My
hair is long. I am 52 years old and my hair is long. My mother is
dead.
___________________
I am a pixie child. My mother calls me babydoll, honey babe, Lady Jane, Esmerelda Peabody Jones.
___________________
My hair forms nests in the shower drain. The water floods over my toes, up toward the ankle bones that made it impossible to buy red patent leather Mary Janes.
___________________
September is short bang month. It's also buy one new outfit for school so I won't feel bad about wearing hand-me-downs month.
___________________
When I re-cover the basement step stool with new vinyl I find stashes of hair in every seam – almost-blonde, almost-black, and little stubbles of gray.
___________________
In the Polaroid, I'm wearing a royal blue and white striped sweater and red plaid pants. My eyes match the sweater – my fever, the pants. I'm also angry because my doll has black curly hair and my bangs are tooshort again and it's only December.
___________________
My hair is long. How do I keep from swallowing it while I walk in the wind, bow my head to soup, take my lover in my mouth?
___________________
My mother is dying. I cut her hair one last time. She sits on the basement stepstool in the side yard of the house I bought for us that I will lose in a year's time. The wiry gray has migrated from her head to mine. In its place is her mother's soft white.
I tried to comment on my own post, but it wasn't working, so here are my thoughts:
I have a piece I started writing before class officially started that is longer, but less complete. I don't typically like to submit unfinished drafts to workshop, but I suppose this class is more like a fiction or CNF workshop.
It's a similar theme to "The Human Hymen (Disambiguation)", so I wasn't sure if I should submit it.
After seeing Loryn-Marie's draft, I'm wondering if I should have used my longer piece. I guess my question is this: is the piece above a lyric essay or a poem?
Because I feel safe after reading other's posts, I'll include the first draft of my longer piece here. Perhaps that's the one I'll work with moving forward.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~`
___________________
I am a pixie child. My mother calls me babydoll, honey babe, Lady Jane, Esmerelda Peabody Jones.
___________________
My hair forms nests in the shower drain. The water floods over my toes, up toward the ankle bones that made it impossible to buy red patent leather Mary Janes.
___________________
September is short bang month. It's also buy one new outfit for school so I won't feel bad about wearing hand-me-downs month.
___________________
When I re-cover the basement step stool with new vinyl I find stashes of hair in every seam – almost-blonde, almost-black, and little stubbles of gray.
___________________
In the Polaroid, I'm wearing a royal blue and white striped sweater and red plaid pants. My eyes match the sweater – my fever, the pants. I'm also angry because my doll has black curly hair and my bangs are tooshort again and it's only December.
___________________
My hair is long. How do I keep from swallowing it while I walk in the wind, bow my head to soup, take my lover in my mouth?
___________________
My mother is dying. I cut her hair one last time. She sits on the basement stepstool in the side yard of the house I bought for us that I will lose in a year's time. The wiry gray has migrated from her head to mine. In its place is her mother's soft white.
I tried to comment on my own post, but it wasn't working, so here are my thoughts:
I have a piece I started writing before class officially started that is longer, but less complete. I don't typically like to submit unfinished drafts to workshop, but I suppose this class is more like a fiction or CNF workshop.
It's a similar theme to "The Human Hymen (Disambiguation)", so I wasn't sure if I should submit it.
After seeing Loryn-Marie's draft, I'm wondering if I should have used my longer piece. I guess my question is this: is the piece above a lyric essay or a poem?
Because I feel safe after reading other's posts, I'll include the first draft of my longer piece here. Perhaps that's the one I'll work with moving forward.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~`
I am old not old. After I peel four
electrodes from my privates, insert a pencil-thin plastic applicator
in one end, a bullet of deadly nightshade and opium in another, apply
one cream in front, one in back, I delete my dating profile. I think
I shall give up hope of ever having sex again. I try to remember the
throb and the thrust, the deep satisfaction of connection and
potential. But it feels like tearing, burning, and my body shuts. The
memory of thrust becomes a pounding in real time, a bone-deep pain,
like a crushed limb, except it's deep in my pelvis – my empty
abdomen.
It's
come to this. I try to be grateful I have this opportunity – to
attempt to rehabilitate my broken and scarred bowels, my misbehaving
bladder. I could be emptying bags instead. Ten years earlier or a
hundred miles north or less talented surgeons, and I'd be more
broken, most certainly more despondent.
It's
not so much the absence of sex. It's the constant effort. The pain is
even bearable most days. It's the feeling as if no one could possibly
understand. And no one wants to hear it. Except maybe the physical
therapist who is gentle not gentle. She's seen and helped more
despondent bodies than yours.
You
feel you've become friends over the last ten years – the on-again
cycle of annual insurance renewals. But could never be friends in
real life. Screw the medical ethics. You're not sure you could sit
across the dinner table from someone who's had her fingers in places
no intimate partner has ever been. The person who seems to know every
pull and twist of your “tortuous colon,” who can locate exactly
the descending bend of your sigmoid that makes you crawl into
yourself with the stabs of many knives, who taught you how palpate
your fingers along the fullness of your unemptied ascending colon,
from your cecum to the bend into the transverse and down around the
descending corner, another beneficiary of your overused TENS. I sing
the Body Electric indeed.
But
you still find the time to be grateful, even though it's so FUCKING
lonely and hard. You know others who are lonelier and even more
broken who have far less hope than you do, far fewer decades left
than you probably have. And you're grateful. But you're so FUCKING
angry. Angry at doctors who don't get it. Angry at a body that seems
to turn on you. If it's not this, it's a cancer scare, or a head
injury, or a broken shoulder, an artifical toe. And you wonder what
it's like to be “normal.”
You
wonder if only you'd not broken up with Drew because he was too
short, maybe you'd have had a normal life, pregnancies that may have
stopped the mess that endometriosis made of your body. Maybe you'd
have kidneys with normal pelves, a bladder that didn't spasm, bowels
that emptied on their own. Maybe if you'd not gotten drunk at
Hansen's birthday party, or maybe if you hadn't confided your
misgivings to his gal pal he wouldn't have hooked up with her and
married her instead. But you know these men who now have families,
and probably grandchildren, would have eventually left your barren
desert to save their dreams. It's better this way.
Even though you use poetic techniques like Margery, repetition, and leaps, to me this seems like a lyric essay. It' short, no line breaks, grounded in fact and experience, divided into sections, seems seems to be exploring how we remember, etc. I like that the sections are braided, the ideas are braided, just like hair (a central topic here) can be braided. I like that the speaker is both 52 and a child. And that huge leap in the last stanza--"the house I bought for us that I will lose in a year's time"--is very powerful.
ReplyDeleteThank you, Rebecca!
ReplyDeleteBraid: I feel that this is a lyric essay, through and through. I love the image of the hair and the stray hair and the attempt to order hair (especially during a time of dis-order).
ReplyDeleteI also like the second piece. Both are so well worth your time to explore further. The idea of the barren desert id crushing. Again, really evocative.
where is the second piece? I'd like to read it. Becky
ReplyDeleteI appended the second piece in the original post, Becky. Thank you, Angela.
ReplyDeleteI agree--both feel like lyric essays to me. I really loved the short sections of the first one--it seems quite nicely to bridge the gap between poetry and prose. And in the second one I felt it became more lyrical with the entrance of the second person. This may be because I write in second person (to a fault!) so I feel at home there--but it created a kind of intimacy between speaker and self that I thought did a lot for the piece.
ReplyDeleteI agree the piece became more lyrical with the entrance of the second person. What if you tried starting there, and work the material from the preceding graphs in, staying with 2nd person?
ReplyDeleteThe interesting thing is that I didn't even notice my POV switch until I started writing the other piece (for some reason, they ended up in the same document). I'm almost wondering if it was me unconsciously distancing myself from the voice that was on its way from more factual to more emotional? And if this might be a device that I could use more deliberately.
ReplyDeleteArg, I just wrote half my comment, hit something, and lost it. Oh well. I was saying thanks for the great work! When I initially read your first piece, the shorter one, I wanted to respond to your question about form. I don't think you necessarily need to define the piece as a poem or an essay. In fact, one of my favorite poems of all time was recently included in a CNF anthology--and it has line breaks, stanzas, all of those traditionally poetic elements. I really love the sections, particularly the line about the house, the braiding of the hair, the child as adult and vice versa. I did find the heavy lines separating each section a little distracting. Perhaps they could stand on space?
ReplyDeleteThanks too, for sharing your longer piece. Here, we certainly have an essay. I also noticed the POV shift, and while I stopped for a moment in noticing it, I also sort of appreciate the way that there is not a section break, just a smooth change. It asks something of us as readers, and I like that. I like the idea of seeing what happens if the piece is all in second person, but I also wonder what would happen if the pieces were interspersed? I notice that you are in first person when describing the physical pain and absence of the body and its longings, its ailments, but the second when you're talking about psychological pain, regret, and questioning. I think that's powerful. Maybe interspersing the two would bring it out more.
Hi Leslie, I love both of these and agree that you don't need to call Braid a poem or a lyric essay right now. I like it's form (the thin strands of each section like a braid) the references to hair and how much it reveals in so little space. It's so stunning. I love this part: "My hair is long. How do I keep from swallowing it while I walk in the wind, bow my head to soup, take my lover in my mouth?"
ReplyDeleteI wonder about one small thing "after I recover" this seems to imply cancer/hair loss and I love this mystery, but will it return? Is this piece finished? (it could be!) or will it continue? I agree with Loryn that the lines inbetween sections either need more white space around them or maybe no line at all (just white space). Play around with that form a little bit. When I first read it I thought that the lines were to indicate page breaks which I now think is a wrong reading...The second one is great and more essay like. I think there's more here and you should continue. I did get a little confused by the pov shift mid stream. I preferred the I but maybe that was because I had just read your earlier piece. I like in when this speaker speculates what she might or should have done in her past, it's a way to learn about here without heavy handed back story. Thanks for sharing both!