you can't spell COURAGE without RAGE

In 06, I was working for Elmer Morris and the calendar on my desk had been purchased from the Mouth and Foot Painting Artists of America. The image for the month of May, pictured below, socked me right in the guts. Another painting referenced in the poem is "Peaceful Harbor" by Jean Michalski but I was unable to Googlemance it out just now. The artist who created the painting below is a Portugese lady named Daniela Cristina Caburro; you can go check out her gallery at her website.

She makes a living as a painter
without the use of her arms. This lady is a ROCKSTAR. I'm so glad I found this poem again. It's not quite a sonnet: it doesn't follow the sonnet rules perfectly. But you know what? Things don't need to be perfect. Just beautiful.

Girl Gathering Flowers by Daniela Cristina Caburro

Works painted with the mouth, slow careful strokes
show beauty, rich in detail; emphasize
though limbs hang limp from spinal cords that broke,
more than mere puppets watch from our keen eyes.
Each petal's sharp, like flowers etched in metal.
Boats, stone-fast, stand in harbors; roofs slide off
into the sky. What's solid melts, unsettled.
What floats grows petrified, no longer soft.
One little girl stands in a field of blooms,
her legs obscured by solid greenery,
her hat askew, white as a skull entombed,
her gaze rapt at what only she can see.
I see a woman twisting flowers, beneath
which blur long-lost arms, painted through clenched teeth.

a verrrry old dream log

Going through all my old boxes full of books and papers turns up lots of surprises. Ran across my old bachelor's thesis, on Philip K. Dick's "The Three Stigmata of Palmer Eldritch", for example. This, though, is a thing all its own, written from myself to myself and put to action. It was from a brief period where I wasn't writing dates on stuff so I only know, from the other content of that yellow legal pad, that it came about in midsummer of '03. A good (though kinda freaky!) piece of writing at least, and about where my head was at, at the time. Thank God I'm somewhere even nicer now. The dream itself is followed up by a couple of short analysis paragraphs which are from the same pages.



A beach of broken pebbles and cracked clams leads up to the House of Broken Things. The door is ajar. No board in its floor is unsplintered, no windowpane whole; even the rocking chair on the front porch is missing a leg. Out from under the porch darts a cat. Feral and lightning fast, its yellow eyes seem wise though they see the mouse in me. Tufts of fur missing to scars, tattered ears--is its fur grey?--it pads before me to the door of the house whose windows stand half-open like idiot mouths. The cat's tail twitches as it slides out from under my hand. I don't think I touched it. Brass knob, tarnished, old, turns with both hands and a thunk--I thought the door was ajar?--hinges creak. One comes loose, and I think the door is going to come off in my hand.
It doesn't.
Inside I think there is only one hallway, and there is, but my vision of it shifts and falsifies: I am left with an impression of winding crazed wood angles, locked, open, half-open doorways. A glance in one doorway reveals the unchanging, a gap-toothed piano with metal threads curled up under its wing, dolls with one eye that glares smirking. Another shows an empty bed, mattress stuck with its own rusted springs, cracked leather belts and a tongueless shoe that looks violent, a shadowy closet door. A few steps forward a girl's face peeks out, thin fingers wrap the wood just below the keyhole, cheeks smeared with tear-streaked dust, eyes achingly familiar. She darts back in, covers her retreat with a slam, but by now I know better than to follow. A draft whispers over my toes; I look up to see yellow eyes in the distance. The cat blinks once, twice, and I run to follow. Walls try to whisper their ancient cackles and though I cannot close my ears I don't listen.
The last doorway is locked but not closed. As I stammer, combing fingers through my hair, the cat wanders off, crooked tail slung low. The password comes back to me. Tunnelvision, I say to the dusty wood. It swings open and I hear my heart beat: this, the monster of my dreams. Blank whiteness. Viscous like the goop in a lava lamp, moving, its bulk fills the doorway and tentacles congeal, reach for me. My mouth chock full of a scream that keeps my teeth bound together. Don't encourage it, I tell myself. Out of the whiteness eyes roll down, lidless, and lips writhe into a mouth. Now only the tongue holds its ghost, the purples and greens of a clown face--not colors but hues bent wrong. I remember the dream that freed me from this face; I remember Atreyu between the sphinxes. I step through. So simple to say.
Looking forward, forward, up ahead a narrow chimney climbs up a cliffside, the path freckled with pointed stones, the angle of ascent maybe sixty degrees. I must keep my eyes on the ground so as not to slip or step on a sharp stone and injure my feet. I climb for what feels like hours, panting; soon my only thoughts are of the next step, the next handhold, for which I am distinctly grateful. Grey stone eases its way into russet, another geological age, and overhead I hear the rough voice of a crow. A fiber in my heart loosens. It is safe now to look back, I say almost out loud, and grabbing a handhold, turn to look over my shoulder. Down and down beneath the rockfalls, between the pitted forearms of the stern-faced hillside, a tiny ramshackle thing with a half-shingled roof gapes into the wind. On the stoop a white figure, spangled in what might have been frills but at this distance looks like dirt has its face turned unerringly towards me, foolish hat notwithstanding. I fancy I can see its mouth open at the touch of my eyes, and yet I'm deeply, madly grateful its running is running in place. I turn to face forward. There, the path spikes up and seems to end in the blue sky, the crow wheeling near beneath wisps of cloud. Clambering the last few steps, I fetch up somehow on my feet.
The plateau is a valley in the center of a circle of stones, great mountains that stand in the distance and remember. Behind me I cannot find the path I came by amid the boulders and sparse underbrush, and I decide that this is a good thing. To my right and left and behind me the mountains are gathering up their skirts, evergreens here and there, and on one hilltop a ways away I think a mountain goat springs from one crag to another. Ahead, there is no path, but a wide expanse of stone worn smooth by rain and wind and the passing of many feet. I step forward onto it and see, perhaps a hundred yards off, a circle of monoliths laid on monoliths like the great circle in England. I walk forward unhurried, feeling the wind through my fingers and the sun gently pressing the crown of my head.
There seated by the nearest of the twice eleven gates is a dragon, coiled around and over himself, silver-blue and blood-colored with eyes bright as a distant star. He winks at me, this old wyrm of the earth and sky--old to my eyes anyway. His rumbling voice is like drumbeats, joyous and solemn.
About time, he says.
I got a little hung up, I reply, dashing fingers through my hair. If I was too long in arriving he forgives me, and I am glad.

---

They are fools who think surrender is defeat.
A wise person knows that any endeavor can proceed either around an obstacle or through it, and can survive retreat if it is kept in order and those involved keep their goals firmly in mind. Of course the most glorious surrender is that which marks the transformation of an adversary into an ally--but this is a rare privilege and difficult to describe. I will say that apparent surrender, that is, misdirection, is a valuable tool in clever hands and can be used to thwart even a cunning opponent. But apparent surrender is not true surrender and is no fit replacement for it. This you should bear in mind in love as well as conflict, in friendship as in enmity. For one who consistently substitutes false surrender for true is no fit companion.

---

I began looking for a way, and as I went, the path sprang up around me.

wound so tight v2.0

The ending is muuuuch better than in v1.0! :D Must...arrange...recording session again soon! *wag*


panic rises up so suddenly within me
crease my brows and purse my lips and I look old
like an origami spider up a chimney
I will fall into the fire if I unfold

wound so tight
wound so tight
because everything else is unraveling

we throw away the things we own
the clothes, the books the telephone
devices we use every day
and statues we cannot display

but like a camel full of water
knowing I'm my Father's daughter
swells my back, makes me look muscular and strong
still I can't carry all this gear
I'm just a snarl of will and fear and hope
suspended from a filament of song

wound so tight
wound so tight
because everything else is unraveling

why do I clutch myself so tight?
it isn't any use
only my hands can reach inside
of me and cut me loose
all blessings wait for me if I
can find the will to choose
to let them in

only my God, my world, my loved ones
truly satisfy
the thirst in me that turning inward
would have drained me dry
I hold to all things but in fact
I do not have to try
only begin

wound so tight
wound so tight
still when everything else is unraveling

the tigress

When I was over at Lexy's on Sunday, she was slicing up an onion to sautee (pasta and white wine sauce with clams! supar nummeh!) and the first line popped into my head. I told it to her and she laughed. For anyone coming out of a difficult time, working their way out of a funk so to speak, a big part of the challenge is dispelling the negative illusions in the "what kind of a person am I?" part of our thinking. This is a pretty bold and brassy sonnet--but it's supposed to be, as an encouragement and a counter to illusions. :D "You go, girl."



The kind of woman who makes onions cry
because she did not slice them thin enough;
who'll answer pat when lovers ask her why
their anxious favors met her cool rebuff.
She sleeps with novels written for her friends,
and when dreams misbehave, she cuts them loose.
I'd load my straining back to serve her ends,
but bowing, weary, to her is no use.
Bright, like a tigress throned among the sheep,
who do not satisfy, yet genuflect,
she calmly conquers but won't deign to keep
those who don't find the strength to show respect.
But for the lucky few who understand,
she'll sheath her claws, smile soft--open her hands.

more fun at Christian Taoism

Odd that my last good stimulus-response thing over there was also about limits, the boundaries between interiority and exteriority. I think that boundary is always going to be an overarching theme of my work. In much the same way, and for much the same reason, that authenticity and degrees of reality are an overarching theme of Myke's.

Here I've tried to do that thing which I learned from GK Chesterton. Take a seemingly unanswerable question and turn it inside out, and more often than not you'll find the answer was simple and good and lovely and--in retrospect--blindingly obvious.



HK Stewart: Reaching the Bottom

I can see the bottom of a creek.
I can touch the bottom of a stream.
I can swim to the bottom of a river.
I can dive to the bottom of the sea.
How do I reach the bottom of the Tao?


Me:

I open, a bloom:
the honeybee lights on me,
touches the inmost.
When I receive, I'm carried
forth from myself, and give life.

ah, there is is

Something odd happened just now when I posted up the sonnet I got this morning on Facebook. I'm usually fanatical about typos, but for some reason while I was transcribing it out of my notebook I made the same typo, twice. Which altered the meaning of the lines slightly without detracting from them: "there it is" became "there is is," not once but twice. Emphatically. So I think I'm going to make that accidental change permanent. And come to think of it, do it one better and change "all of it is true" to "all of is is true" in the third line from the end!

To all that passes through my hands which is in any sense alive, I wish to allow, to the extent I can, the same freedom I myself relish. And ultimately even a poem only passes through my hands and out into the world, whose citizen I am and which I love with a towering passion.



Ah, there is is, the universe again
Just when I had it narrowed to a point
Tight-gripped in thumb and finger like a pen
Round, nestled down the first and second joint
There is is now, the world again made fresh
I roll out wet upon it with a slap
To see the dreams of all I love made flesh
And hot coals heaped in our Opponent's lap
No mortal soul can match the Maker's art
What lives is dense with riches, through and through
I would be straining at the leash to start
But I am free, and all of is is true
Flung wide, all me gives thanks to Him in whom
The living live - I roar - "Make room - Make room!"

baggage

Killer was the first.

Or at least the first in this little area of time, in this particular season. She wasn't, as people tend to count things, a member of the family. Just a tiny, shy gray and white kitty who lived inside the liquor store where a good friend of Pearl's works. When we visited there, she was in a bad way already. We walked down the aisle lined with glass refrigerated cases packed with beer and there she was, motionless, alone, a little bundle of fur and bones curled up against the heat vents underneath the doors. So we did the natural and proper thing; knelt down on the floor, petted and made much of her, carefully brushed the layers of caked and matted dirt out of her fur, told her she was a good kitty and a pretty kitty, said with our hands and the fact of our presence that somebody loved her.

She died a few days later, and from what I'm told she didn't die easy. I'm glad I got to see her first.

My late former boss, Elmer Morris, taught me a wonderful Jewish word: dayenu. There's a song around it that's part of the end-of-the-year holiday. He didn't teach me the song--at 96, after years of not attending religious services, he didn't remember it--but he told me what the word means: Enough. Enough for us. Both in the sense of, "it's enough, we're full, we can't eat another bite or we'll explode!" and in the sense of, "we've done all we can, given all we've got--oh God, please let it be enough."

I know just a little bit of the tune, though, the one word and the scrap of melody. And on the way home last night on the train, relieved and much healed and full of happiness, I sang it over and over when the song of the wheels was loud enough to cover it and wrap it up from other ears than mine. Daaayenu, dayenuuu...daaayenu, dayenuuu. And I smiled that smile in the darkness of the tunnel and the peace of God settled over my soul.

Shashi didn't die easy either. As soon as Amber called me up and told me to come, I could hear in her voice how bad it was. That the vet's more hopeful prognosis was almost certainly mistaken. I made it up there on the last train of the night. Mom and Amber were there for me and hugged me and made sure I ate and had tea. They'd been watching over the cat all night and did all they could, held her and tried to squirt water down her throat, even hydrated her with the IVs they have to care for the other cats. And when it was clear that she wasn't going to get better, Amber did the needful and called me up, took up the mantle once again of the bearer of unbearable news. I got there in time.

She was panting for breath, hot to the touch, like someone who'd just run a mile with a heavy backpack in full summer. When I petted her, when my hands were on her, it seemed to ease the panic a little. Her eyes were unfocused though, the third lid pulled in across the eye and bloodshot with strain, and when I looked into them she didn't see me. I looked anyway. I thought of Myke, and what he always says about the difficult things, the unavoidable suffering that comes of living in a flawed and imperfect universe: I do not look away. I do not, ever, look away.

It took more than two hours, though, and I was so tired. Mom and Amber had gone to bed--we all agreed it was best not to wake Pearl, who'd been inconsolable when her own cat died last month. They didn't want to leave me, but in a way I kind of wanted to focus, to not divide my attention, to be able not to look away. When Mom finally went into her room, hurting for me, I said, "Don't worry, Mom. Don't worry." At that hour of the night all the vets were closed. There's emergency clinics out there you can go to at all hours but a last-minute visit costs more than a hundred dollars. So there was no shot, no way to make it quick. Mercy enough that I had the train fare to even get up there.

When it got to the point where my grip on consciousness was starting to slip, she was far gone enough that even my hands on her body didn't seem to register anymore. So I took her off the cushion, lay back on the couch and held her on my chest. Every breath had a raspy little moan in it, but in spite of everything my head drooped and I started to doze. I was so tired. It startled me awake when of a sudden she thrashed, yowling for a moment as if she fought something, voided what little fluid was left in her out of both ends. I suppose that was the moment, but it almost didn't seem real. She was still as warm and fluffy and soft as ever. But when I put my hand on her body all I could hear was the echo of my own heartbeat passing through her tiny frame. After awhile I set her body down on the cushion which was on the floor next to the couch and covered it with a blanket, got up and rooted in Mom's dresser for a clean shirt, went to the bathroom. Before I went to sleep at last I had to reach under the blanket a couple times, just to be sure, for my hands to be sure; no pulse, no breathing. Real, but in a sense not real at all anymore--a body without the life in it, the living being that I'd loved. Baggage, empty of the treasure it had borne.

"All true wealth," Lois Bujold once wrote, "is biological." What lives is what matters, and while we who live are alive we are priceless. Life is the only anentropic force in the universe, the only thing which draws order out of disorder, which slows and inverts decay, which blooms and makes beautiful. Decay itself, I think, is principally beautiful because it exposes the fingerprints life left behind, shows in naked silence the glory and the victory and the majesty of what was, of what has come to pass, though not to stay. However small it may seem as people tend to count things. It is life which makes the universe a place worth inhabiting, and love which makes any life a treasure to be savored rather than a burden to be endured.

When I got home to Chicago on Tuesday, I knew my roommate Don was in the process of breaking up with, and kicking out, his second Craigslist girlfriend. Based on the hash he (and to be fair, Pennee also) made of the first Craigslist relationship attempt, I knew I was in no shape to deal with it that day. And I had already arranged with my good friend Lexy to get together and celebrate her birthday after meeting Tuesday morning with the building manager of the place where I'm trying to move. Since it was bitterly cold and we didn't feel like going out, I ended up crashing at her place after spending the whole day together. It was healing for both of us. She's been depressed and sort of away from her usual dynamic self this past while. But she's a brilliant and incredibly resilient person, who reminds me of no one so much as my big sister Amber, the sort of person who walks through mountains when the mountains fail to respond to a polite request that they move out of the way. And I've been rocked out of balance by endings and beginnings, wonder and dread, grief and joy all crashing into each other. But I love a lot and with grace and help am learning to love more and I'm good to be around. Friends are friends because they help each other. Getting back to the place I currently live and walking into that situation, though it wasn't really mine to solve, was something for which I had to prepare. And when I got back after work on Wednesday I was prepared.

Don got up in the middle of the night to grab some iced tea, and I sat him down at the kitchen table and got a talk going. He'd been totally freaked about me moving; he's part owner of the building here and without my rent he and his business partner don't really have another way to keep up the mortgage payments. And finding a good, reliable tenant during winter in Chicago--let alone smack in the middle of the holidays--verges on the impossible. That on top of his own impending breakup had knocked him for a loop and I wanted to help him out of it. I don't want to destroy anything when I leave. I don't want to leave anybody hanging in the wind. I don't want to see anybody lose, anybody suffer, any good thing die, if there's anything at all I can do. With any kind or degree or mode of relationship, however personal or economic, however large or small. I have enough, and more than enough, to live my life and be the person I'm becoming. I will do all I can in all directions at once and ask and joyfully accept the help of everyone involved and pray God it is enough that no one loses. He was comforted.

Yesterday, as today, I had the day off work, and with my new-minted equilibrium turned with a will to the task of sorting out some of my possessions. Cutting down on my own baggage. Don had cut off the internet, fearing I would leave--as I'd originally planned to do--today, in the first week of December. He'd've had to vacate the place himself if I had, and likely the first floor tenants as well and sell the building in a down market. None of that was especially real or pressing to Debra, the second Craigslist girlfriend, though. Without a phone of her own, without internet access, and without even--because Don went into her purse and took them, the cause of their big fight yesterday--the keys to the apartment to get back in if she left, she had nowhere to go and no way to get out of here either.

She's been more than depressed for more than a little while, and coming here and trying to build something with Don was sort of a last-ditch effort in a situation where all other doors seemed closed. And it wasn't working out. They bickered almost constantly and had each basically given up on the other. I was on the phone much of the early part of the day, in my room and the storage area I've got up here, sorting out all my clothes and figuring what to keep and what to give away. But I overheard her say, loud enough to carry through my door, "I will never again trust another living soul." And involved or not, my problem or not, it hit me like a rabbit punch. Later when I was off the phone I stepped back into the thought of that moment, stopped stock still in my tracks and prayed--for wisdom, for mercy, for everyone involved. For a problem that I most definitely did not have the right to impose myself upon but it hurt to watch, especially for a second time, with a person so far sunk in her own esteem she couldn't even get angry enough to fight it. She spent most of the day curled up on the couch hardly moving; after awhile she covered up her face with a blanket because, I think, she didn't want to have to look at me or Don as we walked by.

I even left the building for a time. Unlike Debra I have keys, and I really, really wanted to get to the library and use the internet there. On the way I dropped off a little bag with a blanket and some warm socks at the bus terminal. There's a homeless lady there I've talked to a time or two, pretty lucid, spunky as all get out, considering, and I figured since I'm giving so much stuff away I might as well cut out the middleman and give a few things to someone I know. She wasn't there, but I left it with a couple of other guys. They let me know her name, or rather what everybody in the homeless community there calls her, which is Mama. I know a couple times a year Don will put together a feast and bring it over there--where else is the homeless community going to get a feast?--and it cheered me up a little to learn Mama's name and that she's a known and in a certain sense respected citizen among them.

And at the library I got to send off a sonnet I'd written earlier in the day, to the hopeful comfort of its intended recipient. Won't reproduce the whole thing here, but the first line goes:
They know in hell, and they are terrified.

Much later, after Don had left to go hang out with a drinking buddy of his, Debra knocked on my door and asked to use my phone. Which was my in, though she was so anxious and feeling so unworthy that she hardly even registered how glad I was to have permission. I sat with her for a good long while and talked--I mostly listened, caught her terms and turned them over and put them in perspective. Told her lots of stories, quoted quotables, let her vent and pull up her astonishment and anger and fear and just look at them, see them for what they were and not have to run from the fact that she felt them. Sang her movin' down in the world and it made her laugh.

It helped, actually, a lot that she was so angry at Don. Drinking has been a major issue for her for awhile, made it impossible for her to stay with her son's family, made her unwilling to go stay with her parents, who are teetotalers living in a dry county. But she looked over at the fridge and shook her head and pointed and said, "That man--he makes me so angry. I know there's beer in that fridge and I'm not even gonna drink it, because I'm fed up, I've had enough of this crap, and I don't want anything of his."

The plan was for her parents--she's middle-aged, they're elderly--to drive up from Kentucky and pick her up this morning. But her son called up and said that wasn't going to work. It'd be a brutal drive, Kentucky to Chicago and back, even in daylight in nice weather, and at night in the cold he didn't want to ask that of them. He offered to buy her a bus ticket over the phone, so she could take the Greyhound down there and have them pick her up. And I watched her slip right back into panic, I watched her face pressed up to my phone as she said, "I can't. I can't." She'd have to leave everything behind, all her little meager possessions that were her only link to the life she used to have before everything went to hell. She'd have to leave the pieces of herself, worth more to her for so long than her actual self, here in this house, in the custody of a man she despises more than she needs drinking. And here I was trying to get rid of all my baggage, with another day off work coming up, and I know how to get to the bus station. I started bouncing up and down in my seat and it was hard not to laugh; she would have taken that as mockery in the face of her despair. "This is totally doable! Yes it is! We can carry it all between the two of us, and I know how to get to the bus station, and it's totally doable! Wait right here!"

I went and took a peek at her stuff, in boxes on the living room floor and in the front closet, then dashed back into my closet and got all the duffels I had, tossed them on the floor next to the boxen. By this time she was off the phone, and when I was at the door heading for the basement where I had some more duffels, she stood up from her chair in the kitchen and asked me, "I don't understand. Why are you doing this?" Till then I had passed everything off with no problem, my pleasure, not a big deal, no worries. That time, though, I grinned and bounced on my toes and said, "Bear one another's burdens and so fulfill the law of Christ. I'm takin' it literally. As it should be!"

(Just now--literally just now, while I was typing this--the agent from the new building called up to tell me that my application to take over my good friend Nabeel's lease has been approved. :D God's timing.)

When I came back up the stairs singing "These boots are made for walkin" she had already started pulling her stuff out of the closet and taking it off the hangers. She'd gotten so very upset with Don earlier for going in her purse, it seemed wise to me to just sit at the table and let her get everything arranged for herself. I rolled cigarettes and told more stories, and she started to focus less on venting and more on the prospect of being able to escape. I copied out the lyrics to movin' down and wrote on the back of it, "It's been wonderful to know you, though I wish the circumstances had been better. This was the last song I ever sang to my father. It was sad then, but it's happy now. May there always be a road." Then I folded it up and she put it in her purse. I hope she reads it on the bus. Thinking of bus reading time--Chicago to Kentucky is a long trip!--I went in my room and got Terry Pratchett's Guards! Guards! which is extremely funny and uplifting, and is one of the few books I own myself rather than having had it lent to me.

She started to set aside a few things to add to my Salvation Army bags, since she did have more clothes and things than even two people could reasonably carry on their backs. And I told her about leaving some stuff in the station for Mama and about the socks, which stuck in her imagination. So we put together another little bag to leave along the way. She had way warmer socks than the ones I'd left earlier and it made her feel good to be giving stuff away to someone who'd appreciate it. She also gave me a lovely button-down comfy sweater with pockets, which is very nice but too big for her and too bulky to carry. (I'm wearing it now, in fact. I told that to Don earlier this afternoon and he said it had made her look old, but on me it looks really sharp.) And I showed her how you carry multiple duffel bags, straps crossed over the chest to distribute the weight, with a smaller bag in each hand. After getting rid of a few items there was just enough that between the two of us we could carry it.

The walk to the bus terminal was incredibly hard for her and slow going. She'd never done anything remotely like it before; her back muscles weren't used to the strain and on her tiny frame the straps kept slipping out of alignment. We had to stop and rest a few times--it's about a mile from here to the terminal--but we made it, in good time and in good spirits. The train ride down she was talking even more hopefully, focusing on getting out, getting independence, having a chance to start off all new. When we got to the stop I actually didn't recognize it at first--I'd usually gone to a different Greyhound station--but a fellow commuter pointed out the correct street to us and within half a block down it I knew exactly where we were.

There was a bad moment at the ticket counter. She had seven bags altogether, and due to rising fuel costs Greyhound's policy is that you get one carryon, one bag in the overhead compartment on the bus and one under the bus for the price of the ticket. Second bag under the bus is ten dollars, third and each bag thereafter is another thirty-five. She got a little panicked again; I could feel it rising in her. I said, gently as I needed to, "Debra. It's just stuff. You're getting out." And I looked in my wallet and I had thirty, so I took two fives and slapped them on the counter. She was flabbergasted all over again but we hunkered down, zipped open all the bags and tried to empty out at least one, consolidate some more, stuff the already packed bags a little tighter. And she took some of the smaller bags and put them inside each other to make a single massive carryon. After all that, she'd sorted out and selected a half-full bag's worth of stuff she could bear to get rid of, and I gave it to the Greyhound guy to add to the station's donation bin. He and the ticket agent said they'd give her a break, since after all it was duffels and not hard luggage, and let her have an extra bag under the bus. Though they warned her that when it came time to change buses in Cincinnati, the driver of the next bus might not let her take along all of it from there. They tagged what she had and I helped her carry it over to the line of other people's luggage waiting for the 3:40am, and I hugged her and wished her well and she thanked me again.

I hope she pitched that extra bag in Cincinnati. I hope she laughed and the wall of panic in her laugh broke suddenly out from under her and let her into that great big bright wide beyond it. And I hope she pitched that baggage in the bin and got back on the bus and rode all the way home to a dry county with a great big grin on her face and the cold air of Kentucky felt delicious in her lungs because there's so, so much of it, and it's free.

When I got back to the bus terminal Mama was there, in her usual spot on the little ledge next to the payphone. The bag we'd left behind was nowhere in sight, but some of the things that had been in it were peeking out of her other luggage and I think she was wearing Debbie's socks. And I smiled the smile again, much bigger this time, and skipped all the way across the terminal to Dunkin Donuts and bought myself a bagel. With cream cheese.

giving thanks

In love there is no low or high point,
neither consciousness, nor the lack of it.
There is no leader, no shaikh, no follower,
but there are hidden ways, sleight of hand, and revelry.

~Jalaluddin Rumi, Rubaiyat 674



I wished a lot of customers Happy Thanksgiving yesterday, but I didn't post or write anything on the subject of giving thanks.

Since I started praying every day, I have tried--sometimes failed, when other feelings or thoughts intruded--to start each day by giving thanks. It is a shift in attitude which makes it possible to find and appreciate the good things in life, and pulls the mind away from worry about the future or brooding on the past. The presence of God, or if you prefer, the light of active joy which illuminates the experience of time, exists only in the present. A human being is in a sense a doorway through which change flows into the world. You are what you do, as Lois Bujold wrote. Choose again, and change.

With thanks, I open the door in myself to the best things in the world of the possible. And by choosing to rest myself in thanks and appreciation rather than blame or regret, I give myself permission to pour this possibility forth into time, to make it real. Every second I live, every moment in which blood and breath flow through my body, is another opportunity to choose, to change, to become a gate through which heaven can enter earth. That is why I give thanks every day. That is why no matter what happens, whatever grief or difficulty or challenge I must face within the circle of a day, for the time, for the gift, for the privilege and responsibility of bringing something good into the world through myself--for this I give thanks.

Today, in about half an hour, Dave will come over and pick up those possessions of his that I've been holding. We will look each other in the eye and know in person what I told him and we spoke of on the phone twelve days ago: that our partnership is over, that we are no longer a couple. I give thanks that I had the opportunity to be with him and for all that we shared; I give thanks because we are both truly much better people for having known each other. I grieve that it is over. I am sorry and I regret that I did not find ways to do more to stop what was between us from fading away as it did. At this point the best I can do with that regret is express it, and be resolved never to fail again as I did. But I still look back and give thanks that our partnership was what it was, that it was worth doing much and more to try to save, that it is worth grieving now in its end.

Honor to that which is no more. Honor to we who live and in living are given the gift of the chance to choose, to become, to pour forth, to change.

***

It's over now. We said goodbye, we agreed we were better people for having been together, and with that closure came forgiveness and mutual wishes for the best life has to offer. I will treasure the good there was in the time we had and he will do the same. When it comes to a moment where goodbye needs to be said, no one could ask for more. I give thanks.

a fool's ambition

A new song, first in awhile. I have said many times and will say again that I'm a fool (as I've quoted elsewhere--a fool for love, and other things). Though that's not necessarily always a good thing, in the context of this song it kind of is. One must be at least a bit of a fool to hope for and have faith in things which are not, on the face of them, humanly possible.
This is a true rocker; it also contains one swear.




flies under glass
stomachs in line
stones in the bedspread
moments in time

a blade unbended
a scale well measured
a foe befriended
a soft heart treasured
a vast loudspeaker
a friend who listens

a fool's ambition
a fool's ambition
a fool's ambition
a fool's ambition

dreams splashed with blood
too hot to touch
I'm only human
love, be my crutch

a promise proven
a road not taken
a sight so soothin'
a true temptation
love all ten billion
keep one for kissin'

a fool's ambition
a fool's ambition
a fool's ambition
a fool's ambition

I feel like shit
just for drawing this line
but you've got to admit you can never be mine
if you only can change by tearing yourself down
love, I want you, I want you, I want you around
till the sun burns blue
till the dream comes true

a work of fire

I yelled at Myke today, for the reasons listed below. He is understandably excited, as he has just gotten into the groove of writing short stories and submitting them to contests. I should--he is most correct!--be doing the same thing with poetry contests. Money can be won by this method, especially if one possesses competitively good product, which both of us do in our respective fields. However, I feel that the method he employed today to encourage me to move faster on this was...not the best method. ;D So there you go, Myke. You've been wondering why I haven't written a song about you--it's cause you hadn't annoyed me in the right way till today!



brother man, we are equal
and you of all people
ought to know
that the letters I've sent
bout my food stamps and rent
had to go
now you encourage me
next to send poetry
it is so

you say smash through your inertia
cause the past it cannot hurt ya
you say make room in your income
you will earn it back and then some
you say do not drag your stupid feet
just get your work out on the street
before the time expires

cause this is a work
this is a work
this is a work of fire

brother man, what's your hurry
you're awfully sure the
fix ain't on
I'm recording my tracks
I have piled up my back
with words and song
busting out all that's mine
at the same time
is taking too long

I don't dare to take a breather
because I don't like it either
in our sleep we grow like flowers
I would kill for six straight hours
you don't ask me what I've done, you
of all people are the one who
would name me my desires

but this is my work
this is a work
this is a work of fire

I just began to pray again
said, Lord, teach me to burn
threw everything away again
I thought that I had learned
my sparks are flying everywhere
let something catch
don't lecture me like I don't care
hand me a match

cause this is work
this is a work
this is a work of fire

the end of the world

This story is true.



I love every train
for the sound of its wheels
there's an ache in my chest
that it heals

but for you
it's the sound of the end of the world

the driver stomps hard on the brakes a block early
and calls out
"last stop for the red line!
last stop for the red line!"
until all of us spill out, confused,
to round the corner on a street
flanked with fire engines, sirens;
commuters perspiring, turned away from Berwyn's gates
I gaze up at the platform, the train's gaping doors,
the uniformed men's heavy steps on the boards
they have summoned a piece of the world's end for you
our red line halts in mourning for yours

cause for you it's the end of the world

a man tells me you hurled
yourself onto the tracks
a woman, he says, old or young, white or black he can't say
no one there knows your name
and I say, it's a shame
it's a shame

that for you it's the end of the world

once I listened to Metra conductors
discussing
another world ended
by metal momentum, they said
in the moment before you were dead
you looked the train conductor in the eye
you made it her business
you made her bear
witness

and all I'll say is, it's a shame

because men lay tracks
and men build engines
and men write schedules
but God made trains
because all of his children have somewhere to go

and I weep as I walk down the street, cause I know
that for you it's the end of the world.

love's irrational

Only reason sentences aren't capitalized is 'cause my n and b keys, as I've mentioned often, are broken, and I am lazy. And many sentences begin with n. The first line is something I've had bouncing around in my head for years; I'm as surprised as you at the work it finally led into.
Oh, divine desire and desire divine. That which pulls us outside of self, into eternity which brought forth time. :D And all good things.




as many names as thunderstorms have legs
what is the shape of this, its boundary?
make me a puddle, dripping, coiled, who begs
for one more drop to slip inside of me.
slit through the tape, free this multiplicand
to wriggle, slick, down every integer.
we smear out reams, but our weak, human hands
cramp, tremble. still. no sequences recur.
no rational intention makes desire
or fractions it, divides it to an end.
for this all reasons labor, yearn, perspire
till all we are is blood and ink to spend,
to pour out, helplessly demanding more.
come, reason; bring us near what we adore.

one question

Amber just lent me G.K. Chesterton's Heretics. XD I'm not even finished with chapter 1 yet. Unregardless, it's sonnet time. These events all occurred, but gradually, over the past couple months in different contexts. I cherry-picked 'em to make for a cohesive group of images. That is poetic license.



I've never been there, but for what it's worth,
I've sipped its nectar when my throat was parched.
And I say heaven is invading earth,
and I exist to speed its forward march.
The bread inside the cupboard has grown stale.
The mop I drag across the floor trails dirt.
The funds I sent were stolen from the mail.
The words I said, meant to uplift you, hurt.
Let's bite down hard--we did not starve today.
The floor stands solid underneath the grime.
God grant me grace, to earn what I must pay,
and you, to launch forgiveness into time.
It falls to us to answer, if we dare,
one question. Heaven can exist--but where?

how much is left

Really, I have very little to complain about. Hit the schedule jackpot this weekend--got two weekend days off in a row, which never ever happens for retail employees in a 24 hour store, am I right? Got to hang out with Dave and also Mom and Amber, and good times were had by all.
At work today, though, I was not my usual dynamic self. The negativity of people around me seemed more noticeable than usual, which I think reflects a change in me rather than them. I ended up starting a lot of conversations that couldn't quite get finished because urgent tasks interrupted. Happens all the time; today I just noticed it more.
This song obviously rose out of personal feeling, but it comes from a frustration which we all experience. When faced with many things worth doing and many people worth spending time on, how do we choose? How can we slice out a little time to relax, or to do things which please only ourselves, without feeling like we're stealing that time?

Here's how the chords go. For my reference as much as anyone's. XD

verses:
Am D
F G

chorus:
Bm(7fr) D
G(7fr) D
Bm(7fr) D
G (7fr) D B

bridge:
F# A(5fr)
D(5fr) B

Lyrics follow.



(v)I draw the meat across the blade
look at the pretty slice I made
it's perfect for your sandwiches
one thing you never ask me is

(ch)how much is left
how much is left
how much is left
how much is left when you're gone

(v)of course of course I love to be your friend
it doesn't work if I ever pretend
I want to see God's skeleton within
the personality under your skin
though I make every single second count
I never get a different amount
I want to be a friend to myself too
but cannot bring myself to say to you

(ch)how much is left
how much is left

(br)sprinkle the blood around the roots
when will my heart be soft as soil
I salivate for life's first fruits
moments before they spoil

(ch)how much is left
how much is left
how much is left
how much is left

how much is left
how much is left
how much is left
how much is left till they're gone

Johnny the Greek

Kinda unsure about this one. Morally, rather than poetically. This is a real man, and a true story, but I would not say these things to him in person. Because they are angry things. To his credit, since I stopped speaking to him, he has not come over to my area to yammer at me. Which means, I think, that he gets that I am not speaking to him. This is an amount of consideration greater than zero.
Hopefully having written this, I've gotten my own frustrations off my chest. And I hope this guy finds a good way out of the place that he's in.





Head held up and back, till your chin
folds into your neck, chest puffed out
with every one of Alexander's victories, you wear
your ridiculous hats as if
you'd personally invented the Olympics, and received
a much-deserved reward.

"Oh god here he comes," groan the men,
but you're not even watching
"it's that creepy guy," wince the women,
though I doubt you would care, if you knew

When you speak to God he answers you, Johnny,
in the warm bemused tones of one grown accustomed
to hearing his own words spill from someone else's lips--
the favored son of a favored race, less to blame
for Christ's death than the Romans
(who after all did the crucifying)
and all who follow the church of Rome
damned in your eyes by,
let's call it
geography.

But you, Johnny, you
are guileless, guiltless from the get-go.
You recount with a face full of glee
the sins of those you say that God will not forgive
and fantasize his wrath
and it's easy for you, Johnny,
cause you've never trespassed against anyone.

You keep to public places.
Like the place I work.

I sling potato salad, and you serve
heaping spoonfuls of your wisdom
to everyone who fails
to make good their escape.

Ernest, who sits in the sun, smokes roll-ups like I do,
he's working on his GED, hitting the gym, and if he mutters
angrily to himself all day as the curb softens under his angles,
and I don't know the story of his scars,
he is my friend.

Aldona, who is sweet and takes a hint, wears purple, reads much
and wants to chat
all
night
and some of us run from the friendly, lonely, white-haired lady
with the shaggy dog stories, but she
is most definitely my friend.

Where you work, you say, it's all
chemicals and corpses and exacting
sanitation standards, and though I respect
you do an unpleasant and difficult job,
I bet cadavers listen best of all,
and never ever ever interrupt.

Upstairs in the breakroom, we have a television.
It is always on, always
at maximum volume, only gets one channel--
Cheaters, judge shows, Raymond, Lopez, King of Queens--
and I have to walk past and the sound won't stay down and I can't
turn it off,
and you are that television, Johnny

and I
have lost patience with you.
You bully all the world in self-defense.
You've made yourself an argument against.

And so, dear John, though I can't say we're friends
I know you will get all this off your chest
lay down among your perfect audience
and that will be the first day of the rest

no limits (response)

I've been having a blast over at Christian Taoism. Go read it if the name seems a little weird--or, really just go read it. All the posts are short meditative poems, and, following the lead of the other regular commenter there, responses are most often in the form of a poem. Which is the big draw for me! You all know how I love to write from prompts. So far I've resisted the impulse repost an HK Stewart poem plus my response to it here, but this, I think, is the one where I'm just too happy with the way mine turned out to keep it off my own blog. XD
My poem is both a response to HK's poem entitled no limits, and to the concept of the lack of limits.


There are
no limits,
no borders,
no boundaries,
no edges
in your
spiritual life.


still, I have to cross a ford
where I end and you begin.
I can't name till I've explored
that strange land beneath your skin.

here are places god has breathed,
like dawn's light makes mountains gold,
spilled from silhouettes, unsheathed.
here you, rapt, tremble to hold

snow-capped peaks against the blue,
wider than you now, cool, pale.
love, we know not what we do.
love, we know we must not fail.

trust messages

This despite appearances is a straight up love song. Wink, wink, say no more, as the fella says.
There's a reference in chorus 2 to a scene in Terry Pratchett's Going Postal, in which the main character, alone in the post office at night, has an overpowering vision. All the undelivered mail with which the building is stuffed cries out to be--literally--delivered. I hope it's an image I'll get to refer to again and again in many works, because it affected me profoundly.




pain is a message
that something's broken
pain is a message
you have to open
sometimes, true
you have to wait for
it to get through
to get what you paid for
get what you paid for
what you paid for

cry it out loud
you don't have to be nervous
or frightened or proud
it's just customer service
customer service, customer service
customer service

love is desiring
your lover's freedom
if they hunger for feedback
you get to feed 'em
sometimes, yes
the answer is no
that is your test
how will you say so
how will you say so
will you say so

we tremble to write
down the message love gives to us
letters at night
they all whisper, deliver us
deliver us, deliver us
deliver us

trust is a language
two minds make slowly
in tongues of fire
in pain made holy
what you give
does not reduce you
our love lives
you let me choose you
you let me choose you
let me choose you

body's electricity
run through dust
we are all that we see
laid on all that we trust
baby, whom do you trust
do you trust, do you trust
baby whom do you, whom do you trust

ode to Chicago 2.0

Version 1.0 of this poem had the same first half. The end is completely different, and it's much better now.
The older version was meant to be read aloud, too. It may hark back to the days of my callow youth, when I delighted in the Old Testament prophets as my principal source of poetry. Those guys really knew how to personify a city and whip the pants off it. Metaphorically speaking.
I'm not so hard-nosed in this one.




with your Parade cake makeup
and your bleach-blonde
teeth,
dried up, double-tongued
harridan of a city
shameless, straddling a river, riding high on
commerce, baby, the starch-pressed minds
of billionaires and all their filthy
politicking, how you dote on them.

you lift your skirts up to them
like a napkin; they wipe red hands clean
of old men who shake Dunkin Donuts cups at passersby
of beggars who lack even strength to prophesy

but look as cool as you, baby,
when you pull the sheet up over
another still, small, face, and light your
slow cigarette.

I love your pigeonshit train tracks
and your crew-cut sidewalk
activists, I love
your rust-riddled bridges and the buses
that run under them all night,
the harmless little restaurants that change hands twice a year
the callous that the slicer handle left
right here

and you love me like a January sidewalk loves my ass, a fuel tank loves the letter E, leaky taps love insomniacs and rotten meat loves flies
I can see it in your eyes, baby,
baby, you love
me

open mic night postgame

This waketime was my second-ever trip to my local poetry open mic. Which as I've learned since is actually the birthplace of the entire poetry slam movement, and as such attracts traveling poets as well as skillful people from around here. It's not the poetry big leagues; more on the order of a respectable AAA affiliate.

Let me briefly explain to you how awesome this place is. In a four-person poetry slam competition (grand prize: $10), I came in 3rd. Reading "composition" in the first round and reciting "residual categories" in the second. And that was a completely fair verdict! I know that I am a good poet. As the book of Proverbs says, however, iron sharpens iron. And finding a whole scene full of other poets who are themselves good in many different and magnificent ways gives me the opportunity to aim at becoming great.

This makes me inexpressibly happy. There is a place in the world where I fit in, even if I don't really know anybody yet. Where people do the stuff I do and care about the stuff I care about to such a degree that despite all the work I've put into it I'm just. about. normal. Best of all this place is not merely out there in the world somewhere, but just on my doorstep, on my bus route, within arm's reach. All I need is the occasional night off work, and the discipline to work the modest expense involved into my budget.

Oh yes. Also the nakedness of spirit to start learning to write again from scratch. Which I don't mean in the negative "ahh I'm doing everything wrong!" sense at all. It's more like the transition from classical music to jazz, or (here's where i read it) as Bruce Lee said about martial arts: "Learn technique. Practice technique. Forget technique."

There are a whole host of habits, necessities, little skills which go into writing "on paper" poetry which must apply differently to "live performance" poetry. They're still useful tools--but you use a screwdriver one way when installing a set of shelves and another when assembling a swingset, say. And there are a whole host of basic, basic things about live poetry regarding which I've just recently become aware of the depth of my ignorance.

Which, again. Awesome.

There was extra time at the end ("we didn't run long, we ran short!") so they had the band play while people randomly stepped up to the mic and said whatever they chose. As opposed to the open mic, wherein people are called up one by one according to an order the MC decides on his own.
Anyway during this last part I improv'd a thing which I attempt to reconstitute here. XD Mostly so I can give this post the "poetry and lyrics" tab.



these are the same streets
I used to go get lost in
just to figure out where the hell I was,
and I found my way
here.
I stumble out onto a sidewalk that smells of banjo music
and barbeque sauce,
glance back over my shoulder at a long low room
full of better poets than I am

and I say, "you fool! how small your world,
how small the circle of yourself!
you dared to think that poetry was dead,
when it was you who could not see
beyond the lip of the grave you dug!"

oh let me catch a smooth round edge
on a sharpened piece of someone else's mind
and dash out through these streets, laughing, naked,
unraveling the borders of my old, small self
one
thread
at a time.
Sometimes
what's a prison is a cradle,
and hands on the bars
will grow.