Family

The Triad of Persephone, Demeter, and Hecate

My mother and I closely fit the archetypes of Demeter and Persephone, which is why I write about both in my poetry. I’m more like Hecate now that I’m older, or at least I’m getting there. My mother began the process of becoming Hecate as well. But first, she had to protect me the way Demeter eventually did by saving me from what she was partially responsible for.

That happened in 1985 when she risked everything to keep one of my father’s friends away from me. I remember that day. She saw his golden-bronze El Camero pull into the drive and told me to run and hide in my bedroom closet, quick. So drunk she could barely stand, she screamed at him to leave, every word she uttered a plosive, a bomb in his face. “SHE’S. NOT. HERE. R—.”

Anything could have happened. He was larger than her, stronger than her, and hellbent on getting access to me. She had no help from anyone in the family or the community. It came down to the two of them. She blocked his path to me by standing between the kitchen peninsula and the dining room table, interposing herself bodily, or at least that’s how I imagined it. I could only hear them from where I was hiding.

Her ferocity was derived from her own trauma, which prepared her for this moment. Trauma is often generational and repeating. It may not be optimal to live with trauma on a daily basis, but when you’re mother sees a moment for what it is and responds accordingly, her embodied trauma can provide the means for freeing you and your body from further trauma.

After that day, the path was cleared for my mother to become Hecate. She didn’t quite get there for complicated reasons, but I saw enough of Hecate in her to know the route. She stacked the cairns for me. Now, the journey is mine to make.

My mother and I are the original triple goddess, as are many traumatized women in traumatized families and traumatized communities in this traumatized world.

Ab-Normalizing

For the past few days, I’ve written things down about my brother-in-law and my husband’s family. Writing is how I experience the moment, how I express what I need to express, and how I heal. I removed that series of posts after a commenter and fellow poet implored me to see a therapist. That’s not the response I’m looking for when I share my creative work.

Given the fact that thirty percent of folks have negative experiences with therapy and most therapists operate within oppressive frameworks, it’s not a modality that should be blanketly recommended to everyone who’s dealing with the harder parts of life that we all experience or will experience.

It’s not someone’s place to tell another person what to do, and it feels like a form of bypassing on the commenter’s part, like they don’t want to engage in the subject matter or they want the person to shut up and talk about their issues behind closed doors.

This response undermines me and my experiencing while silencing my voice and imposing a framework of shame on my way of navigating the world. It’s a form of ab-normalizing that leads me to feel what I’m doing isn’t normal and should be hidden away because there’s no value in it, either in my life or as writing.

This is my page and my open journal. I’m in the present when I write here. Read my posts or don’t read them. Engage or don’t engage. Stop following me if you don’t like how I use this space.

But don’t tell me to see a therapist. That tells me you know little about me, what I’ve survived, how I continue to survive, and all the elements I’ve put in place that support my healing and wellness, including not one but two therapists and not one but two psychiatric providers. (I have providers in both Arizona and Utah.)

I also removed a number of additional posts, including most of my recent selfies from my Utah bathroom series. I feel self-conscious here. I feel unsafe here. I feel unwelcome here, on my own damn Facebook page. How fucked is that?

Don’t even get me started on how I feel about the poetry community right now, namely the poets and poetry organizations that are too big for their britches and don’t care about each other or their communities. Do what you want, dudes, but I don’t know why anyone would spend their life in poetry if it’s not to cultivate community on all levels—beyond poets and poetry—rather than focusing on yourself and whatever precious accolades you cling to or hope to receive. Maybe y’all should see a therapist.

Wildness

Wildness is one of those words that looks like it’s missing a letter. I want another d or n. Something. Maybe a second i or one of those slashes right through the middle that allows the word to be at once one thing and two things. Wild|ness. That still doesn’t look right.

I had a thing to say about poetry, a quip or an aphorism that I came up with while I was making the bed. Then I saw my husband’s blood on a white pillowcase and lost my train of thought. He cut himself working on the house and didn’t think he needed a bandage. He needed a bandage. Because he had no bandage, the pillow became his bandage.

There’s something about the blood-red of blood on the bright white of white that makes the non-brain parts of my body react. To what, I don’t know. I saw a beaten woman bleed all over her white eyelet skirt at substitute teacher training last year in St. George, Utah. But this goes back further than that.

There are also, of course, the white floral handkerchiefs women used to carry that had crimson berries sewn onto them to disguise the blood they were coughing up because they had TB. But that’s not it, either.

It’s something from my childhood, something I saw or experienced. Blood drowning white cloth. White cloth destroyed by blood. Frantically trying to get bloodstains out of white fabric.

My mother knew how to do that. She removed nearly all traces of what happened to her, what she survived. She had a wildness that couldn’t be beaten or shaken or ripped out of her. I mean another word there, not ripped—a word I can’t say here on Facebook. Remove the i and one p. Add an a. Yeah, that word. By my uncle and later by my father.

Wildness is one of those words that looks like it’s missing a letter.

Trauma is one of those words that looks like it’s packed with bodies.

Mother is one of those words that looks like it can be anything at all. Moth. Ether. Mote. Other. Tome. Moot. Mere. Mete. Hoe. Tooth. Hoot. Root. Home.

But most of all: There, there. There, there.

And the blood washes down the drain like always.

Morning Prayer September 16, 2024

Trees don’t move in the wind. They’re moved by the wind, the way we all react to unseen forces, unseen faces, unseen lives, and unseen lies. But I digress. This isn’t about deleting and inserting letters to stumble on real or imagined connections. It’s about how, wherever I’m standing, I want to be standing somewhere else. A foot over, a mile, a state, a bioregion.

There, where I saw my first Blackburnian warbler. There, where I learned the name scissor-tailed flycatcher. There, the mud. There, the sand. There, the untidy rows of cows. There, tidy rows of roses a girl could hide in if it weren’t for the thorns.

I’m trying to stand still for ten minutes every morning while I watch the sun rise and listen to birds. Yesterday, a western screech owl. Today, a pyrrhuloxia, as in red or tawny, not as in pile of wood for burning the dead.

I’m trying not to think about how the northern cardinal should be the one named pyrrhuloxia, not the pyrrhuloxia, or about how that must mean the person who named the pyrrhuloxia had never seen a cardinal, or about how the person who named the pyrrhuloxia must have felt the first time they saw a cardinal after having named the pyrrhuloxia pyrrhuloxia.

I’m trying not to think, which is always the biggest impediment to not thinking. I just want to stand for ten minutes with my feet planted, my body unstirred, like palo verde trees on a calm morning after hard rain. I want to be here, with these birds and these trees and these cactuses in this desert. I want to feel safe enough to remain still for ten minutes. I’ve seen cottontail rabbits do as much, though their mouths were working incessantly because they move their jaws up to one hundred twenty times per minute when they chew. That’s twice my average resting heart rate but nowhere near the four thousand times a hummingbird’s wings beat per minute.

I’m trying not to think about facts and comparisons. This more than that. That less than this. Living beings are not just math, so I’m trying not to tilt my head and scan for rabbits or add up my heartbeats as they batter my chest or make a futile attempt to count the wingbeats of the Costa’s hummingbird who’s zipping past me.

I’m trying not to worry about Valley Fever and global warming and poisonous toads and communities in crisis and birds falling from the sky from avian influenza and assassination attempts and wildlife without habitat and unseen lies and unseen lives and unseen faces and unseen forces and my father and my family and my childhood. That’s what lies in stillness. All of that and more.

So I count. I compare. I slot things into more than that, less than this. I learn facts. I look around. I take in. I fill my head with details. And I move. I have a head full of analysis, a body full of terror, and the trauma to justify both.

Those last three things on my list are the crux of the matter: my father and my family and my childhood. They’re the real, lived dangers that tie me to the rest of the dangers in the world, the rest of the heartbreaks in the world, the rest of the injustices in the world. The broken wing. The dry lake. The toxic dust. The highway. The swimming pool. The bedroom.

My father didn’t have any guns. He’d had enough of them in Korea. We had an empty gun case built into a wall at our lake house. I wanted to fill it with flowers. He wouldn’t let me. It had to be empty, a sign for anyone who saw it that he meant them no harm.

My father was the weapon. He ultimately turned himself on himself but not until he destroyed everyone else. I mean us. I mean his family. I say his as if we belonged to him. Belonged as in were owned by, not as in were members of. He owned us all. Kin from the Old English cynn, which sounds like sin. To kin, to sin, to skin, again. Buckskin and doeskin and firing pins and deadly sins. No win, no wins, no whining, no whinneys.

I stood still for five minutes this morning. Five minutes in which I didn’t keep vigil, in which I watched the sun rise and listened to the birds. It’s not ten yet. I’ll keep trying for ten.

May we all be free from suffering for ten minutes today.

Good morning.

Oil

My brother spent years locating crude oil, first in Oklahoma, then in Texas, then in the Black Sea.

Lake oil. Sand oil. Animal oil. Plant oil.

Oil with a Southern accent. Oil beneath troubled waters.

Oil in another tongue is still oil, oiled and oiling.

Oil on the lips that bite you. I mean me.

I mean father oil, mother oil, oiled mouths, oiled skin, oiled hours, oiled days.

I mean the coffin. I mean the verb. I mean the action.

Run, oil, run. Run from brother oil, from big brother, oiled.

He will draw you up from your dark earth with his skipjack pump and sell you to the highest bidder. A cop. A friend of your father’s. A man. A man.

Or he’ll keep you in a little bottle on an oak shelf until he can refine you, until you brighten, until you slink back and forth in the little jar like the little golden child you were supposed to be, oiled and oiling, body like an O.

O, brother, O brother, hallowed be your O.

My brother spent years locating crude oil, first in Oklahoma, then in Texas, then in the Black Sea. But, long before that, in me.

Upheavel and Loss and Despair

I heard stories of fear growing up, stories of anger, stories of upheaval and loss and despair. The aunt who was poisoned by her husband who was also the man who molested my mother when she was a child.

The great aunt who drowned in pills, who scraped her throat raw trying to force the pills back up after regretting what she did in the moment, in the moment. Before that, the way she waded into a lake and tried to drown herself but someone saw her and fished her out to face the blessing and curse of another day.

Stories of fish on the line, writhing, all muscle and intent. Streams of urine flowing like fountains into the red-tongued water. Who stole watermelons again? Who was chased by a landowner with a shotgun? Father, father. It was father. The urine was him, too. The fish was everyone he touched, everyone who wanted to break free from his hold.

Father and his women and his girls and his parties and his CB radio and his handle and the handle he gave me when he made me talk to truckers on one of the biggest sex-trafficking highways in the country.

Oh, wait. That’s my story, not one I heard. I only understood it completely two years ago. It seared my mouth when I tried to tell it, so I wandered toward the sun and begged it to turn me into ash, into smoke, into anything other than this dredged body. Wait, that’s my story, too.

Exploding and Floating

A turkey vulture glides over the creek, wings bent, head down. Fist-shaped clouds fill the sky. Am I the only one who braces a little all the time—in the Walmart, in the wildlands, in my home? You just never know what’s coming. When I was manic, I told the ER doctor my family was always exploding and floating. It’s true. The only way we survived each other was to float like vultures in our violent skies. Mania is a way to float when gravity’s fussy little hands won’t let go, when the weight of reality is unsurvivable. It’s a way up and out, all wing and wonder. Then you land, hard, the earth splitting you with its open hand. What’s my faith? That I’ll be broken again in this lifetime. I have faith in that the way the vulture has faith that he’ll find carrion before nightfall.


Boxcar Mama

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.

The Dance Magazine, 1928

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.

Zion

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.