{my topography}

Flipping through a book of poems by e.e. cummings I found flower petals by the dozens from a time in my life when love was a dreamy and girlish thing (embodied by the poem, above–one of my favorites.)

I wanted to be loved the way e.e. loved his women in his poems. I understood little, if anything at all about how love endures and changes; how things get messy and slip; how you become soft in the middle, or are caught like plastic bag rustling and rustling in the bare branches of a tree before spring comes to mask it with blossoms and green.

I haven’t seen flowers for months (it’s still winter here, for another month at least.) And I think about the girl I was then; how I I had a crush on everything beautiful; how my life orbited around boys and their attention (specific boys, and also the general boy populous); how I had abundant energy and time, but no certainty or focus.

I wonder if I would have believed me–describing who I am today? I still have a crush on everything beautiful. And my life still orbits around boys–three, specifically; the biggest of whom still brings me flowers. Somethings stay the same.

What were you like then? Before you knew what your life would be like?

Beneath the covers when the day first sets in, I’m not quite here, not quite anywhere else either. Hello, Monday. It’s already 6:03 and the night was a slapdash mess of wake ups. The teeth, they keep coming. Arched back wailing at 3:27a.m. for ten stagger-around-the-room minutes, searching for Tylenol, and then again at 5:06, too early and too late for more or better sleep.

I lie awake, face in the pillows, the thudding of my heart reverberates in my head. My breath moves my ribs up and down, up and down, but I am not here, not all of me, not yet.

Under the weight and softness of my stomach my wrist bones, carpals and metacarpals, are crumpled like soft bits of clay and as I flex my fingers, pins-and-needles set in.

Somehow our boys, both of them, are already in bed between us.

This morning I can feel the way I’m sort of pushing around at the outline of myself with my mind. Hello, day. Hello, memory. Hello, this life of mine. I feel myself begin, reluctantly to inhabit my vertebrae, lungs, buttocks, thighs; in the nick of time I roll out of the way. Bean’s at it already: making a pirate ship out of the covers. Sprout, miraculously stays asleep (of course, now after a night of it) and he is perfect, perfect, perfect here beside me. Rosy, tousled. His hair smells sweet like only him.

The day comes fast then: wooden slats of window shades pulled up; snowmelt; shower steam; the fragrant bar of French lemon soap slipping from my still slack-fingered grip; coffee. The boys are both underfoot (vacation until Wednesday) which gives new meaning to the phrase “work from home,” which is what I try valiantly to do, meeting four deadlines, non-stop screen time, CS4, phone calls, 37 emails, everything interrupted by the repetitive cacophony of BOY.

The day is gray, and the is light translucent and dull, but I like the way the thermometer climbs to 38 before 11am, and how on the south facing fields I can see bare patches where the grass pokes up. I’ve been looking at the trees for signs every day now: the buds are swelling with the secret lives of leaves that wait for chlorophyll, for sun.

Inside, the boys and I are barefoot, and I look at them and feel the fragile container of my ribs nearly snap open with the thunk-thunk-thunking of my little hammer dulcimer heart. Bean with his thin arms and messy hair and growing-in-crooked teeth and ski-jump nose, and Sprout, who has been trying to run from the minute he learned to walk and whose gait looks a wee bit like a cross between a high stepping horse and Frankenstein. Some days I hardly have words. I have two sons. I don’t think this wonder ever goes away.

And so without stopping it’s night already. We visit friends after work and arrive home late. The sink is crowded; the cat wants fresh water; the refrigerator needs to be cleaned. Instead I let the boys stay up another minute. Bean and I eat toast with cloudberry jam.  Sprout carries pot lids around the room. Nonstop, there went Monday.

How was your day?

PS–I have a super-duper exciting giveaway for tomorrow, that I can’t wait to share!

“She’d been so sure a crap liquor store would not stock French cigarettes just because you asked. The shock every time she went in, and there they were. She was used to taking the world as it was, she’d never have guessed you could get what you wanted by asking for it.”

~from Paint It Black by Janet Fitch

I was struck by these few sentences and the idea has stayed in my head since I finished this book (which I loved, by the way) And I’ve wondered: What do I want to ask for? What should I be asking for? It feels powerful and vulnerable at the very same time to think of this. To imagine asking, putting myself out there, saying this is what I need.

Today I would ask for:
An agent to represent my book.
Funding to be able to write and live. Financial abundance would be swell,but just enough would be okay too–to live and write, rinse and repeat.
A sponsor, or sponsors.
To not feel like I’m always the trailblazer. Some days I want so badly for someone else to say: here, let me show you how to do this so you won’t mess it all up.

(And also maybe for some sun. The humidity is getting on my nerves.)

What would you ask for? Really. If you could ask for anything–or many things, what would they be?

It’s about adultery and cancer. Two things that seem kind of overdone especially when combined without beauty in the same story, which is how I felt this story combined them. I wanted to like it, I really did, especially since DH said the story sucked and I wanted to have some sort of cool-kid take on it, some sort of highbrow comeback that I could make in defense of the story.

But I didn’t. There were a handful of really beautiful lines.

“The slow thistledown of stars, for example, their drift and cling, was something that struck her with renewed force whenever she removed her spectacles—and was looking over a lover’s shoulder at the Milky Way.”

And there were some good, if not overstated ones.
“It wasn’t his vanity that drove him—it was his mortality. He didn’t want to remain young. He wanted to be alive before he died. That was all.”

And in between there was a lot of sort of clever, obscure, disjointed storytelling that walked around the action, never quite in it.

Maybe it a story about mortality, or about truth, or about how each one of us feels faced with the fact that we are just here temporarily in a body that is always dying . Like mayflies, etc.

Or maybe it is about excuses, or about women and how they use men, or how men use women, or about how everyone is emotional and foolish because all we do is use each other. But the story doesn’t really commit.

If anything, I liked the element of surprise. I liked that you didn’t expect the walloping over the head with the umbrella, the mother-in-law kiss with tongue, or the reveal at the end, “—our kid” and all that. But even though I was surprised, and I like to be surprised by a story, it wasn’t enough. The ending was predictable. Maybe because given the subject matter there are only a limited number of outcomes?

Go read it, will you? Read it and then come back here and tell me what you think.

I guess I wanted to say it was a good story because it was in the New Yorker and it should be good, right? And it did have that distinct New Yorker flavor. Dry. Sarcastic. Afflicted. But I think Raine was trying too hard. As though he’s saying, Look at me. Watch how I say what this story is about without ever saying it. Except it was so completely vague and disjointed that it almost felt like you needed one those secret decoder rings you used to be able to find in a box of cereal: if you are hip enough your allowed to get it.

That, or maybe I’m still just not one of the cool kids. (One thing I did love about the piece: KENRO IZU, “STILL LIFE 467.” Absolutely Exquisite.)

In college I had a writing teacher who made me type out stories I thought were good. Every sentence. Every slender comma, ellipses, period, paragraph, dialogue, description. She said it would help me to get inside the craft of the story. That I would begin to hear in my head the author’s internal dialogue; that I’d understand the choices better: the words, the edits, the way one sentence followed the next.

I did it. At first skeptically, then diligently. She was right, of course.

Now it’s not so much matter of writing the story out. I write enough, and regularly enough, to feel like I understand how to construct sentences. But there is still something that can be learned from reading a story daily, richly, and then putting it on the operating table, putting your finger on it’s pulse, examining what makes it beat.

So maybe for a little while I’ll try to read a short story every day. Read it, and try to write about it. Try to put words around what makes it work (or not), until I get to the meat of it. Sort of flexing my reading muscle a bit.

***
This morning’s read: “An Old Virgin” From DON’T CRY by Mary Gaitskill.

It is a story that asks again and again: what does it mean to be alive inside a body? Reading it, you become the voyeur. There, touching the frail skin of a father, dying; fingering the charts of a 43 year old virgin at the doctor’s office for a physical, who whispers, “just let me catch my breath” during the exam; at a stoplight next to a Hispanic boy pumping with bravado and “so much light that it burned him up inside and made him dark.”

Gaitskill’s gaze sinks into people. She captures them on the page as both entirely physical and also almost painfully ethereal, their spirits bright and sharp at the edges of the story, tangling with it, becoming for brief moments almost mythical.

“As soon as Laura looked at her father, she knew he was going to die. His body was shrunken and dried, already half-abandoned; his spirit stared from his eyes as if stunned and straining to see more of what had stunned it.”

Inside the narrators head, we go into the secret, morbid, sexual places of her mind and come up against our own humanity: which we learn is something exquisitely fragile and riddled with holes leaking spirit and curiosity and abject sorrow.

“When he answered her, his voice was like a thin sack holding something live. He was about to lose that live thing, but right now he held it, amazed by it, as if he had never known it before.”

“An Old Virgin” is a story about regret and forgiveness, maybe; and about the way these two things are always smashed together inside us, never quite reconciled in the bright, messy, and perverse rooms in our hearts.

***
What if you flexed your reading muscles too? I’d love to know what you think of the short stories you read. What did you read today? How did it move you, make you think?

I wake up from dreaming of the Arizona desert and a professor and his wife I don’t actually know in real life. The phrase “sand frills” sticks in my mind, something I’ve invented in sleep: as in, the canons and mesas give way to sand frills. It almost works to describe the way the sand is funneled and scarred with gullies and rivulets, flash floods scraping rivers into dry mud and red rocks. I wake up with an ear ache, the pain sucking at my right ear like altitude.

I slip away from the others, still sleeping: my small boy with his arms flung side to side like the oars of a rowboat, a contented sleep smile staining his face rosy; and my husband who was feverish last night and who wears and orange t-shirt and twitches inadvertently. It is the last day of vacation and I wake up mid day from napping with the sun slanting through the slits of the wooden blinds, dust motes rising and twirling in the air.

Yesterday I napped too, alone with the cats. Both of them curled nose to tail on the flannel. When I joined them, the apricot one chirped a welcome to me. At night she follows me around the house as I turn off the lights, bank the fire, get ready for sleep. She meows plaintively then, wanting one thing: a pinch of cat nip that makes her whirr like a summer fan and fall to the floor like a dervish in a state of ecstasy.

Today I wake up at 2:37 p.m. dreaming of people I don’t know. For the longest time, or what feels like the longest time, I am convinced that I do actually know the man, who in my dream was a professor, we both were it seems. I try to pull my mind from the shallows of near sleep, where thoughts dart like the shadows of trout, illusive and just below the surface.

Gradually I stir, hoping that if I move, inhabit my body again, feel my fingers and toes, I’ll be able to place him and his wife, dark olive skin, but I’m only more confused and the pain from my ear creeps down my neck. When I put my hand up to my throat I find the glands on that side are swollen. Everything participating in the purposeful choreography of falling ill just as vacation is ending, of course.

When I climb from the bed I move the covers, I move my knees, and my ankles and the soles of my bare feet make contact with the wood floor. I can feel the grooves between the planks. The round circles where penny sized tabs of wood cover screw holes. For a minute I sit there at the edge of the bed with the dust motes circling my tangled hair like a halo and am stricken.

I think of all the screws. Thousands, maybe a million, although I can hardly imagine what a million screws would look like, each one made of dark metal, machined somewhere in a plant in Idaho or Tennessee or Mexico or China. I am astounded considering all the people who contributed to my floor in this way: the workers in protective goggles and gloves sorting and correcting package weights; the fork lift driver; those at the shipping yard and at the hardware store, and also the men who likely knelt a million times or more to place each screw, thankful to have an electric or battery operated screw driver.

The floor is old, and when we bought the house, the finish was almost black with age. It didn’t gleam, and by the windows in my studio, a lot of water damage. Someone left the windows open more than once during a summer rain. Now it gleams, sanded and finished twice over. Our sweat. Our bending knees. My feet make contact with the floor. I pull myself to standing. I pull on jeans. I pull on a white terry sweatshirt that I’ve just put through the wash with a few tablespoons of Chlorox.

In the dryer I added a Mrs. Myers Clean Day geranium scented dryer sheet. The smell made me happy. It spelled clean and not cloying, though not natural either. The house is clean now, at the end of vacation. My life feels in order. I’ve spent the week putting things in order: paints on the shelf in my studio, carmine and cobalt and cerulean. I’ve scheduled things: doctors appointments, dental check ups, hair cuts, meals with friends. I’ve crossed things off my list: updated accounts, passport papers, green peppers and Irish oats and oranges for squeezing. On the bag they say “Take home and give us a squeeze.” Like some sort of huggable small trolls nestled together there in the orange webbed bag.

I’m reading Don DeLillo’s book White Noise, and am fascinated with the way he uses lists to tell the story. Lists spiraling and deepening, a little the way Tim O’Brian did in The Things They Carried. This month, March, is a month of lists. It’s a month I’ve decided to live contentiously, focusing on the small things like replying to emails regularly and packing my lunch for work the night before. I get so outside myself, tilting towards the big picture, towards the hungry heat of my passions, that I forget to be here much, and here has a way of getting crowded and overwhelming as a result.

In O Magazine, someone wrote an article about “A Month of Living Perfectly” and I laughed, because it was my idea, the very thing I said to DH. “What if we spend March living the way we always say we want to live? No waffling.”

He nodded over toast. He wasn’t really listening to me. It was the end of February and the snow had numbed his brain. It keeps falling, by the way, falling nearly nightly. Making the woods white and glittering and the driveway slick when it melts and then turns to ice in the dark. But now March is here, and I’m going ahead with my proposition, ready, set, go.

If you were to live “perfectly” for a month, what are the top five things you would do every day?

It is midwinter here in my small corner of the world and also in my blue-roomed heart. I’m tucked in, my pulse moving slowly and full of trepidation like water running under pale knocked together shards of ice. Self doubt circles like a pack of coyotes, their tracks mushy and dark where the earth collapses, pressing up close to icy ribbon of river.

This is what winter always brings: a bareness; an uncomfortable edge; inadequacy. Things seem so blatant; personal deficits larger than life, like the huge fiery orange sun we watched today. It tangled in the bare branches of the trees near us at the top of the sledding hill, then slipped away, leaving the snow stained pink with longing.

I spent the morning in a quiet house reading Francine Prose’s Reading Like A Writer, and coming face to face with the blunt edge of my own lack. In the back of the book, “119 Books To Be Read Immediately” and I’ve read only a small handful. I’m a slow reader, with a tendency to dally in the text. I soak up sentences. I read with a pen, marking, dog-earing, rummaging back through previous pages. But I’m also a sporadic, undisciplined reader, and I’m ashamed of this.

Books have a way of inhabiting the drawers of my mind, like so many jars of gesso and paint, easily jostled, staining the surface of my day. I have a hard time shaking free of them, and carrying on, so I have a certain reluctance grappling with anything weighty unless I have the means to hunker down and read it for an entire day.

Also, I am lazy. I drag my feet about finishing books that don’t catch my interest in the first few lines (fickle, I know). I lack analytical fervor. I read simply for the joy of language, story, and words, which I’ve always loved and carried covetously around in my pocket on the scribbled pages of a 4×6” Mead memo book. But I lack critical finesse, and also time, clarity, and a hundred other things have thus far prevented me from reading the list of books I probably should already have read.

Somewhere along the way I’ve also let myself start thinking that time spent curled on the couch with a book frivolous leisure time, less meaningful than time spent clicking away at the keyboard, constructing jagged sentences about blue shadows falling long across bright snow. Have no doubt: I’ll devour books by the authors I love (mostly contemporary writers: Kingsolver, Diddion, Munro, O’Brien) and I’ll jealously leaf through books by new authors who are rising like sudden shiny stars into the literary sky. But I’ve rarely gone back to the masterpieces, the ones that have endured: prose and plot and construction indelible and profound across time. And lately, as I’m grappling with my own writing more and more, I’ve started to feel a hunger for these texts: knowing that as I read them, I’ll be carried across time, into the world of ideas, word by word.

Word by word, closer to what I need to know.

So I’ve decided to make this my year of reading. This, simply, is my mondo beyondo and my one little word. Read.

{ Tell me: What two books most changed the way you see the world, writing, life, etc?}

Yesterday was brilliant, and then today I woke up inexplicably sad.

Yesterday I made French Onion soup. Farmer’s market fresh onions, bakery baguette, outrageously priced Gruyere cheese, and it was perfect. Last night we went to see Paris , Je’ Te Aime, and to pick up some bowls at clay studio, newly fired. They turned out beautifully. Pale sky blue, nesting together, still carrying a whisper of warmth from the kiln.

The film was quirky with 18 different directors/stories. I loved all the ways it portrayed love: the raw, sharp shards of love that come with the grief of loosing a child; the unexpected fragility of ending up alone, or together; the myriad ways love is tangled in translation: across faith. DH hated it, because he said it depressed him: too close to life, I guess. He wanted something cheerier, some handful of stories that knit themselves together, ending with old folks rocking on some sunny porch together, at the end of a life well lived.

But to me, love IS achingly fragile and the likelihood of surviving a lifetime with it intact, improbable. All the more exquisite because this is so. Like finding unbroken sand dollars at the sea shore. I’m not much of a critic though; a sucker for anything that portrays a faraway place and snapshots of the human condition. I like films to be arty, poignant There were a handful of stories I didn’t like, but more that I did. Watching the film felt like reading a volume of short stories (which I’m doing, by the way. Alice Munro’s RUNAWAY.)

But today, despite the perfect sunny skies, I feel like crying. Hormonal maybe, or maybe just off after a late night, sleeping against Bean, who went to sleep in our bed last night after telling the babysitter he missed us. Maybe I need to go out and soak up sun. Do you ever wake up this way? Simply off, with no real reason you can put your finger on?

Somehow, the summer is slipping by. Without warning it is more than half over really, and I’m feeling moody about it. The sky has been a mosaic of torn clouds this week. Strong winds and rain have been thrashing about wildly like a greenbroke horse. The night sky burnished with sheet lightening, thunder always rolling low in the distance. It’s that time in the summer when I start to think about it ending, and I feel a certain abject sorrow thinking of it.

Like driving again after living through a car crash, the prospect of going back to work and living through another winter makes me white-knuckled and anxious, albeit in a hazy popsicle and sun-stupored way. Last year’s autumn and winter left scar tissue running the length of our relationship: mine and DH’s. We survived, but sometimes the ache of it painted entire weeks with indigo and gunmetal gray. We came out of it, one bowl at a time at the pottery studio, centering, finding each other among strangers, with slip on our hands and glaze splattering our shirts. But it took until after my birthday to feel like we’d make it to the next.

Now roses are blooming hot red and hooker pink, their petals promiscuously soft, but the slugs are eating holes in the leaves. We still haven’t put in a garden fence, and the ground where the beds have not been turned has begun to reclaim its meadow-ness, grasses and tiny fingered ferns and sturdy-rooted dandelions sprouting up through the rubble of tilled soil. I wake up and spend my days sprawled out reading novels which is something I almost never do, and cannot quite get accustomed to. Hours in a book, interrupted every fifteen minutes by Bean who lopes about the yard with his bubble mower or a watering can.

We got him a set of trains and a an oval loop of track and they keep him occupied for nice long stretches of time, during which I get hauled into whatever place is inked out on the pages I’m turning. I get pulled in so easily, my whole day takes on the hue of the story, as though my life were a cotton cloth saturated in the dye of each story’s language and emotion; little ripples and circles left clean, like tie-dye, where necessity forces me to resurface.

Small things bring me back to the moment. Making alphabet soup. Lying in bed with DH, my head pressed into the soft place where his arm and shoulder meet and his heartbeat thrums so loudly in my head, all at once I start to think it is my own. Or sitting on the planks of the small dock at the neighbor’s pond with Bean, our toes in the water, listening for frogs and splashing, while above us swallows swoop and dive. But in between these things, words are running a haphazard narrative inside my head. Stories are bunkering up against each other.

Last week I finished Pam Houston’s novel Sight Hound, which I wasn’t entirely drawn into at first (many narrators, one of whom is a dog) but found myself sobbing by the end, grateful for it’s right-there in plain sight way of talking about risk and faith and grief. Today I finished As I Lay Dying by William Faulkner. DH’s ninth grade copy with his ball point pen notes in the margins.

I read it in two days, though I didn’t expect it to. There was a certain terrifying tension to it. Faulkner’s language is so heady and convoluted and looping that the act of reading it becomes part of the story. You become torn, and belligerent and hateful and grieving because the language makes you feel these things. Like a rip tide, it tows you under. One sentence looping back on itself again and again until you can no longer read it and have it mean anything at all, or another so abrupt, so sharp with colloquial timbre that you have to catch your breath. I want to go back and read the whole thing again, because I felt myself pushed to the very edges of comprehension, as though it were my gut and not my mind to towards which the story was aimed.

I’m also reading Homeland, a collection of short stories by Barbara Kingsolver. My everywhere read. The one I snatch at in all those in-between moments. Each story yanks me into the very center of it’s truth. I read them hungrily, picking over the skeleton of the story, trying to understand how it is made. The gathering of small details, the weight of lines, or the way the author’s voice rides up high over the words of the narrator like radio stations overlapping.

Yet with all the book reading and the lolling about, I haven’t been able to stay focused on writing. There is something in my aquarian nature that is both sanguine and ambivalent. This, combined with Bean’s intermitent pestering, and it seems it is nearly impossible for me to effectively structure my days. I get disoriented in summer, with all the basking and book reading and love making and such, the heat rising up early and abating only after the thunder and rain have rinsed the grass and sky.

Anyone else feel like this, midsummer? What are you reading? Doing?

Feeling the tight stomached ache of waiting, now. For spring, for the fat envelope, for several nights of sleep stacked up against each other like a solid cord of wood.

I finished The Year Of Magical Thinking yesterday, and all day today I keep going back to it in my mind. So many of her sentences are like the unusual pebbles we scoop up at the beach and then finger softly in the white cotton interiors of our pockets all afternoon.

This one, particularly:

“Marriage is memory, marriage is time.”

I randomly opened an old issue of Vanity Fair today, looking for inspiration, and landed on a page with her bird like portrait: frail after so much loss, but fierce. I clipped it to the wire running along the low wall near my desk, with other glossy pages ripped from other sources, each image causing amazement to quicken in my soul.

Waiting always feels like this. I heard from one school, yes. But the other, the one I dearly want, most, utmost, not yet. There are more birds now: doves, grackles, starlings, chickadees and a whole bevy of chatty bluejays at the feeder; but not yet robins from the tree tops, and not yet buds swelling large enough to force in jars along the windowsills. Though surely soon.