Archive for category drawing/painting
Maybe having it together has nothing to do with those benchmarks of graduation, certification, publication, validation?
Maybe having it together isn’t about someone else’s notion of
achievement. Or being better than anyone else.
Or that winning makes someone else a loser.
Or that trying and failing is somehow shameful.
That you have to be balanced all the time.
New belief: “I am on a journey, doing my best. Imperfect.”
That means when the anxious zinging starts, the uneasiness arises—I can just FEEL it and stop trying to bargain it away, hoping when I do THIS or THAT—whatever new thing I find lacking, like say, being organized—that when I achieve that thing, I will be “together” at last.
Imperfect. Not great, never was. See what is, and build from there. Stop pretending. Let what is reveal itself.
Perfection is deception. Perfection is a poison pill packaged and sold next to the botox and collagen injections. Perfection is the woman on a pedestal who cannot squish mud between her polished toenails. Some warped white-washed selfish notion of perfection, I think, lies behind the toxic, racist Make America Great Again slogan—the notion that rewriting the past will coat every ugly truth in the golden light of remembered sunsets past, and save us from ourselves. No. Recovery from perfections micro and macro requires seeing what is, ugly, messy, real.
I will treat you gently, Perfection. You are bone-china blue-white transparent, so damned fragile. I pack you up in a pine box, swaddle you in virgin cotton balls grown and picked by browner hands in hot sun, oh porcelain beauty, flowers fine painted with single-hair brushes by small hands in some far-off land, petaled curves over and over perfect, while outside the sun and rain and wind are lost, years are lost, squinting childhood away, lost.
Perfection, you voracious beautiful wicked thing. I hold you, marveling at how I carried you proudly all those years, thinking it was an honor, my duty, my job?
I’d smash you, and maybe I should? But I fear I’d want to reassemble you somehow, find a way to make you whole again—and so I would waste more time.
Because you are just what you are, shiny prize, symbol of false wholeness.
I will nestle you in this little wooden box, so like a coffin.
I will bury you outside in the moonlight before the hard frost comes, bury you under the cherry tree with all the other beliefs I have, at last, I hope, outgrown.
It′s started off rocky, and my heart is feeling heavy for reasons both external and internal. Familiar questions echo: bouncing from the global to the personal.
Why are our societal systems often so cruel to the most vulnerable, the most innocent?Why do we so often hurt the ones we love?
And me: Why can′t I always be direct, and open?
Why does the past creep up and put its grubby little fingers over my eyes, my mouth, my ears? Why do I often run when I need to face things?
So much is born in seeds of fear. This year I will do what I did last year. My best.
Sometimes good, sometimes, well, not so good.
Focusing on learning, and growing, and cultivating more love, more understanding.
More forgiveness when we fail, as we will. More celebration when we succeed in loving kindness, joy, compassion…let’s do this.
Let′s grow a better world, together.
We choose how we see things.
An intention towards love rather than reactions from fear can change everything.
Waiting for the sunshine
You stood in the kitchen, waiting for the sunshine.
Oh, Mama. You waited.
You waited while the tickle in your throat rattled and rattled. Every phone call, eruptions of coughing. I listened, there was nothing else I could do—and sometimes I’d cut in, “hey, I’ll call you back, how about, when you’re feeling better.”
Now I see it through a backwards lens, time is funny like that, now I’m about how old YOU were then and my daughters are the ages I was then; I was your little last bird flown. Now I know the feeling of that emptiness, that new empty-nest, and how precious those calls become. Now I can feel, all these years later, how alone you must have sometimes felt, in your small kitchen, especially that last winter, coughing, insisting, talking, waiting, insisting that you were just fine.
You couldn’t really talk, but you didn’t want to hang up. It was a tickle, the end of a long lingering cold, a cold-on-top-of-a-cold, it was nothing.
Now I see you, frozen in the amber of that long-ago cold alone kitchen. Me not so far away in miles, but twenty-something me. So busy, busy, busy. A budding Bokonist, junior capitalist, believing that being an adult meant staying on the spinning hamster wheel. And also believing that you were going to be around for years and years, Mama. You were my mother. Life without you wasn’t comprehensible, and I didn’t imagine it, wouldn’t even try.
So I believed you, about the cough being nothing.
And still you coughed. I began to notice the unendingness of it. Worry crept in. I insisted you go to the doctor, but not soon enough. You locked my worries out and I let you. I locked them up, I guess. They were scary. Where did I learn to lock up so well? From you, Mama, you who waited in your small kitchen, vinyl-tiled, traces of avocado green barely visible in the corner, a little spot you missed when you carefully painted over with eggshell cream.
The wall phone is still avocado green in the mists of my memory. The round orb of the pendulum lamp casts a golden glow over the Formica table of the past, littered with bridge hands and newspapers and you, sitting there, smiling. So warm. I wish I could climb back into that kitchen, climb back to you.
I went to a movie with a friend the other day, an art film. Over ice cream afterwards he asked me, wonderingly, did I think the movie meant that all a man really wanted was a mother? I looked into his slate-gray eyes, and I thought of you, Mama.
No, I thought. It’s not just men who want that.
I thought of that horrible Psychology textbook photo, of the poor little monkey in the experiment who could choose, while starving, between a wire-framed “mother” equipped with milk and a nipple, or a fur-covered “mother” to cling to.
The little monkey always chose gnawing hunger and the fuzzy mama.
My friend’s sad eyes after the movie made me slide backwards through all the years. His eyes made me want to find you again, find you and fold you in my arms, to mother you, Mama. Because that is what you must’ve most wanted.
Because sometimes, life is scary, and you just want your mother.
But life is a funny circle, too. Scary and funny. In seeing how I failed you, I found you once again.
You’re here, waiting in the sunshine. Sometimes the darkness covers your shine, like a cloud. But you’re always there.
(Fastwrite from a prompt on regret).
I came across this pencil drawing titled “the news scares me” that I did several years ago. (Seems it’s not a new trend, the news, being scary…) This is a reminder to anyone who’s feeling overwhelmed by the state of things not to despair, but to keep doing whatever you can do to make the world a better place, in whatever ways are within your means. Small actions, large actions—just take action. Do what you can do. Meet the world with love. And laughter. And anger. And hope.
I’ve been a bit sick the last few days. Actually, I’ve felt really, really crappy, and unable to work until today. I felt both emotionally and physically ill. The anniversary of the election of the pussy-grabber, the unfolding exposure of so many #metoo stories, and the fact that there are still so many supporters & deniers of the pervasive poison of misogyny and abuse all collided with a nasty virus and exploded in bad dreams where I woke feeling in danger, panicked (and also, sick!).
The bad dreams are an old pattern, one I am learning to heal with writing and movement, study and support. I really thought I was past all that. But when it came roaring back I felt like I was a failure, like my efforts were futile in this world. I felt defeated there for a little bit. Old pattern, that.
But not all old patterns are damaging. I find drawing what is in front of me so very soothing. I draw, and then color or paint it in. This never fails to make me feel joyful in the moment. I drew obsessively during my whole childhood, then put it away, for the most part. Until recently. Now when I feel unable to drop down past fear, and relax into what I feel—I draw. Being sick, my usual go-to plan of walking and yoga and meditation just seemed too hard.
And drawing? It seemed too fun. (When untangling old patterns, maybe look for the fun, too? I feel better already.)
PS The poem in the picture is a line of a fragment, by the poet Praxilla of Sícyon, 450 BC. She composed many, many poems and was known for her scolia (short lyric poems for after-dinner entertainment). One of the lyric muses, only eight of her fragments survive.
Here is the fragment in its entirety:
Fragment 1 | Praxilla of Sícyon, 450 BC
Loveliest of what I leave behind is the sunlight,
and loveliest after that the shining stars, and the moon’s face,
but also the cucumbers that are ripe, and pears, and apples.
This fragment makes a wonderful writing prompt. Think about what is the loveliest in your life, in this moment. What would you miss, if you had to leave this moment?
The other thing I loved as a child was writing poetry and stories. Old patterns, re-emerging, to help me make new ones.
Vaguely heartshaped, that’s how you described her face, and I always imagined her—with my child’s-eye, literal imagining—as having a face the color of a pink valentine’s candy heart, a face with a pointy chin and also big eyes made of chocolate, because you said hers were brown and melty.
That’s how I saw her, my grandmother I never knew.
The photos were all lost in the legendary house fire, so I never got to see her, how she really looked. I used to long to be able to visit her, like my friend Annie did her Nana. I thought that the first thing I’d do was crawl in her lap and tell her how much you missed her and how much you talked about her. It seemed that would please her, and the way your face looked when your talked about how her singing made the moon rise, how she played a mean game of cribbage and could bait a hook with one hand made me want to know her, and please her.
Later, when I was near-grown, everyone began to remark how like her I was. I used to pull my dark curls away from my face and look for signs of the tell-tale sweetness emerging, but to me, the eyes reflecting back in the mirror were cold as the glass itself, cold as any Canadian January. My face itself was more of a pillow shape. I began to wonder what sort of sieve memories run through, to sugar them so.
Much later still, describing you to my own children, I honeyed your brown hair, I made your eyes the color of the ice on a bright day in March, that fresh slate color, and I made your hugs as warm as raisin-oatmeal cookies fresh from the oven. I waited for them to pepper me with the questions I once would have asked.
My children were raised on your photographs, though. Raised, too, on reality TV and iPods and textbooks, not fed random poetry and left to wander woods and libraries alone, the way I was.
I thought I was doing the right thing, educating them, drilling them with the math facts that I myself could never pin down, the after-school tutoring, summer enrichment programs, sending them to the Catholic school for good discipline and rigor.
But I think I made them blind.
This short piece was written from a prompt in workshop, using the Amherst Writer’s and Artists method.
I, too, am from a sift of lost faces
from patterns I can’t untangle
from an endless string of cats purring
from tall pines and the hum of box fans in the window
from Carolina humidity and red dirt
and Spanish moss dripping everywhere
like paint from my sloppy brush, messy
And now, I am from here.
(snippet from a writing prompt using the classic George Ella Lyon poem, Where I’m from, a poem that has inspired many, many poems, and is one of my favorites.)
My drawing prompt: headline in The Guardian: “Five handy tips for survival after apocalypse.” Sometimes I don’t feel like writing in coherent linear form (generally, after reading the news)…when I draw I can return to a centered place.
What helps you feel good? Do it. For five minutes, ten, whatever fits in your life.