Sensation

By the check stand.

You can’t say they didn’t warn us, those eye-level oracles whispering above the chewing gum we didn’t need, the candy bars we secretly craved, the batteries we were always forgetting to buy. It’s not like they weren’t persistent. They offered a bounty of answers, endlessly. But, as the saying goes, you can lead a horse to water––

Secrets would be revealed. Why the it girl could never marry, what the bachelor of the year could never refuse. How to win against the crooks, not to mention important updates: recent developments in a high-profile rivalry, what happened to the kids you still remembered. What was fumbled, what went bust, who was at the end of their rope. 

It was a bombshell. It was graphic. It was a must see. It promised: Your questions finally answered! The secrets, the how to, the life hack you don’t want to try living without. The bags of apples moved ahead; the cereal was scanned. There was always something we were forgetting until it was too late. In this way they knew us, these oracles.

Look away at your own risk, they chided. We slid forward, replied with banal comments about how our days were going. Buttons were pressed, money exchanged. A receipt was handed over. We turned to exit, offered the usual thanks. But the things that we carried could not be the things we were here for, could they? They had called our bluff, these fantastical fortune-tellers. We exited through the sliding doors, into the asphalt flatland, squinting against the glare.

***

Inspired by a recent survey of magazines featured by the checkout station at the local supermarket.

First Flights

Tracing the texture of a dream.

Here is a book of time, someone told us, to translate a voice in the heart of the sky. It reminded us forward to the hour of the story inside the essence of the dream through which we flew to the beginning of the word on a current of makers.

Sighing creation, we ran, particles of ourselves in waves at the shore, piling sand into a world we could live in, and we admired the work of our hands until the tide took it back. 

We borrowed the insights of distant lightning to hold back the night, and with wet hands we peeled the dawn to eat it raw, dew dripping from our laughing chins.

The Memory Tower

For Leonora Carrington.

Everything happened after my birth, you said, as you left on the boat of the herons, a new Eve, refusing to be devoured as anybody’s muse. You had spells to cast, self-portraits as alchemy, your spine a hearing trumpet, listening between the worlds; mère, mer; now mother, now sea.

The solar systems of your eyes kindled by your own light, you rode the seventh horse away from the house of fear, passing through the stone door to the land where the serpents sing stories from the well to the pilgrims ascending the memory tower.

El Mundo Mágico de los Mayas, Leonora Carington

***

Inspired by the life and work of artist Leonora Carrington, with phrases borrowed from the titles of her paintings and stories, as well as her interviews. 

Finding the Essence

Of restraint.

When it comes to composition––a painting, a poem, a film––so much of the work is about discovering the essence of the thing. The rest is arbitrary. The art comes from learning what to eliminate. This takes time.

***

My interest in the art and life of Louise Bourgeois led me to the writings and interviews assembled in this book. The italicized phrase above is from one of her early letters.

Reparations of a Body

Old woman, new art.

Past, present, future: body. It’s a reaching place, this blood house, this mother’s form––out, out, she paints balloon bodies bursting with anxieties of desire, washing together in tides of pink, crimson, vermillion. She paints the sound and the fury of the gaping mouth, wild eyes; body like a net, like a sac, flower petal breasts like octopus arms: reach.  

The images shock. The nerve, to dare production beyond her reproductive years. With a nod to decorum, might she not try creeping around the flesh?

Given her advanced age, wasn’t she supposed to have floated into something ethereal by now? Suffusions of light, passive serenity, reflections on a lake? Flowers would be appropriate. Ripe fruit, perhaps. 

With flamboyant irony, she rejects easy ripeness, preferring instead to quarrel with time, to paint within her bodies the unresolved contradictions of her still-becoming self.

I am about to find the past, she says. I feel it, she says.  I own it forever. 

Her mornings continue in this manner, her mourning still undone.

***

Inspired by Louise Bourgeois, whose life and works are of deep interest to me lately. This morning, I was reading Rosemary Betterton’s article, Louise Bourgeois, ageing, and maternal bodies, published in a 2009 issue of Feminist Review.

Soundscapes

Dreaming with echolocation.

I am going with the divers. To immerse myself in their world, so to speak. The landscape: evanescent jellies over shadowy blue-green depths. Spider crabs over brown boulders. Sound bubbles murmuring like echoes of the lost continent. Muffled pings of distant sonar. Voices of the others, recording as I am now. 

We used to play a game in pools. We called it see if you can tell what I am saying. We’d face one another underwater through goggles and the speaker would shout-scream, making exaggerated facial movements. We would interrupt ourselves with eruptions of laughter, come up coughing, decide in unison: try again

Observations: submerged in this cylindrical ship, we become a collective cyborg. Once called the silent world, it becomes sonorous, an exercise in transduction. Transduce: to alter the physical nature of a signal; to convert variations in one medium into corresponding variations in another medium. Accoustemology: a sonic way of being.

It has been observed that in rural France, the circumference of a village could be defined by the reach of reverberating church bells. 

And what are we doing here? If vision is for surfaces, hearing is for the interior. I think we are all here waiting for the sounds of the bells we missed, that we might gain access to a village we haven’t yet imagined. 

We are listening. We hope that when we hear it, we will know.

***

Inspired by something I was wondering about last night, related to dreams and echolocation, which led me to Stefan Helmreich’s 2007 article in American Ethnologist, An Anthropologist Underwater: Immersive Soundscapes, Submarine Cyborgs, and Transductive Ethnography. I am intrigued by Helmreich’s idea for an anthropological take on the ecosystem within a submarine.

From Ashes

We all fall. Together, we rise.

I’m not much for stories about myself, because they are just not as interesting to me as other observations. I come from people who prefer song and talk of the unseen world. We’re not into airing, as the saying goes, the dirty laundry

But here’s one. I left school on a stretcher this Tuesday. I’ve been a teacher for almost two decades, but this was my first time as an ER patient. The fainting thing is somewhat familiar, but it has only happened one other time on campus, and that was ten years ago, in a different time, and Nurse Nancy reluctantly let me walk away against her well-meaning protests, after I drank some juice and spent thirty minutes flat on the cot in her office. I am used to the black spots in my field of vision but still bristle at the embarrassment of being so publicly vulnerable. It happens from time to time since I was a child, sometimes after some upset, and sometimes not. This week’s event would have been in the category of “not.”

Except that spending time in prone reflection while being too dizzy to do anything else allows time to wish for better answers to some of the questions asked earlier. 

Like, when did this start?

Um, as far back as I can remember––but not often.

When did it start getting worse?

Oh, December, maybe? Could be 2016, hard to say. There was a lot going on.

I made appointments, eventually. I think maybe there’s a thing going on. . .with my heart? I wrote in the online field, feeling determined at the time––but later, foolish. Each time, as the date approached, I cancelled. Because Omicron, because there were no subs, because maybe it was just age. Because who did I know that wasn’t hurting? 

The young people I meet daily are refugees of war, survivors of generational poverty, internment camps, and institutional abuse––and they are brilliant, glorious, showing up daily with radiant displays of quiet courage. I learned yesterday morning that one these students, a recent arrival from Ukraine, has just made the cheer team. I want to tell you about the glow of her face when she shared this, but lack the words. I got the news after she finished writing about the time when she saved a tiny kitten from a tree. 

We are all this kitten sometimes, I think now. Near paralyzed with terror and in need of rescue.

I cannot think of anyone I see regularly who isn’t working daily against a state of near collapse. Okay, I can think of a few, but we are constitutionally so different that they are hardly valid comparison points. They would not have fainted when they learned about certain horrors of human history, past or present, and they are infinitely cooler than I will ever be. They would not be seen shaking, sweating, or crying in public. Then again, what do I know? I always think I’m alone until I fall apart after trying not to for an extended period of time. Each time I have publicly collapsed under some private grief, so many generous others have shared similar stories that the abundance of company often left me stunned with wide-eyed gratitude.

My people are practically made for liquefying, which might explain the low sodium levels and chronically low blood pressure. We cry with our whole bodies, nonstop. The Irish ancestors called it keening. The women would carry the laments in their bodies and pass them to the next generation. When they keened, they were like birds, like chimpanzees, like horses reared on hind legs, shrieking. They were forbidden to own horses of a certain value as they were forbidden to read, and the keening was known to incite such passions in the hearers that it was outlawed. To be clear, we laugh this way, too, and love. And celebrate the babies.

After my release, my siblings and I had a few laughs trading stories about who among us had passed out when and where and how dramatically, and who had emphatically halted the calling of an ambulance for lack of health insurance at critical moments. My daughter made me a bracelet to wear as a reminder: Mom, you gotta tell people sometimes. When this is happening. So, I am practicing. 

It’s so much, isn’t it? — being human now. I can barely keep up, except by knowing I am not alone in this overwhelm. The moments just before I am lying on the floor feel barely distinguishable from this year’s daily version of dizzying overwhelm and heart-crushing grief. 

Why bother sharing this, except for Mom, you gotta––? Except to note that sometimes all that is needed, to regain consciousness, is a moment of rest and oxygen? Except to underscore that sometimes I wish that instead of a moment of silence we might have a moment of wild shrieking, arm-waving, wing-flapping lament, drenching our clothes until we are all on the floor in solidarity with our dead, before we rise again, into something we’re not able to become until we stop what is happening right now. Except to honor the loving reassurance of those who came to my aid, who helped me when I could not see, and to remind myself and anyone who may need to hear this now, how during any given life, moments like this make all the difference.

Thank you for being this difference. It is truly a matter of life over death, love over hate and despair, and sight over the moment when everything goes dark all at once. 

Love and light, onward.

From Scratch: Breadcrumbs notes

This space is about showing up as a living, breathing, wondering being: with doubts, griefs, questions, and idiosyncrasies. I post here every morning as a way to move from the dream into the day.

This is where I show up daily to practice ways of looking and being.

I used to think I was alone in feeling so much of everything, all the time, everywhere. Then I learned that the stance of a poet is spinning, and it made more sense. Then I noticed that sometimes creative work can be lonely. I may work on a given manuscript for years. This may necessarily involve significant alone time at the page, but I don’t think anyone should have to feel like they’re practicing in isolation. I may be an extreme introvert, but what sustains me is still a sense of sharing in community. Over time, I learned that there were people all around me, also doing creative work, often also feeling alone.

Like me, they were sometimes afflicted with doubt, paralysis, or general malaise. Considering the forces running counter to creative heart-mind work in this world, at this time, I think these symptoms are to be expected, but not surrendered to, because the world needs more people sharing the fruits of their heart-minds. I wondered, what would it be like if we practiced this publicly? Against the machine, in honor of living here, in remembrance of the dead. And in remembrance of some of out initial best impulses, like play and love.

This space is about showing up as a living, breathing, wondering being: with doubts, griefs, questions, and idiosyncrasies. I post here every morning as a way to move from the dream into the day. If I can’t take some of my dream self with me, I’m not much good at the day. Then I go about the living: loving, teaching, and writing longer works for publication. Facing daily fears, doubts, frustrations, and heartaches. Dreaming into a better world.

Doing this each morning is a way to remind myself and hopefully others, that there is always something new to share. Creative work is a practice, and this is where I practice publicly, as an exercise in my faith in the process. To learn and show: there is always something new. The point is wonder, and discovery. Often what I find are more questions.

What do I write about here?

  • It varies because I start from scratch daily (that’s the point!). I have fifteen minutes to think of an idea, fifteen or so to write, with the idea of getting it linked, imaged and published each morning in one hour or less. I need to keep this limit strict, so as not to encroach on space for other commitments, writing and non-writing. I believe in the benefits of self-imposed constraints with creative practice.
  • Favorite themes involve: “this day in history” meditations, found poetry, “Earthling” meditations (in which my avatar, earthling, confronts some aspect of being in this world), remembrances, and the process of creating.
  • When applicable, I will share the process that led to the day’s post, in the spirit of sharing creative approaches.

I hope that some of what you see here will resonate with you. Even more, I hope that you will grow and create in a spirit of love and generosity. The world needs you.