Tag Archives: family

her garden is my best hope

Good morning, you gorgeousness out there. It’s all sun and cool breeze and spring open outside the window, almost warm enough to take the notebook out write directly into morning. My mother writes a couple of days ago to tell me that it snowed back home in Nebraska — in May. It’s just not right. I look out at my garden while we’re texting back and forth, I think of the lettuces, the spinach and broccoli and herbs that we’re already harvesting; I think of the tiny green tomato taking shape on the vine. I remember how devastating it used to be, when I was living in Maine, when the crocus were well blooming and the redbuds had taken firm hold on the maples and I’d begun to trust that finally, finally, spring had arrived — my bones could relax. And then, boom, more snow.

I don’t tell my mom that I spent her snow day out in the sun. She has only just begun to set out her garden — has the potatoes in, is turning over the wintered soil to prepare the space for her many tomato plants, the okra and eggplant, all the annual flowers. Her garden is my best hope. It’s from my mother’s gardening that I learned about the longevity of faith, about persistence of effort, about doing it anyway. She kept a garden all the way through until the very end of the time with her abusive second partner; through all his control and rabid mania, through his sobbing manipulations, through the spending that forced her to work more and more hours trying to reconcile the books and accounts that he refused to be responsible for, through the hostility and hatefulness that he forced her to refer to as love, through all the behind-closed-doors horror that she has never described to me,  she found time to hold on to her connection to the earth, to find solace in a thumb so green she could lift life from a toxic wasteland (which, it turned out, she would have to learn to do).

I don’t know how late into that marriage she kept her garden. I don’t know if her tomatoes were putting out fruit when he was arrested for incest and child sexual abuse, and she was arrested alongside him as an accessory after the fact. I don’t remember, just now, what time of year it was, and I’d been away from home for a few years: he may have driven her away from her garden, the way he’d driven her from cooking and baking and writing, the deep loam of her creative life.

I don’t know what it meant to her that he was not arrested or charged or held to any account for what he did to her.

What I know is that my mother gardens now. After many years rebuilding herself — sharing home with others, cocooning in an old Omaha red-brick apartment building, over a Czech restaurant — she offers her words into the world again, she bakes bread for every family gathering, and she has her own home with a garden she can shape any way she wishes. No one can tell her what to plant or not to plant, or where, or how. At any hour, during the spring and summer and fall, her neighbors find her there, in her sunhat and shorts, pulling weeds, tending to the herbs, talking to the skunk under the porch or the squirrels that want into her birdfeeder or the butterflies that find their way to her flowers — she has shaped her whole wide yard into garden.

And for all my disappointment and loss, for all that we struggle still to find a way to each other as honest and open mother and daughter in the aftermath of the betrayal that that man demanded of both of us, still when I go out into the gardens now I am following in her footsteps. I am listening her tell my much younger self how to set out the plants, how to water, how to tend. I am listening to her example: how she fingered the leaves, whispered to each new seedling, welcomed all the life that found its way into the soil she’d taken responsibility for. Later today, I’ll bake bread for a friend — and I will remember watching my young mother at the counter in a new house in the farmlands of Nebraska, how she put her whole body into her kneading and how, now that I am years older than she was then, and in spite of all that came between, I am still learning from her examples.

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I didn’t imagine I’d write about this when I set my timer for twenty minutes today. Do you have something surprising rising in you to write today? Give yourself fifteen minutes at least, take a coffee break and a notebook, head out to the breakroom or the back of your building, and drop into the words. Follow your writing wherever it seems to want you to go.

I’m grateful, today, for the way you make room for what’s complicated about what and who you love.  I’m grateful for your spaciousness, and I’m grateful for your words.

sister stories that continue

Good morning — it’s dark out there, and I can hear the helicopters. Or maybe that’s just my old refrigerator readying for takeoff.  I’m not awake enough to say for sure.

Not enough sleep last night and here I am awake this morning into the blog instead of the notebook, wanting to talk about sistering and change. This weekend I heard a story about a long waiting, about barrenness and believing for a long time that there will only be barrenness, that nothing (after trauma) can bear fruit — and finding, after a long waiting, that there is a flower where before there were only bare branches; finding an orchard of beauty to feed you where for years before you had found only wishes and loss.

This will be short this morning, as there’s a lot to do today, beginning with some rest and replenishment time. This weekend my sister came to see me and we were safe together. We held space with and for one another. After years of being afraid that we would never be healed enough to be close again, I felt comfort and ease in her presence (and in my body when we were together). This is so deep and new that I can’t quite find words for it yet — what’s new is the part inside me understanding that we are ok. Not that we will be ok — that we are. Continue reading

can we heal what family means?

Katie Ward Knutson, Metro II

Good morning on this quiet and sunny Tuesday morning. How is your heart speaking to you in this moment? Are there words or stories that your fingers are ready to unfurl onto the page? Did your dreams bring offerings that you’d like to be able to remember? I’m slowly, reluctantly, moving through my stretches, and feeling the resistance build in my shoulders. I don’t want to have to stretch before I write, and yet that’s the body I inhabit right now. What happens when we let ourselves be exactly as we are? What energy gets released when we stop trying to pretend like we’re already someone or somewhere else?

Today I am full of questions and mourning and loss. Today I am wondering about family, how we learn to exclude ourselves from it, and how we unlearn the lessons about family that came to us when we were children: that family is not safe, is a site of abandonment and/or control, and is better shunned at all costs. Today I don’t know how to participate in family, and am feeling that place of separation and longing. Continue reading

the calculus of resilience

graffiti of green balloons, a person grabbed on to one, next to the words "schnapp dir auch einen!"

(grab one, too!)

In my dream I had signed up for a tennis tournament, even though I 1) didn’t have any clothes to wear for such a thing, and 2) didn’t actually know how to play. I put off and put off letting them know that I couldn’t participate, and wasn’t at all sure that I wouldn’t take my turn, let my ass get kicked, and then just be done with it. In my dreams, as in my real life, I often like to wait and see what’s going to happen.

I am moving through a small depression here, one that has allowed me to rally for workshops and love, but still sinks down into my bones when I’m alone, that brings with it the messages of persistent failure and sadness. I had such big plans for the months of November and December, such bright visions for the first part of 2013, and now everything has changed. I’m overwhelmed by the work emails and phone calls that are waiting for me — it’s almost time just to wipe the decks clean and start over — and I’m missing the friends and community I’ve been mostly out of touch with since the back spasm at the beginning of November. Physically, I am worlds better than I was even a week ago, and I can see light at the end of this tunnel — but that means it’s time to get back in the saddle, and that still hurts.

This morning, however, my little orange apartment actually feels like Christmas. There are bunches of wrapped packages of cookies, homemade xmas cards, wrapping materials (both new and saved/scavenged), a small rosemary bush snipped into the shape of a fir tree (draped with small Tibetan prayer flags), and a few cards from friends and family. Continue reading

honoring what’s died

graffiti of skeletons holding handsThis morning it’s hard to get out of the nest. The candles don’t pull me, and I lie there cuddled in with the words from a maybe dream. In my dream, my writing persona had two parts, each with its own name. In my dream I knew each of their names. Something like Lillian and Ruth, but I don’t think that’s right. One side was more linear, or performative, the side that sat down to generate words for public viewing, the side that rafted the writing like an editor. The other part was the organic side, the part that let words flow, the part that tapped into the long seam of imagery and possibility living somewhere inside our psyche and let the writing flow from there — the side for whom writing is a swirl, a vein, an immersion, a mess.

This morning I am thinking about the personae, the selves, and the dead — and I want to know how we can honor all of it. Continue reading

an impossible intimacy

graffiti of blue bandaids, one crossed over the other to make an x, on a brick wallgood morning good morning. I am in the aftermath of mom time. I am in my small room and trying to make sense of this life I am just now choosing for myself. In the dream last night someone was mugged, a woman had been hurt and we were doing a fundraiser for her maybe. I woke up and told the story of the dream to myself so that I would remember but all I have now is the word mugged, some sense of aftermath, people taking care of her, a sense of threat, we weren’t safe, it could happen again.

After I drop my mother off at the airport, I go to a coffee shop in a shopping mall, I order tea and sit outside in the breezy afternoon sun, I think I’m going to pour myself into writing but I can barely breathe. Next to me, a small family, a man and a woman and a very tall girl child. She looks like a great dane puppy, all muscles and flop, surely an athlete; she drapes herself over her mother, wraps her arms around her mother’s smaller shoulders. I wonder, what is it like to be the one trying for mother’s affection, to want your body in such proximity to the body that formed you, the body that drew you up, the body that let you go. What is it like to have that feel ok, to have such closeness be a welcome thing, to not have to shutter myself off inside, away from the vulnerability that opens in me just by being in her presence? Continue reading

letting them (and ourselves) be real

graffiti in red of a girl with a heart in a word-bubble over her headgood morning good morning! Oh, it’s late here — I set the alarm for 4:30, but when the puppy woke me up after 6, I looked over to see that perhaps that alarm had gone off, but my sleeping self had taken no notice whatsoever. After a full (and mostly offline) weekend, I guess my body took what she needed.

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Write Whole begins again this evening, and April’s Writing the Flood is this weekend (join us!) — lots more coming up, too, including a new daily blog project for May, which I’m very excited and a little nervous about! It’s going to be kind of like NaNoBloMo, with a twist.

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This morning I woke up thinking about my father singing one of his own songs: Dance Dixie Dance Dixie Dance / Don’t miss your very last chance… What a thing, to wake up with your father’s music on your lips, and be glad of it.

This weekend I went on a bit of a road trip with a friend, and she was in charge of picking out music, since I was driving. We wanted music to sing along to, with the windows down and the wind everywhere around us. I only ever do big-voice singing when I ‘m in the car, and I wanted to let something out. We got a little of The Story, Greg Greenway, something else, and then she pulled out a cd that had written on it Dad Songs 1980s. I said, Oh, that will probably be good, go ahead and put that in.

My dad makes mix cds now and again, made one for me when I was on the first Body Heat tour so that we had some good folks music to listen to while we careened, sick and exhausted and delirious, through the midwest. They’re often hard for me to listen to, my dad’s mix cds; the songs are poignant and remind me of him, of the time Before, of when he played guitar for us on the weekends and we knew his singing voice like we knew the lining of our own arms, intimate and familiar and tendering and welcome. I usually start to cry about halfway into the first verse of the first song on the cd, and have to turn it off. It can take me years to listen all the way to music that my dad sends to me. He sent me a song some years ago — Christine Kane‘s “How to be real” — with these lyrics in the first verse and chorus:

Her job was no more than a cubicle / the opposite of beautiful/her soul for a check/but her smile/tells you that she found a deeper will/she didn’t know she had until the day that she left/ amd even though she’s flying high /she can’t help but wonder why/it took her half her lifetime/just to find out / she could let herself learn how to be real / to be radiant / to be elegant/in her clumsy kind of way/oh here’s to how it feels/to be real.

You understand, of course, that I was nearly sobbing by the time she got to the chorus, and I had to stop listening. Maybe it took me four or five tries, after a week, to listen to the whole thing, and just weep on the other side. He sent this to me I think after or in the middle of our most recent struggles, but, too, when I was fully immersed in my own wondering about how I was going to make it as a writer and workshop facilitator who also had this day job that took time and energy but didn’t at all fit into the rest of my real work, a place where I felt I had to shut off my creative/writer self just to sit in a cubicle and play with numbers. This was the underside of my tears: Was he really seeing this part of me? Did he actually understand who I was trying to be? And then this, too: Could I let my father be that complicated, someone who disappointed me, who failed me, who loved me (and who I loved) beyond words and could still see who I actually was, even when I didn’t think I was sharing that with him?

My father is all music to me, a guitarist and singer who wrote songs and shared his voice often with friends and family. We grew up with folk music, the old pop songs, and  his voice. He had his own cubicle that kept him from pursuing what made him real, making music, and that cubicle looked like a family, looked like responsibility, looked like two daughters and a wife and a house in the city and how can you go off and be a musician singing folk songs when all those girls need you to support them? And he loved his work with the schools, and he shared his music with us, with all the family, he pulled up his guitar into his arms like the tenderest familiar and gave us music every chance he got.

So my friend put that mix cd into the player, and the first song was Silver and Gold, another one that my dad wrote: Won’t you give me / silver and gold / don’t want love / the heart grows cold / love won’t pay / the rent when I’m old / won’t you give me / silver and gold.

We were driving through the thick green redwood cover, past Fairfax, on our way to Tomales Bay. I said, that’s my dad’s song. He wrote that song. Who is this? I didn’t quite recognize the voice, got very quiet inside, put my fingers to my lips. Who was that singing? It didn’t quite sound like my dad now — but, I realized into the second song, Dixie Dance, it was my father then, an old recording of all my dad’s songs, maybe his set list, songs he probably recorded himself on the old reel to reel that he kept in the basement of his house in Lincoln, Nebraska, for the important music. There driving through Northern California redwoods, maybe thirty years after those songs were recorded, something in me lit up. I said to my friend, This is my dad. These are my dad’s songs. This is my dad singing in the 80s. I could hardly believe it. Here, issuing from the cd player in my little Prius, was the voice of my childhood, that rich fullness, that guitar, those particular songs. And then I heard new ones, songs of longing, songs of hope: here was some of my father’s creative work, my own backstory. Here was work he did that wasn’t about family or children — here was something of him beyond the man I know as father. What a tremendous gift.

In the car this weekend, my reaction was too deep for tears. I let the music and my dad’s voice push through me, while my friend exclaimed, delighted to get to be with this music. He sang us all the way up through Inverness, all the way to the sea, where she dozed and I played fetch with the puppy.

Again, again, again, I get to complicate what I have believed to be true about my parents, I get to be with and in a narrative less easy and more honest than ‘ they let us down, they gave us to the monster.’ So little is actually that easy, at least in the stories I’m living within. It’s hard to hold all their facets, like it can be hard to hold my own, but that hardness, I think, is just stretching beyond the story I wanted to be true of them, that they were perfect and loved us and would protect us from any bad stuff. That is just one part of our story. And then there are the songs, my father’s fingers on strings, my mother’s poetry, everything behind who they were as parents, that maybe I am well enough, now, to hold, too.

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Thoughts for prompts today: Maybe let yourself listen to a bit of How To Be Real and notice what rises for you in response. What does it mean for you to be real — or, to let your parents, partner, friend, puppy, boss, coworker, characters be real? Give yourself ten minutes, or twenty — and follow your writing wherever it seems to want you to go.

Thanks for your presence today, for the way you breathe into the layers that don’t resolve themselves into easy narrative, for how you hold your own and others’ complications tenderly, even when they frustrate the hell out of you. Thanks, too, always, for your words.

the souls have their day

graffiti of three decorated skulls, honoring the Day of the DeadGood morning, foghorns, tall candle, sleeping puppy. Good morning, quiet music, strong tea, warm toes. Good morning. How’s the morning feel where you are?

(This feels like a conversation — like when I ask that question, somewhere you’re answering.)

Today is Halloween. All hollow’s eve, the day we bring the old pagan ritual of harvest, of releasing summer and releasing/honoring spirits and ancestors,  of masking and revelation into the public sphere. We take these days to honor who we’ve lost, to think about all the different selves we are, have been and could be, too.

This year, I think I’m going to dress up as someone on the verge of transforming her life in the direction of her dreams. What about you?

Are you being easy with yourself, if this is a difficult time of year for you, if the ritual aspects are triggering? What are you doing to take care of you during these days, if so?

In recent years, I’ve felt a lot more connected to the All Souls’/Dia De Los Muertos celebrations. These are the times to remember who has past, those we love who’ve died. I feel a little disconnected this morning, and this isn’t flowing like I want it to. I want to remember you, Grandma Sherman, and you, too, Grandma Cross. Yesterday we were on our way to a Dia de los Muertos ritual/celebration, and I was making ambrosia salad in your honor. It was the first time I was going to make that perfect midwestern treat, the thing you both always offered at your family-gathering tables. The invitation to the party said, to share at the potluck table, to bring a dish that connects you to someone you’ve lost or to your ancestors. But I’ve lost almost all of your dishes. All I have left is the candy, the cakes, the angel food and divinity, the peanut brittle, the sweet things that you prepared in small kitchens with a hundred little kids running around, including this one, who didn’t pay attention to what else you were making, who never imagined there’d be a day when she wouldn’t be able to remember what your hands looked like when you turned over the bread (did you make bread?) or stirred the batter, or basted the turkey, or mixed up the salad. Did you use jello in your ambrosia, or just sour cream and cool whip? What were your favorite foods? What were the foods you made to remember your own mothers or grandmothers? Here’s what I carry into this time of all souls’ and remembrance: I am sorry that I never asked you these questions when you were alive.  Tonight I will light the candles for you and hold the marigolds for you. We create our altars in quiet and secret, or in isolation. Some year, I’ll bring the pictures of you out from underneath items on my own private altar and celebrate your lives publicly, add your names to the big altars that get created in San Francisco or Oakland.

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A prompt for today: Who are you remembering and honoring (or not honoring!) at this time of memory and celebration? Can you take 10 minutes and write their memory, what you still hold of them in your hands and behind your eyes? You might begin with food (like we so often begin with food): What foods did they like to eat? What tastes or smells remind you of them? What foods did you eat together? Start there — and follow your writing wherever it seems to want you to go.

Thank you for the ways you hold memory, in sweetness and complication, the way you let those you love be messy in your memory of them. Thank you for all the rituals you hold, for the ways you release the rituals that aren’t serving you anymore, for the times you let costume tell deep truths about you. Thank you for your brilliant, creative soul & thank you for your words.

we’d finally look at what we know

black and white graffiti of eyes watching the viewerHello Tuesday!

These posts have gotten a bit more sporadic! I’m sorry for that — I’m making some changes in my morning schedule which affects blog-writing time.

I shared this yesterday in the Writing Ourselves Whole newsletter: “Now that the workshops are on break, I’m doing a lot of work on a handful of longer writing projects (not least of which is preparing for the Tomales Bay Workshops), because I’m ready to be a Published Author with a Book. Will you keep some good thoughts for me as I work to shift my own and the puppy’s schedules so that I can rise between 4 and 4:3oam to write for a couple hours before the official work-day begins?”

I managed it this morning — and, whew, am I sleepy already.

Anyway, as I get more comfortable with the schedule, I expect to begin find a consistent blog-posting routine again.

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This month’s Writing the Flood is this Saturday, 8/20! (How have we already reached the third Saturday of the month?) Remember: Writing the Flood is a writing group for anyone looking to prime the writing pump: using the Amherst Writers and Artists method, we will write together in response to exercises designed to get those pens moving, and get onto the page the stories, poems, essays, images and voices that have been stuck inside for too long. Grab your notebook and come join us for an afternoon of great writes and excellent writing community!

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I’m going back through old notebooks (from the last several years), pulling out and typing up work that fits with one project or another, or that might fit here. Today, I’m sharing with you a write and prompt from July 2007:

this was the prompt — create 2 lists: one titled “what I know” and one titled “what I don’t know.” Choose at least one item from each list, and use those as your starting place.

Here was my write:

It’s difficult, the things that are known and the things that are unknown and when I say difficult, I mean shitty and infuriating and when I say ‘ are known’ and ‘ are unknown’ in that most passive voice, what i mean is the things I can say for certain and the things that I could possibly have never said for certain because when they were occurring I was without a place in language, my mouth floated out into an obliterating twisting and carnivorous extermination whenever I tried to find the words, and now, I am without a root in time or place or truth.

And then, even here, I wonder if any of this makes sense.

Sometimes all I want is to speak to other survivors, because sometimes, all that needs to be said is, You know? and you make a face and your affect says everything and you don’t have to explain and they say Yeah, and then you both nod and you’re sort of silent      not because now you’re trying to swallow,k once again, a desire to tell, to have someone else understand, but because she meant it when she said Yeah. She gets it, whatever the shitty thing is, and there’s no need to wrangle up into the terror of words that can never really speak the truth anyway -

What I want to know is a matter of fact timeline, but what goes beyond the point of contamination to the honest-to-god wreckage that is my memory is the fact that isolation during an experience means that somethings are just not possible to anchor in time. So, of course, they just float around in my body, my brain,a whole smeared fabric of my adolescence, a thin, dense stain on what was otherwise apparently perfectly privileged-ly normal and cohesing. What I know is what happened — hands on the only-budding places of my body, the truth of years spent readying me for his ultimate goal — and what I don’t know, now (besides Why, because, who cares?) — is exactly when. Was I fourteen or sixteen? Still in jr high or already in high school? Was it winter outside? Summer? were the birds throbbing alive in all the trees or were the outsides silencing in solidarity with my own?

What I don’t know is how to make poetry of this. What I don’t know is how to stop wanting to know — wanting these particular answers. What I don’t know is why it matters if I figure out now, twenty years later, that, oh, yes, I must have been fifteen when that part happened, when the thin body of me got pressed tight to his lips, when I felt all the air escape from what I thought was the security, the impenetrable mask, of my thick skin. I put a period there but I think I was asking a question — wasn’t I?

What I’d really like to know is how to, just once, twist that image of his body and my body on that cheap, squeaky, brass-framed bed into something that even my ears could find to be beautiful — no, maybe not beautiful, maybe not honoring, but no more pedantic and not any more pity-worthy. Id’ like for these images to begin finally doing service to some other kind of truth. I’d like to elect them out of their only residence in my brain and push them hard onto the paper, tape them cheaply down with crappy tape that quickly pulls up and dirties at the corners, push those bilious, billowy pictures flat for once, let them be seen in two, shallow, sullen dimensions, show them — yes, sure, finally – to my mother and father, let them see what was happening, share pictures with my sister like trading cards. We would sit cross-legged in the clover park with the summer bees all around and chew our big wads of gum while the wind blew the hair all around our faces and we’d finally look at all we could not share with words in the vast, thick safety of a summer afternoon.

Thanks for all the things you know, for the things you don’t know (yet or never will), for the peace you are making in the space in-between. Thank you for your continued reach, for your words.

singing and sleep away

graffiti fromm Istanbul: two yellow hands holding the strings of balloon eyesgood morning good morning good morning.

It’s hard to be chipper in the grey, isn’t it? At least, that’s true for me this morning.

I’m having a longing for true (i.e., Midwestern) summer. Someone brought deliciously deviled eggs to our Write Whole: Survivors Write potluck last night (we have a potluck on the last night of each workshop, a wonderful chance to share food and a bit more of ourselves as well) and I almost got teary with missing cookouts, family reunions, home food. Maybe this weekend I’ll make some ambrosia salad, of course it won’t be even remotely the same, eating it without all my cousins, my sister, my grandma there.

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Today we’re working on the pup being able to be in her kennel and alone; she seemed like she’d gotten accustomed to this, and pretty easily, too. Then the Mr went away for awhile and I had to leave her a couple of times, and she started having some separation anxiety. It’s not remedial work, though, is it? It’s different work this time around. She doesn’t want to play or eat in the kennel, though I haven’t yet found her a toy that would only live in the crate. That’s the next thing to try.

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Today is a rest day, a transcription day (meaning a day for typing up workshop writes), a walking-with-the-pup day. It’s a day to be present, again, with this homesickness that’s settled into my chest. Maybe I’ll take 20 minutes and look at the cost of tickets to NE, or CO, or both.

And so today, too, I’m thinking (again) about what homesickness means when one doesn’t have a solid or clear sense of where (or what) home is.

The first time I remember feeling homesick was when I went to sleep away camp for the last time (well, at least until band camp when I was starting high school, and where I met my first love — you know about those loves that start at band camp). This was after my mom moved in with the man who would be my stepfather. This was early on in their relationship — I can’t for the life of me remember now why I would have been allowed to go. It was surely a YMCA camp, located somewhere between Lincoln and Omaha. I’d been to sleep-away camp before, back when we’d lived in Lincoln — we would go to day camp for a week or something, and then the last day of camp included an overnight trip (It was at those earlier YMCA camps where I learned to sing “Proud to be an American” whenever I pledged allegiance to the flag. I still have that song memorized. Talk about indoctrination). This time, now that we were in Omaha and now that my parents were divorced, it felt different. This must have been early in their relationship, maybe even before they were married. I wanted so much to get away from the house and then, once I got to the camp with its cabins and bunk beds and strangers, I wanted to be back home with mom and my sister and even with him. I remember feeling confused by this — why did I want to go back there? I felt like it said something good about me, that I was homesick — I wasn’t the bad kid he told me I was. See, I missed them and it hurt! I remember telling them about it (or did I write a letter? How long was I gone for?) after I got home, how I had that feeling — did they name it homesick for me? I think he was glad, proud, that I missed them (him), and that I was safe from his persecution for a little bit after I got home. I don’t remember anything else about that camping trip, just that I was scared to be alone.

So it’s not like I can’t understand where Sophie’s coming from with her separation anxiety.

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Here’s something I noticed last night, though, speaking of senses of home — I felt very much ‘at home’ during the writing workshop. There wasn’t anywhere else I wanted to be, nothing else I wanted to be doing. That was tremendously reassuring and settled something in me that had been afraid.

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As our first prompt last night, I read Martin Jude Farawell’s poem “If I sing” — then we wrote for 20 minutes. Can you give yourself 20 minutes with this prompt today? Notice if there are particular phrases from the poem that stay with you, that spark your writer’s imagination (John Fox also suggests, as a prompt from this poem, filling in the phrase: “If I ___, then I___” as a beginning place.)

I’ve used this poem as a prompt several times in the last year since John Fox first offered it at last summer’s Healing Art of Writing conference, and each time my own response has been different; it’s something to keep in mind, when I’m afraid of offering folks a prompt that they might have had in a previous workshop with me — every time we meet a prompt, we meet it fresh and new; we get to go someplace different from the first time we used the prompt.

Here’s my write from last night:

I sing in the car — it’s about the only place I feel free enough, when I’m behind the wheel, when I’m alone. I put on the country music station or push in one of  my sister’s mix tapes, and I sing, and if I am very lucky — I think it’s about whether or not I’m lucky — I will cry. That hard lump rises, the ache spreads it’s webby fingers from throat full into my chest, my arms, my eyes fill and I catch my breath. Everything gets warbly and thick and then I am not just me now, it’s me and my sister in the back seat of the VW bus or in the old red Mercury Monarch or even later in the black Jetta. we are singing along to the radio, our voices tinny and high, climbing over each other, twinning together. We were showing off; I wanted to know every song better than her, than anyone. We sang Pat Benatar, the Pointer Sisters, Hall and Oates, we sang along to the old folk records at Grandma’s house, we sang with the Beatles and Jody Collins on dad’s old reel-to-reel. We wouldn’t stop, our voices were everywhere, there was nothing we couldn’t capture, emulate, no curve or strain of voice, no fold of tremolo, no tottering pop crescendo, no predictable chord change that we didn’t want to hold in our own mouths. We sang dad’s made-up songs, every Christmas carol, even along with Steve Martin being a wild-and-crazy guy. We mimicked and imitated and even started making up our own songs.

Isn’t it true that once upon a time, you couldn’t shut us up? Who taught us to tuck our sings away? She went on, my baby sister, sang choir in school, then studied opera. She was the designated singer, the one whose voice had a way to go, a frame, a structure, a harness. Neither of us were freefalling through words or melody anymore — one day we were singing along with the cassette tape recording of the Broadway musical they brought home with them from New York City, and the next day the car rides were full only of horror and implausibility; the radio was turned off. There was too much noise already just with him in the car, just with all we weren’t saying. How could it e that, with all we had sung, with all the notes and possibility we learned to turn our throats, our tongues, our voices around, we hadn’t learned to say thing — even just say the one thing — that should have been able to save us?

Thanks to you, today, for your songs. All of them: the ones sung and the ones unsung. Thank you for your writing, too, for your words.