Poetry

Heartbreaking Wombat Poem

I will describe the heartbreaking wombat poem I wanted to write last night when I was too tired to write because I’d been messing with poetry submissions for fifteen hours straight. (I actually submitted zero poems after all that effort.) The time for actually writing the heartbreaking wombat poem has passed. But here’s what I kind of think the poem would have done. Keep in mind, I never know what the poem will actually do until I start engaging with it for real.

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The Poem Has Some Kind of Title

The poem opens with something about how a wombat can’t survive in the wild with only three legs.

The poem goes into detail about the kinds of things the wombat can no longer do because of the missing leg, making reference to an individual wombat who’s experiencing this situation. Evading predators. Foraging. Climbing.

(The poem’s not sure wombats climb. The poem will look that up.)

The poem starts to talk about the wombat in ways humans can relate to, especially those of us who are growing older.

The poem turns to humans explicitly and all the things we can’t do. The poem provides lists here because they can cover a lot of emotional territory. Accretion can be an effective technique in the poem and help the poem avoid sentimentality and other gobbledygook that mucks up poems and may muck this one up despite the poem’s efforts.

Here, the poem may take a turn toward the emotional things we can’t survive, not just the physical things. Traumas. Losses. Unimaginable suffering. The poem will provide some examples, perhaps those pulled from recent news or perhaps from the poem’s past.

The poem might move out from individual traumas to larger traumas by talking about groups of people who are like wombats, ones who’ve lost their lands and are being driven from their homes into the harsh reality that the world is no longer designed for them if it ever was. It’s for others, many of whom want them gone the way they want wombats gone.

The poem may bring up Marky Mark and the way he brutally beat two Venezuelan men when he was sixteen years old, namely how that’s not dissimilar from people attacking and harming wombats, though of course the comparison is problematic because humans aren’t wombats and Marky Mark does whatever he wants, and it’s funny how the history of celebrities always seems to be getting lost, as if it’s all being tucked inside the pouches of wombats never again to see the light of day.

It’s risky, but the poem might talk about the emotional lives of wombats, perhaps discussing how we can’t know the interior lives of nonhuman species, but we can make some educated guesses. And we really don’t know that much about our own interior lives, do we, and that doesn’t keep us from talking about ourselves and each other, so why not allow the stretch here. It’s a poem, after all, not a scientific lab that experiments on animals. (And thank goodness it’s not.)

Now the poem may list a bunch of stuff a wombat can’t do after certain types of emotional damage, like being attacked or run over or left in the road or being burned or losing habitat or whatever. The poem may feel this is an effective way to bring you into the animal’s life quickly, before you can stop reading.

The poem wants you to feel all of this, both for the wombat and for other humans, but its mechanism of action is to get you to feel. You must feel what the wombat feels so you can feel what you feel and then extend more compassion and understanding to those around you.

That’s what the poem wants.

The poem will end but not before it tells you the wombat died. Humans made the decision to euthanize the wombat once they realized the leg couldn’t be saved. The poem may offer a kind of prayer here for safe passage from this world, but the poem knows it’s better if there were safe passage within it.

The poem will leave. It will disappear into the margins because the poem always has safe passage into silence.

Yesterday, I somehow managed to make one OK three-part poem out of what started as a single absolutely hideous poem. It was like fashioning one of those do-it-yourself wire tree sculptures that were all the rage in the ’80s. You had to keep twisting and untwisting until something at least passably treelike emerged, then you had to hang little leaves from the wire branches, which was its own surgical undertaking. I was the only one in my family who had the patience for that kind of thing. It wasn’t patience, though. It was something else: the need to destroy and create, to pare and repair, to make what I saw in my mind a reality in the world, not a poor approximation of my mindplay.

Compulsion was on my side as well, not just with the tree sculpture, but in all aspects of my childhood. I loved picking the tar bubbles in the road that formed on hot summer days and solving complicated puzzle games everyone else gave up on and memorizing impossibly long Simon tonal and light sequences because there’s no stopping, ever, until you absolutely can’t continue—maybe you’re out of tar bubbles and have to wait for the sun to make more or you can’t crack the stupid puzzle’s stupid code or your infuriating working memory deficits won’t allow your brain to hold onto any more BEEP BEEP BOOP BOOP BEEP BEEPs.

I stuck with that hideous poem yesterday because I’m an adult version of the child I once was: stubborn, driven, perhaps a little dysfunctional. That poem was a pig, and I put some better-than-Walmart earrings on it, dressed it up a little by tearing it apart line by line and reattaching those lines to create a different creature entirely. Half of it lay on the table by the time I was done. Word, words, words. So many words. Sometimes words are too much with us. They’re like metal tree branches that need to be trimmed or tar bubbles that need to be picked or puzzles and toys that need to be put away and silenced.

Walking with Cavafy

Whatever I try to do is fated to turn out wrong / and my heart lies buried like something dead. / How long can I let my mind moulder in this place?

Windy night. Windy morning. Tumbleweeds congregate in my yard like churchgoers who stick with their own kind and bristle at anything unlike them.

Wherever I turn, wherever I look, / I see the black ruins of my life, here, / where I’ve spent so many years, wasted them, destroyed them totally.

I walk from one tumbleweed to the next literally sizing them up. I want a fat one, nice and round, no thorns. I find one I like and carry it high like a torch to my back door. I imagine I’m carrying justice or truth, though it’s just a dead amaranth and I’m just a person living in Toquerville, Utah, trying to make sense of this place before I leave it.

You won’t find a new country, won’t find another shore. / This city will always pursue you.

This is not a city, I think. Not in any real sense. Eighteen hundred people live in this town named after a Paiute Chief who may not have existed. He makes a nice story, though, one of Native Americans and Mormon pioneers living in harmony, so the locals are sticking to it. There are probably as many cows and chickens as humans here. Six cloned while bulls live up on the hill. Two Shetland ponies reside down the street. More than anything, this place is comprised of sandy soils, so many types they each have a name — alfisols, aridsols, entisols, mollisols — not like the basalt, which is just called basalt. Chief Toquer was named after that basalt, so the story goes.

You’ll walk the same streets, grow old / in the same neighborhoods, turn gray in these same houses. / You’ll always end up in this city.

The tumbleweed will stay on my coffee table until I get on the road to Tucson, where I’ll display it as a reminder of the place I’ve left. Well, mostly left. We never leave the places we leave. Didn’t Cavafy say as much in his poem “The City”?

Don’t hope for things elsewhere: / there’s no ship for you, there’s no road.

But I have hope. Those of us who despair must also hope. It’s like a teeter-totter, but with great effort you can sit closer to the fulcrum and find balance. Hope isn’t a thing with feathers. It’s a tumbleweed trying to spread its seeds as far as possible even after it’s dead. I have that kind of hope, one that moves with me and urges me to move. Movement is breath, is heartbeat. I especially love those slabs of highway that make the car go “ga-dung, ga-dung, ga-dung” the way my heart does when I know I’m alive. The roads between here and Tucson undulate like a roller coaster meant for children. They make me nauseated, which is another way of knowing I’m alive, an old way of knowing, a way I may cast off one day as I tumble along.

Now that you’ve wasted your life here, in this small corner, / you’ve destroyed it everywhere in the world.

Then I might as well go anywhere I want, Cavafy. Why relegate myself to this small corner? Why do here what I could do in wilder lands with deeper histories? Where admission is possible and millions of saguaros throw up their arms to welcome the beloved wrecked and wretched with perfect equanimity.

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The text in italics is from “The City,” by C P. Cavafy.

This Canyon

The problem with this canyon is that it doesn’t know it’s a canyon, so it will go on being a canyon until someone stops it from being a canyon.

This canyon has moods. Its moods can’t be contained. It’s cold wind, warm wind, hot wind. It’s the echoes of coyotes howling from the land and hawks and vultures screeching in the air. It takes on all these sounds, all this movement, without thought, without hesitation, without common sense.

We want to put this canyon in a long-term program so it can learn how to be a church lot or a fractional-ownership community. Anything but a canyon. Maybe a golf course or a shopping mall. Maybe a water park or an RV site. We need more of those. What we don’t need is more canyons.

This canyon is a burden to the taxpayer. It never gets any better at not being a canyon. We’ve tried everything we can with no luck. This canyon doesn’t listen. This canyon doesn’t learn. This canyon doesn’t stay on task. It won’t tell us its history. It doesn’t answer our questions. It just goes on and on about rivers and rocks and how it’s millions of years old, all evidence of its derangement.

We can’t help this canyon if this canyon won’t cooperate.

We don’t need any more canyons here in these canyons which are always annoyingly so canyonlike. Canyons should be outlawed. They should be jailed. They should be shocked into being what we want them to be.

This lousy canyon. This maniacal canyon. Such a waste, such a terrible waste.

—

The last sentence of this poem is from the ending of Charles Bukowski’s poem “Paper and People.”

Take a Message

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.



Ad Astra

There’s a point at which there are diminishing returns with regard to learning more about a place, a culture, a collective mindset, a community fever.

There’s a point at which it becomes time to pray with your feet. I’m at that point. I’m not an investigative journalist nor do I want to be one. I’m a creator. I want to create. As Richard Siken says, I’m just a writer. I write things down. That’s what I do and what I need to do. I need to create. I need to bring beauty to what’s awful, to what we want to look away from, to what we want to deny and suppress and ignore. But the beauty part is key. Beauty first, beauty always.

I don’t want to be pulled further into what this place is and does and isn’t and doesn’t do. I don’t want to be somewhere that takes and takes and takes everything from me, leaving no me left to love, to grow, to write, to create.

I’m leaving, come hell or high water. There, I said it. It’s time. It’s beyond time. My return to this place in March was necessary because of my health, because of my trauma, because I had issues to resolve with my husband, and because I needed to make sure I’d done all I could possibly do to be part of this community. I’ve done those things now, and I’m done.

I’m going to Oklahoma, Kansas, and Missouri in September. I’m looking at MFA programs in Oklahoma while I’m there. I’m evaluating the healthcare system, housing costs and availability, and employment opportunities. I have family in Oklahoma. My family. My people. Oklahoma, my home, my home, my home.

I’m going to need help to do this in the form of love, support, and understanding. There’s so much more trauma for me to address now after living in Utah for five years and Southern Utah for three years. I’m a strong person, but I’m now a broken person. I can come back. I know I can. I can become who I am again, who I’m losing, who I may have lost.

Tomorrow is my birthday. I’ll be fifty-two. One year ago, I was radioactive. I was sitting in a rented tiny home overlooking the Virgin River Gorge because I had to be isolated for several days. I spent hours talking to Jose Faus on the phone after watching the gorge all day. I had just started writing poetry again. I read a short piece to Jose over the phone as he fell asleep. Maybe my words put him to sleep. That’s OK. I always fall asleep reading my own writing, too. Anyone out there with insomnia might consider using my work to help them regulate their sleep.

Seven years ago, I was sitting in a hospital room in Kansas City with my husband, my legs under constant pressure and a breathing device on the table that I had to use every thirty minutes or so—the former to prevent leg clots and the latter, I think, to prevent a pulmonary embolism. I’d just had my thyroid removed to cure my autoimmune thyroiditis. They found tumors during the procedure, but the doctor assured me they wouldn’t be malignant. He came into my room all ego and narcissism and said there was only a one-percent chance the tumors would be cancerous. That’s why he went easy, left a little tissue in sensitive places. That’s why he didn’t remove the lymph nodes. Then he wished me a happy birthday. The pathology report came in a week later. It was cancer, and it hadn’t all been resected.

What will tomorrow bring? My husband and I plan to look at the stars with a telescope we’re borrowing. I plan to visit a bookstore. I plan to play with our dog, Lexi. I plan to write and write and write and read and read and read. That’s the plan. We’ll see what actually happens.

Love to those dealing with health issues, emotional issues, addictions, dependencies, and any form of pain or suffering. Love to those who’ve almost died and managed to survive. Love to those who tried to survive and didn’t manage to do so. Love to you beyond place, beyond time, beyond loss, beyond memory.

Love to you all. All of you, love.

Ad astra per aspera. PrairyErth, we are one.

It’s not Oklahoma’s fault that I was abused in Oklahoma, that I was raped in Oklahoma, that I was trafficked within and beyond Oklahoma. Humans destroy each other. Humans destroy the land. The land never destroys us. The land never trafficks us. The land never rapes us. The land never abuses us. The land never destroys itself.

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.

Every day is a journey, and the journey itself is home. ― Matsuo Bashō

Pain, Uncertainty, Hard Work, and Writing

I’m wearing my Victorian chemise. I’ve been cleaning and crying and organizing my closets all day. While gently spreading a newly washed flat sheet across my bed, I thought about my dog Hayden, who died almost two years ago.

Pain, pain, pain. It came sharp and quick like needles marching up and down my body—not just losing Hayden but all the pain before and after. I think we so suddenly remember the animals we’ve lost because they allow us to enter into other painful experiences. Animals are guides, I believe, even when they’re no longer with us.

There’s been so much pain in my life, in my husband’s life, in our friends’ lives, in our families’ lives, in the neighborhoods where we’ve lived, in the cities and states we’ve called home, in public spaces, in private spaces, in our country, in the world.

Leonard Cohen spent six years meditating in silence on Mount Baldy. He finally came back because he knew he was a writer and had to write. He was writing all the time while meditating, he said.

I used to say I was a text generator, not a writer. I was rejecting agency and narrative. A fellow poet and dear friend influenced me in this regard or maybe we influenced each other. The stance was entertaining but preposterous. I’m actually a writer, not a text generator. But I had folks fooled: On Twitter, some of my followers actually thought I was a bot.

It would be easier to be a bot. It would. This world makes me bleed, and I bleed into it in turn.

When I was arranging a stack of poetry books on a high shelf this afternoon, one of them fell on my head and left a welt between my eyebrows. It’s kind of a third-eye type of thing. The offending collection was by John Donne, my favorite poet, a man whose work sets my heart beating in time with his lines. What’s that saying? Something about being hit over the head … Donne’s aim was a bit off, but close enough. Point made.

Earl Smith, a man I met once who’s dear to me said we just have to do three things: try, love, and use our gifts to help others. Phil Stutz, a Jungian analyst whose work I admire, says we will never escape the following three things: pain, hard work, and uncertainty.

That’s what I’m meditating on now, after three days of sitting with an especially painful situation. I need to try. I need to love. I need to use my gifts to help others. And I need to do those things despite pain being unavoidable, hard work being necessary and constant, and uncertainty being ever-present.

And I’m going to have to write at least some of it down. I think that’s unavoidable, too.

On Writing, Poetry, Health, Trauma, Surviving, and Lucid Dreams

This essay was written on Twitter throughout the day on January 1, 2023.

—

I’m drafting a new essay here piecemeal, the way I write my notes for a story on a series of notecards, real ones, old school. That’s really all I ever do here: Write long stories in small chunks, in vignettes and aphorisms and observations. I’m doing that today.

Ginsberg didn’t have time for metaphors. I might not have the time or desire to fix my typos or to state things perfectly in this story outline. I certainly don’t have time to say things in order. That will come later. Or the narrative will remain disjunctive, which I also like.

There’s power in disjunctive narrative. Is disjunctive even what I mean? It’s not. What do I mean? I mean narrative that’s all scrambled up the way we think about our lives and stories. I mean: no imposed order other than capturing what the mind presents as quickly as I/we can.

Because we all do this. We all have minds. Our minds don’t live inside narrative. We have to learn narrative in order to survive. Narrative turns chaos into something we can respond to and live within. But today, the particular, infinitesimal part of the we doing this is me. This is my scrambled story.

Welcome to my mindfield. You have one, too. We all do.

You’re inside your mindfield right now. I’m inside mine. Don’t confuse the mindfield with a minefield. Having a mind is not the same as littering the land with weapons: the communal land; our lands that are shared but are not, and never will be, owned.

I’ll tell you the two endings to this draft essay right up front, where they belong in a scrambled story. First, this ends today. I had transient ischemia overnight, then SVT, then atrial fibrillation, then hypoxia. Diltiazem will end that until I visit Mayo next month.

Second, I had the most profound lucid dream in that hypoxic, crushed-heart state. About my trauma, of course. But also about healing. There was healing once I made the choice to leave the concrete place with the men and dance on sand with four women who’ve tried to be my mothers.

But it ends today. Once I have the diltiazem on board, along with the fludrocotisone, along with other treatments that are on the way, this will be over. What, you ask? All this trauma (re)processing. These dreams. This heart stuff. This near-death stuff. Over. And on my terms.

I’m fixing my busted heart enough for now to get back to real sleep, not the galloping, faltering sleep of the arrhythmic and heart-strained. I’m throttling my trauma (re)processing until I can do it slowly and sustainably.

That image, the one where I’m dancing on the sand with my four mothers, is where I’m landing with the trauma work for now. It’s what I’m holding onto. Because I did that. In my dream, I made the choice to leave the nightmare of concrete men. I went to my mothers in the soft sand.

[Interlude while heart recovers. Imagine soft music playing. Mill about.]

[Adding a note to clarify that I have my endocrinologist’s and interventional cardiologist’s support to take diltiazem. I’m not making that call on my own.]

I’ve been making use of a writing studio I rent from time to time. It’s ten minutes from my home, just on the other side of Flying Monkey Mesa as the locals call it because of its dreadful googlable history. I’ve been able to drive to it since I started taking fludrocortisone.

I can’t sleep at the studio because of my heart issues, but I can be here during the day. This morning, on my way here, I encountered a rockslide that the police are monitoring. Then I hydroplaned twice. It’s been raining, a lot. The rocks and roads aren’t behaving.

Depending on what happens with the rockslide, I may have no way home this afternoon. The police officer said he didn’t think things would get so bad that all the lanes would be affected. We also haven’t had this kind of rain in years, so … [shrugs] … who knows?

I want to say “of course” about the rockslide and the hydroplaning. As in: Of course, this, too, is happening on top of all the other issues and impediments in my life that are or appear to be in the way of my living right now.

But there’s no “of course” about it. That would be my mindfield imposing on the rock, on the road, and on my travels in this time and place. The natural world does not collude. And roads are just petroleum-based gloop we smear on the land. Of course roads succumb to the elements.

Earth is not people. It’s chock full of us—mostly the dead, as Nietzsche observes—but it’s not people. It’s of us, in a way, but not us. It doesn’t lie. It doesn’t conceal. It has no desire to do harm.

Earth is mostly not even of us. There’s so much in addition to and beyond us. We’re just people: a minority in the living, breathing world.

You might be ahead of me if you had an OK childhood. It’s taking me longer than it might have taken you to figure out people and their behaviors and what informs those behaviors. I’m also thinking about all of this in light of what I read by Aldo Leopold yesterday.

I’m watching rain fall from my writing studio’s eaves. It’s wearing little ruts in the decomposed granite in perfect little lines. I could align my knobby spine with the ruts and have perfect contact with the Earth—or at least with the decomposed granite lovingly spread on it.

I can’t speak to the collective mindfield other than to caution us against thinking we, together, know more than we know or are more important than we are. These thoughts feel basic, pedestrian. I feel silly sharing them.

We got into trouble when we made ourselves larger than the Earth.

My thoughts are as simple as a Yugo. I’m not a 1963 Ferrari 250 Gran Turismo Omologato thinker.

I want to talk about surviving. When my mother died, she left me a letter. Part of it read, Do whatever you need to survive. It was her last bent-tree message, her last encoded bit of wisdom, stripped bark-bare at the end of her life.

It’s what she’d been telling me all along, in words and through her example: Do whatever you need to survive. And I have. I’ve already survived, as have you if you’ve lived through trauma. Surviving is a process, not an end state. It’s not something we have to strive for.

You are here. You have survived. Your body knows how to do this and how to continue doing it, even when the seasons change, even when your heart is strained, even when new aspects of your trauma come tumbling out of your mind’s many closets.

I want to pause here and say this: Men deal with this, too. Men have power and privilege, but it’s not doled out equally, and men are asked to do so many unspeakable, nearly unsurvivable things during their lives. Everything from war to daily living is hard on men. It is.

Men survive unfathomable trauma, too. My heart is with those survivors. In the end, many of us are survivors, maybe most of us. Some of us don’t even know what we’ve survived, the enormity of it. The iceberg below the surface of it.

But when men come through great trauma and it’s paired with power and privilege, they can become dangerous in ways they wouldn’t be without that power, that privilege.

[Another interlude. My body needs me for a moment.]

[Also, Happy New Year. I’m expunging today. What are you doing?]

[I’m suddenly thinking about James Tate’s Jesus riding his little donkey. I think of that poem in moments of sudden, unexpected happiness while surrounded by what is awful. The poem pleases me in ways I can’t articulate or even comprehend. I mean, I could but I won’t. Explication is a buzzkill.]

[I’m wrecking grammar right now. I sort of love it: both grammar and the wrecking of it. Better than wrecking lives, including my own.]

[James Tate came after T.S. Eliot. Matthew doesn’t know that. Matthew thinks no poet has written significantly since Eliot. Matthew’s wrong. He was wrong in The New York Times. Writers write things down, so it’s not Matthew’s fault. Good writers can write the wrong things down.]

[The problem is the voice Matthew has, the power. Matthew is part of a larger system of power that’s a problem now and has been and will continue to be a problem.]

I’m drawing an iceberg now, an iceberg of something: behavior and what informs behavior? What we see and what we don’t see? I’m trying to figure something out.

My family and the Land Run, my family and Choctaw Nation, my family and Chickasaw Nation, my family and secret pregnancies, my family and the circus, my family and the rich husband, my family and a fancy house, my family and phonographs, my family and furs, my family and cars.

My family and suicide, my family and The Great Depression, my family and shipyards, my family and displaced Asian-American families in California, my family and racism, my family and fighting racism, my family and no farm, my family and no fancy house.

My family and being shunned, my family and learning to run, my family and fire, my family and oil, my family and power, my family and crime, my family and lies, my family and phobia, my family and rape, my family and incest, my family and trafficking.

Also, my family and surviving.

I forgot a big one: My family and the Dust Bowl. Also, my family and Freemasonry. My family and Mormonism. My family and (alleged, attempted) poisoning. My family and a gunshot to the back (at least, I think that’s how it was told to me). My family and mobile bars in GMC vans. Well, one van. One mobile bar.

[Interlude. Heart racing. I met a poet once who said she disdained any poet who feels anything while writing. That still has me stumped.]

In the dream, two men were after me. One was the devil. I was in one of those Russian-looking apartment complexes with exposed-aggregate concrete and iron rails everywhere and an open courtyard with all the apartments surrounding it, facing in.

I knew both men, but one was a shape-shifter, a self-identifying soothsayer. I never knew if he was there to help or harm. I saw the first through his window while passing by with a load of laundry. He was red, hot, everywhere in the room, and spinning like PSR J1748−2446ad.

The second caught me looking in the window. He saw me run toward the open concrete stairs leading to my apartment. He ran after me, yelling: I told you the devil was real. I told you to look to the angels. I fell, my heart arrhythmic. I clung to the rail, bleating.

I thought the second man was going to help me. Instead, he told me it was my fault. What had to happen now was on me because I didn’t feed the angels. He grabbed my ankles and dragged me, step by rough step, lower and lower. The concrete tore at my knees and shins.

I don’t want to do this, he said. He meant it. He was doing what he thought he had to do, what he was compelled to do by some imagined power. My skirt snagged on the stairs, exposing more and more of my legs, then pulled higher. I clung to the railing. I was so tired. I almost let go.

Then I did it. I said no to the dream, to the scene, to the weakness, to the surrender. To all of it. I closed my eyes. When I opened them, I was on the sand, in wildlands, no concrete in sight and no men.

Four women were with me: my mother, my mother-in-law, my dearest friend Pat Best who always said I was her daughter, and my neighbor—the one who recently tried to love me.

We stood in our respective traumas, unable to speak, tension in and between us like circus wires. Then the tension broke. We danced. For the Earth. For ourselves. For each other. For our bodies. For surviving. We danced and laughed and felt love’s malleable connective tissue.

Three of those women are dead. I love them dearly and understand them better now more than ever. It was just a dream, one I lucidly chose, but there was real healing in it. The one who’s alive can’t love me. We are tension in this life, but we are soft support in other realms.

I had four mothers: one cloth mother, and three cloth-wire mothers. It’s still four mothers. I’m lucky.

I had one motherlike monster, a skinwalker who trafficked me with her husband. I was also unlucky.

As we were dancing, one of my mothers had chest pain. She pulled out a blood pressure cuff and took a reading on her right arm. The other mothers laughed. Stop, I said. This is important. We all need to take our blood pressure readings now in both arms. Things got serious.

Our blood pressures checked out. No big differences between each arm. No heart disease. No blocked arteries. We laughed and continued to dance. I woke up.

That’s all I have to say today. The rest will have to wait. I’m staying on the sand with my four mothers, with their cloth and wire. We’re all together there, and we’re surviving. The cloth is for our bodies. The wire is what we’re using to skid over life’s glowing coals.

Matthew

Matthew, this would have happened with any first poem you got your hands on: repeating lines mantralike. Any good poem could have been that for you. That’s how poems work and how we move through what Hazard Adams calls the offense of poetry.

Matthew, all poems have an incantatory power.

Matthew, Eliot had some issues. Big ones. Pound, who you also mention, too. Maybe you address that in your essay. I’m just responding as I read the piece. Let’s see if you factor those issues into why there might not be great fanfare right now for great work.

Matthew, we don’t even know if there will be a one-hundred years from now let alone what poetry will or will not be celebrated at that time. Do you have tea leaves we can’t see? A divining rod? A hat with a rock in it?

Matthew, you’re etherizing your own essay on the table now. I can barely read this. I have a bad heart. Your words are making it clomp and stomp.

We stopped writing good poetry because we are now incapable of doing so. Matthew, I’m going to have to ask you to vacate your essay now. Please. There’s still time for you to not complete it, to not publish it, to save … oh, wait, you’ve already published it.

The culprit is not bad pedagogy or formal experimentation but rather the very conditions of modern life, which have demystified and alienated us from the natural world. Matthew, this is deranged. There are so many rural places. I live in one and am surrounded by them. Travel.

Permit me, by way of argument, a medium-size quotation. Matthew, this is your freaking article, in The New York Times. You know you don’t need our permission to include your little medium-sized quotation in your essay. And it is sized, not size. At least for us Gen X editors.

Matthew, my eyes are glazing over at your essay, not poetry. It’s not your fault I have POTS, but your words are literally inducing presyncope. And I use literally the way any good Gen Xer would: to emphasize something literal while expressing my annoyance at having to do so.

Matthew, I do like Milton.

Matthew, does science disenchant? Does technology deaden? That’s not been my experience of either. Did the stove and the kitchen sink wreck the blues? Or were they folded into lyric and life alike?

Matthew, why do you think poets of all people can’t see the world as anything other than an undifferentiated mass of resources to be either exploited or preserved? Make your case, or do you think you’re doing so in this essay?

Matthew, yes. Poets can draw from everything. Everything! That’s not bad. What do you … why … what’s really bothering you, Matthew?

Matthew, I like some of these paragraphs you wrote about Eliot and LSJAP.

Matthew, I don’t know that Eliot is an end-of-tracks poet. I just don’t buy that.

Matthew, I see that you’re about to reference Slavoj Žižek. Please don’t. I beg you.

Matthew, Žižek also plagiarized ideas. You know that, right? And frankly, others have also said that thing you say he said. It’s also not a very interesting thing to say. I prefer Fritjof Capra on similar matters.

Matthew, I feel like you’re upset at the internet, not poetry. Am I getting close? Can we go then?

Matthew, I need to do some shit now like ignoring men like you. One of you, your ilk, tried to destroy me years ago. By one I mean many. It didn’t work. I’m here on behalf of muses, of mystery, of wonder, and of words you might not know. Time for me to mutter, retreat.

One more thing, Matthew. The problem is content. The shift to content. That happens on the internet but is not of the internet. It’s just shit that’s happening, mostly on social media and driven by forces you didn’t even manage to allude to. Unless you did and I nodded off.

Hey, what’s your last name again, Matthew?

My Dog, My Hands, My Buttery Butter-Stick Fingers

I know when my dog, Lexi, is happy. I know when she’s sad. I know when she wants to be tickled. I know when she wants me close but doesn’t want me to touch her. I know when she’s waking me up because she’s scared versus happy versus feeling playful versus wanting a tummy rub versus having to potty really bad.

This morning, my dog had to potty really bad at 5:09 a.m. That was a hard way of entering into today, but I did it because when I have to use the bathroom, nobody makes me wait until it’s convenient for them. And because I don’t “have” a dog, even though I used the phrase “my dog” above: I live with a dog, I love a dog, and I share my life with a dog. She’s family. And my bestest family member had to potty at 5:09 a.m. this morning.

I was sleeping soundly—my mattress and pillows are puffy clouds soundly—when Lexi woke me up. I was dreaming of something. What was it? A subway, glimmering tile, water in the distance, a weaver I know, an unnamable feeling, and some Southern Utah LGBTQ+ community overlord trolling my Facebook page telling me what not to say.

I didn’t want to get up, especially not at 5:09 a.m. in December, which feels the way 1:09 a.m. does in June. So dark. So nightlike it could never pass as anything other than night. Not dusk, not dawn, not the cusp of dusk or dawn.

My hands are cold. My keyboard is loud. My ears are sensitive. My fingers are sliding off keys. I’m writing off-key, too, because I’m typing letters in the wrong order, all of them. (Thanks, dyslexia.) There’s no flow in the writing for me right now, which makes writing unbearable.

My fingers are hard sticks of butter qwertying without finesse. I know my fingers are smaller than butter sticks, but that’s how they feel so I’m sticking with my imperfect metaphor. Do they make miniature butter sticks? If so, all the butter for this hard metaphor spreading across my nearly inoperable fingers at what is now 5:51 a.m.

A writer posted on Twitter yesterday about marriage being for everybody. I thought he said “margarine.” That’s emblematic of the unsolicited gifts dyslexia gives me daily:

Margarine: It’s for all of us, not just some of us!

Hilarity ensued as the writer and I had a good chuckle over the outdatedness of margarine and how, for now, butter has the upper hand, which is funny because we’re back to hands, which obviously makes me think of my hands or at least my fingers. We’re back to my sloppy butter/finger metaphor. (Yes, I went there. Sue me. Puns are a sign of intelligence.) There’s no escaping this metaphor. It’s smeared all over this bleary essay like butter on a slice of toasted bread.

The thing is, margarine has a hell of a story. It rose to fame during World War II when butter was in short supply, so it and other fats were rationed.1 Margarine had been around since 1869, but it had a problem, which was its color.1,2 It was white. It was plain. It was super meh to look at, which made it unappetizing. We eat with our eyes, after all. (That’s actually not entirely true, and it’s an ableist thing to say.) In a word, margarine suffered from oilism.

The solution to the meh-ness of margarine? Dye!3 Margarine was mixed with vegetable dye to make it look sunny, like the butter everyone knew and loved, the color we used to paint our kitchens before beige then gray then greige then white then apparently beige again shouldered color out of our homes.

And here’s the really interesting part: The customer had to do the mixing. Margarine was originally sold in its white state along with a capsule of vegetable dye, which the “home cook,” meaning the woman of the house, had to mash into the margarine until the concoction turned yellow.3

But I digress. I’ll write a proper essay about margarine later. What I wanted to say this morning is that my dog, Lexi, got me up early. I understood exactly why because she came from an abusive situation in Texas where she was bred by an unethical breeder. She’s learned how to overread and overcommunicate with humans in a way I’ve never seen any other dog do. Strikingly, in the year since she’s lived here, she’s learned how to imitate me when she needs to convey something, anything, everything. She can’t use language like I do, but she knows how to use her entire body—from her ears to her eyes to her paws to her tail—in various combinations to say things like, Mom, quit giving me those silly kisses. Please know I still love you, though, and want you here next to me. Just ‘no’ on the kisses, OK?

She talks to my husband and me like this all day long, and it’s the most adorable and endearing thing ever. Dad, why are you close to the back door with that coat on, but you aren’t looking at me like you’re about to take me outside?

Or Don’t you see me lying here like a piece of driftwood, so good and so quiet, but also so hungry? I don’t want to be demanding or anything, but you totally forgot to feed me. You’re at least ten minutes late doing that. Do you want me to be this sad piece of driftwood forever?

Or, a new one she added recently that I had trouble translating: Mommy, mommy, maaaaaaaaaawmeeeeeeeee. I feel weird and have to, like, lie here like this on the rug in the middle of the living room, aimless and foggy. I don’t know what’s going on. Is the floor quicksand? Is it, like, holding me down or something? Am I, like, stuck here forever?

That was the day we gave her one-quarter tablet of trazodone before a visit to the veterinarian to make sure she hadn’t cracked her tooth on a toy that’s not supposed to be capable of cracking a dog’s tooth.

The most intriguing part of all this is that she acts like me. These aren’t generic communications. She tilts her head the way I do. She puts her paw on my chest the way I put my hand on Jon’s chest when he’s rushing up to me too fast and I need to whoa-nelly his overly enthusiastic approach. She mopes the way I mope and lets joy flood her body the way it floods mine. She even dances like me.

Lexi’s asleep now on the flokati rug in the living room that we call her Floofer, not to be confused with my electrophysiologist, who I call Dr. Flvoolr because that’s what I called him right when I came out of anesthesia the other day. (Dr. Flvoolr is not his actual name, but it’s sort of close. I got three of the seven letters right.) Lest you think we’ve relegated Lexi to the floor, that Floofer is on top of a fluffy dog bed which, in turn, is on top of our moderately uncomfortable mid-century-style sofa. It’s nearly a princess and the pea situation, Lexi’s Floofer setup.

My hands are warmer now, but they still aren’t serving me well. My ears are ringing. The keyboard still sounds like someone rummaging around inside a drawer full of Legos. The lamplight interrogating my desk is as taxing as the first general income tax ever imposed in our country, which occurred during World War II, when the number of Americans required to pay federal taxes rose from 4 million in 1939 to 43 million by 1945.4

(All that taxation and a gal couldn’t even get her hands on a stick of butter. I know, I know. It was a war. A big one. I get it.)

I want to go back to sleep like Lexi has, but now I’m staring the day right in the eyes. It’s staring back. I tried turning my head slightly the way Lexi would as a calming signal. The day isn’t averting its gaze. I’m trapped here among the wakeful, at least for now. Time to putter around the house, grab some breakfast, and catch up on the news. Kyrsten Sinema! Britney Griner! Elon Musk! President Biden and Title 42! Fourteen more books designated as “pornographic” by the Washington County School District in Utah—including several by poet and novelist Margaret Atwood! There’s never not news these wide-eyed days. My new favorite pastime is reading the news before my husband or my friend José has, then being the one to break it to them, especially when the news is salient, good, strange, or all three somehow—the perfect news trifecta.

Below, I’ve included a poem I started writing in 1995 about margarine when I was taking Robert Stewart’s poetry class at the University of Missouri-Kansas City. It’s not the best poem, but I like it and it’s relevant, so there it is. It’s my one-thousandth version of the poem and is the best shape I could whip it into. I may not have whipped it like butter, but I like to think I at least whipped it good.

—

Margarine During War

Women keep settling
(oleo, factory jobs)
though they pine for sex
the way they long
for butter on their lips.

After war, they dab
eye shadow and rouge for men
whose war-whores
didn’t teach them to kiss.

But the women
hoist skirts, drop stockings,
for soon the bread they’d break
would be kissed with butter
(real butter).

—

Sources

  1. Yglesias, M. (2013) Guns vs. Butter, Slate Magazine. Slate. Available at: https://slate.com/business/2013/07/butter-rationing-guns-vs-butter-in-world-war-ii.html (Accessed: December 9, 2022).
  2. Vaisey-Genser, M. (2003) “Margarine, Types and Properties,” in B. Caballero (ed.) Encyclopedia of Food Sciences and Nutrition. Second. Elsevier Science Ltd.
  3. Magazine, S. (2011) Food Dye Origins: When Margarine Was Pink, Smithsonian.com. Smithsonian Institution. Available at: https://www.smithsonianmag.com/arts-culture/food-dye-origins-when-margarine-was-pink-175950936/ (Accessed: December 9, 2022).
  4. Tassava, C.J. (no date) The American Economy During World War II, EHnet. EHnet. Available at: https://eh.net/encyclopedia/the-american-economy-during-world-war-ii/ (Accessed: December 9, 2022).