JoBiv vs. Dickinson, the Pandemic edition

Isn't this the space where I tell you I'm lucky, just in case you want to judge my anxiety or compare it to your own? Emily Dickinson has an answer to that - I measure every grief I meet - by the way, but I do want to tell you I know I'm lucky.

I'm still getting paid in this pandemic. Most of the preschools run by my company have furloughed all of their staff, including administration. My center expects some proof of life while they pay us, thus we're doing online trainings, Zoom sessions with families, homework of a sort... and up until this week it was hard to keep up with their demands. They required 20 hours of work per week, but somehow that felt impossible. How does one read articles and write responses when your phone keeps lighting up with all the people who are desperate to connect, when your thoughts wander to that catastrophic news article, when you just want to go to the dang store but you're too anxious to leave your block?

This week, the leadership teams from our schools asked for a different kind of work. We still had articles to read and Zoom calls, but Fridays were set aside for "reflection" and "self-care." If those quotation marks feel loaded, they absolutely are. I can't help raising my bullshit shield when a buzzword flies by my ear.

One of our choices for reflection was this prompt:

Self-Reflective Activity: “Developing hope in times of change…” Please answer the following questions:

• What does this quote by Emily Dickinson mean to you? “Hope is the thing with feathers.”
• Where do you believe your sources of hope come from?
• Where do you look for hope in your life? What are three things you hope for?
• How have your hopes changed as you have grown up?
• How has hope affected decisions you have made? How will you use the message of hope in the future?

When I tell you this prompt hit me right square in the Enraged English Major... well, let's just say I was shocked to find boiling anger so close at hand.

First of all, what a trite reduction of Dickinson's already short, very digestible poem. WHY? Why reduce it to this line, which I'm sure appears on many a tattoo and journal cover and inspirational poster separated from its not-even-that-complex context?

I'll tell you my assumption: because they Googled "reflections about hope" or "journal prompts hope" and got this in a little package. Tada! (And they're also worn out and stressed and hanging on from a swiftly unraveling thread.)

Second, we're in that Too Little Too Late period of this quarantine. This prompt, this concentration on self-care and reflection, comes at the same moment that we're hearing about new protocols for reopening.

We're being handled, and I feel the sticky touch of every awkward manipulation.

And I wonder how Emily Dickinson would have coped in the midst of a pandemic. Honestly, I think we know. She would have: 1. isolated, per uzh 2. written a buttload of elegant angst-ridden letters and poetry, per uzh.

Nonetheless, I answered the well-aimed provocation. And you may read it. In the end, did it get me writing? Yes. Did it give me an avenue of expression during a time when I feel powerless and stifled? Kinda. I'm sharing with a sense of cringey self-awareness that I chose to respond with a slap, and somehow still didn't communicate the layers of barriers between myself and any kind of hope.


“Hope” is the thing with feathers -
That perches in the soul -
And sings the tune without the words -
And never stops - at all -

And sweetest - in the Gale - is heard -
And sore must be the storm -
That could abash the little Bird
That kept so many warm -

I’ve heard it in the chillest land -
And on the strangest Sea -
Yet - never - in Extremity,
It asked a crumb - of me.

-Emily Dickinson

I never had a favorite Emily Dickinson poem, of all the pages and pages of poetry I analyzed, critiqued, emulated, shared throughout my undergrad and graduate education. She came off cold and distant, always using familiar words in oblique formations, hedging all of her most passionate declarations with quick self-censure and theological metaphor. It’s not that I didn’t like Dickinson, I just felt she was trapped in herself, winding around in a web of strict morality and this urge to wedge her fierce needs into acceptable forms. Reading her work resonated with me in uncomfortable ways, I know that for sure.

And this poem brings all of that right to the fore. Dickinson speaks of “Hope” - already carefully framed in delicate quotation marks - being something so light that it perches. She contrasts this lightness, the sweetness of its song, with its constancy and persistence, even “in the Gale” - a storm of emotion, doubt, crisis events, who knows? And lastly, she tells us that despite its steadfast presence, it never asks for anything in return. For something that seems so fragile and sweet, how can it also be so permeating, immovable and humble? She also seems to say, this “Hope” is inside her, actually within her soul, and therefore she can always hear its voice, even over the cacophony of her own internal storms.

Dickinson often contemplated divinity and aspects of Christianity in her work (even her odd poetic form is closest to hymn structures) and perhaps that’s where she loses me. But maybe I also simply disagree. I believe “Hope” is a light thing as well, something that wants to rise and pull us with it, and its voice is sweet and strong, but I do believe it needs feeding. In my experience, the cost of maintaining this sweet little bird works against its function, because it often requires the same resources I need to battle the actual crisis. In order to invest in hope, to turn and focus the ray of my thoughts on hope, I somehow have to turn my efforts away from what needs to be done in the moment. I can’t be bothered with setting up some carrot-on-a-stick contraption to motivate myself through harder moments.

Or is “Hope” is too vague and abstract for me, with its “tune without the words,” and instead I rely on what I know for certain: I have survived worse, over and over. I have defied death and disease and grief, and limped onward through life, knowing that every hard thing eventually becomes soft if I work at it. Everything that is heavy eventually wears down to something lighter. Is that hope? Is it pragmatism? Even knowing this for certain - that no circumstance or feeling is permanent - that knowledge has nothing to do with feathers or sweet bird song. It has everything to do with pushing through the storm.

I think this is the point where my personal philosophy brought me to Children’s Literature. Despite assumptions that children’s books are “cute” and “sweet” and safe and optimistic, many of the most successful books - the books children ask for - are full of courageous journeys rife with danger and challenges. They give children access and validation for feelings they know: defiance, frustration, fear, and the inner drive to resolution. I think of books like Where the Wild Things Are, Harold and the Purple Crayon, and of course We’re Going on a Bear Hunt. All of these stories are carefully crafted to show children who take risks, push through, problem-solve, even enjoy aspects of the journey, and find their way back home.

How strange is it that this crisis, this journey, took place in our homes? The challenge is more that home itself has changed, that the “beyond” is beyond us, and that we yearn for the most mundane of our weekly rituals. In that sense, this hope - the hope that we will return to some kind of normal - should be within our reach, yet it still seems depressingly distant. My hope, which is more of a knowledge, is that I will show a child how to put on her own jacket again, that I will hear a boy singing his favorite song to himself on his nap mat again, that over months and years I will hear countless young voices declaring “I did it!” with that resounding song of self-accomplishment. I know these things will happen, but it will require a deeper commitment to showing up each day, to being present with each tantruming child, to balancing my own needs with those of growing, hurting humans. My hope certainly needs feeding, and reminding, and perhaps a mantra beyond any “thing with feathers.”

So, I offer you this, from Michael Rosen’s We’re Going on a Bear Hunt:

“We can’t go over it.
We can’t go under it.
Oh no! We’ve got to go through it!”

Snow, Snot and Super Bowls

Is that a great title or WHAT? I mean, really... I almost wanted to change it to Snooper Bowls just for the sake of poetic silliness. But I didn't. Such restraint!


Oh, Boston. Why do you entertain me so?

The hiatus between snow storms will end tomorrow morning, according to the many over-excited meteorologists. The lines at the grocery stores, atrocious on any normal weekend, are amplified by the cataclysmic collision of the Patriots playing the Super Bowl and the storm panic. Shelves are empty; staff cannot keep up with restocking the various items New Englanders require in these circumstances: toilet paper, milk, eggs, avocados, beer, chocolate.

Here I sit, surrounded by piles of dirty clothes, strategizing my next attack on our building's laundry room. Will it be crazy because of the storm? There are only two washers and two dryers for a building of 15 units, about 60 people. Will it be easier once the game starts? I know it will be impossible after the snow; too many concrete stairs exposed to the weather for my limpy legs to handle.

I'm not attempting the world outside otherwise. I have a snotty, sinus-y cold. I have my medicine and plenty of tissues. The Guy Who Calls Me His Girlfriend* brought me guacamole and chips, and then ran out the door before my evil germs could invade his healthy self.

I had to cancel my one steady job, a two-year-old in Belmont (two unreliable bus rides and thus an hour and a half away) because I assumed the parents won't want a coughing, sneezing, green-snotted sitter in their home. I believe the little guy gave me this cold. He was coughing a bit last week and his nose was still crusty and red from constant wiping. I've been waking up (which means I slept at some point - that's nice to know) with my mouth open and dried out and my face just crammed with nastiness. I got up to eat something and take meds and wound up back in bed, curling up with tissues and making myself drink water now and then.

But it's so quiet.

Roommates are gone. The whole apartment is still and nearly silent. The cat sleeps on the big chair, radiator steam whistles and bangs here and there, humidifier gurgles. My fingers tap on the keyboard. I have cups of tea and oranges and guacamole. I have laundry to lug outside and down stairs and back again. I have an impending Super Bowl to watch, I guess.

I have time to think.

Please, God, don't let me think.





At least I like the snow. Without a car to dig out or a commute to worry about, snow becomes a beautiful marvel. I loved watching it fall during the last storm; first the innocent meandering flakes that seem to get distracted on their way down, catching upward gusts and collecting on sidewalks in a sheer, lacy layer. Then the slanting, heavy attack, pounding that first fragile layer and battling every available surface with seeming intentionality. The wind picking up, blowing a fierce wall of snow off of the tall drifts. It's impossible to tell how much has accumulated because it refuses to fall straight. Then the eventual calm... Every little twig holding up a slim pile. Sidewalks, stairs and streets completely buried. All the hard edges we construct, the steel and stone and gravel... all of it softened and encased and conquered by billions of intricate snowflakes.

And the quiet. Snow muffles the city. It stops the traffic and the trains, the frantic walking and shouting and coffee cup balancing, the birds, the cabs, the cash registers, the kitchens. No sirens. No planes passing overhead. The occasional plow comes through, but the snow is too deep for them to scrape against anything. They make this gentle, constant noise, a hushhhhhh.

Eventually people will venture out. Kids break out of their homes in bright snowsuits and throw themselves into the tallest drifts with squeals and giggles. College kids assemble layers of jeans and sweaters and sled down the hills on plastic trays and storage bin covers. Seasoned residents shovel at least the first layer off of their cars and stairs. Some people, like me, venture out simply to witness the transformation of the buried city. We struggle through thigh-high, sometimes waist-high snow just to experience it, just to look around and wonder at it. Everyone smiles as they pass, friendlier than usual, united by the frustration of the weather and a kind of relaxed resignation. Not much you can do in a storm like this. Just exist, witness, play, and head back inside to warm the hell up.

Then we all wait. We start to hear the scraping of plows against salted roads. Then the occasional siren. Then the slush, traffic slowly starting back up and carving into the slippery streets. People return to work, as people must. The piles become problems, shoulder high icebergs on every side of the intersections. Funny little paths appear along the areas we know are supposed to be sidewalks.

Life is almost normal out there, I'm told. When I went out yesterday, every street was cleared and most sidewalks were bared and salted. There were still massive, dirtying piles and slushy puddles making any kind of travel rather uncomfortable. Walking, driving, T-ing, bussing... the city is still putting itself back together and there is simply nowhere to PUT all of the snow. We're forced to stomp it down and press it into icy mush. I truly pity people with cars in a city where there are already too few parking spaces. And the snow isn't pretty anymore. It's dimpled and dirty, lumpy and inconvenient.

So I look forward to this next storm. I can't really say that aloud because I think I'd get punched in the face. But I like these moments of suspension from real life. Maybe I like that everyone, the entire population, is forced to join me in the pursuit of nothing. Maybe I'm jerk that way. Or just increasingly lonely and jealous of functional society, more sensitive to a feeling of exclusion.

Can I learn to enjoy the quiet?

I think it's a good sign that I'm writing a bit, but I'm always worried that I'll wind up exposing something... too fragile, I guess? Something that I can never hide completely after exposing it to the air. I have this sense that I'm looking out over my thoughts and witnessing them, fascinated as I am with the snowstorm. But if I voyage out into them I will either wind up smothered completely or sullying something that cannot ever be made pure again. And then what? Is it wise to navigate any of it while I'm completely on my own?

For now, I have cold meds and tea. I have laundry. I have the tangible, physical world to deal with. I will surely have hollering neighbors at some point tonight as the game gets underway, and I'll be grateful for my seclusion.

Right?


*Current Manboy, in constant danger of being fired. Long, intensely boring story.

Where, oh where has my poetry gone?

I have poetry in me yet, don't I? I have committed myself, yet again, to the writing life. I have been unfaithful, or purely negligent. It's time to start paying attention again.

I'm making art, however. That's the easy stuff. And happily messy.

If you write...

...eventually you tend to go back and read yourself. And perhaps you realize how small and claustrophobic your skull has become. And perhaps you want out.

So you don't write for a while.

Then words come and come, racing and leapfrogging to the front of things until they insist to be set in type. It no longer matters if writing is worthwhile, if you have an audience, if you're improving a craft or spilling your ugly guts. Writing is better, you hope, than trapping the words in the ever-shrinking real estate of your brain. Anything, when trapped, displays its most primal side. Something trapped will hide in a shell or lash out, hopelessly but nevertheless driven by animal instinct to flail against its cage.

Don't mind my flailing words. Once I start letting them out in the light here and there they will settle down. Their wings will flutter then fold, and they will know they have all the time in the world to pass on their tiny messages.

Edenic

The young family comes out around seven every night. The babysitter trades off with Mom and Dad, and the two little girls run sloppy laps around the ersatz courtyard, squealing and giggling for a half hour until they're tuckered enough for a bath and bed.

Last night they sat on a blanket, Mom and the girls at first, reading and playing. The sky rolled in with gray furrows and distant mutterings. As I rose to close our ancient pulley windows the littlest one stood barefoot on the blanket, her feathery hair blown over her eyes, chubby hands fisted. She looked out as though she could see the thunder approaching and would take it down a peg once it reached her. The older girl clung to her mother and shuddered. She jumped as I slid the windows down, craning her neck to find the source of the rumbling too-close noise.

Usually I say hello to the little family, but last night I was distracted and awed by their impunity. Even mother nature didn't dare rain on them. The father smiled gently as he gazed in the direction of his toddler's stare.

and dreams

Lately it’s every time I go through Park Street station; there he is, packing up his guitar, wrapping up cords, zipping bags and gathering gear. I always miss the music.

He has brown eyes, big bear build, colorful, detailed tattoos sleeving strong arms. His head is shaved shiny. He wears brown and jeans and has a wallet chain. When he sings into his mic, his voice surprises me with its flannel softness.

In my work I don’t waste time with shyness, or coyness for that matter. The café is a stage and I act my ass off. The day flies by in a series of vignettes – this customer likes to be courted with sweet how-was-your-weekends and how-is-your-handsome-sons, the other one likes to be teased, told we’re out of his favorite things, made to pout before delivering his order exactly as he likes it. Old Man T comes in for his bagel, toasted darkly, one butter, small coffee, and sings vaudeville tunes to me as I hustle for him, trying to smile in appreciation when I can.

It’s funny that Park Street Guitar Guy leaves me tongue-tied. Musicians in general, performers in general, leave me tongue-tied. Perhaps it’s my own discomfort as a performer – it’s nice to be told someone enjoyed your performance, but also unmanageable. You say, “Thank you, I’m glad you enjoyed it,” and try to sound sincere, but really you know all the little things you missed and mangled and want to tell everyone how unworthy of praise you feel at the moment. And so what do you say to an artist you admire?

As I lean on the fourth metal column, past the second fan, across from the big subway map, I think of how to talk to him.

“My timing’s off. I always miss your music now…”

What would he say to that? Sounds like the start of an awkward conversation. And even though we make eye contact fairly often, I don’t know if he remembers seeing me. If he does remember seeing me, perhaps he won’t like the familiarity. Who needs a stalker?

“So, do you make any real money?” Hmm, seems rude. As does, “Do you play anywhere… else? Like, real gigs?” How could I put that better? “Nice elbows.” Thinking that, I laugh to myself. He looks up and I hide behind the column for a minute.

Well, I console myself, he could be a douche. He does play a lot of Dave Matthews, after all. He’s probably like all the pseudo-hippie frat boys I’ve learned to avoid, trying to get laid with a little heartfelt tune here and there, playing the misunderstood, suffering artist. Ugh. If he has a pocket-sized dog-eared copy of On the Road or Howl on his person at all times, it’s already over.

Still, there's something to be said for hormones and dreams, isn't there? A crush is a crush. It makes your heart bubble, makes you sweep your hair back, straighten your back, and hope.

Morning rituals

By the time Bostonians are restlessly tossing in their early Sunday morning hangover beds, I'm standing in the freezing cold, waiting for the Green Line trolley to amble its way down the hill. The driver and I exchange polite grunts and I stow myself in a forward-facing seat. I take out my book and try to get my eyes to focus. Sometimes I succeed.

The other people traveling at this time fall into categories.

Category 1: The people who run Boston so you can pretend YOU'RE running Boston. I'm talking T drivers, cleaning crews, Dunkies' and Starbucks staff, more cleaning crews, and construction workers. I'm sad to say that the hours before the morning rush hour are the only time I tend to see people of any significant shade of color other than pasty-ass white on the Beacon St. train.

Category 2: The mentally ill/retarded/homeless. One Downs dude, two tiny asian trash-pickers and one lady wearing seven-thousand layers and reeking of pee all fall into this category. One dude must have a municipal job. He wears a clean but ill-fitting suit, has the narrowest face and the biggest cartoon hawk nose, bouffant hair and the most irritating voice I've ever heard. When he recognizes someone he talks incessantly about his health in that nasally whine. "...But I stopped seeing that doctor because my mother said I should get a second opinion..." This man is probably in his fifties. His mother must be pretty old to be that domineering.

Category three: Financial district workaholics and workoutaholics. It has to be pretty bad if you get into the office not only before dawn, but before all your co-workers could collectively manage to spell the word 'dawn.' I guess that's a competitive edge. Women in yoga pants with their work shoes in chic shopping bags (Neiman Marcus is a popular choice) belong in this category. Some of them have showered and made themselves up for the train ride. Yes, the 5 am train ride that takes them to their workouts.

I don't spend much time evaluating the crowd anymore. The train rocks along and I read or sleep the open-mouthed, drooling sleep of the truly exhausted. At some point I wake up and say, "Whoa, where the hell am I?" As yet, I have not screwed up so badly as to pass my stop. I have, at least thrice, had mini-heart attacks upon realizing that I wake up AT my stop as the doors are closing, at which point I leap up and scream and roll out in the nick of time Indiana Jones style.

Then I switch trains.
After limping down the stairs I stare at the same people across the Red Line tracks. There are two Brazilians who know each other but seem to only talk while waiting for the train. They cease conversation once they board. There's an older black dude with a cane who sits on the far side of the bench so the Brazilians can chat. There's a challenged woman who walks waaaay too close to the edge of the platform. She wobbles, too. It's disconcerting.

Because I'm challenged in my own way, I travel one stop, exit with all the people who work at the hospital, and yield to the right, toward the elevators. The same women board the elevator every time I use it. They are round, short, one's southern black and one's West Indian. They are both middle-aged and tired. Every time we enter the elevator, one of them exclaims something faintly religious.

"Ah Lawd and Save-yah!"

"My Lawd God in Heav'n!"

"My sweet baby Jesus..."

These exclamations seem to mean the following things in the inarticulated early morning conversation: "It's fucking cold, it's fucking early, and I can't believe I'm fucking working."

At least, that's my interpretation. I never open my mouth in these exchanges but smile knowingly and nod in agreement. I give my, "Hooo doggies you're dead on!" look and let them exit the elevator first like a good little girl who was brought up right.

So you can imagine, by the time I get to my Starbucks, apron-up, clock-in and set up the store, I've done a lot of living considering how long I've been awake.

And this, all this, is why I can manage a half-smile and a "Do you want room in your coffee?" by 6:00 in the goddamn morning. With a two-hour lead time, it's almost like I'm awake.

Back in Action

Kinda...

My bro asked me to edit a bit for his family's safety from an evil witch - long story - and it took me FOREVOR.

Shall post soon, m'loves!

Oh you flawed girl, you

Katya, being lovely, lent me her old laptop so I could work on my proposal. It's coming along. It should be finished, actually, but I keep changing my mind about things. It's silly to bother changing my mind now; if I get the fellowship I'll have something like 4 months to change my mind before I even get a key to the office.

Anywho, I had this computer to help me get work done. Even more helpful than simply having this computer was the fact that it does not hook up to internet. Very very good idea to promote work-doing. Of course, I found another way to procrastinate. I went through a few old floppy disks and wondered at their strange contents. There were lots of snippets of writing, piss poor poetry, old papers from as far back as freshman year of college... all kinds of good stuff.

And, at last, I found the disk with the original camp story. The one I re-typed to submit as a writing sample for this proposal. Grr.

On the same disk, languishing in some folder or other, there were two files, one named "Shane" and one named "Shaney Shane Shane." The first was a collection of emails I had saved from my St. Bona's email account before it poofed away forever. Keep in mind, I saved these while Shane was still ticking. He was always that precious. The second file was a mournful, self-pitying, angry and honest reaction to his death. I don't know how both of these files ended up on the same disk, but it was quite the experience to read them over again.

Last night Meera said something about my entry of a few days ago, the one that was a bit testy about college friends writing a chain of emails. I was embarrassed as soon as I posted it. I know I have the power to delete my own posts if I don't like them, but there's another part of me that feels it's necessary to remember these things. Even the embarrassing parts. Especially the embarrassing parts? It's inescapable in real journals. (And by "real" I mean bound paper.) One can't very well rip out every entry that annoys one. The book would fall apart eventually, for one thing.

But also there's something dishonest about deleting those things, like not disclosing a nose-job at the sperm bank. We are all flawed, and that's human. Maybe I hope to read the awkward bits over again until I can react with a sort of calm acceptance of my humanity, rather than embarrassment.