldn’t pull my legs and feet and toes back into their proper shapes and relationships with each other and I couldn’t massage the tension away and the pain was like someone had exposed me to a nerve toxin and I couldn’t reach my phone to call my husband for help and it wouldn’t have mattered anyway because he’d misplaced his phone and so I had to scream as loud as I could and don’t worry the neighbors never come when I do that and my husband burst into the room and found me splayed and broken like a cow that’s about to be scooped up from the fecal mud and dropped onto a truck headed for the rendering plant because she’s too sick to walk herself to her own death like all respectable—all good—girls should, even ones with spongiform encephalopathy.
I’m just working the cow metaphor with that encephalopathy reference. Don’t worry, I don’t have mad cow disease. My diseases have other names, and so far at least one has eluded naming. That disease is all experience, the way Hellen Keller’s whole world was before water ran over her fingers and forever changed the way her body and mind met the world.
Reuven Tsur talks about Keller in his theory of cognitive poetics. I’m not making baseless statements about her just to illustrate my point, so please don’t get all, You’re being ableist and using Hellen Keller to do your dirty ableist work, Karen. The name’s Dana, and I’m trying to tell you how bodies break and how we live in them anyway. I’m trying to tell you I took a little spill. I’m trying to put that spill in a larger context that some of you may find important. Bear with me. Bear down. Grin and bear it. I’m trying.
My husband panicked the way he does when he has to confront the fact that I’m seriously ill. He got me up off the floor, then went into a fugue state in which he forgot about everything other than his lost phone. He flitted around in flight mode looking for the phone because it’s easier to be upset about the phone than it is to live through more than two years of thinking your wife could die, on top of fifteen years of intermittently thinking your wife could die, let alone this very moment when you’re seeing more evidence of your wife’s potential death on the horizon or at least more data that suggests whatever’s going on with her isn’t going to go away any time soon, if ever. And what do you do with that as a spouse? How do you live with a splintered wife for the rest of your life?
I almost said upper thighs in the first paragraph of this essay, but we don’t have tiered thighs. We just have the one main set, one main set of thighs. It’s the way I also think I have two noses, when I just have the one nose with two nostrils and the way I always think I have two butts because I have two butt cheeks.
The body is confusing. Taking inventory isn’t as straightforward as it seems. At one point in American history, a window was considered a single pane within a larger window. So a window with six panes counted as six windows. Why? Taxes. Taxes were assessed per pane, so each pane became a window. At least I think that’s true. My rhetoric professor, Dan Mahala, told our class that in college. This was in the ’90s, when institutions still taught actual history—or at least tried to—not the ticky-tacky history being peddled today.
If U.S. politics applied to bodies—which of course it does, mainly those of women and trans and nonbinary folks, but bear with me again for the purposes of this essay—we might very well have been taught that we have two noses and two butts, especially if that meant we could be charged more for lugging all that flashy and fleshy gear around. Two butts! Two noses! How indulgent of you. One of each is subject to the luxury tax! You clearly have spares that are purely ornamental. (Don’t tell the tax collectors about the set of kidneys dangling in our trunks or the lungs or whatever else is doubled up in there like sets of animals shuffled onto a dingy for safekeeping during what looked to be the makings of a pretty big storm.)
All that contrived body taxation would be a real pane, wouldn’t it? I mean pain. And trust me, the body is definitely a pain.

But I digress. Who turns to stone? I’m asking because that’s what my body felt like today. Sisyphus, maybe. You could argue that pushing stones turns him into the very thing he’s pushing: Something that moves but that isn’t quite alive; someone whose stony but who isn’t quite mineral.
Demosthenes filled his mouth with stones to learn how to speak clearly. But that’s not the same thing as turning to stone.
Oh, I know, I know! It’s those who gaze into Medusa’s eyes!
Whose stare must I have returned to be cursed this evening? It must have been someone in my dreams. I’d just woken from a nap when the compacting began, soles first, a crushing invisible force making me denser and denser. I felt the hardening creep upward. The stiffening. The molecular tightening. I couldn’t do anything about it. It was like watching a virus spread through a computer taking out file after file after beloved file and replacing them with junk code.
I realize I can’t make the stone metaphor work alongside my earlier tree metaphor. Adding the computer-virus reference is making things even worse. Let’s just acknowledge all of that and move on. I don’t have time to put the right slant on this truth. (My apologies to Emily Dickinson.) I’m sliding downhill, and everything I write is sliding with me. Besides, wood can turn to stone. I know. I’ve seen it. I have a chunk of opalized palmwood right here that makes my case for me.
That rock is science. It’s fact. And like science and fact, opalized palmwood is beautiful when you place it on a black light in a dark room. It looks like magic and could be passed off as such if your audience doesn’t know any better. A divining rock. A soothsayer’s stone. Not the soft, boring sandstone my body is becoming, the kind of stone miners here tossed to the side when looking for the good stuff like silver and uranium.
But guess what? I tricked you, and you didn’t know any better. Petrified wood isn’t stone. My science wasn’t science, and my facts weren’t facts. Here’s the truth. You ready: Though the phrase petrified wood or petrified tree comes from Ancient Greek πέτρα meaning “rock” or “stone,” literally “wood turned into stone,” petrification doesn’t change organic wood into stone. It merely preserves the wood’s shape and structural elements.
Sometimes language gets things wrong. Sometimes, even the Ancient Greeks got things wrong. Is it so hard to believe that sometimes we get things wrong? That we get things wrong most of the time, actually?
Maybe I’m not turning to stone. Maybe parts of me are just undergoing a change, being preserved. My shape. My structural elements.

My husband found his phone. It was in the garage. He went out there frantically looking for it like a prospector trying to lay claim to a seam of silver in a sandstone reef in a town called Silver City in the 1870s. He cast aside all the piled-up crap garages tend to take on as his world was reduced to two things: phone and not phone.
When he found his phone, the world made sense again. I was in a chair by that time live-tweeting the unfolding disaster. My upper body still worked, which meant I could be a writer and write things down. So I wrote things down just like Richard Siken says we should. What else would you have me do? Come unglued?
This is marriage. This, too, is marriage. Sometimes it’s broken. Sometimes there’s no diagnosing what’s wrong with it. Sometimes it’s all experience and no name and no remedy. Or maybe no remedy is needed because legs are not roots and flesh is not stone and a phone isn’t something jacked out of the Earth for profit or for prophets.
Sometimes a phone is just a phone, and we can use it to hear the voice of the person we love more than anyone else on the planet. Sometimes we can take that call. Sometimes we can’t no matter how much we want to. We just let it ring through to voicemail and hope the love of our life leaves us a message that we can receive when we’re ready.
Deliver me from the man who ran over a porcupine in broad daylight because of his need to thrust his way forward always forward always faster and always darker, coal smoke billowing from his tailpipe as he hits the gas hard.
Deliver me from that man who saw the porcupine struggling after his back legs were crushed, who didn’t stop, who didn’t take the porcupine to the wildlife rehab on the other side of Flying Monkey Mesa, who didn’t care because black smoke because man because manly because grrrrr because move over here I come like it or not because get off of my road and out of my town and I’ll put my foot in your ass and I’ll mow you down I mean it I mean it look at me I really mean it look at my Gadson flag and my Dixie flag can’t you see I mean business look at my neck veins little lady, pretty little lady, lady why’s there a thought in your head a little tinkling thought about love that’s so silly so outdated so childish like a school bell hey little lady listen here it’s not God’s way for you to think or tell a man what to do a big man a strong man a fast man and you damned well know it so stop thinking just stop stop it right now.
Deliver me from what the porcupine must have felt there in the road on the hot asphalt in the heat so close to the soft sage flanking the road’s shoulder. He got so close but not close enough never close enough for speed for thrill for look I killed that varment woohoo hot damn and never enough blood left in the leaking husk never enough life left in the pressured heart and never enough limp left in the body nobody will ever gather for ever.
Deliver me from those who came after and also didn’t stop. The sedans and SUVS and minivans and trucks and semis and hatchbacks and Outbacks and Elements and motorcycles and RVs.
Deliver me from every one of them. Deliver me from my neighbors. They didn’t stop. They didn’t stop. My neighbors didn’t stop. Too busy doing God’s work to do God’s work.
Deliver me from my own absence as the porcupine struggled, for coming behind too late by hours, maybe, or maybe only by minutes which is even more self-hatred to be delivered from.
Deliver me from rewriting the story so I’m there, so I take the limp, quilled creature in my arms and usher him to safety, to people who care, to angels on this earth who spend all day helping the creatures of this earth. I almost typed heart. Heart is earth. Earth is heart. Same letters. How did I never see that before? Grief brings out glimmerings, doesn’t it? This is how and why we survive grief. No glimmering, no future. No heart in earth, no earth in our hearts.
Deliver me from those who have no earth in their hearts, no heart in their earths.
Deliver me from my revisions my impossible revisions my anger that story only takes us so far into the future because it never changes the past. Our stories are cursed that way as we are cursed.
Deliver me from the cursed. Deliver me from myself as one of the cursed. Curs-ed, say it with two syllables. Say it with me. Curs-ed. Clop along to that languid beat, that dirge. The march of what we’ll all be without love and without hope.
Deliver me from revisions existing only in our minds and not actually changing what happened, what really happened. The porcupine is dead. That’s what happened. In broad daylight. Visible on open road. The driver could have slowed. The driver could have slowed. The driver could have slowed his hellbent smoke-infused take that world roll.
Deliver me from this iron-encrusted place whose heart was lost in the creek, in the canyons, up on the cliffs when … years, hours, minutes ago? How long? How long has it been? Since we came, since we named, since we shamed, since we couldn’t leave couldn’t leave couldn’t leave this place alone?
Deliver me from how long we’ve lived like this, baffled and battled and beaten and battered and branded and broken. How long must I writhe, I mean write, before I write my way out of this failing, flailing, hellish heaven on earth? A minute? An hour? A day? An eternity?
Zion—my great nephew, not the place—deliver me from this land whose name you carry in your pocket on your papers in your heart and in your genes. Yours is the real Zion. It lives inside you, little one. Never deliver me from who you are—from you, my kin, my kind, my kindred. [REDACTED] Pin me here to this tree, the only one that’s safe these days with all the fruit trees eaten bare. The family tree. My tree, our everlasting tree.
As for you, Zion—the place, not the great nephew—deliver me from you. Free me from you. Forget me. You don’t even have to forgive me. If you can’t reverse time and bring that porcupine back to life, if you can’t unwind the clocks that are all wound too tight here warping time and space and hearts and minds, then deliver me. I beseech you. Deliver me from what we’ve made you, from what you’ve become. Please deliver me.
Before the Industrial Revolution, people slept in two shifts. The first was from early evening until sometime in the middle of the night. The second was from early morning until it was time to get up and start the day’s work. The waking period in the middle of the night wasn’t just for reading or sitting by the fire. People played cards, canoodled, had little get-togethers, and more. It was dark and cool and simply a good time to be awake. A romantic time. A playful time. A productive time.
In 2008, when I had one of my bouts of thyrotoxicosis—which made sleep difficult and resulted in severe sleep anxiety—a therapist told me about two-sleeps. She could see my sleep patterns falling into that rhythm and encouraged me to embrace that rather than fighting it. I had charts and graphs and other excessively detailed stuff documenting my personal sleep woes because that’s how I roll. It was a lot, the way my personal wardrobe database, which I maintained for six years, was a lot. (I can be a lot or, as I like to say a lot a lot—think quirky, colorful, dysfunctional.)
Hold up, the therapist said. Maybe, just maybe, instead of being hypervigilant about your sleep, you could try this approach instead. Hers was for sure the better plan. It was hard to let go of my recordkeeping and data management, but I did it at her urging.
The change in perspective and approach got me through those long months until my thyroid function returned to normal. I should note that thyrotoxicosis isn’t like hyperthyroidism in that you can’t treat it. You just have to wait it out. The whole process from thyrotoxicosis (or thyroid storm) to hypothyroidism to a return to a euthyroid state takes about a year.
A long damned year that’s difficult, creatively productive, and hard on a marriage, or at least has been hard on my marriage. It’s not easy to live with someone who has a snack-and-book midden stashed in the bed because they need to eat constantly and must always have reading material ready for those inevitable jolts from sleep. And also a slew of notepads and a handheld recording device so flashes of brilliance can be documented, such as aphorisms that float in on the ether and strange dreams that can’t not be cast in stone or at least scrawled in pencil in feverish, sloppy detail. (Pencil because, while graphite is an inferior writing material, I have a no ink-in-the-bed rule, as should everyone. We have sheets to think about, folks. We don’t need to add fighting ink stains to our list of daily tasks, especially not when we’re thyrotoxic.)
It’s not easy to live with someone who’s in fight or flight for the better part of a year, edgy and jumping at every little sound, balled up at times saying I can’t take it when will I feel normal again, whose OMing her way through moment after excruciating moment, who asks her mother-in-law in Iowa to have a bag packed in case she needs to come take care of her when she’s thirty-six years old and her mother-in-law has better things to do like tending to her gorgeous, gazeboed yard and going to church and keeping her husband from wandering into the back of the garage never to be seen again because he’s finally going to put that classic car together, the one that’s been a tangle of pieces and parts strewn about the property for four decades. In short, someone who’s devolved into a twitchy little miscreant. It wasn’t easy on Jon. I wasn’t easy on Jon. But two-sleeps made a big difference.
I still approach my sleep this way if I wake up in the middle of the night. It’s a two-sleep night, I think. Rather than toss and turn in bed, I get up and do what I do, which is read and write and, sometimes, snack. Tonight, I’m up with GI distress and heartburn because of unfortunate but yummy birthday dinner choices yesterday evening. I came home and crashed, accidentally, at 8:40 p.m. and woke a few minutes ago bloated and nauseated, like a puffer fish that didn’t mean to puff and can’t unpuff and whose innards are on fire.
Is this a good time to write? Who knows. Will I produce anything of value during these waking hours? Based on this journal entry, it doesn’t seem like I will. I just know it’s not a good time to be horizontal. It is a good time to take Pepto Bismol and be vertical. So that’s what I’m doing until my second sleep begins. (Technically, since I’m sitting down, I’m vertical then horizontal then vertical again.)

Metadata paralysis is a real phenomenon, and folks like me live the experience every day. If you see someone with obvious symptoms of metadata paralysis, let them know you care. Take interest in their metadata tree. Say things like, “Good work. What a lovely metadata tree you’re working on. So many branches. I can’t wait to see what it grows into.”

Part two of this essay will be redacted in its entirety because it’s boring. Why? It’s self-indulgent and not self-reflective. The metadata here is value: subset one, possesses; subset two, doesn’t possess.

I’m falling asleep sitting up. Hello, theta waves. Bring on the strange brilliance.

I get it. His name is Jack Tripper and he trips all the time as part of his physical comedy. He also trips out on what others are doing and saying, so he’s also a metaphorical tripper.

Quick on the draw isn’t something anyone’s ever called me with regard to understanding plays on words, but they did call me fast fingers in grade school because I learned to count like lightning on my hands during math drills as a workaround for my dyscalculia and working-memory deficits. I won those drills. Laugh away, children, laugh away. What the world needs is a dyscalculia superhero named Fast Fingers.

Dyscalculia is either part of dyslexia or it’s a separate but similar entity. It depends on what metadata you use, that is, how you organize the information pertaining to each phenomenon.

Dyscalculia. Dyscalculia. Dyscalculia. That looks funny. This calculia. Miss Calculia. That’s Ms. Calculia to you. Dana “Ms. Calculia” Martin. Now there’s a name. A Dana by any other name still can’t count to ten without using her fingers.

They gave me a free dessert because it was my birthday. That’s what happened with dinner. And also a plate of fried everything. That part wasn’t free. I paid for the plate of fried everything. My metadata here is dinner: subset one, fried everything; subset two, dessert.

I didn’t have to eat it. I wanted to eat it. Then I didn’t want to eat it but kept eating it. I’m trying hard to eat. I need to eat. My metadata here is health: subset one, presence; subset two, absence. Or is it life: subset one, congruous with; subset two, incongruous with?

My throat is getting dry. The Pepto Bismol is coagulating, if that’s the right word, near my uvula. One time, a big, hard thing traveled from my sinuses down into my throat. I choked on it for a while, then coughed it into a tissue, thereby saving my own life. It was fossilish and had ridges like the roof of a mouth. This incident (or shall I call it an *indecent*) happened in from of my mother-in-law. The metadata here is mother-in-law: subset one, what not to do in front of; subset two, what I did in front of. Additional metadata is bodies: subset one, amazing; subset two, strange.

As with bodies, also with minds: subset one, amazing; subset two, strange. Or is the main category bodymind: one thing, not two? As in, we mine the bodymind when we should be embodying it. As in, why is the bodying of the bodymind something we mind, whether it’s ours, yours or mine? As in, what’s mine is my bodymind and is not to be mined.

This is a real mindfield. Good night. I’m off for part two of my two-sleeps night. May our collective dreams break the bough, rattle the house, and set free a wee mouse who runs the mazes of our minds. Wouldn’t that be amazing.