Deep writing is more than just communication with others. It is, at its center, a conversation with the self.
Browsing category: Writing
We read other people’s stories …
We read other people’s stories to read about ourselves. It’s a tremendous gift that you can only give if you’re willing to be honest. We’re all crouched around our secrets, but, if one person in the room says, “Here it is!” everybody else is free. Don’t be afraid to tell the truth. Write it all.
… the problem with writing from life …
People sometimes say that the problem with writing from life, with using autobiographical material, is the instinct for veracity; we can’t stop ourselves from being true to the experience, even when that sort of truth is no good for the story. The problem may actually be that a true story provides too much material; it doesn’t leave enough out.
I’m not the sort of writer …
I’m not the sort of writer who can think up great story lines outside of writing. The writing itself is the thing that generates stories for me.
Whatever we live through …
Whatever we live through becomes real to us as we turn raw experience into the story of what’s appening. We speak stories over and over, deepening our understanding of their significance. The parts of our experience we write are our lifelines.
Original details are …
Original details are very ordinary, except to the mind that sees their extraordinariness. … We must remember that everything is ordinary and extraordinary. It is our minds that either open or close. Details are not good or bad. They are details. How do you get to First Mesa? Go west one and a half hours from Window Rock on Highway 264.
In Praise of a Teacher
The reason Miss Delaney was my favorite teacher, not just my
favorite English teacher, is that she would let me read any book I
wanted and would allow me to report on it. I had the pleasure of
reading The Scapegoat as well as We the Living as well as Silver
Spoon (which was about a whole bunch of rich folk who were
unhappy), and Defender of the Damned, which was about
Clarence Darrow, which led me into Native Son because the real
case was defended by Darrow though in Native Son he got the
chair despite the fact that Darrow never lost a client to the chair
including Leopold and Loeb who killed Bobby Frank. Native Son
led me to Eight Men and all the rest of Richard Wright but I
preferred Langston Hughes at that time and Gwendolyn Brooks
and I did reports on both of them. I always loved English because
whatever human beings are, we are storytellers. It is our stories
that give a light to the future. When I went to college I became a
history major because history is such a wonderful story of who we
think we are; English is much more a story of who we really are.
It was, after all, Miss Delaney who introduced the class to My
candle burns at both ends; /It will not last the night; /But, ah, my
foes, and, oh, my friends — /It gives a lovely light. And I thought
YES. Poetry is the main line. English is the train.
You Know Who You Are
Why do your poems comfort me, I ask myself.
Because they are upright, like straight-backed chairs.
I can sit in them and study the world as if it too
were simple and upright.
Because sometimes I live in a hurricane of words
and not one of them can save me.
Your poems come in like a raft, logs tied together,
they float.
I want to tell you about the afternoon
I floated on your poems
all the way from Durango Street to Broadway.
Fathers were paddling on the river with their small sons.
Three Mexican boys chased each other outside the library.
Everyone seemed to have some task, some occupation,
while I wandered uselessly in the streets I claim to love.
Suddenly I felt the precise body of your poems beneath me,
like a raft, I felt words as something portable again,
a cup, a newspaper, a pin.
Everything happening had a light around it,
not the light of Catholic miracles,
the blunt light of a Saturday afternoon.
Light in a world that rushes forward with us or without us.
I wanted to stop and gather up the blocks behind me
in this light, but it doesn’t work.
You keep walking, lifting one foot, then the other,
saying “This is what I need to remember”
and then hoping you can.
Poetry
And it was at that age… Poetry arrived
in search of me. I don't know, I don't know where
it came from, from winter or a river.
I don't know how or when,
no, they were not voices, they were not
words, nor silence,
but from a street I was summoned,
from the branches of night,
abruptly from the others,
among violent fires
or returning alone,
there I was without a face
and it touched me.
I did not know what to say, my mouth
had no way
with names
my eyes were blind,
and something started in my soul,
fever or forgotten wings,
and I made my own way,
deciphering
that fire
and I wrote the first faint line,
faint, without substance, pure
nonsense,
pure wisdom
of someone who knows nothing,
and suddenly I saw
the heavens
unfastened
and open,
planets,
palpitating plantations,
shadow perforated,
riddled
with arrows, fire and flowers,
the winding night, the universe.
And I, infinitesimal being,
drunk with the great starry
void,
likeness, image of
mystery,
I felt myself a pure part
of the abyss,
I wheeled with the stars,
my heart broke free on the open sky.
Prayer for Joy
What was it we wanted
to say anyhow, like today
when there were all the letters
in my alphabet soup and suddenly
the ‘j’ rises to the surface.
The ‘j’, a letter that might be
great for Scrabble, but not really
used for much else, unless
we need to jump for joy,
and then all of a sudden
it’s there and ready to
help us soar and to open up
our hearts at the same time,
this simple line with a curved bottom,
an upside down cane that helps
us walk in a new way into this
forest of language, where all the letters
are beginning to speak,
finding each other in just
the right combination
to be understood.
How do I know When a Poem is Finished?
When you quietly close
the door to a room
the room is not finished.
It is resting. Temporarily.
Glad to be without you
for a while.
Now it has time to gather
its balls of gray dust,
to pitch them from corner to corner.
Now it seeps back into itself,
unruffled and proud.
outlines grow firmer.
When you return,
you might move the stack of books,
freshen the water for the roses.
I think you could keep doing this
forever. But the blue chair looks best
with the red pillow. So you might as well
leave it that way.
Faith
I want to wrIte about faIth,
about the way the moon rIses
over cold snow, nIght after nIght,
faIthful even as It fades from fullness,
slowly becomIng that last curvIng and ImpossIble
slIther of lIght before the fInal darkness.
But I have no faIth myself
I refuse It the smallest entry.
Let thIs then, my small poem,
lIke a new moon, slender and barely open,
be the fIrst prayer that opens me to faIth.
Adage
When it’s late at night and branches
are banging against the windows,
you might think that love is just a matter
of leaping out of the frying pan of yourself
into the fire of someone else,
but it’s a little more complicated than that.
It’s more like trading the two birds
who might be hiding in that bush
for the one you are not holding in your hand.
A wise man once said that love
was like forcing a horse to drink
but then everyone stopped thinking of him as wise.
Let us be clear about something.
Love is not as simple as getting up
on the wrong side of the bed wearing the emperor’s clothes.
No, it’s more like the way the pen
feels after it has defeated the sword.
It’s a little like the penny saved or the nine dropped stitches.
You look at me through the halo of the last candle
and tell me love is an ill wind
that has no turning, a road that blows no good,
but I am here to remind you,
as our shadows tremble on the walls,
that love is the early bird who is better late than never.
A Snap Quiz in Body Language
We can't hear what they're saying, but that man
is holding that woman in his arms. Your assignment
is to deduce their thoughts from what they do.
They've left no apparent space between their bodies.
It could be called a close embrace, but notice
her arms are at her sides, her hands relaxed,
her face impassive, while he's whispering
something in her ear. His upper torso
is tilted slightly forward. Hers is yielding
but not in a way suggesting sweet surrender.
Is this a seduction scene? Is she being held
for questioning? Should she call a lawyer?
He's looking into her eyes now. How wide open
would you say they are? What does he see in them?
If he were to let her go, class, what would she do?
SF
SF stood for Sigmund Freud, or serious folly,
for science fiction in San Francisco, or fear
in the south of France. The system failed.
The siblings fought. So far, such fury,
as if a funereal sequence of sharps and flats
set free a flamboyant signature, sinful, fanatic,
the fire sermon of a secular fundamentalist,
a singular fellow's Symphonie Fantastique.
Students forget the state's favorite son's face.
Sorry, friends, for the screws of fate.
Stage fright seduces the faithful for the subway fare
as slobs fake sobs, suckers flee, salesmen fade.
Sad the fops. Sudden the flip side of fame.
So find the segue. Finish the speculative frame.
Said
Catch-as-can Appleman:
"Marjorie Haberkorn,
you with the daringly
dingdongy name,
somehow your sonorous
sesquipedalian
cognomenation just
sets me aflame—
syllables tinkling and
jingling like glockenspiels
tickle my ventricles
charmingly—but
dactyls are dangerous
hyperconcupiscent,
polylibidinous—
we'd better put
both of our names in an
epithalamion:
think of the singular
medley you'd make—
Marjorie Haberkorn
Appleman couldn't be
taken for anyone
else by mistake."
Postmanterrorism
Would it make a difference to say we suffered
from affluenza in those days? Could we blame
Reaganomics, advertainment, the turducken
and televangelism we swallowed by the sporkful,
all that brunch and Jazzercise, Frappuccinos
we guzzled on the Seatac tarmac, sexcellent
celebutantes we ogled with camcorders while
our imagineers simulcast the administrivia
of our alarmaggedon across the glocal village?
Would it help to say that we misunderestimated
the effects of Frankenfood and mutagenic smog
to speculate that amid all our infornography
and anticipointment, some crisitunity slumbered
unnoticed in a roadside motel? Does it count
for nothing that we are now willing to admit
that the animatronic monster slouching across
the soundstage of our tragicomic docusoap
was only a distraction? Because now, for all our
gerrymandering, the anecdata won't line up for us.
When we saw those contrails cleaving the sky
above us, we couldn't make out their beginning
or their end. What, in those long hours of ash,
could our appletinis tell us of good or of evil?
Lines
Draw a line. Write a line. There.
Stay in line, hold the line, a glance
between the lines is fine but don't
turn corners, cross, cut in, go over
or out, between two points of no
return's a line of flight, between
two points of view's a line of vision.
But a line of thought is rarely
straight, an open line's no party
line, however fine your point.
A line of fire communicates, but drop
your weapons and drop your line,
consider the shortest distance from x
to y, let x be me, let y be you.
Suddenly (Ruth Stone)
(Ruth Stone, June 8, 1915 - November 19, 2011)
And suddenly, it’s today, it’s this morning
they are putting Ruth into the earth,
her breasts going down, under the hill,
like the moon and sun going down together.
O I know, it’s not Ruth—what was Ruth
went out, slowly, but this was her form,
beautiful and powerful
as the old, gorgeous goddesses who were
terrible, too, not telling a lie
for anyone—and she’d been left here so long, among
mortals, by her mate—who could not,
one hour, bear to go on being human.
And I’ve gone a little crazy myself
with her going, which seems to go against logic,
the way she has always been there, with her wonder, and her
generousness, her breasts like two
voluptuous external hearts.
I am so glad she kept them, all
her life, and she got to be buried in them—
she 96, and they
maybe 82, each, which is
164 years
of pleasure and longing. And think of all
the poets who have suckled at her riskiness, her
risque, her body politic, her
outlaw grace! What she came into this world with,
with a mew and cry, she gave us. In her red
sweater and her red hair and her raw
melodious Virginia crackle,
she emptied herself fully out
into her songs and our song-making,
we would not have made our songs without her.
O dear one, what is this? You are not a child,
though you dwindled, you have not retraced your path,
but continued to move straight forward to where
we will follow you, radiant mother. Red Rover, cross over.
Fiction
Fictional Characters, -Danusha Lameri from The Moons of August. © Autumn House Press, 2014.