Writing

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.

The Singing in My Veins

As a survivor of severe childhood trauma, I had a rule that I fastidiously observed until I was well into my twenties: Never own more than you can pack into your car. (This is why I had a futon for years as opposed to a mattress.)

Making sure everything I had could be wedged into my car allowed me to get out of any situation as quickly and as nimbly as possible. I could leave my mother’s house when she got too drunk or too sad or too cruel (or all three). I could leave my boyfriend’s six-pack apartment in Kansas City when he screamed at me moments after we’d moved in together, and he threw me out with nowhere to go. I could leave an unsafe Plaza-adjacent apartment building where men with guns surrounded me one morning in the lobby and told me how pretty I was.

I learned the fit-everything-in-a-car approach to living early in life when I ran with my best friend. She and I ran hard and fast in the day and in the night—especially in the night, in the dark, dark night. We had to run. We had to. But we also knew where to rest, where to hide, and where and how to find safety—often with each other but increasingly on our own as we grew older.

Running is an art. Running is a science. Running is a way to survive. It only looks like flailing to those who’ve never had to run to live, so kindly leave your pathologizing language and frameworks out of this, or I might be forced to say Bless your heart, my words like water moving around a stone so I can continue to speak.

I’m trying to tell you about running, about what we need to live, and about how to get what you need in a car, day or night, wherever you happen to be in the world.

By you, I mean me. By me, I mean anyone.

Once I got my first pieces of antique furniture—a dainty cast-iron bed, a 1920s English flip-top game table, and an Art Nouveau-inspired vanity—I could no longer fit my whole life in my car, but I could still fit what I needed into it.

What did I need when I came to Kansas? When I had to come here quickly because my medical situation was spiraling out of control with no hope or answers or treatment in sight in Southern Utah? When the hate and vitriol and threats against the LGBTQ+ community in general and against me in particular became its own form of disease? When my marriage desperately needed breathing room in the form of space and the clarity space can provide?

I needed the following, all of which fit neatly in my vehicle with room to spare: my books, my poetry collections, my writing notes and research, my professional portfolio, my college papers, my phone, my computer, my monitor, my mouse, my mousepad, pens, pencils, rubber fingers, a fidget spinner, one of my looms, yarn, weaving supplies, binoculars, birding guides, my flute, flute music, a music stand, baskets, a throw blanket, a dream catcher, my favorite kachina doll, my crochet mouse, my dog Hayden’s ashes, a small stereo, CDs, food, water, electrolyte drinks, clothing, coats, jewelry, gloves, shoes, an umbrella, health and beauty stuff, medications, and my medical records (ten binders organized by specialty).

Controlled flight, I call it. I deeply and unwaveringly honor what my body senses and knows long before my brain can interpret those sensings and knowings. I honor what my friend and I learned as children, as well as the way I’ve refined my running over the past half-century. I run now to what I need, when I need it. I run into the future so I can have a future. I run to my people, my land, my past—which is my present and my future all at once because there really is no time, is there?

But there is running. There’s also stopping and breathing after. There’s rest. There’s ease. There’s I made it singing in my veins. I hear it today in the rain.

I made it, my dear friend. I made it. I see you shimmering beside me. I will love you always. Let’s stop and breathe. Breathe with me. Hold my hand.

Time to Eternity

We live in an ecotone, those of us here in Southwest Utah. An ecotone is the transition between two biological communities. Here, we have three: the Colorado Plateau, the Great Basin, and the Mojave Desert. A triad, a trinity, that perfect number we arrange interiors to and pray to and dance the waltz to.

1, 2, 3. 1, 2, 3.

Look around. Look up. You’re in an amazing place, a sacred place, the kind of place Wendell Berry talks about in his poem, “How to Be a Poet.” He writes:

Make a place to sit down.
Sit down. Be quiet.
You must depend upon
affection, reading, knowledge,
skill—more of each
than you have—inspiration,
work, growing older, patience,
for patience joins time
to eternity.

Patience joins time to eternity. Be patient. I’ve been patient for more than fifty years—fifty going on eternity.

Good morning, all of you. Good morning, all of me. Time to wake up. Wake up to where you live, to who you are, to what you can do.

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?

The First Face

I feel for those who’ve come out about Jeff Church and am especially moved by Young and Manning’s accounts of seeing Church’s face when they re-experienced what Church did to them.

I know that feeling of seeing a face overlaid on other faces and not knowing what to make of that feeling.

I know the feeling of entire states feeling marred, of a face overlaid on other faces within that place.

For me, it was Georgia.  But not just Georgia. Illinois. But not just Illinois. Missouri. But not just Missouri. Tennessee. But not just Tennessee. 

I had to trace my trauma all the way back to that first state, the one with the sound of home built right into it. And it was my home: Oklahoma. 

Oklahoma and its swirling faces. Its drunken faces. Its maniacal faces. Its aged hidelike faces. Its taunting faces. The home of that first face which jacked up all the others. The face of a man aptly named Jack.

The face attached to the body that held me after I was born. The face that posed with me in my first photos. The face I would later associate with one of my first words: “Daddy.”

When I was little, my parents marveled at the way I could spin a globe and find Oklahoma lickety-split just as the orb stopped spinning. “There, there, there,” my insistent little finger said, staking claim to that stolen state the way my ancestors had during the Land Run. 

There: that where, that no/where, that now/here I can’t shake.

That land where my father lies beside my mother—him in a silky casket, her more elegantly in a little black cremains box—in the cemetery that also has a Catholic section, a children’s section, and a section where forty children who died in a 1918 fire at the state mental hospital were dumped in an unmarked mass grave.

Oklahoma is eternal within me. No Masonic or Hermle clock governs its presence in my body. The trauma—that first trauma and the countless ones that followed—has no timestamp. The Red River is as it was then. The bullfrogs are as they were, plentiful and at times inconvenient, especially when they flooded the road flanking the river. The moon lowering and lowering until it meets the sandy riverbed and shimmers like an arched doorway to heaven or hell or maybe just to someplace better, someplace where pain might exist but suffering isn’t manufactured faster than mobile homes and oil pumpjacks.

The scissor-tailed flycatchers and red birds and robins my mother loved. All as they were. The starlings my father hated. As they were and also as they are now: outliving him, as am I.

The streets and highways and gravel roads that my father wore down, ditched out, careened along protecting and managing his drawling and sprawling fief. The sound of tires hitting seams in the concrete sections that made up a stretch of I-35 and the way the El Camero or later the Monte Carlo or later the GMC van shuddered a little when the front and back tires hit each joint. Ka-dung. Ka-dung. Ka-dung. Ka-dung.

My beloved dog is as she was, the one my father let me keep. She still runs back and forth from one window to the next over my lap as we reach either our city home or that other home in Texoma, depending on whether we were coming or going. I’m still there with her, as I was, laughing, delighting in her joy. Because she brought me joy, even in that family, even in that life, even growing up with an unspeakable father, a boundaryless father, a cradling father who broke the bough over and over. One who made me fall then told me he was saving me when he caught me. Where being saved was his bed, almost every night. And his friend R—. And his friend C—. And the strangers on the other end of the CB radio, the ones he made me talk to. And that one trucker the day my father pulled over and met up with him. How my father called me out, made me stand beside him, showed me off. How nervous that trucker looked. How he wanted to leave. How my father compromised him by making him drink a beer before he left so he’d have the smell of alcohol on him if he tried to do anything like call the cops. How the man said he didn’t want to drink the beer. How my father made him. How the man complied and ran away after doing so. Or maybe he didn’t nearly run away. Maybe he liked the beer, the danger, even my father, just not little girls. No. He didn’t like my father. My father terrified him and meant to.

That father. That first face. That first confusing, crushing pain. That leader. That schemer. That pistol. That man who shocked everyone into quaking compliance.

That man who doesn’t scare me. The one who (s)pawned me, the one who toyed and turned me into a toy. The one who passed me, passed me, passed me around. It was like being on a merry-go-round only without my mother, Merry, there to catch me when I fell.

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).

Living in a Dying World

I finally understand how to enter into palliative care for the earth, humans, and all living beings.

I finally comprehend my way of being in this world as this world is being destroyed.

This is the way I’ll live on this land until my body returns to the land. I say this to myself, now, because I’m afraid I’ll wake up in the morning and this feeling, this understanding, will be gone, like a dream.

I say what I say and write what I write to remember what I’ll otherwise lose in a moment, in a flash, when the wrong noise makes my body tighten, when the wrong move makes me brace, when the wrong memory, reawakened, makes me run.

We’re all just walking each other home, as Ram Dass says. “Said,” technically, because the perpetually present-tense world we want to create—especially in poetry—is an illusion.

Past and future exist and matter, even if it’s only because we perceive them and need them in order to make sense of the everything that’s doing and being and moving and thrumming and creating and re-creating everything all the time. Call it God. Call it Gaia. Call it what you will. Call it nothing. It’s still everything.

Past and future inform us in ways we understand and in ways we never will.

Maybe we don’t need perfect understanding.

Maybe love is all that’s perfect and timeless and always available to us, not in a greeting card way but in that way where something is so profound we need the simplest language to discuss, express, share and feel it.

We need a little carving of a heart to hold what can’t be contained, just as we need talismen to keep big, scary things that can’t be named or tamed at bay.

I think it’s Mary Oliver who calls what lies beyond language the ineffable. I can’t find that quote right now, but I did find this passage Oliver wrote that feels perfect for this moment precisely because it situates every moment, every life—everything—within the larger whole of eternity:

Now in the spring I kneel, I put my face into the packets of violets, the dampness, the freshness, the sense of ever-ness. Something is wrong, I know it, if I don’t keep my attention on eternity. May I be the tiniest nail in the house of the universe, tiny but useful. May I stay forever in the stream. May I look down upon the windflower and the bull thistle and the coreopsis with the greatest respect.

Yes, yes. All the yesses. Oh, Mary. My heart. My heart.

But back to Ram Dass. He’s dead. He died three years ago. He doesn’t say anything now except what he’s left behind with us. Maybe that’s our afterlife, our everlastingness: What we teach each other, what we share with each other, how we love each other, how we fight for each other.

Maybe that’s heaven. Maybe that’s our forever, written not in the clouds but right here where we walk and crawl and kneel and drag ourselves from one day to the next over rough land, over stone, over grasses, over loam.

Regardless, these are things we can do now, while we’re living: teach, share, love, fight.

We can interlace our fingers and move forward, together, until we can no longer move, until we die of natural causes, not from hate or from being cut off from others, from community, from those on whom we all rely for our lives and our well-being.

Every one of us can reach deep into love and, in so doing, become part of a whole that transcends who we are as individuals. No censorship needed. No isolation needed. No shunning. No shaming. No guilt. No fear.

Hold those you love close, and love everyone. I’m begging you.

May you all swim forever in the stream. I’ll try if you will.

—

Sunday, November 20, is Transgender Day of Remembrance. This essay is, in part, a call to end the hate that results in trans people being killed just for being who they are, loving who they love, and being some of the bravest people who walk this earth.

Love can stop these needless deaths. We can stop this. Let’s make it stop.

Sacred and Desecrated

One of the penalties of an ecological education is that one lives alone in a world of wounds. 

― Aldo Leopold

I’m staying in a tiny home that overlooks the Virgin River Gorge in La Verkin, Utah. This is my view from the balcony. When I got here, the river was low and relatively unremarkable—a muddy brownish-red my friend in Missouri described as “stark.” Then it rained heavily in Cedar City, a town that should have been called Juniper City because those are the trees that grow there, but I digress. The river swelled and grew noisy, pushing trees and other large pieces of debris aside as it flowed angrily past. This was a new river, a different river, one that felt at once mystical and mythical. But the sky wasn’t about to let water get the upper hand. The sunset last night, shown in my photo, was brief but as powerful as the one James Tate describes in his poem, “Never Again the Same,” which reads, in part:

              The colors were definitely not of this world,
              peaches dripping opium,
              pandemonium of tangerines,
              inferno of irises,
              Plutonian emeralds,
              all swirling and churning, swabbing,
              like it was playing with us,
              like we were nothing,
              as if our whole lives were a preparation for this,
              this for which nothing could have prepared us
              and for which we could not have been less prepared.

Heavy rain and lightning today, along with markedly cooler temperatures, made the creatures who call this wild area home stir. A great blue heron hunted squirming fish from a basalt boulder flanking the river. Squirrels scurried on the balcony then settled in and stared into the middle distance. Broad-tailed hummingbirds fed on native and cultivated shrubs in the seam where what’s wild meets what’s manicured only to the degree that it still looks wild. A red-tailed hawk swooped into the gorge then headed southish following the water.

The collective stench of wildlife urine, pungent and rising from newly moist soil, mingled with the sweet and musty scents given off by the surrounding flora: native plants such as cottonwoods, globemallow, Mormon tea, and sand sage that live alongside introduced species such as cheatgrass, Russian olives, tamarisk trees, and tumbleweeds.

This riparian habitat is unique in Utah. It comprises only one half of one percent of the state’s total land. The highest levels of biodiversity are found in spaces like this. More wildlife species live here. Bird densities are twice as high here. The visitors who flock to this area each year, especially in the warmer months, may look out from their balconies and see something pristine and untouched and remarkable and precious. 

Except for the homes built right up to the gorge’s steep, unstable cliffs. Except for the homes and retaining walls and bird feeders and playground sets the gorge has already swallowed or threatened to swallow. Except for the large banner on the other side of the gorge advertising finished lots for sale—ones that also hug the gorge’s edge. 

Except for the trash dropped over the cliffs’ steep sides and forgotten. Except for the residents who breed their dogs unethically and leave them outside all night long to howl from fear and frustration. Except for what happens behind some of the closed doors here—the kinds of things that could happen anywhere in terms of the broad strokes but whose details follow unique, longstanding patterns specific to this area.

Wendell Barry writes, “There are no unsacred places; / there are only sacred places / and desecrated places.” This is a sacred place, but it is also a desecrated place. Visitors for the most part don’t see beyond the perfect images they capture from their balconies, the ones that literally exclude the houses, trash, and other incursions on the natural land from the frame. They trot out, often barefoot and shirtless, right when the sky erupts with color. They are, as Tate describes, totally unprepared for what they’re seeing, to the point that it makes no impression other than the ones they get on social media for images that have a shelf life shorter than the energy drinks they chug after getting a buzz scaling this or that nameless cliff—not because the cliffs have no names but because those scaling them don’t bother to learn their names before picking up and moving out, on to the next adventure, the next cheap high.

Lexi the Healer

To sit with a dog on a hillside on a glorious afternoon is to be back in Eden, where doing nothing was not boring—it was peace.

— Milan Kundera

I dreamed about my dog, Lexi, this morning, as she was pressed against my back, sleeping alongside me. In the dream, I was holding her. We were in a park. She saw an older woman in poor health and began wagging her tail. I carried Lexi over to the woman. She angled her head downward and pressed the top of her muzzle against the woman’s cheek.

The woman began to cry. Lexi intrinsically understood what the woman was feeling. She was there for the woman in a way humans hadn’t been. Tears streamed down the woman’s face and landed on Lexi’s wispy facial hairs.

Others from the park gathered around. In silence, they entered the space Lexi was creating for the woman—a space of loving without words, of existing fully and selflessly with someone in need. A kind of joy emerged, not unbridled happiness, but the deeper joy that suffering makes possible.

I heard a “thump, thump, thump,” as rhythmic as a healthy heartbeat. It was Lexi, not in the dream but beside me in bed. Each morning when she wakes up, her tail starts moving before the rest of her body does. The “thump, thump, thump” was her signature wag. Good morning, Lexi, I responded, as I do each day. Those three words invariably set the rest of her body in motion. She wriggles up to my face, plies me with kisses, then curls up in the space between my shoulder and head while I tickle her tummy and tell her how much I love her.

I had other dreams last night—recurring nightmares whose subjects and plots are so similar they’ve worn ruts in my mind. A house with missing walls, no locks on the doors if there are doors at all. Strangers inside with me. Men, mostly. Sometimes complicit women. More of them coming. More and more, so many they resemble debris-filled floodwaters. Me, half-naked, running. A bare mattress in a basement. No way out.

I only remember the nightmares as I sit down to write this. The dream of Lexi is what got me through the night. The reality of Lexi is what gets me through each day. Lexi and her wagging tail. Lexi curled up beside my head, her soft, disheveled fur tickling my face. Lexi and the space she creates for deep joy within deep suffering. Lexi, the healer. Lexi, my healer.

Today, Lexi and I will sit at the base of the sandstone slope that rises, unreal and dreamlike, behind my home—its strata twisted by profound geological events during a time scale humans can barely fathom. It will be a glorious afternoon. We will do nothing. We will feel peace.