— Susan Sontag, Death Kit
[text ID: How can I describe my life to you? I think a lot, listen to music. I’m fond of flowers.]
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— Susan Sontag, Death Kit
[text ID: How can I describe my life to you? I think a lot, listen to music. I’m fond of flowers.]
Daphne du Maurier, from The Parasites
More beautiful tiles, every single one of these please
Miranda July, The First Bad Man
Finally, in a low whisper, he said, 'I think I might be a terrible person.' For a split second I believed him - I thought he was about to confess a crime, maybe a murder.
Then “I realized that we all think we might be terrible people. But we only reveal this before asking someone to love us. It is a kind of undressing.”
-Miranda July, The First Bad Man
i know we’re both just messing around pretending to be whole but look at me. if the train was coming would you move. if the ground was falling from under your feet would you even notice or would it just be another tuesday for you. if somebody stabbed you could it hurt worse than you already do. what i’m saying is that i love you but i think we both drive over the speed limit when it’s raining. what i’m saying is that i want to hold your hand and i understand about how you sometimes have to sit down in the shower. what i’m saying is that i’m here for you and if the train comes please move.
i wrote this 7 years ago, somehow. every day someone else finds it and whispers to me - oh, i understand this. something always turns in the wash of my stomach: i am so, so glad you feel seen. i wish you had no idea what this post was about.
i wrote this while working in a program for new writers. on wednesdays, two of the teachers would be contractually obligated to read our writing aloud to the group of 300+ teens. i had never read my work in public before. i had something like 6k poems and was panicking about it. none of them are good enough. sometimes the train is howling. it is hard, actually, sometimes, even as an adult.
and then i thought - what is one thing i wish i could tell all of them. each of these 300 kids. what did i need to hear, at 16?
i wanted to tell them about the day you wake up, and the sun feels warm finally. i wanted to tell them about carving a life out of soapstone, your hands turning bloody. i wanted to tell them that sometimes yes - it actually does feel easy. i wanted to tell them about weddings and cookie dough and long road trips. about albums of new music and old friends laughing and the sound of snow falling.
you will learn the pattern of the train. you will learn to close your eyes when you hear the engine rumbling. you will learn to let yourself have the grey days in their lily-soft numbness. sometimes it will feel like life is wet paint, and god has smeared your canvas across a sewer grate. sometimes it will be so boring it isn’t even pronounceable - the tenacious, soundless blankness. survival isn’t just ugly nights and wild mornings. it is also the steady, unimportant moments. it is just driving with your seatbelt on. it is calling a friend on the way home. it is burying your face into the fur of your dog.
when i had finished reading this poem aloud, the auditorium was silent for a solid minute. someone stood up to take a picture of where it had been projected onto a screen, and then three more people followed the action, and then - like a bad internet story, people remembered they were supposed to be clapping. kids came up to me after it - thank you for writing that. i think i hear a train coming.
i would write this differently now, i think, but it has been 7 years. i still live by the tracks. i also haven’t picked up a blade in over 10 years. the scars are still there, but these days i only pick up scissors to cut my hair. i know why you can’t tell your mom about it. i know how the numbness slips over everything, a restless horrible cotton. i know how when you dropped the dish, you weren’t crying about the broken glass. i know about feeling like all the roads have closed their exits, that you aren’t supposed to still-be-here - and yet.
i am still here, and still yours, and i haven’t forgotten. what i’m saying is if any hope is calling to you - i know it’s hard, but you have to listen. i’m saying keep driving, but slow down the car. sit down in the shower, i’m not judging you. we can stay in the dark with the good hot water and do nothing but stare. notice the stab wound. make it through another tuesday.
i know what it is like to miss yourself. do what you need to. come home to me. i am writing to you, my past self, from the future. i’ll be waiting for you.
and when the train is coming - please move.
they keep the silverware in the same place. you forget about it a little bit when you move out, but during the holidays, it comes back. the way you smooth over your life for them, a gentle reckoning.
for a while, you tried to find yourself by being wild. throwing your body at the emergency exit. finding comfort in the sharpness of a held breath. you used to write wake up on the inside of your wrist. you couldn't calculate the weight of your own sorrow, only that nobody was looking at the anchor of it. you tried maladaptive coping mechanisms like catnip. got caught half-in half-out of them. felt, weirdly, like you should be embarrassed of all of it.
but it does get better. mostly it's just that you become a priority to yourself. it turns out that lending yourself the ragged edge is just cutting open more marrow. for a while, it felt good to see a physical representation of inward agony. but who was that punishing? you learned, slowly (so slowly it was almost invisible sometimes) that you could put love into the wound instead. that the floor was comfortable because it was certain - but it was cold, and unwanting. instead there is a warm bed. you learn to treat yourself like a kid again. gentle-parent yourself into the shower and over breakfast and into laughing without effort. you do wake up.
but then you come home again, and it is like everything is a strange kaleidoscope of childhood moments. here is how you inherited your mother's anxiety. there is the same music playing, and you can't sit down without worrying you forgot to do something. your mother's clipped words and hovering hands - are you sure? are you sure? birdlike, you find yourself seeing unwell and still end up repeating.
here is your father's anger. you are 16 again. there was a moment where you remember thinking - holy shit. i am so much more emotionally mature than you. how you have to talk him down from minor inconveniences, how you parent him like an errant and spoiled toddler who can't be told no, and i mean it. you feel the warp of you. why you can't be in the same room as people having a completely normal conflict. why your skin crawls if there's ever a hint of a fight. why you live with your hands up, placating. and god forbid you get angry. you feel that little spoiled kid rage against the iron will of you. not you, not your hands. you would rather cut your own tongue out of your head, no matter how valid her argument is.
and you're so fucking far from where you were as a kid. you've done so much healing. and there's this little sad part of you that can see the shadow of your past, and your hands wrapped into each other so tightly you made your knuckles white. and how much your parents are just people, and haven't changed much, and still keep the spoons in the drawer to the right.
there is a long dark tunnel here, and it has a name, but you haven't learned how to process that kind of speech yet. close the cabinet. make a note to go get more oat milk. close your eyes.
this place was never home, was it.
Kaveh Akbar, from “Personal Inventory: Fearless (Temporis Fila)”, Calling a Wolf a Wolf
[text: I'm sorry. I'm sorry. This may be me at my best.]
The Watermelon Woman (1996)
I walked to the park partly to see if this tree is red on top yet and yes it is. (Bonus geese for no extra charge)
That tree that was red on top on the 17th.
Anne Sexton, from A Self-Portrait In Letters
I am not a woman, but the light that falls on this gate, on this ground. l am the seasons, I think sometimes, January, May, November; the mud, the mist, the dawn. I cannot be tossed about, or float gently, or mix with other people.
Virginia Woolf, The Waves
Where there is no imagination there is no horror.
-- Arthur Conan Doyle
Louise Glück, from “Mutable Earth”, Poems 1962-2012
fyodor dostoevsky (the brothers karamazov), charles bukowski (a vote for the gentle light)
"what it looks like to us and the words we use", ada limón
art parallels jeremy lipking, federico zandomeneghi, serge marshennikov, allan douglas davidson, svetlana tartakovska