Posts Tagged #writing prompt

waiting for the sunshine

painting of flowers in vase with hearts on the table

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).

 

 

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in this one, you’re…

cheetosIn this one, you are standing by the old canal at Holcolm Gardens. The sun has made your hair catch fire, the sun is coating your tanned legs and long arms with a honeyed light, and for some silly reason lost to me now, you are holding up a big red box of Cheetos, holding it proudly, as if you are Carol Merrill and the box of snacks is a glistening prize that a nervous contestant is pondering.

In this one, you’ve driven back east to visit me, with a loaded Magnum 357 tucked under the front seat for company. It was the last time I would ever see you, but I didn’t know that then.

I guess you never really do know?

In this one, you are as I imagine you still are — slender and strong, tough and flexible as a zip tie. I was sure, in the way only a young person can hope to be, that somehow we’d stay best friends forever. That some how the trauma-bond of our shared childhoods and barbed wire moments of our teen years would bridge the miles, bridge the chasm growing between us, already as deep as a Colorado ravine.

In this one, I was laughing and my boyfriend was squirting lighter fluid on the grill and you were smiling, that sharp sickle-shaped smile of yours. Behind your mirrored aviators, your sky-blue eyes must have been smiling too.

In this one, I already missed you, even though your were still right there, holding the Cheetos.

(This was a fastwrite from a prompt: imagine a photograph that you have in an album or on your phone; get a picture of it in your mind, and begin with “In this one, you’re…” Write for 10 minutes.)

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old patterns

sunny day with image of sketchbook showing a drawing of a cat

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.)

oldpatterns2

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.

Feeling grateful.

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heartshaped

IMG_3693

(short fiction)

Heartshaped

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.

 

 

 

 

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I am from

drawing in a journal depicting a living room with a cat on a rug

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.)

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back through time

Lake Michigan sunset from New Buffaloback through time

I lumber back through time unrooted
over boulders gap-eyed water glinting pink sunset
unrooted I slide through mud
into sand into lake
stone wash hillsides caving in
I am caving in
all I have to hold onto
all I can carry
this basket, sweet-grass woven

Inside is my pacifer
rubbery round I sucked hard to make the world
go away, and a half-empty pack of Marlboro Lights
that got me through the night
and my mother’s dark gaze, and the way I waited and waited
but she died when I left
In the sweet, sweet basket, a satin ribbon, blue of my father’s
wave and smile from the hospital bed in Kettering
I want, I think, to keep that?

I want to keep the window seat and the slanting roof top
on Cornell Place, keep it in the basket so I can climb back
lie, watch the sky with handfuls of clouds sliding by
I want to keep the way you said “why do you think you’re crazy?”
I want to keep the puzzlement of that
sweet belief sparkling
floating like golden moats in the sunset
I want belief, a thin film of it like magic dust

I want to carry my children’s laughter, and every single hug
and the brick of anger I lobbed through the glass window of us
I want to keep that, too, to remind me
broken is something to keep, too
But mostly I want to keep those giggles that skipped like stones
across the mirror lake
that shone like a string of lights in a summer garden
I want to keep every purring swirl I ever held
and even the ghost who stood there
watching me heartbeating fast, pretending sleep

It’s my basket. I can keep what I want.

 

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The above was written in a twelve-minute fastwrite from a prompt developed by one of my classmates at Amherst Writers & Artist’s Workshop Leader training in Chicago this September. Along with my fellow students, I delved into the AWA method, which you can read more about here. I was drawn to the method, based on the work of Pat Schneider, because of her bedrock belief that every single one of us is born with creative genius, that EVERYONE is a writer/storyteller (regardless of educational level, age, or socio-economic status). Writing that moves us, inspires us, makes us feel, makes us laugh, makes us cry—such writing is the result of connecting to our deepest voices. Our true selves.

I already knew this to be true—that everyone has within them a unique and creative voice. I learned it from the skilled leaders and community at Cincinnati’s Women Writing for (a) Change, where I found my voice (which I had all but lost) in core classes, workshops, and retreats.

This summer it became clear to me that what I most wanted is to learn ways to unlock that magic for others. All kinds of others. People who aspire to write books, people who have written many books, people who want to write poems, people who don’t think anyone wants to hear their stories, people who think no one is listening, or that no one cares. The act of expression—genuine, authentic expression—is an act of liberation. For me, it is transcendent.

Writing is when I connect to my soul-self.

At AWA training, my classmates and I learned about taking creative risks, about creating an environment that welcomes the seeds of new ideas and allows craft to bloom. It was a transformational week.

I’m happy to say I’m a certified AWA Workshop Leader now!
Tonight I led my first small-but-mighty AWA-method workshop at Clifton Cultural Arts Center.

I think I will put tonight in my basket, and keep that, too.

 

 

 

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a letter from my worry stone

drawing of a hand with a worry stone

Another day, another prompt. Today I let my worry stone do the writing. Find something or choose someone, and let them write to you. See what happens.

Dear E,

Finally. I get to tell you my worries. About damn time. Our relationship, up until now, has been entirely one way.

From that moment on the chilly October morning when you stooped down and plucked me from my place in Mississauga, on the shore of mighty Lake Ontario, and tucked me into the tight pocket of your skinny jearns — I have been your captive. I have worried, too, even though I know it’s futile. Worried I’ll never see the sky again.

I long for another sight of that last sky, low clouds backlit by the sun, turning it and the shining water to silver. Silver sky, silver lake, and that smudge of Toronto on the horizon. You think I don’t know about the things of man? (or in your case, woman?) — Oh, E, I’ve been soaking you up for months now. I know everything and now you’ve let me speak. I may never stop.

You picked me, palmed me, smiling. I do fit perfectly in your hand, and your happiness that morning filled me with excitement. So at first I was swept up, pleased to be going somewhere new. You were in love, blushing love, your core worries blotted out in the gush of that. It was a little dull, absorbing your petty insecurities. Mostly I sat on your dresser, alone. You only held me when you felt lonely, and how tiresome that was.

I fell in love with you a little, though. The way you do when someone trusts you to hear their deepest fears. Still, after nearly two years, I miss sprawling in all weathers with the others who were born with me from the crumbling bluffs when winter ice thawed one spring and we all slid free to the lake shore.

Sometimes you worry about the ice melting, which makes me recall the cold years I spent, inching along, swept up in the belly of that glacier, like Jonah in the belly of a great fish.

Your pocket, though warmer, reminded me of that time.

I guess it is my fate, being swallowed and carried. I have stories of my own to tell, beyond your worries of — oh, what don’t you find to worry about? As you hold me in your left hand I soak up your troubles like the earth soaks up rain.

Yesterday, you thought back to the windy morning we met, to your spinning thoughts, to the way you couldn’t believe how beautiful the world was, the water, you thought, looked like a great silver tray polished by the cloudy sun, and the geese flew low over the calm surface. You remembered that feeling, and wondered if you could ever feel just that way again.

And I try to emit an answer into your palm. I try to tell you, no. You will never feel that way again. The woman of that day, elated, heart bursting with love and hand sweaty with worry over losing love, she is gone now.

She had to get swallowed into the darkness, like the glacier, like the belly of the whale, to discover that no matter how dark, you must stay and let the darkness be your home, accept it, know it. And trust that in three days, three months, three years, three eons — sometime, somehow, the silvery light will return. Because it never really leaves.

So you can go back, looking. You can even retrace your steps on the shore of Lake Ontario. If you do, please put me back near the crook of that inlet, the place the geese gather at dawn and sunset. Take me back, even though I cannot revisit that day, either. It is gone. All my old loves will have sunk down or washed out into the lake. But it would feel so good, to tell new friends old tales. To laugh together about worrying over flesh and blood and human failings.

Perhaps I will lie under the sky, let your many worries loose in the breeze. Do not fret, E, about growing old. Let that one go. Only worry about not growing. Your fear of infirmity is comical to a stone like me, dependent on nature to move me at all. And still — I have, over millions of years, seen much of the world. Seen beauty you cannot even imagine. Do you understand?

The world will hold you, if you just let go.

Surrender. Let go of me, of controlling things, of fearfulness. I think you are figuring it out, just a little. From the darkness, you will emerge, you already are — to find the next world you are meant to explore.

with love,
Basalt

photo of Lake Ontario, silvery in the morning light, with geese.

The shores of Lake Ontario, where I found Basalt.

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