Why I Write (and don’t)

When my children were babies I began writing poems after a long dry period. I’d thought I’d lost my capacity for writing poetry–too many demands and not enough resources–but somehow, amid mothering two babies and working full-time, I completed a book of poems.

Clearly, capacity wasn’t quite the issue. (Not to discount that. Lack of resources is a true barrier, and I’m not suggesting that it isn’t. It was, and has always been, a factor for me.) What helped me overcome my capacity issues was a drive to record what we were living. I wanted to remember it, and I was afraid the memories would be lost in the blur of feeding and changing and grading papers and fatigue. Committing them to words committed them to continued existence; each poem became conduit to a specific memory I can now recall and relive, at any time.

The moments I wanted to pin to memory weren’t big ones. A nurse’s comment in the NICU, a bedtime bath, rocking a toddler back to sleep in the middle of the night, wondering if it might be the last time I’d do so. I had no fear of losing the bigger moments, but I wanted to capture the small ones in greater danger of being lost to a multitude of days.

As my daughter prepares to leave home again, in a different, more permanent way than she has before, in the midst of so many different kinds of fall, I’m feeling driven to purposefully remember again, to put moments and images into words. While I was awake in the middle of one of this past week’s nights, the phrase “exquisite pain” kept floating through my head. Earlier that night, we’d sat at the kitchen table, talkingtalkingtalking about her plans and what they do and don’t mean, about times with her grandparents, about choosing (or not) to play board games with children, about her hopes and intentions, about home renovations and what they’ve meant and mean to us, about red and green flags, rings, forms of marriage. Even earlier than that, we’d had tears and a coming to understanding over words I’d tossed out carelessly–except, of course, the feelings (neither mine nor hers) weren’t as much about the words as about so many other things, and as I sat at that table under its amber light in the waning of a very early autumn night, I could feel what I often don’t in the moment: That this would be a night that lives in my memory, a few hours extraordinary, in some part, for its ordinariness in the midst of the profound. I could see them fusing to a Before that I will long for in the coming After, the way I long for so many things now gone.

It has been a season of ordinary embedded in extraordinary, this time of pandemic and unrest, fire and smoke. As I anticipate her absence, it is the small, ordinary moments I have been hardly able to stand the thought of losing. When I look back over my life, it is seemingly unremarkable moments that rise to the surface and trigger the deepest grief: morning sun shining through my grandparents’ kitchen window and Paul Harvey’s tinny voice coming through the kitchen-counter radio as my grandpa spread butter on toast; sitting at a department store lunch counter with my grandma after an afternoon of shopping, fingers in my pocket playing with my first pot of lip gloss; a rainy Saturday afternoon snuggled into my dad’s recliner with a book in my hands, a fire burning in the fireplace and The Wide World of Sports theme song playing on the TV, feeling snug and happy and so glad not to be that skier tumbling over and over and over down a mountain in an agony of defeat.

Similarly, what I want to remember of this time are only snippets, quick snapshots of memory:

The Hannah Montana theme song playing in the room across the hall while I edit her graduation video.

Catching the moment the solar patio lights blinked on as we sat beneath them on a warm June night.

Shopping with G. for clothes at a vintage emporium filled with racks and racks of clothing originally sold in the decade she was born. “I didn’t own this exact dress, but I owned this dress,” I tell her, holding up a wide-wale corduroy jumper from Eddie Bauer, remembering the early-teacher self I once was, when I was only three years older than she is now.

Sitting side by side on the couch at the end of an evening, each of us holding a dog swaddled in a blanket, rising oh-so-carefully and carrying them to their beds and hoping, as one does with infants, that they won’t stir and need to be soothed back to sleep.

Hearing the low murmur of her happy voice through the wall as she talks with her love, half a world away.

Stopping at McDonald’s on a Friday after picking her up from work and getting french fries and Cokes because it’s “Frie-day,” the car filling with her music and a salty-oily-sweet smell that reminds me of her high school years.

I don’t have in me, right now, whatever it is that poetry requires. Maybe it’s because I’m 20 years older and it takes more out of me to process grief than joy. Maybe it’s because I’m coming to understand, in new ways this week, that we are in collapse. Or, that we have been in a long, slow collapse for most of my life.

(I remember an afternoon in the late 70s, in my grandparents’ living room on a bright day, a conversation in which my grandfather drew comparisons between the United States and the Roman empire. “All empires fall, Rita,” he told me. “I’m so old it won’t happen in my lifetime, but it very well could in yours.” I sat on the floor, picking at the pile of a soft, cream-colored rug, wondering what downfall would mean for us, thinking of Britain, which seemed to have come through the loss of their empire OK, and hoping that our fall could be more like theirs than, say, that of the Russians.)

The morning after the presidential “debate,” I read a piece that describes what collapse can look like. According to the writer, a Sri Lankan born in the early years of his country’s civil war, it looks pretty normal, for many people. It looks a lot like the collection of memories I shared several paragraphs back. In reading the piece, and thinking about it, though, I realize there are other moments in my memories of this summer, too, that I didn’t list above:

Noticing, on a walk one day in July, a couple in a broken down camper parked next to a grassy median dividing my neighborhood from a freeway onramp. Noticing, in September, exiting the freeway on my way back from getting groceries, that the median is now–like so many small, grassy places in the city–filled with tents, and the curb once empty except for the camper is now lined with cars.

Waking in the middle of a night when my daughter was out and seeing that she didn’t text to tell me she was home, and my body flooding with adrenalin as I shot from my bed. Noticing, as I moved down the hallway, that the light I’d left on for her had been turned off, but not believing that she was really home, OK, until I opened her door and saw her sleeping in her bed.

Driving downtown and seeing empty storefronts, boarded windows, and graffiti-covered buildings. Fighting the usual traffic and feeling sad to see another high-rise taking over the block that once housed our favorite food carts. Abandoning our quest to go to Powell’s because the line of mask-clad people waiting to get in stretched down the entire, block-long length of the building.

How leaves on my willow turned dark brown during the days of hazardous air, and how we tried to tell ourselves that maybe it was just the leaves getting ready to fall, the way leaves do. How, in the week of the debate that revealed–again, but in a slightly new way–what peril we are in, we noticed that there are now only green leaves on the tree and told ourselves that the tree is OK. (Though the ground beneath it was littered with the dried, nowblack bodies of the ones that turned dark.)

How do you send your child half a world away when your country is in the midst of collapse? How–if she is so lucky to have that chance–do you not?

The words of the essay I read the morning after what was supposed to be a debate–in which the President signaled to the Proud Boys who marched in my city the previous weekend and who live all around me that he is aligned with them–ring painfully true:

I lived through the end of a civil war — I moved back to Sri Lanka in my twenties, just as the ceasefire fell apart. Do you know what it was like for me? Quite normal. I went to work, I went out, I dated. This is what Americans don’t understand. They’re waiting to get personally punched in the face while ash falls from the sky. That’s not how it happens.

https://gen.medium.com/i-lived-through-collapse-america-is-already-there-ba1e4b54c5fc

In February I left my parents’ house knowing I would see them in March, but I didn’t, and now I don’t know when I will see them again. In March I left work knowing I wouldn’t see students and colleagues for a while, but would again, surely, before the end of the school year. Now I don’t know when I will see them again. In a week my child leaves me, and, while we have plans for when we will see each other again, I know now that I don’t know when I will see her again, and that my plans are as fragile–and perhaps already as dead–as those leaves that fell from my weeping tree.

But also: I have not been punched in the face. My parents live, my paychecks arrive, my child is going where she wants to go, healthy and safe. We eat meals under patio lights, made with food bought from stocked grocery stores, and we shop for clothing, watch TV, and fret about how to best care for our dying pets. We get takeout, and drink cocktails, and set alarms because we are living in a world in which being in particular places at particular times still matters.

I cry nearly every day, my body like a sieve, but the tears come and go swiftly, like thin clouds that intermittently block the sun. I have not been punched in the face (yet), but I do keep tripping and skinning my knees.

I can look back over the whole of my life and I see moments where I knew–I knew–things weren’t right, that the center wasn’t holding. For godsake, I became a high school English teacher because by the end of the Reagan era I was worried about the health of our democracy, and teaching children how to read, write, and think critically seemed the best contribution I could make with my particular set of talents and skills.

But there are all the other moments I can see, too. Sun streaming through windows, a child’s warm weight on my chest, words gathering around a kitchen table. That essay brought a kind of comfort. Yes, we are in collapse. We have long been in collapse. So: No, I am not crazy to see things the way I am seeing them. But also: Maybe collapse isn’t quite what I’ve feared. Aren’t all of our lives, always, in some kind of collapse, always moving from something they were to something else they will be? Isn’t everything always fleeting, our world always ending? Isn’t that the exquisitely painful truth of what it means to live?

There are many reasons to write, but this is mine: To capture the ordinary gorgeous of the everyday however I can, so we don’t forget what we once had, and can see what we still do.

In progress

I have a “real” post somewhat almost-done for today, but I couldn’t get it actually done, any more than I could get my office renovation done by the end of the day yesterday (something I hoped on Instagram* that I’d be able to do).

Wait, scratch that: I could have gotten both done, but I made choices that kept me from getting them done.

What did I do instead?

I fell down a rabbit hole of writing–but not far enough to finish the post. I pulled myself up out of the writing hole to attend to painting chores the room requires: repainting the bottom of the open section of the cabinet we built (because we didn’t build it right the first time and had to re-build, which messed up the paint) and painting the door to the room.

I could have done/faked the room tidying I need to do to be able to finish the post (because the post is about the room, but I need some different photos than I’m able to take with it in its current state), but I decided to do the things that really need doing.

And then I spent some time gathering and delivering a bag of treats for a colleague who is home sick with Covid, taking care of her daughter who is also sick with it. I did that because one of the things I’m writing about in the in-progress post is about values I want to live by in the coming school year, and connection with others is at the top of the list. I’ve gotta tell you: Strengthening that connection felt so much better and more meaningful than having pretty office photos and a complete post would have.

After that I took a nap. I’d had a low-grade headache since Thursday, and even though it’s not the kind of headache that disables me, three days of that kind of pain takes it out of me. It makes me tired. There is something so delicious about climbing under cool covers on a sunny afternoon. That sensation might be as healing as the actual sleep. (Health is another value I want to prioritize.)

And then, well, it was time to make dinner. Time to sit at the table in the early-evening light and talk and sip while the carrots roasted. Then it was time to take a scooter ride to a nearby neighborhood where we like to walk and look at houses and study the choices those homeowners have made to help us make our own.

Photo of modest white bungalow with black flower boxes under the windows.

At that point, of course, the day was nearly done. No time for anything but watching an episode of our current series (Hanna on Prime), snuggling the dogs to sleep, doing a bit of a Times crossword, and falling back into bed.

It was a good day. Progress on multiple projects was made. As I head into my last week before returning to work, I know that I am going to end my summer with more things in progress than finished. More and more, I think that’s how it should be. I think progress, rather than accomplishments, might be the measure of a life well-lived. Isn’t a life in progress a life grounded in hope, growth, and faith? I hope, on whatever is the last day of mine, that I am still in progress, that I leave this place with work of all kinds still to be done.

*I’m just about done with Facebook. I’ve taken it off my phone again, and I’m happier for it. I’d love to see you on Instagram, if that’s a happy place for you.

Postcards, the making and doing edition

When I was student teaching, my cooperating teacher read Wilson Rawls’s Summer of the Monkeys aloud to her 8th grade students. This might be my Summer of the Naughty Dogs. Or, Summer of the Painted Paws. And Tongues.

Friday I painted all of the laundry room trim while carrying Rocky in his baby sling. Where there’s a will, there’s a way. He’s demanding human contact almost all of his waking hours. I am, in many ways, living a life similar to the one I lived when my children were babies and toddlers.

Only I’m 20 years older and geriatric dogs aren’t as adorable as my babies were. (Though they aren’t without their charms. See above.)

This week my friend S. came for a visit, and we talked of making things and the importance of doing so in times such as these. (Well, any time, but especially times such as these.) It’s good to ground ourselves in what we can do, when there is much we feel powerless to do.

She brought me raspberry jam that she’d made, and I decided that to properly honor the gift I needed to make something to eat it with. I found the easiest bread recipe (the only kind I can probably pull off). It’s in Tieghan Gerard’s Half Baked Harvest Super Simple, one of my current favorite cookbooks. (Recipe here.)

When my daughter saw the dough rising, she arched an eyebrow and said, “Oh, we’ve reached that stage now, have we?”

Yep, I’m a cliche. So be it. It tastes good.

Last spring (of ’19) my friends A & S (a different S) visited and brought me this little blueberry bush. It’s planted next to the ones that I already had, which have been keeping me in berries for weeks now.

I was so delighted to see that, after only one year, this little guy is also bearing fruit. I was friends with both A and S in high school, but they were not friends with each other. They later met in law school, and they’ve been close ever since. I moved away and lost touch with both of them, but thanks to the magic of social media we reunited about ten years ago. I just love that, the way these people I loved found each other and then found me again, and I now have a tangible symbol of that kind of magic growing in my yard and feeding me.

Speaking of feeding: Mother-daughter Naan pizzas. Although the bread dough recipe above is also a pizza dough recipe, my smart daughter turned me onto the idea of Naan flatbread as the perfect individual-sized pizza crust, which is even easier. As you can see, we have different ideas about what should go on a pizza. Mine has onion, garlic, and cherry tomatoes, all from our garden (along with feta and Mezzetta garlic-stuffed green olives). She favors red peppers and pepperoni. Maybe I’ll figure out how to grow peppers next year. Or maybe not. She likely won’t be here to eat them, and the reminder of this summer’s bounty of time with her, a gift I expect never to receive again, will make me sad and miss her.

Gardens can be tricky, in more ways than one.

We have added morning walks to our routine. Daisy walks the whole way, straining at her leash, impatient with the pace Rocky sets. He makes it about two blocks, tripping over his paws, and then I carry him for the remainder. He’s happy to walk, and then to be carried. He looks around, alert in my arms.

It’s good for me, too. On Wednesday I had a nice long chat with a neighbor I’d never met. A yard sign let me know that he has a child in Marine boot camp, so I stopped to talk when I saw him outside with his dog. It was good to be able to talk with someone who knows that experience, to be able to share some comfort from my vantage point several years ahead of his, and to see and feel how far my son and I have come since those weeks after he left home for that grueling trial by fire that scorched us both.

This is a different kind of making and doing. This spring, I almost got rid of the hammock. It’s a hassle when I need to mow the lawn, and for the past two years it’s gotten almost no use.

This week, temperatures were in the 90s every day. Monday and Tuesday it was 100. There’s something that’s an odd kind of wonderful about swinging, just a little, in a hammock through the heart of a hot afternoon. Something healing. I gave myself permission to do it. This is me making space for space.

I’m glad I decided to keep it.

This is a postcard from the past. It’s from a picnic my daughter and I and the dogs had one evening at the river in the last week of July, eleven years ago. It came up when I was looking for something else, the way things that haunt us often do.

I didn’t say this in my earlier cards, but it’s been a hard week. The heat. The increasing burden of the dogs. Work disappointments. Distance of several kinds from those I love. Camp Pendleton Marines dying in a training accident, and my son’s brief words about it: “It’s the job.” And then there were the things beyond just me, ways of this world I can neither change nor make peace with, and the weight of our collective pain. There was this photo, this message from the past that feels like a poem I cannot write about a future I don’t want to live.

What I would give to feel again the way I felt on that night, dogs kicking up sand as they ran in circles over it, my sprouting girl so pleased to have an evening alone with me. I can’t remember the last time I smiled the way I smiled when she turned the camera toward me.

On a day that I give into it all and do little more than sleep and eat and write these postcards, I wonder about the missives I send out into the world. Why does it matter to write snippets about bread and berries and walks and hammocks, as if such things matter in times such as these? Can it? Do they? If I write about the sweet and omit the bitter, am I delusional? Am I in denial? Am I bearing false witness if I crop loneliness and sorrow and fatigue out of my stories, or if I leave only their shadows at the edges of the margins?

Late that night a friend shares an essay, and Lyz Lenz reminds me that our stories in times such as these–all of them–are “a struggle of memory against forgetting.” They are “a struggle of nuance in the flat face of fascism.”

Reading, I understand what I often forget, and why I force myself to do joyful things even when they bring me little joy and why I write about them. It is a struggle to hold onto old joys in a new age of despair: To shape the dough, pick the berries, move the legs, still the body long enough to feel warm breeze against hot skin–and write about it. It is a struggle when such acts and the writing about them may feel trivial, inconsequential, or even self-indulgent. But they aren’t, and it isn’t.

To do such things and write about them, to remember what was sweet in the past and keep it present–even if flawed, even if lesser-than, even if the gesture feels cliched or hollow–so that it won’t disappear into some dark forest of the future, is a making-and-doing of the highest order.

As Lenz reminded me, when writers write they know: “At least I am still here.” And when we read their stories of living plot lines like our own, we know that we are, too.

Collage poem

This place could be beautiful,
right? Fresh-washed and fair,

a green that will never
again be so green.

You could live inside this rose, in
flowering bulbs voluptuous in the spring,

but the garden sprawls and spoils,
worlds of wanwood leafmeal lie,

and all winds go sighing
for sweet things dying.

The coming night
will not lift. I am exhausted,

a bleached shirt flapping alone
on a laundry line, arms pointed down.

I don’t know exactly what a prayer is,
but I’m singing your name now.

*****

This poem is a copyright violation, perhaps–a multitude of them–but I’m sharing in the spirit of fair use, primarily because I know this won’t impact anyone’s financial bottom line, my purpose in sharing is primarily educational, and I’ve worked not to steal the heart of anyone else’s work.

Still, almost every word of it is lifted from another writer. You might have guessed, as some of the lines are from well-known poems. I tried not to change any of the original wording, but I added an occasional conjunction or preposition and changed a few punctuation marks. Below, you can see links to all of the original works the words come from (though not quite in the same order as the poem above).

I call it a collage poem, only the gathered bits are lines and phrases of language rather than images. I don’t know if this is an exercise others have used or written about; I made it up for myself years ago, when I was teaching a poetry unit to high school freshmen. It was a low-risk entry into writing poems, and it got them to read poems, which has always acted as pump-priming for me and most writers I’ve ever talked with about process.

I haven’t written a poem in a long time, but this was a week in which prose wasn’t working for me. What I like about this exercise is the layers of meaning that might come, not just from the collage poem (or maybe call it a remix, if that term makes more sense), but from reading all of the original works as a collection. I also found immersion in poetry to be a healing thing.

How to start one of your own? I began this one by revisiting poems and poets I know from long ago, as I have been dwelling in the past in recent days, and thinking about time and wrestling with questions of hope and purpose.

As I started to play with the language of those old favorites (most of which fell away as I tinkered), there were two sites that I found particularly useful for this exercise: Poetry Foundation, which has thematic collections that are a great starting point if you have a particular topic you’d like to write on, and poets.org, from the Academy of American Poets, which also has collections. I visited collections on summer and illness.

(A note: These sites are not very diverse in their representation of poets; the poetry establishment favors white, male academics (see recent news of Poetry Foundation’s leadership resigning recently over their bungling of a Black Lives Matter statement). Given issues of appropriation and my own identity as a white European-American, I wouldn’t feel comfortable using the work of BIPOC poets in this way, though this collage poem does contain a phrase—“you could live inside this rose”—from a poem by Naomi Shihab Nye, an Arab-American poet and one of my favorite contemporary writers. Perhaps I should cut it, but it seems fitting that the collage poem hinges on these words from a writer whose work examines what it means to be both of and apart from a place.)

If you decide to try one, I’d encourage you to make up some rules for yourself. My best creative works come when I have limitations, not complete freedom. If it’s helpful, these were mine:

  • No more than one poem per poet. (But I broke this rule.)
  • No more than two lines per poem, not divided.
  • You have to like the original poem. (Loving it is even better.)
  • It’s OK to add conjunctions, prepositions, and joining punctuation to the beginning or end of the borrowed language.
  • You can’t change pronouns or verb tenses.

It can be a tricky line to walk, the one between honoring the integrity of the original work and building it into the one you’re creating–but isn’t that the task of all creation, really, when you think about it? Because we never create anything all by ourselves; we are always building upon the work of others who have come before us.

Links to original poems:

fresh-washed and fair,

The green will never
again be so green

The garden sprawls and spoils,
worlds of wanwood leafmeal lie

all winds go sighing
For sweet things dying.

the coming night
will not lift. I am exhausted,

a bleached shirt flapping alone
on a laundry line, arms pointed down.

This place could be beautiful,
right?
you could live inside this rose

I wish I could see only the flowering
bulbs voluptuous in the spring.

I don’t know exactly what a prayer is,
but I’m singing your name now

Weltschmerz to my world

Weltschmerz, German for “world pain,” was also coined during the Romantic Era and is in many ways the German version of ennui. It describes a world weariness felt from a perceived mismatch between the ideal image of how the world should be with how it really is. In German philosophy it was distinguished from pessimism, the idea that there is more bad than good in the world, because while pessimism was the logical conclusion of cool, rational philosophical pondering, weltschmerz was an emotional response. “How to Tell Whether You’ve Got Angst, Ennui, or Weltschmerz

Back in late May/early June, I kept telling myself that I just had to get to the end of the school year, and I would be OK. I imagined that when I could get some relief from 2-hour Zoom meetings in which much was said but little done, tasks that seemed to produce offspring tasks at the same rate with which rabbits are known to procreate, and whole days in which my butt left my kitchen chair only to feed or pee my geriatric dogs, I would start to feel better, in spite of everything.

Yeah, that’s not really how it’s gone.

The day before the last official day of work, my state’s Department of Education released their initial set of guidelines for conducting school next year, and all of us Oregon educators (or at least the ones I know) pretty much lost our collective shit. Because we know–We. Know.–how it’s all going to go down and who it’s going to land on. Increasing demands and decreasing resources have been the rule rather than the exception for decades now, but we’re getting catapulted into a whole new level of that game and when I look ahead to the fall all I can see are turtles all the way down. Or apocalyptic monkeys. And I can feel my heart start to race and my jaw clench and and and….

I just wish we could all take a moment to

Stop.

Breathe.

Tell the truth.

Get real.

And then figure out what to do next.

I’d like a collective timeout, so we can get ourselves regulated and think about what we did to get here and what we’ll do differently moving forward and how we’ll make different happen. (I know. The spring shutdown was supposed to be that, and I guess it was in some parts of the world, but not so much here in the US.)

I am not just talking about education and the pandemic. There is so much that’s wrong and hard in the world right now, but–don’t throw anything at me, please–there is also opportunity. There is always opportunity in wrong/hard. The opportunity is the silver lining of the wrong/hard. It’s the thing that can make the wrong/hard endurable. So far, sadly, it feels like we are just blowing it.

So many things were broken before the pandemic pulverized them. Instead of trying to glue back together little powdery bits of what was, here’s a chance to make things new. This kind of opportunity doesn’t happen often! Let’s seize it!

OK, I get why that’s not happening and how hard making new things is. We’ve got a whole lot of people in pain, and a whole lot of brokenness we can no longer collectively deny, and we humans aren’t at our best in such circumstances. Making new things always means losing old things, and some people are gonna cling real, real hard to those old things (even if they aren’t really good for them) because change literally hurts our brains and a lot of us would rather accept the crappy we know than take a chance on a possibly worse new crappy. We’re all scared and worried and grieving, even those of us in the (relatively) best of circumstances. And some of us are just racist, sexist, ableist a-holes and dangerous AF in the best of circumstances, so there’s that, too.

And so: Damn, it’s wearying, accepting the world as it is right now, believing it could be different, and watching opportunities slip past us, on scales both small and large. As my friend Kari recently wrote, “I feel like I am wading through Jello.” Me, too, Kari. Me, too.

My feelings of not-OKness didn’t dissipate when the Zoom meetings ended. I’m nearing the end of the second week out of the school year, and the days still have a lot of slog to them. There is some ease (how can there not be?), and it’s not all grey skies and listlessness. It has been a fair amount of that, but there have also been laughs and kisses and beauty and sun. One warm night this week I sat under patio lights, surrounded by flowers, and drank sweet limoncello liqueur with my daughter and my dearest friend and we had a long, passionate conversation about pronouns (and the intersections of gender and identity and language and responsibility and love, because you can’t talk about pronouns without talking about all of those things). There is that, and I don’t want to overlook or discount that because I am profoundly grateful for such moments. But I just don’t feel like myself, especially my summer self.

You too, perhaps?

I would like to offer a remedy, but I can’t. Not really. Moving my body more has helped. Planting things in the ground has, too. Doing the dishes and making the bed and cooking real meals. Being purposefully grateful, living in the day I’m in (so future troubles can’t rob me of today’s joy), and striving for balance between work/play and exertion/rest are other strategies I can recommend. Naps are good, too, if you can swing them.

I’d also add: Accepting the feelings. I spent a few days in the first week beating up on myself for not feeling better, and then I decided to just accept the feelings, whatever they are. Not to wallow (and there’s a fine line, there), but to just let them be and go about my business, doing things I know are good for me and others. I give the feelings their due, as they demand, and then I get on with it as best I can (some days better than others). I “act as if” as much as I can.

But honestly, the problem isn’t within us as individuals (and so we can’t fix our feelings about them entirely through our individual actions), and shouldn’t living feel like a slog right now? The world is way, way too much with us these days. You know that old bumper sticker, the one about how if you’re not pissed off you’re not paying attention, or something along those lines? That. All of which is why one of the things I’ve been grateful for this week is learning that there’s a word for exactly what I’ve been feeling: Weltschmerz.

Isn’t that a grand word? It’s almost onomatopoeic, the way those syllables sort of crash into each other on their way out of your mouth, with that hard stop right in the middle of it and that sort of drunken-sounding raspy sibilant ending. You’ve got all the elements for a party in those letters and sounds–and you can see that–but they don’t arrange themselves into a party. They aren’t in the right order.

If you, too, have been wading through weltschmerz (aka jello, aka existential depression), isn’t it at least a little comforting to know that other people have felt exactly the same way–enough people that we have a word that captures the subtle nuances of this feeling, and of this maybe-apocalypse that we’re living through? (Hey, on top of pandemic, economic meltdown, institutional instability, and massive unrest, don’t forget the climate. It’s still melting.) It’s not boredom or depression or listlessness or ennui or anxiety or angst. It’s weltschmerz, baby. And if ever there was a moment for it, surely it’s now.

You’re not alone and you’re not broken or ungrateful or spoiled. Things are fairly terrible. Don’t let the toxic positivity crowd gaslight you into thinking the problem is you and your attitude. Maybe, instead, your feelings are a sign of your wholeness and your optimism and your hope, and of your positive vision and your love for the world. Maybe it’s all the very things we’ll need to get us through to some better other side. Somehow. Some day. One slog at a time, monkeys and turtles be damned.

Highly recommend planting things. It’s like firewood and warms you twice. Or a million.

Showing up

Here I am, showing up, doing the thing I’ve assigned myself to do.

I feel a little hollow, scraped out. Writer’s block is when you have the words but can’t release them. They’re trapped behind a wall. I think I’ve got writer’s drought. Lots of arid sky in my head, dendrites dry as August dirt.

Tears came easily this week. Thursday, I had a panting, sweaty meltdown: droplets spattered everywhere. I thought some physical work would make me feel better, but instead of dissipating a persistent ennui it activated a wet rage. (At least my garage and yard look better.)

I have nothing worth saying today. Feel as if I have been swimming and swimming in everyone’s torrent of words for weeks now, and all I want to do is lie still on some shore and dry out a bit.

School (what is school now?) ended Friday, but I still have tasks to be done, so the work hasn’t ended. Two weeks ago our leaders asked us to vote on taking furlough days, and last week they told us they’re giving themselves raises. Thursday our state released guidance for re-opening, and it all sounds impossible. People talk as if the virus must conform to what we feel able to do, and I want to scream at them that that is not how viruses work, but my throat is dry and I just let my words fester in my mouth. Friday I went into my building to check out for the year and no one was wearing a mask. No one. I looked at the clutter of papers and books I left on my desk on March 13 and just left it all there. I went back home and kept working. We teachers are asking ourselves what we will and won’t do, what risks we can and can’t afford, and the questions feel as theoretical and fantastical as the state’s guidance.

To be in a position of being able to ask such questions–to have choices to make–is a privilege not all enjoy. (It’s one I don’t enjoy, not really. I will be at work in the fall, in whatever form it takes.)

My C-19 test was negative. Quarantine is a kind of island, could be a shore–but it feels more like a cage. I got the result the same day I had the meltdown. I was still too sick to mow the lawn, sweep the garage.

Last night, lying in bed, I did the kind of math I do when I want to get grounded, even though it’s kind of a mind-fuck, too. Sort of like looking in a mirror until you become too aware of your own consciousness. I began teaching 30 years ago. When I started teaching in 1990, those who’d been teaching as long as I have been would have started in 1960. In 1990, 1960 felt like another era. It was. (Was there even anyone teaching who’d started in the 1950’s? I don’t know. Seems like everyone retired when they hit that 30-year mark.)

When I started teaching, we didn’t all have our own computers. I used a clunky beige box of a Mac in a communal office. No internet. No email. No phones, pads, tablets, social media. Instructional technology was a ditto machine.

How much adaptation can an organism withstand in its lifetime, how many times can it change?

After the meltdown, I wrote out all the things I’ve been carrying, trying to understand why they feel so heavy when my burdens are so relatively light. In the days since, I cannot stop hearing Friar Laurence’s rant to Romeo, in the play I taught to students the first four years of my career:

I have a job: There art thou happy!

I have a home: There art thou happy!

My children have what they need: There art thou happy!

I am not sick. No one I love has died: There art thou happy!

I am white. There art thou happy!

There is food in the grocery store. There art thou happy!

There is rain on the ground, watering my onions and garlic and cauliflower. There art thou happy!

To which I want to say: Yes. And also: Fuck you, Friar Laurence, you stupid bumbler who made everything worse. Impact has always mattered more than intention.

More math: The oldest of my first students are now 48. 48! “Some of your students are probably grandparents now,” Cane says to me. I remember a senior boy, Jeff, last period of the day, all shit-eating grin saying to me: “You just have to understand, Ms. Evans, that most days I’m going to be stoned.” We didn’t have “resource officers” in school then. (Why don’t we call them what they are: police. Who do we think we’re kidding?) I just told Jeff to go back to his seat. He did. I laughed about it in the teacher’s lounge later, a room stale and bitter from the cigarettes my colleagues sucked into their lungs during passing time or their prep periods. It was a different era.

I’m thinking now of Langston Hughes and his Theme for English B.

This is me, hoping that this page is true.

Whole enough

On April 21, a Tuesday, I got a migraine. It hung on through Friday; just as it was exiting the building of my body, something twinged hard in my right lower back, and I spent that weekend unable to move or sit or lie down without pain. By this Tuesday I was able to stop taking megadoses of ibuprofen and sitting/sleeping with a heating pad, and then the migraine returned. Today, Friday again, it is still here, for the 4th day.

Most of the time, migraine does not leave me writhing in pain in a dark room, because I have medication that usually works and keeps me able to mostly function. I can usually work when on my meds. They can make me slow and fuzzy, and fatigued, and feeling generally off, but after I take them the sharp, stabbing pains and the vice grip on my skull subside, so it feels like relief. Slow, fuzzy, fatigued, and off are a gift, when I consider the alternative. The alternative is entire days entirely lost to pain that literally brings me to my knees.

Most of my work meetings begin with a grounding activity, in which we are given some stimulus to help us center our ensuing conversation in our students and families, the majority of whom are people of color and/or living in poverty. The general theme when we are sharing our responses to the stimulus, since we’ve been closed, is this:

We are so fortunate, to be living in the privilege we do. We need to keep at the forefront our families who are not.

True and true.

Fortune is a relative thing, though, isn’t it? (Seriously, after you finish reading, come back and click on this link.)

In comparison to those who are sick, out of work, working on the front lines (which increasingly feels more literal than metaphorical), and/or targeted by bigots, we white educators who are working are fortunate. As an educator who is not providing direct service to students, I am more fortunate (at least in some ways) than those who are. (More than one I know has shared this teacher’s post this week.)

And yet, as the title of a book a therapist once put in my hands claims, The Body Keeps the Score.

I’m writing these words having woken up, again, in pain: spikes in the head, sharp ache in the back (it’s still with me, though not accute). The dull, medicated fuzz is settling in.

Jena Schwartz, a lovely writer I follow, shared these words today:

The other day, I was setting out for a run. The thought came to me: “Death is all around us.” Then came the very next thought, as I took in the blossoming trees and greening grass: “So is life.” And right away, I knew in some deep place that these two facts are never not true. Death and life, always right here, all around us. It’s like Neruda wrote: Budding among the ruins.

Day 49: Budding among the ruins

Jena also offered this:

“And we also know that grief, like any painful emotion not given an outlet, does not just vanish. It goes inward. It takes up room in ways that remain invisible yet are everywhere, not unlike a deadly virus.”

We are all, right now, living among the ruins, of so many things. And even the relatively fortunate among us are grieving. That grief might look like frenetic activity. It might look like laughing inappropriately. It might look like weeping over nothing and everything. It might look like sudden fury over triviality. Or it might look like inertia, binge-watching, or chronic pain.

Mondays through Fridays, I don’t have much room to grieve. I suppose that’s why it goes inward and takes up space in my body, a place where it is largely invisible. Weekends, I get to let it out, so I can be whole enough to dive back in come Monday. Often that takes the form of writing here, but I’m feeling the call to do something different this week. I’m feeling the call to do nothing. I think this is going to have to substitute for the usual Sunday post.

Wishing you a weekend of whatever it is you need to be whole enough to keep going, to bud in whatever kind of soil you find yourself rooted in. Because we all deserve to bloom, even now. Maybe especially now.

Shelter in place

It is primarily instinctive, but it has been clearly shown that birds that build intricate nests…learn and become better nest builders over time.

Look at what it is that makes a nest: Layers. Strands of this and snippets of that: hair, grass, needle, leaf. And, too: Tenacity, instinct, skill. How many wingbeats must it take? How many miles does a bird traverse back and forth, back and forth, to make its shelter, to attract and secure its mate?

It’s a delicate business, the weaving in of new material to create the nest cup. 

Think of what it is that makes a cup and what it’s for: Curves, walls, a space in which to keep things–water, keys, buttons, change. What is an egg’s shell but a cup full of change? And a nest but a cup full of shells?

It’s a bird eat bird world out there.

In the spring my children were babies, a stellar jay raided a sparrow’s nest in the tree outside my second-story bedroom window. You need three crows for a murder, but it took only one jay to kill the nestlings, high up in the branches, unmoved by the parents’ screeching that sounded, to my human ears, first like screaming, and then like keening.

It may seem obvious, but a well-placed nest box can mean the difference between nesting success and failure…

Consider what it is success requires: Think outside the box.

Late last fall, in a different kind of time, I found an abandoned nest hidden inside a thicket of tangled morning glory and climbing rose. I marveled at its intricacy and craftsmanship. I admired its cunning inner cup. It felt like a prize for my morning’s labor of taming wild plants.

In this spring of strife and threat and fear, when I find the nest again, forgotten on a table at the back of the greenhouse where I’d set it months ago, it sets in motion a train of different thoughts. I think of various shelters I’ve made and what I’ve learned (and haven’t) about how and where to build a nest. I think about what kind of bird I’d want to be and how I want to live. I could never be a predatory jay, raiding other birds’ nests, flying with a raucous flock. I no longer want a pretty home balanced up in the branches of a tree; the view, I know, is lovely, but the rent is high. I think, if it’s a choice, I’d be more finch than sparrow or jay. Like the ones who sheltered in my yard last year, I’d need no human-built box to hold my nest, but only a hollow within a tangle of stems and leaves and thorns, a low, dark, small space a bully jay would never bother.

There’s more than one way to be fit and survive.

****

Dots (and some thoughts about process):

This week I encountered the nest in the greenhouse soon after reading my friend Kari’s piece on nesting and anxiety. Both had me wanting to write in a literal way about my own home, the place in which I’m sheltering, but I never got beyond the metaphor. Instead I fell down a Google rabbit hole, reading about all kinds of birds and their nests (some linked above), and I spent time watching the ones I share my little corner of the world with, mostly finches and crows. I think this post came out more like poetry than prose because for weeks now I’ve been reading the words of poets on Dave Bonta’s Via Negativa. I don’t know Dave, not even in an internet sense–not really–but he thinks he found this blog through the blogroll of someone I know (though he doesn’t remember who), and he’s been linking to my posts. So I’ve been reading the other writers he links to (on Sundays), and their cadences, their ways with words, have likely been planting seeds in my head that are beginning to sprout (which is what happens when writers read). Our connection might (or might not) be Bethany Reid (I’ve seen they are Twitter connected), a poet I met decades ago at the University of Washington, a woman I sometimes think of when I see Roethke’s line about once knowing a woman “lovely in her bones” who sighs back at sighing birds, maybe because she once brought to our workshop a sestina I’ve never forgotten about a young girl chasing geese, and maybe because she’s lovely in the way that songbirds are, and maybe because that time and place and those I knew there are fused with Roethke in my mind. This week Bethany published a post about the poet Crysta Casey, a woman who was beautiful in a different way (more like a loon than a songbird) and whose flight path occasionally crossed our own on that campus, and that, too, seemed connected to metaphors about safety and home. (Nelson Bentley‘s poetry workshop in the 80s was a nurturing place for many fledgling poets.) Much creative work–nests, homes, poems, blog posts–are built this way, by gathering together bits of this and that from the things we encounter by chance and seek by choice, and then weaving them into something whole and new, and in this chaotic time, there’s something wonderfully comforting in the constancy and underlying pattern of a process that seems, on the surface, merely random.

Coronavirusdiary #1

A teacher friend on Facebook shared an article about a history professor at the University of Virginia who suggested to his students that they keep a diary of this time. In answer to the question of why it might be important for people to write their experiences down, he said:

Our normal days in the now-suddenly-distant past may well have often dulled us into just getting through them. Our sudden lives now stop us, and lead us to wonder about our experiences and our feelings on many passing moments.

This [project] will, of course, not be routine writing and composing. That’s the point. There is much that all of us and each of us have already experienced in the past few weeks that is shocking, unexpected, unpredictable, unknowable, new; much that we have not felt before and not seen. What is it like to live today knowing that we do not know what tomorrow and the day after will bring? 

When I consider the distance of the days between my post last Sunday and this Sunday, it feels too much to capture. And, honestly, I don’t want to even try. This feels like an experience that needs to be recorded in something more like a poem than an essay–in telling images and moments, rather than in lengthy exposition and cataloging of official happenings. There will be voluminous documentation, I’m sure, of the macro. But I’ve always been much more interested in the micro–in how enormous events play out in the minutiae of individual lives.

Zoom happy hour, social distancing style
Bedroom painting project (still not finished)
Garage-organization project, days 1-3
Grocery shopping in an economically poor neighborhood (mine) in the time of pandemic

How are you doing? we ask each other (through text, messaging, phone calls, zoom calls).

How are we doing? It feels as if many of us had a day of reckoning this week–a day in which we understood, in a deeper way, the ramifications of what is happening. For me, it came on Wednesday. I woke sometime in the night the way I have in the direct wake of other life-altering events, forgetting for a brief moment that life was no longer as I knew it, and then suddenly remembering that my earth had slipped off its axis. The coronavirus, I thought, and then remembered that I wasn’t going to be getting up and going to school, that my daughter wasn’t returning from Sweden, that our markets are crashing, that small businesses are failing, that friends are out of work, that people are dying and going to die, that I could not go visit my parents or go see a movie or eat at my favorite restaurants or get my haircut or see my friends or or or… I felt the kind of need to ground myself in a new reality that I have felt when people died, when a marriage ended, when my children left home. Things are both exactly the same and very much not the same, and I’m off-balance, wobbly on my feet. The coronavirus, I thought, grounding myself in the reality that there is no solid ground to our reality right now.

How are you doing? I am trying to get the cognitive dissonance to settle down. All weekend after our schools close I stay home and read the news stories on my computer, the charts and graphs with curves that need to flatten, the pleas from those in Italy to do things differently than they did, and I share the stories and I tag them #stayhome, but then early in the week I get in my car to do something essential and I see the road filled with cars, the sidewalks filled with people who are not keeping their distance from one another, and the stories and charts and graphs feel unreal. Why am I not at work when all these other people are? Where are they all going? What’s really real? On my return from the dentist (essential), I impulsively run into the craft store for embroidery floss because it’s still open, because I need things to do with my hands, because I tell myself I can do it safely. I wear gloves. I feel guilty. I am guilty. Forgive me, I think. Maybe it’s OK, I think. It feels essential to me, right now. I touch nothing but the floss I put in my basket. Please let this be OK, I think. I am a hypocrite, I think, as I strip off the gloves before touching the steering wheel.

How are you doing? Tears well easily, and frequently, and always they surprise me. They come the day my mother emails to tell me that she’s accepted that she will not be able to make the trip to DC to see my daughter graduate from college, and I see she has not yet reached the obvious (but still not officially announced) conclusion that there will be no commencement ceremony. The day she calls me to say that she’s canceled both our flights and our hotel reservation. The afternoon I watch my high school friends on Facebook mourn the death of our beloved choir teacher, killed by the virus. The morning my friend whose college-student daughter can’t get out of Peru sends me a picture of her child’s smiling host family, celebrating their own young daughter’s birthday in quarantine. When she tells me that the family told her daughter, “you are our family now.” Multiple times while reading a YA novel about a Seattle girl whose life is shattered by a tragedy, and how runs across the whole country as she tries to both escape and control the trauma she can neither control nor escape. They come right now, as I type these words and remember each of these moments.

How are you doing? Early in the week I am drifting, floundering. I lose big parts of days doing…what? I’m not sure. I start projects and don’t finish them. I buy food in case I can’t later, including treats I normally wouldn’t, but right now I have little desire to eat. I watch people around me mobilize into action that looks almost manic, but maybe that’s just in comparison to me, who is floating. I lose two days to headache because it’s not that bad (I tell myself) and because I don’t take my meds because I am afraid I might run out and be unable to get more. I finally take them, and as the fog clears I can see that it was bad, worse than I’d allowed myself to acknowledge. I write. I think about what it is that most needs doing, and how it feels impossible that “nothing” might be the right answer to the question, even as it feels like it probably is. I try to pay attention–pay attention!–to the ordinary pleasures that remain, so that I might not be kicking myself in the future the way I am now about not fully noticing and appreciating the night two weekends ago we went out for dinner and a movie, even though I suspected at the time that it might be the last time we did it for awhile. I can’t even remember now where we ate. I long to remember where we ate.

Near the end of the week, we go out to take a walk through a favorite walking neighborhood. The businesses on the neighborhood’s commercial street are dark, the curbs usually lined end-to-end with cars only dotted with them. We see that a pizza place at the end of the block is still open for take-out, and it feels like a wondrous gift.

“Oh, let’s order some,” I say. “It’s Friday night, remember?” I say, as if Friday still means what it did a week ago. So we do, and it feels so good, to do something so ordinary in this extraordinary time. We tell them we’ll be there in an hour to pick up the pizza, and we walk in the day’s waning sunshine. I take photos for my house embroidery project, and we note plants and flowers in other yards we’d like to add to ours.

In front of one of the houses is a giant sequoia, and I stop to look up through its branches. I take a photo, trying to capture how the tree’s arms look like infinity, or the face of a god, or a puzzle whose pieces I could never sort. Everything feels so much bigger and older than I will ever be, all the world’s mystery and power and wonder embodied into this one thing, right here, on an ordinary sidewalk in Portland on a Friday evening in March, the end of week one of our pandemic. I snap a photo, sure it will be like all the other photos I’ve taken looking up into the limbs of trees, a disappointing mishmash of shadow and lines that don’t at all capture what I felt when I clicked the shutter.

But this time, some kind of wonderful happens when I shoot, which I discover not long after, sitting at the kitchen table and eating the pizza, which tastes better than any pizza has tasted in a long time. The photo looks almost more like a painting than a photo, and it’s there, all of it, just as I saw it. It’s like magic, the way the tree–our lives now–are half in shadow, half in light, a beautiful thickety maze that stretches up and up as far as we can see.

Your turn

I would love to hear about your week. Please share in the comments, or link to your own diary if it’s digital.

6 sentences

This week I came across an essay that will stay with me awhile. It’s framed by six sentences that John Paul Brammer can’t forget. Not because they are attached to milestones or life-changing events, but because they

“…accidentally reveal too much—about the person who spoke them, or about the person who heard them, or about the relationship they share. They illustrate private worlds, bring us into exhilarating contact with another person’s depths. Their inexplicable survival is proof of their importance, their holiness.”

Brammer says that these are not sentences we choose, but sentences that choose us, and that he wishes he could know everybody’s.

Naturally, I started thinking about what my sentences might be. I started thinking about how a whole memoir might be written in this way, small vignettes anchored by a line of dialogue that–like a poem–reveals a novel’s worth of words in a few lines.

I hoped to write up all six of mine, but I could only develop two by today, and neither feels as if it is completely done. But here they are:

“Who do you think you are?”

I was in sixth grade, in the principal’s office. Mr. Driver was a beefy, ruddy-faced man. According to those who would know, he was comfortable wielding a paddle. No one liked him. One day he appeared in my classroom door and summoned me. Following him down the breezeway, I tried to predict what our meeting would be about. I was a good student, a good kid. A rule follower, perhaps to a fault. Was I being taken to his office to receive some kind of recognition or other good news? What could it be? Because, surely, I could not be in any kind of trouble.

I’m not sure if our conversation actually opened with “Who do you think you are?” but in my memory it did, and I was as surprised and shocked as I would have been if he’d slapped me.

“Who do you think you are?” is never a question. It is always an accusation, and a weapon.

By the time he was done dressing me down about my arrogance and inflated sense of importance, which, he assured me, were unwarranted, I knew that my teacher and the school librarian had shared grievances of mine with him, among them my outrage when, as a punishment for some students vandalizing bathrooms, all of us were denied access to them other than at recess time. This punishment violated all my ideas about fairness and basic rights.

“I know you’re one of the students throwing those toilet paper wads on the bathroom ceiling,” he said somewhere in the middle of his tirade.

I wasn’t, but I was too flooded with shame to say anything. I had thought my conversations were confidential. I had trusted those other two adults and the relationships I thought I had with them. If they thought there was something so wrong with me that I needed this reprimand, perhaps there was. Or perhaps I had been wrong about who they were to me, which indicated a different kind of failing on my part.

Who did I think I was?

Before I went into his office, I thought I was a girl who understood the world and my place in it. When I left, I knew I wasn’t.

“Grandpa’s hard.”

I didn’t tell my dad about Mr. Driver until I was well into high school.

I grew up in a home where getting in trouble at school meant getting in bigger trouble at home, so I didn’t dare. As my daughter said about my dad when she was just a little girl, “Grandpa’s hard.”

“Hard” can mean firm. It can mean rigid. It can mean difficult. It can mean exacting. When I was young, he got angry once when I told him that I “forgot to remember” something I was supposed to do, more angry at my words than at my failure to do whatever it was I’d forgotten.

“Don’t make excuses like that,” he said. “Just say that you didn’t do it.”

Another time, when I was a teen-ager, in response to something I can no longer remember, he said, “You might be the dumbest smart person I know.” That sounds cruel. Certainly not kind, and I suppose that’s partly why the words have stayed with me even though the story attached to them is gone.

It was more than that, though–or maybe, just not as simple as that. I remember pondering the idea that one could be a dumb smart person. What did that mean, really? And how might that be different from being the smartest dumb person? I thought I could feel a compliment inside his hard words, sort of.

I’ve come to realize that, like my own words, my dad’s are not always understood, which means that he is not always understood. For years I nursed resentment over his reaction to my 7th grade report card, in which I had all A’s, except for a B in English. He studied it in his recliner after dinner the day I brought it home, his face serious. Finally, he said:

“Why’d you get a B in English?”

Really? All those A’s, and all he could say something about was the B? Really?

What I heard in his question was disappointment and judgement and a demand for perfection. I shrugged, bitter that he didn’t appreciate a report card other parents would be thrilled with.

It wasn’t until a few years ago that I told him how much that moment had bothered me, so much so that I still remembered it. He was dumbfounded to learn that his words had had the impact they did. “I was just surprised,” he said. “English was always your best subject. I didn’t understand why you’d gotten a B in that.”

Oh.

I could see, then, how I’d been dumb in that moment he questioned me about my report card. I could see, too, the wondering within his proclamation that I was the dumbest smart person he knew. He was genuinely perplexed by some of the things I did and didn’t do, a puzzlement I now understand because I have a child of my own who is wicked smart and whose teen-age years were filled with choices I could not, for the life of me, comprehend.

Maybe it was then that I more deeply understood his reaction when I finally told him about Mr. Driver and the way he’d pulled me into his office to take me down a peg. We were driving to a family holiday gathering, and we were reminiscing about earlier years, and it felt safe to float that story from the back seat, enough in the past that it might now be a funny one.

“Why didn’t you tell us?” he asked. I admitted that I had been afraid to.

“Oh, Rita,” he said. “I wish you’d told me. I would have gone in and talked to him.” He looked straight ahead, at the road. I could see his jaw twitching beneath his cheek. He shook his head. “That was just wrong for him to do that to you.” A pause, and then, again: “I wish you would have told me.”

At the time, I felt vindication for my earlier hurt feelings, and also relief that I wasn’t “in trouble” with my dad. I was long past a grounding or some other kind of punishment, but I still wanted his approval. Now, though, I see a different meaning in his words. I see that he was telling me that it wasn’t a funny story, and that he was sorry not to have been more understood by me, so that he could have done something to make what happened right.

“Hard” can mean firm, and rigid, and difficult, and exacting. It can also mean strong and unyielding. My dad, like his love, is hard.

*****

The rest of my sentences are listed below, and I’ve got seven total, not six. Although I didn’t see a thread or story between them initially, I do now. It wasn’t until digging into the piece just above that I added the seventh sentence to my list. I’ll need it to tell the story completely.

The remaining sentences:

  • “My love life is wonderful, and I haven’t been drinking.”
  • “It’s important to be a finisher.”
  • “I hope you’ll remember that this is mostly your own personal tragedy.”
  • “Don’t ever think that anything is wasted on you.”
  • “What kind of hard do you want?”

While I was showering (where some of my best writing happens) and trying to figure out which sentence in the story about my dad most revealed the essential truth about him and me, I saw that the vignette contained multiple sentences I can’t forget:

  • Why’d you get a B?
  • You’re the dumbest smart person I know.
  • Grandpa’s hard.
  • I forgot to remember.

Now I’m thinking about using this idea of unforgettable sentences as a tool to work the other way round: What if we start with a memory and before we even write a word of it, we just think about the memorable utterances of its characters?

Mostly what I’m thinking about, though, is the value of exercises and models. Any model can generate a prompt or exercise, and prompts are great for taking us into stories we didn’t even know we wanted to tell.

Your turn:

I’d love to hear six of your sentences. Like Brammer, I’m now curious about everyone’s sentences.