Poetry

Free Poem Fodder

Before the churn of factories and the tang of coal smoke came to dominate modern life during and after the Industrial Revolution, the smells of daily life were intensely organic, shaped by proximity to animals, bodies, plants, and decay. Urban and rural environments offered distinct olfactory experiences, but both were pungent, earthy, and changed with the seasons.

Once industrialization and modern sanitation systems had taken hold in the industrialized world by the mid-1800s (following a transformation that lasted about a century), the smells of waste, sewage, manure, and other organic materials were significantly less common, even in rural areas. Changes in agriculture, the decline of small cottage industries, and advances in chemistry also pushed scents away from earthy and toward synthetic. But understanding these historical odors offers a visceral glimpse into how people once experienced the world — as they say, “the nose knows.”

Dana for Mayor

My day hasn’t gone as planned. I went to get lab work done early this morning only to find out the orders were never placed, which means I won’t have results in time for my appointment with the specialist who (should have) ordered them. This is the doctor who, in part, is following my cancer status, so the labs are important.

I came home to an attempted identity-theft scam that Jon and I both had to deal with immediately. Things like this are happening more frequently, and they’re harder to identify. Someone tried to hack one of my online shopping accounts just three days ago.

I commented on a story in The Salt Lake Tribune in support of a gay mayor in one of Utah’s cities. Someone else in the queer community, another Utahn, saw my comment and thought I was saying the opposite of what I was saying. Their response was to tell me that I’m attacking the mayor based on his sexuality, that I’m not being Christlike, and that I’m so ugly-looking that they’d never live in a city where I was the mayor. Humph. I have many grumpies around that set of assertions.

My Fitbit died. I have no data whatsoever, and I rely on that data for my health and mental health.

I drove half an hour each way to see my therapist, where I hoped to talk about the parts involved in my strong feelings about the SLT commenter calling me an unattractive, unkind homophobe, but the therapist forgot my appointment, which means I drove for an hour for no reason and have three exiles I need to deal with on my own now rather than in therapy. (Exiles are a type of part in the Internal Family Systems framework. It’s not ideal to be exploring them alone.)

These are all small problems in the larger scheme of things, and they’re counterbalanced by an incredible conversation and connection I had with a fellow poet today. We talked about organization, one of my favorite topics, and poetry and community and dogs and mountains. I mean, it was good stuff.

Also on the plus side, there’s my sweet dog. And my relative ability to handle all these relatively small problems. And my view of the laccolith, which I can see now that the clouds have started to dissipate or move on or whatever clouds do.

Oh, and someone ran over a raccoon in our neighborhood, so there’s also that sad occurrence. That’s another item for the negative side of today’s +/- list. I wouldn’t have known if I hadn’t been making that fruitless round-trip drive to see the therapist.

You can file this under grumpy with a lower-case g or grumpy with a capital g or dumpy if you also think I’m so unattractive you would never live in a city where I’m the mayor. The last part of that sentence was written by one of the exiles. She was called ugly by her classmates almost every day of her life from preschool until she was well into puberty. We’re working through it.

Selves and Others

Richard Schwartz, creator of the Internal Family Systems model, says some people are more easily activated in their relationships because they’re more dependent on those relationships to heal the most wounded parts of themselves. One of the goals of IFS is for folks to focus more on themselves for healing and less on others—that is, cultivating secure attachment with our internal parts.

I would add that this goes back to attachment traumas early in life. In my case, I have insecure attachment, which means I had my needs met some of the time but not consistently. There’s a lot more to it than that, but this brief explanation suffices for the purpose of this post. Having folks around me who have secure attachment is helpful. Having folks around me with insecure, avoidant, or disorganized attachment isn’t helpful. That’s because I haven’t developed secure attachment yet. IFS is one way to address that internally so I can bring my own secure attachment to my relationships with others.

Outside of IFS, being around those with secure attachment is the best way to learn secure attachment. This can happen over the course of about five years, for example, if someone with insecure attachment is in a relationship with someone who has secure attachment. The problem is only a subset of adults have secure attachment, and those with attachment trauma are often in relationships with partners who have attachment trauma. Pairings between those with insecure attachment and those with avoidant attachment are common, as is the case in my marriage. (My husband has avoidant attachment.)

The pandemic and moving to a rural area have made it even more difficult to interact with those who have secure attachment. I no longer work in a workplace, and I’m not around people on a regular basis. I spend more time with horses, cows, and birds than with human beings.

I need to work out how all of this maps onto the way I navigate and experience poetry spaces both real and virtual. Coupled with traumas I’ve experienced in poetry, the prevalence of insecure attachment styles among poets concerns me, especially when it’s not examined and when certain behaviors occur as a result, including those I witness that are directed at others and those that are specifically directed at me.

Questions I’m going to be asking myself as I work on IFS with a therapist and attempt to be less activated in my relationships with poetry and poets include: how can the behavior of a poet or group of poets have less of an emotional effect on me, how can I more effectively address issues I see in the poetry community in ways that feel less emotional, how do I cultivate relationships with poets who are aware of their own attachment styles and are also working toward or already have secure attachment, how do I measure progress to assess whether my efforts are working, and what decisions do I make if I don’t make progress (e.g., where else can I practice relating to others in ways that are less activating, how can I limit my exposure to interactions that aren’t helping me heal)?

I’m also not a fan of endogenous social networks, which I’m certain stems from my early traumas. I’ve always felt safer in exogenous networks where most of my friends and connections don’t know one another. You can’t get much more endogenous than the poetry community, where everyone seems to know everyone else and gossip runs rampant, especially in the social-media age. That’s a different issue in some ways, but developing greater security in my attachment style should help me navigate tighter social networks.

If things work out with this therapist, we’ll also be doing IFS-informed EMDR work. Or maybe it’s EMDR-informed IFS work. Either way, the work will address complex trauma as well as parts and attachment style. All of this matters: these intersections of self and self, of self and other, of self and community.

On Poetry and Healing

I don’t approach poems as therapy. I just come to them as myself.

Poems allow us to reclaim our stories, understand trauma and survival, realize that growth and healing are possible, lessen shame and embarrassment, and give us a sense of belonging.

The hippocampus, which situates our memories in time, doesn’t function properly under stress or during trauma. My poems are an external mechanism for placing traumatic events in time, which keeps them from feeling never-ending and ever-present. I think of it as a kind of assistive technology, like a keyboard for my dyslexia or glasses for my farsightedness.

Poets use the beauty intrinsic to poetry to shape their experiences and change the way they live in the mind and body. What’s made is more than noise. It’s a way of singing through pain or, as Orr says, allows us to order the disorder that’s in and around us, that’s intrinsic to the world we live in.

I see great value in dreams and writing about them, not only because dreams are where we do unfiltered processing of our experiences without the imposition of an artificial sense of time or an enforced rigid inner governance but also because we can more freely make leaps when talking about dreams, since that’s exactly what dreams do. Injecting a bit of the surreal into the poem can help us bring our dream wisdom into our waking lives—and therein lies not just surviving, but the ongoing work of healing.

Poetry’s concision and beauty allow me, as a writer and reader, to enter into myriad experiences—some like mine and some unlike mine—and to see common human impulses at work. A collective psyche emerges—a collective conscience and collective unconscious—as a backdrop to the individual experience. Poetry has taught me a great deal about my own psyche, my own mind, my own impulses, and my own needs. But it’s also contextualized all of that within a larger environment and larger swaths of time than a single human timespan. Poetry approaches the archetypal, the mythical, the things that lie deep in our ancestry: things we can’t, and shouldn’t, ignore if we’re going to survive on this planet and help this planet survive.

Stephan Torre says that, for him “… writing comes when it must, when it’s too hard to hold in the joy or grief without blurting it out.” I love that way of approaching poetry, but I personally don’t wait until the point of bursting. I try to do the work every day of cultivating making music out of noise, as Kim Addonizio writes in her poem “Therapy.”

Gregory Orr talks about something similar, which is that the act of writing a poem gives the poet more control than they had at the time of the traumatic event they’re writing about, which in itself is empowering and healing.

And then there’s all this beauty intrinsic to poetry, which the poet uses to shape the experience and move it into a different part of the mind and body. What’s made is more than noise. It’s a way of singing through pain or, as Orr says, allowing us to order the disorder that’s in and around us, that’s intrinsic to the world we live in.

More Than Noise

Stephan Torre says that, for him … writing comes when it must, when it’s too hard to hold in the joy or grief without blurting it out. I love that way of approaching poetry, but I personally don’t wait until the point of bursting. I try to do the work every day of cultivating making music out of noise, as Kim Addonizio writes in her poem “Therapy.”

Gregory Orr talks about something similar, which is that the act of writing a poem gives the poet more control than they had at the time of the traumatic event they’re writing about, which in itself is empowering and healing.

And then there’s all this beauty intrinsic to poetry, which the poet uses to shape the experience and move it into a different part of the mind and body. What’s made is more than noise. It’s a way of singing through pain or, as Orr says, allowing us to order the disorder that’s in and around us, that’s intrinsic to the world we live in.

Poems as Time-Stamps

During Saturday’s Utah Poetry Festival panel discussion on Poetry As Survival, if there’s time, I’d like to talk about why trauma is a wound of the present and how poetry (and other forms of art) can help with processing those wounds.

One of the reasons trauma from the past plays such a role in the present is because our brains don’t time-stamp traumatic events properly. The hippocampus, which is responsible for encoding and storing dates for our memories, can’t do so when levels of arousal or stress are too high. Instead, memories are recorded in great detail but without a time-stamp associated with them. That’s why there’s an always-ness to traumatic memories, an endlessness, a nowness.

The first way poetry addresses this issue is by allowing us to move time around as we write. As Gregory Orr says, this gives us more control over a situation we may have had little or no control over when it was happening, which in itself is empowering. The very act of writing about the experience is an act of survival. But the act of writing also gives us a past, a present, and a future—that is, the sense of time and its passing that’s missing in our encoded memories about what happened.

Even if we write about an experience in the present tense, the act of putting that experience in writing, moving it from the body to the page, from feeling to language, helps us do the time-stamping necessary to process what we’ve lived through. That’s what I believe anyway, as a poet who lives with trauma but who’s not a psychologist or neuroscientist.

The second way I believe poetry is helpful is that it serves as a creative historical record that we can revisit anytime we want and reinforce what we’re learning as we heal. I realized this last fall when I was looking through my older poems. Together, they serve as a network of external time-stamps that reinforce an “I am here” as opposed to “I am still there” message. I can read my poems and situate them in time in a way that helps me make sense of my past and my life as a whole. This thing happened. Here is when it happened. Here is when I wrote about it. A year ago. A decade ago. A week ago. Not now.

And that’s the point of time-stamping: to know what was then and what is now, as well as what isn’t now.

I’ve had similar experiences when I look at photos I’ve taken, but the time-stamping isn’t as strong for me as it is with poetry, probably because I just point at things and click. I don’t put artful effort into my photos the way I do with my poems. I’m also not stepping into parts of my life or into the world itself in photos the way I do—or the way I hope to—when I write a poem.

I love language in ways I can’t properly articulate. I’m dyslexic and had extreme difficulty with reading and writing when I was young. It was poetry that allowed me to enter into language, not dull language but magical language that gave me access to worlds outside my family, my home, my town, and what happened there. I have a strong time-stamp associated with the first real poem I read. It was in a children’s book tucked on a shelf in what was once my sister’s room, but it wasn’t a nursery rhyme. I found it, and I loved it, and it was mine. I know where I stood when I read it, how the paper felt, what it did in six lines, and how I came alive reading it. Fully alive. Fully present. I had no idea at the time what a gift the poem would be or how it would shape my life and my healing.

For me, healing is a process and there will always be an ongoing-ness to it. But the poems I write are essential parts of my mind at this point, externalizations of what my hippocampus can’t do as readily as someone who hasn’t experienced trauma. I hope I also create beauty, at least sometimes, in and through my writing.

I’ll close by saying that I’m not talking about poetry as therapy. I approach poetry as an art, and I also recognize its healing powers, which for me are rooted in psychology, neuroscience, philosophy, and spirituality.

Poetry As Survival

During Saturday’s Utah Poetry Festival panel discussion on Poetry As Survival, if there’s time, I’d like to talk about why trauma is a wound of the present and how poetry (and other forms of art) can help with processing those wounds.

One of the reasons trauma from the past plays such a role in the present is because our brains don’t time-stamp traumatic events properly. The hippocampus, which is responsible for encoding and storing dates for our memories, can’t do so when levels of arousal or stress are too high. Instead, memories are recorded in great detail but without a time-stamp associated with them. That’s why there’s an always-ness to traumatic memories, an endlessness, a nowness.

The first way poetry addresses this issue is by allowing us to move time around as we write. As Gregory Orr says, this gives us more control over a situation we may have had little or no control over when it was happening, which in itself is empowering. The very act of writing about the experience is an act of survival. But the act of writing also gives us a past, a present, and a future—that is, the sense of time and its passing that’s missing in our encoded memories about what happened.

Even if we write about an experience in the present tense, the act of putting that experience in writing, moving it from the body to the page, from feeling to language, helps us do the time-stamping necessary to process what we’ve lived through. That’s what I believe anyway, as a poet who lives with trauma but who’s not a psychologist or neuroscientist.

The second way I believe poetry is helpful is that it serves as a creative historical record that we can revisit anytime we want and reinforce what we’re learning as we heal. I realized this last fall when I was looking through my older poems. Together, they serve as a network of external time-stamps that reinforce an I am here as opposed to I am still there message. I can read my poems and situate them in time in a way that helps me make sense of my past and my life as a whole. This thing happened. Here is when it happened. Here is when I wrote about it. A year ago. A decade ago. A week ago. Not now.

And that’s the point of time-stamping: to know what was then and what is now, as well as what isn’t now.

I’ve had similar experiences when I look at photos I’ve taken, but the time-stamping isn’t as strong for me as it is with poetry, probably because I just point at things and click. I don’t put artful effort into my photos the way I do with my poems. I’m also not stepping into parts of my life or into the world itself in photos the way I do—or the way I hope to—when I write a poem.

I love language in ways I can’t properly articulate. I’m dyslexic and had extreme difficulty with reading and writing when I was young. It was poetry that allowed me to enter into language, not dull language but magical language that gave me access to worlds outside my family, my home, my town, and what happened there. I have a strong time-stamp associated with the first real poem I read. It was in a children’s book tucked on a shelf in what was once my sister’s room, but it wasn’t a nursery rhyme. I found it, and I loved it, and it was mine. I know where I stood when I read it, how the paper felt, what it did in six lines, and how I came alive reading it. Fully alive. Fully present. I had no idea at the time what a gift the poem would be or how it would shape my life and my healing.

For me, healing is a process and there will always be an ongoing-ness to it. But the poems I write are essential parts of my mind at this point, externalizations of what my hippocampus can’t do as readily as someone who hasn’t experienced trauma. I hope I also create beauty, at least sometimes, in and through my writing.

I’ll close by saying that I’m not talking about poetry as therapy. I approach poetry as an art, and I also recognize its healing powers, which for me are rooted in psychology, neuroscience, philosophy, and spirituality.

Poetry and Internal Family Systems

I’ve been thinking about Internal Family Systems and how that model of the psyche, of the self, applies to healing in and through poetry. The IFS model draws on Carl Jung’s work, which drew on indigenous ways of knowing, so there’s a long tradition behind it about being conscious and being human. The focus in IFS is on the mind, but it’s also on the body because we are all embodied. No mind without body. No body without mind. Or minds, as Richard Schwartz, the creator of IFS, might say.

I’ve long understood that different voices were at work in my poetry, much more so than when I write a lyrical essay or, say, a feature story about health or medicine. In my earlier work, those voices were darker, for lack of a better word. Not that they were dark. They just lived in darkness. I couldn’t see them well outside my poems. I often thought I was channeling some experiences that were outside of me or that were part of the collective unconscious, which certainly can be the case.

I came to see, over a period of more than two decades, including the seven years I spent not writing poems, that what those voices were sharing was either what happened to them or their feelings about what happened to them. The “them” in question was me. Many of those things happened to me. My voices were what Schwartz calls parts, also known in other models as subpersonalities or ego states.

Poems gave me permission to write what I couldn’t face or completely understand or entirely integrate. I write poetry in a state that’s closer to meditation or sleep, so the door is at least somewhat open to parts of my experience and parts of my self that are otherwise sequestered.

I’m not talking about a pathology or a label like dissociative identity disorder. Schwartz says this having of and living with parts is the natural state of the mind and works well until trauma happens. Or traumas. Even then, no part is bad. They’re all trying to help. They all want to be heard, and they need to be heard. I keep typing heart instead of heard, as if parts of me know this going in, going toward them, is the heart of the matter.

I typically move fluidly with my parts now when I write poems. I think this is one reason I write so much. All the parts, well at least many of the parts, come to the table and follow my lead as I tell their stories. That’s my self, guiding these creative interactions, which makes the parts feel safe. Safety is exactly what they need.

We’re still working on how to be in the world, but we’ve got the poetry experience down. A couple of my parts are still in the shadows. They’re the most vulnerable ones and the ones I fear. There’s one I may feel disgust toward. We all have parts like that. The work is doing the work to talk to them and bring them closer to me, unshaming them and loving them.

I’m not sure Internal Family Systems has been written about in terms of trauma literary theory, but it should be. It’s another lens for understanding how and why poetry can help heal trauma. It rings true for me, like the bells I sometimes hear in downtown Toquerville that make their way across the creeks to find my body and set it to music.

Kelly

A few months before she died, a dear friend of mine, a poet, called me and apologized over and over and over for how she treated me in 2015, which was to stop communicating with me over the issue with the poet who harmed me. We’d been close. Very close. I’d reached out to her several times in 2015 and thereafter with no response. I didn’t hear anything from her for seven years.

She believed me, she explained as she cried, but she didn’t know what to do. She was just so sorry. She needed me to know that.

But she also asked why I still cared, so many years later, about what happened. Couldn’t I just let it go, she asked. Turns out that question wasn’t for me. It was for her. A few weeks before she died, she called me and told me her father had sexually abused her. We talked for hours. These things aren’t ones that can be let go. They live in our bodies and make their way into our consciousness, sometimes decades later. They have to be seen and recognized and processed, not let go the way you might brush off an insensitive comment or a minor annoyance.

What I learned from my friend is that sometimes we push others away who have experienced what we can’t let into our consciousness, what we can’t deal with, at least not yet. It can be impossible to face what’s happened to others when we can’t face that it’s also happened to us. The reason for the pushing away may not even be in our awareness. What happened may be stuffed so far down that we don’t know what happened, let alone why we’re behaving the way we’re behaving. We’re just behaving. We may deride the person we’re shunning. We may call them weak or use inappropriate labels to describe them. We may call them crazy, bringing us into superficial alignment with those who do harm and call their victims crazy.

As my friend came to the end of her life, she was able to bring what happened with her father into her consciousness. Or maybe she just wasn’t unable to continue avoiding what she’d been avoiding for decades. But that was just the beginning of the work. When the thing goes from the body into the mind, or more accurately into a shared body/mind existence, that’s only the beginning of healing. My friend didn’t make it past the beginning. But I hold her story and her in my heart. She’s in my poems, always.

She’s the only person who’s ever apologized to me for their part in what unfolded in 2015. And she wasn’t even spearheading anything. She was just caught up in the battle, as were many folks, including victims like me who were unable to speak as we were overrun by those attacking us and those purporting to support us alike.

—

Glass
— for Kelly

Today I saw a starling try to fly
into a closed window as if it knew

the pane was a way out, not a way
through. You feel like that, too,

sometimes, as do I, traumas lining
our pockets and us wondering

at the weight we bear, our desire
to find a body of water deep

enough to cover us like a sheet
of glass. I’ve stood on that shore,

or should I say sore, open wound?
Maybe I should say wound, the verb,

as in how many years have we
wound and unwound like a thousand

pulsating variable stars, held each
trauma-stone to the light and tried

to feed it little snails, as if we could
nourish the pain away or nurture it

into something that might walk
beside us rather than having to be

carried or dragged? We are turning
rocks into sky, you and I, our feathers

oiled, our backs to the sun. We are song-
birds, too. Everyone seems to forget that.

—

“Glass” first appeared in Anti-Heroine Chic.

What Happened

Sexual violations can take time to understand, to come into our consciousness. What is was. What it’s called. Knowing what happened, knowing the name of what happened, can lead to a whole other level of distress that needs attention and healing. Even though nothing about the experience changes, knowing what it is, what a violation it is, changes everything.

I grew up being so violated I didn’t have names for anything. It wasn’t until I was in my forties that I really started to understand. I was watching a news story that included the details of a woman’s rape by multiple classmates. I was like, That’s rape? I’d been in a nearly identical situation once with two older classmates, which meant I was raped. That’s the first time I realized what happened, what it was.

Then I went through a list of other incidents in my head and was like, Then what was this, and what was this, and what was this? It turns out it was a combination of rapes and sexual assaults. Also child sex abuse. Also, much later, in 2023, I realized I’d been trafficked. I’d just learned that there was a huge sex-trafficking ring in my hometown and in other parts of the state my father frequented with me. It’s one of the largest in the country. I don’t know that my father was formally part of that or if he just found his way into those spaces because he was drawn to them. But I do know he sexually abused me. And his best friend sexually abused me. And his best friend’s adult son was extremely inappropriate with me in a sexual/grooming way. And his work associate came around the house with his penis sticking out of his short shorts while I was told to sit on the ground in front of him, putting me at eye level with it, while my dad was there watching both of us. And I know that man was also sexually abusing his children. And my father’s former friend was sexually abusing his daughter. And I was in that house a lot, all the time, and it never felt safe there, and it wasn’t because he was hitting her or throwing her down the stairs. It was another kind of unsafe, one she wouldn’t be able to talk about until she was in her fifties.

And I know my father made me talk to truckers on the biggest sex-trafficking highway in Oklahoma. I know I had a CB radio handle. I know the truckers knew the handle. I know they would get on the CB radio and ask for my father by his handle, then ask if I was there and if they could talk to me. And I know I obliged. And I know I thought it was fun. I believe I was on my father’s lap some of the time, but that may just be how it felt emotionally—that closeness and tension. And I know my father stopped once, with me, to meet up with a man who saw me and looked scared and wanted to leave. That’s where what I know ends. I don’t remember the rest.

When I learned that there was a name for all of that and the name was child sex trafficking and abuse, it was too much of a shift, though nothing that happened had changed. What it was had changed. I spent parts of 2023 delusional and terrified. I felt like I’d come to understand something the human mind isn’t meant to understand and that I’d survived something the human body isn’t meant to survive.

So yeah. Maybe fuck [poet’s name redacted] or at least that comment she made and the similar ones other folks made in 2015. What happened with the poet who harmed me was nothing compared with what my own family and namely my father did to me and allowed to be done to me. But it was still sexual assault, and it was still fucking awful, especially because the poet made me talk about my child sexual abuse as he was assaulting me. It turned him on.

—

This post was initially a response to a comment on another post on my Facebook page.