Tag Archives: workshop write

I believe in the topology of regeneration

This is a new day. My body is sleepy, thick with desire for the covers. The candle blossoms new color into the dark room, and I am here with these early words. Fit me into the couch cushions, cover me with my mother-knitted afghan, hand me my tea cup and my novel. What do these words want from me today? What do your words want from you?

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I have two survivors workshops going right now, one in person (Write Whole) and one online. Last night was the third meeting of the spring Write Whole session, and got to be amazed at how deep the writing went, and how fast. We wrote hard about memory and grief, and in-between writes, we talked and connected and laughed. We wrote anguish and struggle last night, and after the workshop was over, I felt energized, lighter, and so grateful. It was a big one last night.

Sometimes people say, when I share with them about the work that I do, “Oh, that must be so hard.” I don’t know how to convey to them how much it’s not hard. How grateful I am every time I’m in the presence of a story that was never supposed to be told, how I appreciate the effort and risk involved in sharing brand new words, how honored I am to get to be in circle, over and over, with writers who are willing to language what we are trained never to be able to say. That’s not hard, I want to tell people; that’s a gift! Continue reading

the multiplicities of comfort

this body finds comfort out amid the trees — in the old oak groves, walking through the scent of bay or eucalyptus…

Hello and good morning! It’s late-ish for the blog post; I did my morning pages offline today, longhand in the notebook, then breakfasted and readied for a working day of writing. I notice, when I’m working at home, it’s easier for me to take myself seriously if I make like I’m actually going to work when I head into the little writing office–change out of pajamas, for instance; shower; eat breakfast away from the computer. These steps help me transition out of home mind into work mode; this is a new practice for me. I’ll let you know how it progresses.

I have a more today from FemmeCon 2012, a write from the Body Empathy workshop that Alex Cafarelli and I co-facilitated on the first morning of the conference. Our introductory writing prompt (after some movement and improv exercises to get to know one another and playfully ease into our bodies!) had to do with where we are, or aren’t, comfortable in our bodies.

Continue reading

learning to be unnice

faded graffiti on brick of a woman's face, eyes closed, mouth open -- she is singing or crying or... Good morning good morning out there — how is your today so far?

(Sometimes when I start these posts, I hear (of course I do) the lyrics to Pink Floyd’s “Comfortably Numb” (hello hello is there anybody in there), even though numb isn’t (almost) ever how I’d describe myself here at the writing desk, during this morning time…

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If you’re local to the Bay Area, and feel like doing some writing this month, don’t forget about Writing the Flood on Feb 18 — we’ll gather for great words, tasty snacks and absolutely fantabulous writing community. You don’t have to be a “writer”-writer to join us, and if you are a writer-writer (whatever that means to you), this workshop is a great chance to change up your usual writing routines. Don’t miss it.

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Last night, at the Write Whole meeting, I handed out a number of images as our second prompt — I invited the writers gathered to notice which one was most calling to their writing selves, which one inspired or evoked story, voice, description. We wrote for 20 minutes.

(Let this be your prompt today, if you want one. Click on the links and notice what percolates up for you as you view the images — begin as soon as you have a strong response, and follow your writing wherever it seems to want you to go. You can always use another image for a different write!)

Here’s my response — I bet you can guess which image I was working from.

Stop asking for permission. Isn’t this the interminable lesson for girls? Is it for everyone? (Not everyone.)

Stop waiting for someone to say, Yes please, come on down now, you’ve won a chance to live your life! This is me on the floor reaching upward, this is me slamming a door in your face because I’m writing now, this is me learning now not to be nice. This is a new skill: unnice. It’s not mean or unkind or hostile or even fucking high maintenance (definitely don’t be the unnice femme — that’s another write).It’s honest, which is a generosity, actually. It’s sleek and pressured, it’s not wearing enough clothes, it’s everyday handsome, it makes you uncomfortable. What happens if my face doesn’t shape-shift into an accommodating smile every single time someone makes eye contact with me? What happens if I wear only the body I want to wear and nobody else’s hopes or desires? What if no issues more often from my lips than yes? What if I get really good not only at knowing exactly what I need to be my very best and whole and evanescent self, but also at saying it out loud — and then (and then!), too, expecting it to fucking happen, without offering the backwash of but you know, whatever, I’m fine with whatever.

What happens when I’m no longer fine with whatever? This is a new alchemy, understanding how to hold against my body that some people won’t like it, and that doesn’t mean we’re going to die. How far back does nice go — the little girl who wants everyone to be ok and maybe then her daddy will come home and her mommy won’t be so sad and mad. This is a made up story that lives inside the malleable bones of the nice girl, the one whose main fucking goal was making sure everyone really liked er, who could easily be on everyone’s side, who can understand your point of view and the point of view of the man hurting you, who above all else wanted to walk out of the party with everyone saying, oh, she’s so nice.

What lives inside nice but murk and wishy-washy , the pond water of terror and control, the browned-out idea that if you don’t like me that means I’m bad, like core-bad. Bone bad. Let me break my bones for you, so you can suckle at the marrow– then the nice girl is saved.

How does the nice girl come to understand this, come to paste on her shiny blue mask of happy and appeasing, come to feed others on I’m fine! when the world is crumbling under her feet — come to swallow hard, I mean, choke thick on the stories inside her, the voices the painting the creative ricochet that someone else — almost anyone else — might not like? And then how does she unlearn that swallowing?

Tie a noose around her neck like the Japanese fisherman do with the cormorants, letting them down into the breached deep but then tugging up easy and snatching out what once was the bird’s lunch, now for the fisherman’s supper. This is how we train ourselves out of the habit of swallowing someone else’s shame, what doesn’t feed us anymore. I reach in, yank out the grimy green stench of nice now, before she has a chance to consume it, to relish in the old and sour familiarity. It may be that just now I am starving the nice girl, that I want her emaciated, brittle, stung, I want her less often to feed on me. Then slowly, maybe slowly, we can develop her — I mean my — palate for my own fierce power.

Keep writing, ok? Keep drawing or photographing or crafting or candlemaking or dancing or singing or painting or sculpting or collaborating — keep living into the fullness of your art. Thank you for all the ways you give yourself permission to dream and make those dreams reality. Thank you, every day, for your words.

do over

graffiti of a sunflower, drawn onto red brickGood morning good morning — how is Tuesday feeling so far? Here the candles are low, flickering and sputtering hard, working hard for the last interweavings of oxygen and wax before losing all fuel.

The tea today is Moroccan mint – nettle/dandelion – cardamom – anise. Bitter with sweet undertones; a good wake-up tea.

We had a fantastic first meeting of the Fall ’11 Write Whole group last night — such powerful writers. I’m excited and grateful to be working with them! I woke up this morning and spent the first part of my writing time doing some reflective writing about the group — I’ve wanted to start a reflective practice after each workshop meeting for more than a year now, so it feels good to have begun that.

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For our second write last night, I filled the center of our writing table with images, asking each writer to choose one or two (I like it when we can notice which images seem to be choosing us) and let themselves imagine what was just about to happen in that picture, what had just happened, or to notice what the image reminded them of. We wrote for 20 minutes.

Here is my write in response — there were a number of images of older women, and older hands, and that was what I was responding to, initially:

There’s a backstory to all these women — I sat in a room yesterday and looked around at all the people smiling and thought, Every one of these women has been hurt. They were singing, all the people, we were in a circle, there was light overhead, how could they be smiling. It’s history. I wanted to know each of their stories, to hear them unfurl. I sat in a roomful of strangers and wanted to understand how it could be taht we could all sit together and be so composed when we were all fragile and braking every second, like humans do.

This writing is coming hard. When we were little we didn’t break glass or windows, we didn’t slam hammers into red Pinto or Nova hoods, we didn’t reach out or hands and scrape angry nails across other kids’ faces, what did we learn to do with our anger? How do you get trained, so successfully, to swallow, so early? How did we learn to disappear our anger?

This isn’t like that. This is another story. My mother has my grandmother’s hands now. I don’t have strong memories of my grandmother’s hands, but they were powdery, soft-skinned, bony — I want those to be tenderer words than they are. My parents are aging, hair long gone white or grey, strong and resistant bodies beginning to slow, and I am still waiting for the do over to begin. I see them and I’m startled. Wait, I think, we’re supposed to go bike riding around Holmes Lake today. We’re supposed to take a ride in the old VW bus out to  see the wild buffalo all caged up at Pioneer Park, we’re supposed to crawl around the statue of the Indian, carved out of red sandstone, stain our hands with the dust of him. When do we get to go back to the time before mom marries that man and he grabs at our hair by the roots and swings us around and unlearns us from our history? Before he shakes out the memories we let tangle on the surface of our skin, before he tells us his hands belong everywhere on us and so we learn that we belong nowhere inside us — when do we get to go back to Before him?

The horror is that I’ve been waiting these years, some awful lonely girlchild bit is sitting at her desk in a quiet classroom, finishing all her homework like a good girl is supposed to — she is from Before, and the room smells like chalk dust and night, like soft-soled teacher shoes and polyester and wood polish, and she is practicing her cursive on a big lined sheet of paper, she is doing her numbers, like her grandma would say, she is reading the part in her social studies book about the founding of America. She is there and doing her work and knows that when everything is done, when the bigger parts can feel and hear and remember everything again, then she will get to go home. She will meet her little sister at the side steps of her school and walk down the  block to the busy street that they have to wait a long time to cross and when they get home, Mommy will be making dinner and Daddy will be taking a nap on the couch. This is the time from Before — she expects to walk into that house and not find strangers there, she expects to walk into that house and have a real lifetime with her parents, she expects to walk into this skin and not find these scars layering out in front of her one-two-three. She will not be happy with what she finds. She is going to want her do over. When is that going to start?

As a prompt for today, you might let yourself get drawn to an image around you (on the front of a magazine? a piece of art in your place? a remembered image from film or tv?) and write about what’s there, or what associations you have with that image. Or you might also write about ‘do over’ — what could happen with that phrase when you copy it into your notebook and just let the associations come? Follow your writing wherever it wants to go.

Thank you for the way you gather, tenderly, all the different parts of you, and how you listen to the parts who want the impossible things. Thank you for your breath today. 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.

this medicine

sticker graffiti of a pill bottleThe prompt was an orange pill bottle — take 10 minutes with the idea of that today, if you like, or with the image over to the left — what does it bring up for you?

Here was my write:

This is my aftermath, this writing. These are my pills — daily tea of nettle or dandelion, skullcap, tulsi, anise and cardamom; oatmeal with yogurt and fruit and nuts; daily pages; dog walks; daily squares of dark chocolate; tears; phone messages to a best friend across the country; a view of the water, blue-to-steel-grey ocean waves; time with a book; saying hello and goodmorning to deer or fox or scrubjays —

These are the medicine, my own self-prescriptions: 1/2 -1hr of tv (more than that is over-medicating); dog chasing & puppy rubs; hot showers. This is a lot of medicine. This is finally being able to care for self, more often than not, after twenty years.  This is a prejudice against psychiatric drugs turned inside out.

This is medicine — house music played loud on the car stereo and dancing in the driver’s seat; laughing too hard at puppy antics; practicing focusing on my breath even though I can only manage that presence for about three and a half seconds at a time. This is where healing or something more unlanguageble can bring you, has brought me.

Yes, there’s been therapy that’s medicine, yes, there’ve been shots, too much to drink — but here’s medicine that stays: the notebook, the pen, the words. This is what stays, the possibility of new life erupting out from blank white in to blue or green or purple ink, the possibility — any possibility.

Medicine is supposed to ease hurts, soothe spasms, turn the knots inside out, is supposed to quiet the voices, let focus or a little joy or just peace return, is supposed to settle the stomach or senses or skin, is supposed to make something better. This is why writing is medicine — is this too simplistic? Writing does all these things, accomplishes each possibility, is almost homeopathic: brings one into the hurts, the pain, the misunderstanding, the trauma, the loss, the owie and turns them around for me to see. There is an inoculation, a lancing and letting off of infection, a suturing back together (or maybe for the first time), there is deep medicine in this — there is a releasing the pressure, bringing the fear up and then back down, and then there is this offering left in the aftermath, a transcription of procedure, a tracing the lines the outline of a fragile, fractured, healing psyche body, there is this artifact of the work, the way writing shows all the stages, what was, what fire we went through, how we shadowboxed and strove deep through to the other side.

(Thank you for the ways you let yourself find medicine in everything that works — thank you for your creative and powerful self-care. Thank you for your words!)

take up each old need

graffiti of heart and flower and moreHere is the workshop write that I said (last week) that I’d share –

remember, the prompt was: “What would you do differently if you knew you only had the rest of your life to live?” (from “Mortality,” Marcia Davis-Cannon).

Did you write in response to this prompt?

How was that writing for you? You’re always welcome to share your writes here, in the comments section –

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This was my write in response:

You would dance. You would stop crying, hang the long sorrow up on the bathroom hook to dry, tremors still shaking its rough surface, you would walk away and lea e it lonely and damp, surrendered to its impotence.

You would walk out into sunlight, let fingernail scratches of heat bear deep into old wounds, into hardened muscles, greening something aged, something hiding and wizened, something grown grey with too much fear that lives deep inside the broad-branched muscles of your shoulderblades — it’s been lost for too many years, this old angry place, and just wants to breathe again, needs this photosynthesis; we are plants, after all.

If you only had the rest of this life to live, you would feed all the oldest hungers, the ones long locked away, the places in you that have held their mouths open for generations, all those dusty, pink-tongued, bitter-skinned children, the ones who didn’t show their faces, who you hid away, the ones who knew about lying and swallowing bile and crawling through the dirt and spiderwebs beneath the porch just to find some privacy and magic. If just the rest of this life is left, then why not pry up each of those dug in bodies–the one who wants to taste the smell of salt spray on an empty beach in Baja; the one who wants to taste the work involved to learn how to be really quiet inside; the one who wants to taste the love that might come if you throw off your armor and stand naked and fully violable, utterly protected and free, there in the middle of Mission St. on a Tuesday morning–why wouldn’t you take up each old need, gentle its dirty mouth open with your two long fingers and give in? Feed it. Feed yourself.

Why wouldn’t you turn up the music, turn down the volume on what doesn’t feed you, even if it’s what the parents and boyfriend and girlfriend and boss say is the absolute most important thing? If there is just this life in which to live it, why wouldn’t you put the dream, the hard rumor of passion, at center stage, right up front in the floodlights — the true dream that the six-year-old in you has been holding up high in her two hands for thirty-two years. Take that one.  Her arms are tired now, her muscles aching, her earnest, hopeful eyes tearing, purposeful — yes, this is maudlin, but you know what’s in her hands, what she wanted for this life, and you haven’t let her have it yet. Not all of it. Not that. So take it in your bigger hands and then wrap your palm over five of her fingers and let her drop her arms.

Don’t say anything. Don’t make any promises. She knows about words. Just take action, while she sleeps. Surprise her, this time, by doing what you said you would, to make her best dream ever, your best dream, come true.

(Thanks thanks — more soon!)

you listen

graffiti of a person talking, maybe shouting, hands around their mouth to magnify their wordsGood morning, all!

I’m a bit scattered today — the pup and I were up early, rushing around, getting ready for an appointment that it turns out wasn’t this morning, is scheduled for next Thursday. Now my energy is all twisted up, churned, and I’m trying to get back in focus. Do you ever have mornings like this?

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Here’s a prompt and a write from last night’s Write Whole workshop. I borrowed a prompt that was offered at the AWA Facilitator’s Training a week or so ago: Write about how to fix something that’s broken. (We took 20 minutes last night; give yourself the time that works for your schedule today, when you write – 10 mins? 30?)

This is what I wrote in response to this prompt:

This is how you fix it: you listen.

You listen.

You listen.

You listen.

You listen.

Listen, then, to your own sharp intake of breath, feel the ache of advice burning your throat, and notice how you are not listening anymore at the moment you are coming up with solutions that no one asked you for, that she didn’t ask you for. Feel yourself swallow the advice, exhale the tension that built in your body when you couldn’t tell her immediately what she should be doing different. Notice, then, how you can relax. Oh, this isn’t my responsibility, you think. Let that fill you, douse your hot veins. Oh, she only asked me to listen.

Only.

Understand what kind of work listening is. Listening is not just not talking, listening is also not planning what you’re going to say as soon as she stops to take a breath. Listening isn’t interrupting with scatter clauses of Ok, here’s what you should– wait.

Listening is not making her tell you, again, I don’t want you to fix it. I can fix it. I want you to hear me. I want you to want to hear me.

Listening is more than not talking. Listening is letting all the weight of the words into you, is opening your hands to what’s unholdable, opening your lungs to what’s unbreathable (and yet she holds — yet, she breathes). Listening is a deep and welcoming silence, it’s more than camaraderie — this isn’t about misery loves company. This is work, goddamnit, this is intimate solidarity, this witnessing. This is you shutting up because there are no easy solutions and you offering one up just makes her feel stupid or angry or both –

What she has to offer you is unfixable. There is no fixing the tender brilliance of the story she wants you to hold with her, its claw marks still visible and strange, its head misshapen, chewed on, twisted, it is what it is and it lives in her, holds space behind her heart, between her ribs, under her arms, between her legs; this story is her body, her day, her mind, and you are going to tell her how to fix it? Who do you think you are? Who are you to blaspheme,to run your hard, tossed-off words over this as-yet-unformed thing she is offering?

This is how to listen: Close your mouth. Have no answers. Make eye contact, or don’t. Take deep breaths, especially if she is breathing shallowly. Let yourself be moved, frustrated, uncomfortable. Especially uncomfortable. Understand that there are no easy answers. Understand you can’t fix her. Understand she can. Appreciate this about her. Be overwhelmed by it. Find yourself at a loss for words when, or if, she finally asks what you think she should do. Meet her confusion with your confusion. Have nothing prepared. Be still with the story. Say, I don’t know. What do you think? Listen to how she already has answers — feel pride, amazement, humility, gratitude, and keep listening.

Thank you for your presence with others’ words yesterday, today, tomorrow. Thanks for letting others be present with your words, too.

slippery encapsulants

graffiti of a tree with purple bulbs-bubbles as leaves!Hello my friends!

Just a quick note — these posts might be a bit erratic/brief over the next couple weeks, as I get down to the wire for GRE prep. Yowza. Keep your fingers and toes crossed for me, ok?

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Also, this weekend brings this month’s Writing the Flood session — registration is just about full, but there are still a couple spaces left. Will you be able to join us?

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This weekend I went out to Alamo, CA to assist with the AWA Facilitator/Leadership Training — it was my first time acting as an assistant trainer, and I’m so grateful to have been able to be there. I got to work with 13 women (11 trainees plus two amazing trainers, Jan Haag and Mary Tuchscherer, both of whom I feel so lucky to have trained with!). I want to tell you about the vision, the passion, each of these 13 women carry for the power of words, the power of language and writing to transform and open. I got to spend about an hour on Friday night, talking about my roots in this work, pontificating about why I think this work is so important, why this method works so well for survivors of sexual trauma and folks who want to write about sex, for anyone who wants to tell difficult, intimate, tender stories. I can start to proselytize — thank goodness we moved into an erotic writing exercise.

Here’s what I wrote, using this line from Naomi Shihab Nye’s poem “Two Countries“: “Skin had hope, that’s what skin does.” It was a short write, just five minutes.

Skin had hope — cunts have hope. They’re just part of these portable bodies, aren’t they, just small gloves, slippery encapsulants, contained amongst themselves, they are our blood and flesh of hope, they are our most resilient hagiographies — they write us throbbing, they wake us into possibility each time they press us open, even with nobody else’s help — sometimes with the wrong somebody else’s help. They don’t know the nature of the pressure, who’s behind that finger, that breath on the neck, that knee between thighs;

Cunts are our ever-present resiliency. They keep on waking — it’s what they know, isn’t it, their one recursive, incipient thought, this inchoate hope that doesn’t have to have a glove to flow into but that shines like morning in us even when we’re aching and ashamed: cunts hold hope for us — that’s their lovely, lonely job.

thanks for your work, your words, your love in this world.

what matters most

graffiti -- tampon with angel wings and a haloGood morning, grey & rainy — happy Summer-in-the-Bay-Area. It looks like a good day to get some inside work done, like maybe book proposals.

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One of the things I love about being closer to San Francisco now is being able to get 89.5 KPOO on the radio again. Tuesday mornings with JJ on the Radio & old-school soul music makes me feel like I’m home, reminds me of being in my little studio back near the Panhandle, the first apartment I ever lived in on my own, trying to figure out who I was going to be… (Please note: I’m still trying to figure out who I’m going to be — )

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Last night, or early this morning, I dreamed about being home, back in Omaha. My sister was there, too, and so was he. We were at that house on 57th St, we had to clean, we wanted to get out before he got home, but once we left to go to some appointment over near 60th and Dodge, we still had to contact him to pick us up. My sister still knew how to contact him. She didn’t remember anything in the city, though — we had to get something to eat, and we were in some building that looked down over the area. A Schlotzsky’s had moved into the space where some fancy restaurant used to be there on Dodge — I said, Look, Schlotzsky’s! Remember them? Sandwiches? We’d first gone to Schlotzsky’s during visitations with dad, way back when. She didn’t remember them, wasn’t interested. I touched her head, smoothed her hair, like maybe a mother would.

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This is maybe a morning of non sequiturs, though it also feels like a morning to dive deep into something and live there for awhile. Outside, it’s actually raining. That’s so rare here in the Bay Area, at least outside of rainy season. Usually we just get very very thick fog, fog so thick it drips and droops.

This morning I’d like to be wandering through the Haight with my notebook, my scarf and small gloves. I’d like to order a large cup of strong French Roast decaf that comes in a big wide mug, then go settle into a corner, open my notebook and write while watching the city people go by. KPOO could be on  the walkman, coming through my headphones. Let’s go back a few years now. Let’s cream the words out onto the page. Let’s make them, let them be, chewy, dense, unstrainable. Let’s let our morning get filled with the joy of arms moving, words thrilling through our fingers, new understandings emerging from the page.

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I’m a bit astounded and so very grateful to everyone who has donated so that I will be able to attend the Tomales Bay Workshops this fall — it’s been less than a week, and already we’re more than a third of the way there, almost half-way! Let me tell you a secret — this is the first writing workshop I’ve applied to, the first writing-related program I’ve done since college. Thanks to you all, I was able to put down the deposit.

16 years ago, I was lying on the rough carpeting in the tiny office that was all mine as the Tech Support person for ValleyNet ISP. The blinds were pulled and the door was locked. I hid out in there a lot. I was sobbing after finishing the last page of Bastard out of Carolina.

Now, finally, I’m going to get to work on my own story with the author who helped me do that work, get to that place of release and transformation.

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We used this prompt last night at the Write Whole workshop –we created short lists of body parts, and then prepended the phrase What maters most is, leaving us with a bunch of declarative statements we’d have to make some sense of: What matters most is a hand. We took 20 minutes for our write — you could do anywhere from 10-20, if you’d like!

Here’s my write in response to this prompt:

What matters most is this blood, 27 years of bleeding, the dark red funk, that iron rush — would it have filled a bathtub yet if we’d left it to its own, this body’s own, devices? Let’s say we squeezed out 27 years of obs and Always pads, wrung out the jeans and skirts and underpants stained, collected the remnants left in toilets or run down the shower drain? If I looked back at my human biology book, I’m sure I could do the math: some number of tablespoons every month multiplied by 12 months by 27 years probably doesn’t equal an Olympic-sized swimming pool but it did equal sheer power once upon a time

For years in my adolescence I was irregular, never knowing when I was going to bleed, couldn’t read any signs, just went from zero to stained my new white painter’s pants damnit, and in the middle of band practice too. I felt inept not being regular, wrong, like I was out of sync with nature, the earth, the moon. Women were supposed to all be connected, in rhythm, at ease with their tides. But here I was, could go a month with no blood, six weeks, then trickle then wham — I didn’t get regular til he put me on the pill at 16.

But let’s pay attention to the wisdom in these bodies — he stayed away when she was bleeding, didn’t want the smell to stain his hands or fingers (or moustache, I’m sorry) and so he would leave her be when she ran rust red into cotton, when she lay dormant with cramps — and because it could happen at any time, it was an excuse at any time. Raise High the Roofbeams, Carpenters — this was not a dumb body. This body knew wreckage was the only way to survive.

What matters most is the blood pooling, caught and captured, inside the panties of half the women at work or on the bus, the women you pass by on King street, the tidy tourists, the natty hipsters, the fancy Marina girls, all of us walking around clotted and clogged for a week out of every month because we want to pretend like we’re normal, like we’re boys, I mean — boys who don’t bleed. Can you envision this city, these stained sidewalks laced with blood that didn’t pour out of a wound, if women could bleed freely? Go back to all that clean blood — let’s not get into HazMat reality right now, let’s consider a society where women didn’t have to pretend like we weren’t women, where each of us could have our bodies and acknowledge just what was going on in those bodies — if we could make te monthly blood visible, maybe too we make the fibro pain visible, the cramps visible, the not-bleeding visible, the hormones cycling visible — maybe our reality gets pinched back out of the hands of people who would turn it into farce and joke. Maybe all that good red fertilizes our parks, tears open asphalt and concrete, drizzles trails down all kinds of legs and we are ok with our peculiar humanness — we are ok with the truth of our stains, our release, our relinquishing, the deep way our bodies know how to cleanse.

Thank you for the ways you honor what matters most to you, to those you love, even in deep and quite and unspoken ways. Thank you always for your writing and your words.