Hammock Stone

Sun setting over hills, clouds rolling in through twilight, dark sliding over trees, earth smelling of night. 

California Stars

Homesick all weekend. I've sat here for almost an hour now, trying to write about that, but the words won't come. I've felt in limbo since I got here, and such a non-place seems to defy description. Things aren't bad here at all--I love my job, my students, the many friends I was too far from for years. But now there are people (and dogs) on the other side of the country, and I can't really think about that distance too deeply, because I need to be able to function.
 
And there's the place itself, that other side. Maybe we only ever really find our place in the place where we find ourselves, whenever and however that happens. Maybe it would have happened here if I'd stayed. But I left before something in me was fully formed, and something about California helped me grow, expand, free myself.

All of this has been spinning around in my head. And then I heard this song tonight while I was driving, and suddenly I was on a cliff along Route 1, a damp, freezing wind blowing in hard from the Pacific, the scent of the ocean mixing with eucalyptus and coastal sage. And off to my left in the darkness there's a halo of light hovering over San Francisco, but it's nowhere near close enough to interfere with the millions and millions of stars in the perfect night sky.

The Brain and the Heart

Why is the language of the brain so much easier to understand than the language of the heart? The brain has an unfair advantage, of course--it speaks in words, in concrete images. The languages we use every day to engage with other people. The brain stores information, and it warns us to stay out of traffic, or keeps us from putting our hands down on hot stoves. Its practical value makes the brain cocky. It believes its own hype and so do we. If it's wise enough to tell us that we shouldn't burn our hands, surely it should be listened to in all other situations, right?

But keeping our hands away from flames isn't wisdom. It's only common sense. Despite its clear, blunt communication tactics; its loud voice; its brute strength; its stash of facts, the brain is often misguided. It panics, it jumps forward and backward in time. It's afraid of pain. It's afraid of what other people will think. It's afraid, ironically, of making wrong decisions. 

It's afraid of the wrong things. And mine resents me for even writing that.

My heart knows better. My heart, after all, knows what's in my heart. And my heart's signals are as clear as my brain's, but they take different forms and I'm less practiced at reading them. There are physical signs when my heart knows a decision is wrong--crying I can't control, nausea, pain or coldness, awful electric shocks of anxiety at the very idea of settling on a particular decision. Or more subtle discomforts. Just...a feeling that something isn't right.

And you would think it'd be easy to pay attention. If something feels bad, why would I want to do it? But if the right decision might cause extraordinary pain, my brain is all in favor of living with my heart's discomfort, and it mounts the most amazing arguments in favor of a bad decision. In favor of ignoring my heart. And any time my heart is conflicted, my brain leaps in to fill the gap, to "take care of" things. And it's loud, it's a bully--it drowns out my heart as much as it can; it tells my heart it's naive or foolish or cowardly. And so my heart is often beaten down by my brain.

But ignoring my heart isn't wisdom. It's not even, it turns out, common sense. It always, always ends up being tremendously painful, in a way that's much harder to recover from than the pain of missing out on something potentially great, or the pain of necessary loss, or whatever other clean, pure pain the brain is trying to avoid.

So how to learn? How to learn to quiet my brain so I can listen to my heart or give it time to reach a decision? How to learn to calm the brain's fears, to comfort it enough that it's willing to work together with my heart? 

How to keep myself whole?

Challenge Versus Ease

I'm a little homesick--for Annie and Tigger; and for dry, clear air; and for the wide fields and the hills off in the distance; and the fruit trees everywhere. I walked into a Whole Foods the other night and was greeted by a small basket of figs for sale--figs from California, of course; figs just like the ones that are probably currently ripening on the tree just behind the abundant garden I worked so hard to plant and left behind; figs that are ripening just in front of the two pomegranate trees that will still have a month or two to go before the arils burst the skins of the fruit.

But yesterday I walked past an apple tree someone had planted in front of their house. I don't remember seeing fruit trees anywhere in the city as a child. My grandfather's house in western Pennsylvania had apples, and the farm in upstate New York, where I lived right after college, had an incredible old apple tree with some of the most delicious apples I've ever eaten. Those seemed like the height of luxury--food! Growing right outside the door! California, with its abundance of edible landscaping--figs, pomegranates, plums, rosemary, cherries, apricots, pluots, blackberries...all just hanging out in city parks--seemed unreal and magical. Easy.

I have a hard relationship to easy. I'm never sure where the balance is for me: When is easy a good thing? When does it alleviate unnecessary difficulty, suffering even, and when does it begin to cross the line into facile and soul deadening?

This city is a hard place for me to be, in many ways. There are ghosts, emotional baggage. The weather here is terrible for me this time of year--not in an "I'm a delicate flower" way, but really, really hard. Atypical seasonal affective disorder hard. By the time I left for work one day last week, I was crying in my car, so rattled I couldn't even drive. My body was so physically miserable I could barely function, let alone maintain emotional balance. All I wanted was to be in the Central Valley, where it's dry as a bone and the mornings are cool, even in the height of summer.

The thing is, there are plenty of things I don't love back there. It took me years to stop being upset by the soulless architecture of most of Davis. The strip malls everywhere. The perfectly landscaped lack of wildness. The brutal sun in the middle of a summer day. The lack of public transit (I took a train to Center City Philadelphia yesterday, and it was blissful). 

No place is perfect. If there's a town that is ideally tailored to me, I've yet to meet it. I seem to keep making choices that end up challenging me one way or another, and that certainly sounds like a good thing on paper. But I'm not sure how to keep challenging choices from tipping from healthy and nourishing into extreme discomfort. But then I also wonder if maybe I'm just a challenged sort of person, always--maybe as a category of feeling it's related to the longing Lis wrote about. Maybe extreme discomfort is just part of the package, and maybe there's some cosmic lesson I'm meant to learn from that occasionally ease-less package.

In any event, despite my uneasy relationship with the kind of discomfort I'm feeling right now, my relationship with ease is, perhaps, even less easy. In some ways, certain choices have felt just as much about rejecting ease as accepting challenge. Is that just an adolescent distrust, a need to prove something to myself? Or is it actually a kind of self preservation? 

I want a life that's rich and nuanced and faceted. Ultimately, I guess what I really want is beauty and soulfulness and deep search and discovery. To the extent that those things are compatible with ease (and lack of humidity and heat--is that really too much to ask?), I'll take some ease, but apparently I'm unwilling (unable, even) to take ease if it means a lack of the other things. 

Meanwhile, this view out my office window is some solace in the middle of the discomfort of homesickness and sticky warm wetness. Rain glistening on slate and Wissahickon schist.

This Post is Probably a Mess, and I'm Posting it Anyway.

So, I got this new job. And I left California and the entire life I'd built up there over the last thirteen years. And I had to leave my dogs behind, which is, frankly, so heart wrenching that I'm pretty certain it hasn't even sunk in yet. It just doesn't feel real. I'm just on vacation, or simply in the part of the week when their other parent has them--it's not possible that they're an entire continent away from me, and that I won't get to see them this week, this month, this year maybe.

They have a good life, tons of love and doggie field trips and the best possible medical care imaginable. And I had an incredible opportunity to come back to a place that I love almost beyond my power to describe it. And my life in California had been winding down for a while. I was really only staying put for Annie and Tigger. And if they were human children, that might have made sense, and if they were mine alone, I wouldn't have thought twice--they'd have come with me. 

But I didn't sit down here to write about them, though I think I'll leave it up there.

The job: I'm working at Bryn Mawr College, in the theater, where I spent pretty much all my time as a college student in the late '80s. I haven't worked in theater since the late '90s. And I never imagined I'd return to Bryn Mawr this way. But here I am, polishing up the technical theater skills I abandoned a while back. Remembering how I love the sawdusty smell of a theater, the oddball problems that crop up, the challenge of learning a new technical skill (uber-advanced lighting and sound systems, anyone?). Remembering how much I like working as part of a real team--in person, on a day-to-day basis. It's different from the solitary work I've been doing, writing and editing and only communicating by email. Or putting together a cooking class in my kitchen or making jewelry all by myself. And it's delightfully different from working in an office--a fact I keep realizing every time I find myself climbing something or carrying something or running around the building at the last minute to make sure there are enough chairs on the stage for the event that's beginning in seconds.

But setting aside the theater work, this job is going to be a lot about working with the students--helping, advising, training, mentoring. Giving back and sharing, in a very real way, something that absolutely was given to me in this place. Helping them, I hope, to develop their senses of self, their capabilities, their solidity. Their ability to solve hard problems--fast, on the fly. Their ability to climb tall ladders and carry heavy things and to use power tools. Their ability to make something beautiful. Their ability to plunge into spaces where they know nothing at all and to teach themselves exactly what they need to know to occupy those spaces comfortably--to own them.

Yesterday, the freshman arrived, and at the end of the day, they were all piled onto the main stage in the theater, their families and friends in the audience, as they were officially welcomed by the president of the college and a number of other folks. I sat at the back of the house, watching that sea of 380 young women who don't yet know one another, and all I could imagine was the sea of young women with whom I entered the college 25 years ago. I remember on one of the first nights of orientation (or Customs Week, as we call it), being gathered in the gymnasium to fill out some form or other. We sprawled all over the gym floor, and the lighting was fluorescent and yellow over all the unfamiliar faces, and I felt both a bit lost and so eager to know these people and be known by them. And then I thought about all the ways that this place helped shape me.

And it's 25 years on, and many of those people are among the dearest ones I can imagine, and many of them are quite literally an everyday part of my life--along with many other Mawrters I've met along the way, both during and since college. And here I am again, home in some very deep way--returned to the mother ship, as many of us jokingly refer to it, this place that has been, for me and I know for others, quite literally an "alma mater."

•what happens•

Right now, there are a bunch of 'draft' posts littering the backstage here at HalfAssedMama.com. The titles are interesting. "Englandia." "Long losts." My favorite is simply "the toyotas."

There are a great many things preventing us from blogging. We both just landed ourselves new jobs. In my case, I got a text in England from my boss. One of our co-workers was leaving; would I like to apply for her job? After five weeks, Troy, Penn & I returned home to a swirl of jet-lag-interview-hired!-ready-set-full-time-job-for-mommy on top of (p.s.) a week-long conference that took Troy to Massachussetts. I'm still skinning my knees daily, just trying to keep up, but it's good to be working at a new velocity for That Store we love so well. It will let up, in December. So look for that "Englandia" post, then. Right now it's swim lessons and scraped-together meals and piles of suitcase innards.

For Amy's part, it's packing and working, not sleeping and tidying up loose ends, because her new job means a rather abrupt move, cross-country. Which means, first and foremost, we will be half-assedly blogging from opposite coasts of the US! (Thank you to Bryn Mawr for proffering this upgrade in bloggerly coolness.) Amy has accepted a dream job as a production manager for the Bryn Mawr theater department. She moves to Philadelphia on Sunday. I went to her house a few nights ago in a work-induced stupor, and she sent me away with a giant ceramic ladle, a box of beads, an oversized bag of clothes, and a book of our blog. Of course, all the clothes are still in the bag. The beads have been picked over by a small child. And the book is right here, online, for anyone to comb through. But there's something different about seeing all those early posts in pages. I can open to a random date, as though our posts are part of a larger story. And so they are. Once upon a time, Amy wrote, "Right now, I'm going to go put one small piece in the kiln to see what happens..."

Right now, I'm going to go.  

xox

Note to Self II

All those things you're holding onto, all those things you love? 

Sometimes, when you ask the universe for something more, something bigger, the thing you'll get back will be such a large possibility, so much more than you'd imagined you were asking for, that you'll need to put down all the things you're holding in order even to attempt to pick up this new gift. 

If you manage to pick it up, the new gift will wreck some very good ideas, some very beautiful plans, at least for now. And even trying to pick it up will require the willingness to walk away from something so precious your heart will break at the very possibility. 

Remember that holding onto the precious thing requires making a choice that will keep you stunted. Remembering that won't keep your heart from breaking, but it might save you from making the small choice.

•moving sounds good•

Burning Man sounds good.  Hang-gliding, too.  I swear, ever since I pulled every single thing out of my closet and held it up to the light, things are looking clearer.  We are moving, we are changing.  I am throwing away old photos and recordings, the paper trails, the acceptance letters.  

Last night I dreamt I was with a rescue team.  We had to take a helicopter to the disaster.  I gave myself three seconds to decide whether to balk at the airlift, or go with it.  I chose to leave my fear on the ground.  Anyway, what kind of helicopter drops its load, when lifting an ambulance into position?  We landed just fine, and my team never knew my doubts.  Last week, in waking life, I applied the same thinking to a routine blood draw.  I'm phobic about my veins. I faint, I kick.  I decided not to warn the phlebotomist.  First time.  I focused on normalcy. Be strong, handle your shit.  It worked.  The phlebotomist talked about his wood-working hobby.  I said "have a nice day," and made it to my car without screaming.  Later, I danced.

We are walking, on.  Through and into change.  We get to decide when it's time to let go.  xox

What Matters

Up late working to the sound of crickets, frogs, and the night breeze, and I suddenly felt the need to note it here. Just to document the moment, the loveliness, the gratitude I feel for it, though my body hurts, and the week's been hard, and I'm way behind on way too many things.

But none of the hard stuff really matters.

I have a screen door that leads to a world of nighttime spring breezes, the sounds of crickets and frogs. Tonight, when I was unable to concentrate (for the quadrillionth time of late), I got up and spent a few hours making myself food for the week: I washed and dried two heads of lettuce so it would be ready for salads. I hard boiled eggs and baked some chicken. I roasted tiny new potatoes with carrot chunks and cauliflower, salt and olive oil. I made tomato-y curried lentils to eat with toasted cashews and yogurt and chutney. I cut up three apples and doused them with lemon to keep them from browning. I talked on the phone with one of my most beloved people, and it was more like having her in the kitchen with me while I worked--sometimes, we were just there, on the phone, not talking, each absorbed in our own moment, but present with one another nonetheless. There I was, nourished in all ways.

My dogs had a good day. This afternoon, I set up an extension cord and took my computer to the little table on the back patio, where I sat and worked for several hours while my dogs ran around the enormous yard with my landlords' two dogs. They're the best of friends now; they all get excited when my dogs arrive each Monday morning--quivery doggie play-date joy. Today, one dog went to the water bowl and the rest followed, and then each dog drank from the bowl in turn, while the other three stood around politely waiting their turns--they almost queued up; it was hilarious.

One of my landlords just cleared an enormous space out back so that I can start a garden--he's planning to have it tilled for me when the ground is dry enough. My other landlord, his wife, is planning to grow a couple of tomato plants out there too, but mainly, the space will be mine this summer, and I hope I can grow enough to supply them with plenty of produce all season long (not really much of a challenge around these parts, where everything grows like weeds).

My life is filled with small joys that are actually enormous, and I'm surrounded by beauty all the time. I have good work to do, and people who love me with all their hearts. And people I love with all my heart. And the hard stuff is hard, and it makes me tired, and my body often hurts.

And none of the hard stuff really matters.

The lizard who indulged me by sitting quite still
for a portrait session for quite a long time.

Bunny (baby? it was very small) in the front yard late yesterday

afternoon. Edited all soft and romantic-like, because...BUNNY.

Annie Dog

Before the gray

Annie's muzzle has been going gray. She's nine now, and I looked at her this afternoon, as we sat at a coffee shop, and noticed that her paws are graying too--her two front paws, one of which is shaped like a lobster claw at the end of her short leg. Her funky paw, as we call it, with its "opposable thumb," is gray where it used to be a deep, reddish tan.

But her eyes are bright and clear, and she looks at me with the same eager smile as ever. And in the yard when we got home, she held a stick in her mouth and batted a tennis ball around with that funky paw, playing the game she invented for herself when she was just a puppy, and bubbling with doggie joy.

Promise

Someone else’s pain has no place here, in the space where my breath catches. Most people’s pain doesn’t make it that far—I’m good at leaving it with its owner.

Yours, though.

Each time I see it, I draw that frozen knot into me for the smallest moment, even knowing there’s nothing I can do for it. I hold it close, hoping one heartbeat, the warmth of one indrawn breath might melt it.

But it’s full enough in here already, I know that, and there’s no room. I let it go on the out breath.

Still, if you’ll let me, I’ll touch it softly each time it comes up, in the only way a friend can: I’ll place my hand quietly on your heart and witness from the outside. I won’t expect to be the one to transform anything. I’ll sit with you for as long as it takes, listening patiently for the sharp cracks and gentle dripping of the thaw.

Force Nothing

2011 was not the year I thought I’d have when it began. Funny how that happens, although, to be honest, I’m not sure I could tell you exactly what I thought it would look like. Despite that, it was undeniably a year I needed to have, and it has been, perhaps, the most complicated and nuanced year I’ve experienced. It was horrible, and it was very, very wonderful, and it was everything in between, and it certainly changed the course of my life.

A year is long, and a year is no time at all—just a series of weeks, really, and those are just a series of days when it comes right down to it. And in the blink of an eye, the utterance of one sentence, the course of a day, a moment of insight, everything can change. The year and our lives turn on the smallest moments, singular points in time that may or may not be visible to us after the fact. They’re little cliffs, and we’re constantly leaping.

Leaping off of cliffs this year left me, as it always does, with work to do. There are always cliffs, and there’s always work to be done—but this year, the work in front of me is clearer than usual.

You know how some people choose a word for their year? Something they’d like to focus on, a concept or attitude they’d like to incorporate more fully into their lives. I imagine that when you make such a choice, you see your word everywhere, in everything; every moment becomes an opportunity to practice your word in some way, to draw your focus gently back to the growth you’d like to see in yourself, the work you’d like to be doing.

I’ve never done this. There are so many possible words to work with—which one to choose? Do I have to choose just one? The trick, of course, is to find the word that best works as an umbrella for all the things I’m feeling and thinking about.

There’s an Adrienne Rich poem called “This is My Third and Last Address to You,” and it’s quite long, but really, what I’ve always loved most in it are five stanzas somewhere in the middle. And if you are facing any sort of change or growth—especially if it’s the kind that makes you uncomfortable or impatient, this particular stanza may speak to you as it always does to me:

force nothing, be unforced
accept no giant miracles of growth
by counterfeit light

Is there a word that will stand in for that stanza, that will serve as the umbrella word for my year? Patience is part of it, but I’m reaching for something deeper. A sort of quiet understanding and compassion for myself and others: We all take the time we take to get where we’re going, and we can’t be hurried along. Nor can we be stopped or slowed when movement and growth are really happening—and movement and growth are usually happening, right under the surface, even when we feel as if we’re slow as molasses. Slow is not stagnant.

There’s never any time to waste, and simultaneously, there’s always all the time in the world. A new year comes, just as they always do, right when it’s meant to. We may think we’re not ready, but we are. We may think we know what this new year will hold, but we never do. All we can do is adjust our focus once again, resolve to force nothing, and know that as long as we aren’t letting ourselves stagnate in fear or resistance, then we’re growing, moving forward, making progress. The work we each have to do, when we take the time to know what it is and learn how we might go about it, can be joyful and fulfilling—even in the moments when it’s hard or painful. Because deep work, the work of growth and change, is always as complicated and nuanced as an entire year.

And somewhere in this year, as in every other year, there will be those moments when the world shifts, and everything changes, and we leap off our little cliffs, and that joyful, painful work we’ve been doing (slowly, so slowly) lands us somewhere we really never expected.

***********

(Not a small stone. [Uh, clearly.] This is actually the column I wrote for this month's issue of the newsletter I edit. I felt the need to put it here too, but I needed to wait for the newsletter to be published and distributed. It's been a week, so I've decided the rights revert to me...now! And as careful readers will already know, the lovely Peaceful Peacock, Julie, read this a few weeks back and basically said, "Your word is right there: Miracles." And so it was.)

Miracles

Penn and me yesterday, on a coffee date with Lis. Photo by Lis.

Last week, with a little nudge from a friend, I decided to choose “miracles” as my word for the year. As soon as Julie suggested it, I felt pulled by the word—intrigued, delighted, nervous. It fit well. There’s a lot behind that word for me, and I sat down to write about all of it this afternoon, but I got overwhelmed pretty quickly. There are so many miracles from this past very difficult year, so many people who were involved in creating those miracles or in helping me to see them. But it’s my word for the whole of next year, so I have a feeling I’ll have plenty of opportunity to write about it—no need to get it all out now.

Still, as I wrote and wrote and tried to spin out all the threads of all the miracle stories from my year, one little story popped out at me, so that’s the one I’ll tell you now. Maybe I’ll tackle each story in its time—little piles of straw waiting to be spun into gold.

But this one is about Penn, Lis’s (and Troy’s!) amazing, beautiful little boy (the toddler behind Toddlerblog over there, for those of you who are new here). And I think this story says just about everything you need to know about what it is I'd like to invite into my life by choosing this word.

The morning after I ended my marriage, I moved out of my home and into Lis and Troy and Penn’s spare bedroom. They welcomed me wholeheartedly. Penn and Lis greeted me at their door, and Penn was clearly concerned and full of questions. He wanted to know why I didn’t want to live with B. any more, and I had to tell him that was a really good question, and it deserved a really good answer, but I wasn’t sure how to explain it to him just at that moment, and would it be okay if I thought about it and gave him an answer later?

And he said yes, and then he asked me if I was still sad (Lis had told him I would be, and he could see I’d been crying), and when I told him yes, he came over to me and gave me a hug that made me cry even more. Because the hug he gave me was not, in any way, the hug of a not-quite-four-year-old child. It was the hug of a soul-level friend, a friend who understood at the deepest level that I was hurting. It was the hug of someone who was caring for me in exactly the way I needed to be cared for in that moment, and it was easily the most awe-inspiring, miraculous hug I’ve ever been given.

Borrowed Earrings, and a Love Letter to my Bryn Mawr Friends

(This post was partly inspired by Bella's prompt this week for the 52 Photos Project, which was to photograph something you've borrowed or would like to borrow.)

Five and a half years ago, I attended my fifteenth college reunion, and sometime during the weekend, I admired my friend Giulia’s earrings. Giulia always has gorgeous jewelry, and this particular pair of earrings was made of green amber and silver. She gave them to me—for no particular reason, except that I expressed my love for them, and she loves me. I protested a bit, but she insisted that I take them. So I agreed to take them on loan, and over the next five years, I thought of her—of course—every time I wore them.

This past spring was an especially hard one, but it was also my twentieth college reunion, and I knew I needed to go, because my college friends are some of the dearest, steadiest, most beloved people in my life. And when I packed to head east, I made sure Giulia’s earrings were with me. I figured it was the obvious time to return them.

I’m not sure Giuls remembered that I had the earrings until I handed them to her, but when I gave them back, she proceeded to search through the jewelry she’d brought with her until she found this pair:

She decided I needed to take them home with me, and of course, this time I agreed. At Bryn Mawr, we like to joke that once we’ve done anything twice, it’s a tradition, and so Giulia and I have started our own little earring loan tradition. She picks a pair for me to borrow for five years, and I bring them back at the next reunion.

*******************

It’s difficult to put into words just exactly how much Giulia and all my other friends from college mean to me. I’ve thought of them pretty much every day since last May, and the energy of their love washes over me frequently. That love has always been there, ever since college, but I think something about this particular reunion marker really hit many of us hard, in the best possible way.

I had a moment during the weekend, in our class meeting, when I looked around the vividly familiar dorm living room, and saw all those vividly familiar faces—the faces of people who are incredibly close to me, and the faces of people I really barely know, except that I’ve “known” them in some way for the last twenty-four years. That’s more than half my life.

Faces you’ve known for more than half your life mean something—something significant. They may not be the faces of dear friends, and yet—they’re not at all strangers. They’re something more than community, even, though they’re certainly that. Perhaps they’re like an odd kind of extended family, people you feel connected to, people who share some vitally important part of your history, even if you really don’t know a whole lot about who they are, or what their daily lives are like.

And then there are the people who actually are my dear friends. I don’t know that there are really words that can adequately describe the feelings of nourishment, love, acceptance, gratitude, comfort, support that I receive from this group of people. They’re home to me.

I was stunned, several times during the weekend, to realize that these friends have always seen me, since I was seventeen, in ways that it took me many, many years to see myself. They knew what was in me and who I could be long before I did. Simply because they love me, and they were paying attention. I certainly hope I’ve been paying enough attention to be able to see each of them in such a deep way.

At the end of the weekend, a small group of us went for brunch at a local diner before dispersing to our separate parts of the world for another five years. (We’ve done this Sunday brunch thing at the last two reunions now, so you know what that means….)

I was sitting in the diner booth, stirring my coffee and listening to Giulia, who was sitting next to me and telling a story in her inimitable, animated, gorgeous, larger-than-life way. I turned to look at her, and it took my breath away. Every bit of her was so familiar and dear—her beautiful face and smile, her mannerisms, her speech patterns and laugh. I know them so well that I can call them to mind in a heartbeat. Just thinking of her calms me, makes me feel loved and joyful and lucky.

And I’m incredibly fortunate. Because Giulia isn’t the only friend I feel this way about—I have a whole pile of friends like that where she came from. And I won’t list them here—I’ll let Giuls stand in for them all—but I trust they know who they are. And I hope they know how very, very, very much I love them.

Home

Just a snapshot of just a piece. But it's shaping up into a warm little nest that fits me well.

30th Street Station

30th Street Station, by Kevin H. on Flickr

In my old city, I liked to sit in the train station. People rushed around, on their way to other neighborhoods, other cities, other states, even other countries. I sat cross-legged on the old wooden benches, their curves polished to glowing by decades of waiting bodies. I’d buy a cup of coffee and gaze at the impossibly high ceilings; the enormous bronze archangel cradling a soldier in his arms; the art deco light fixtures that look as if they’re a normal size, until you see them on the ground, slowly cranked down with winches to be cleaned, to have their bulbs changed. Then they’re shocking in their bigness, and lovely, their glass panes and bronze edges the facets of giant light-emitting jewels.

Often, I was waiting for a train. Sometimes it was late at night, the station more or less empty, announcements of departing and arriving trains echoing off the marble walls and floors. Maybe I’d just left, for the evening, a relationship that I didn’t really want, that was more a clue to something I wanted—something that had nothing to do with relationships. I’d stare around at the soaring space, feeling tiny and exhausted, filled with longing and yet somehow overwhelmed with joy at the way the building’s enormity underscored my own solidity, at the energy of people going places. The wooden bench anchored me; I could have sat there for hours.

But sometimes I would go to the station just to be there, anonymous in the busy crowd, but not alone. If I wanted to, I could buy a ticket, board a train, and be gone. There was freedom just in knowing that. More likely, I would choose a table amid the bakeries and food shops and schedule boards, the coffee stands and travelers and flower stalls, and I would write, just beginning to find my way on the page, just beginning to understand where the clue was leading me.

A soaring space with trains will inevitably leave you wanting to go. I left the city, and the station with it. There is nothing like it in my new city, in my new life, where I usually know what I want, where I am rarely anonymous, rarely tiny and exhausted.

Buying a train ticket doesn’t hold the same possibilities anymore. I crossed a bridge on my way out, and while I didn’t burn it, left unused, it decayed. If I visit, it’s by other routes—everything looks different. I can see a chasm where my bridge used to be, and the city hovers dreamlike on the far side, inaccessible, and I’m amazed that I was ever a part of it. I don’t want to return, really. But sometimes, just for a little while, I’d like to sit in that station, anonymous but not alone, and think of all the places I could go.

Pennsylvania Railroad World War II Memorial
(Angel of the Resurrection), by Sameold2010 on Flickr

30th Street Station, by MShades on Flickr

Open the Door

You want to know a fantastic antidote to oncoming depression, whatever its source?

Reach out and tell someone how much you love them, the work they do, who they are, what you see in them. Do it because it's true. Do it because they should know. Do it because the moment you do, a door will open up, and you'll see outside of yourself--that place that seems so dark right now. There's incredible beauty and light out there, and when you open that door, the light will never fail to lift your heart and spill in through the opening to get all over you.

Trust Roots

Is it better for grief to be paired with hope? Or is it best to have none, to hit the bottom hard and in your pain know, at least, that there’s no further down to go? Hope can always fail us eventually: What if the thing hoped for never comes to pass? What if the universe is moving in a different direction than the one you’re longing for? And so grief paired with hope is a perfect breeding ground for fear.

And still, I think I’ll take my grief with hope and do my best to wait, as Adrienne Rich says, "...without sadness and with grave impatience." And to believe that roots lovingly tended can survive a winter under snow and send up green shoots in the spring--whenever spring arrives.

(From "This is My Third and Last Address to You," by Adrienne Rich)

The work of winter starts fermenting in my head
how with the hands of a lover or a midwife
to hold back till the time is right

force nothing, be unforced
accept no giant miracles of growth
by counterfeit light

trust roots, allow the days to shrink
give credence to these slender means
wait without sadness and with grave impatience

here in the north where winter has a meaning
where the heaped colors suddenly go ashen
where nothing is promised

learn what an underground journey
has been, might have to be; speak in a winter code
let fog, sleet, translate; wind, carry them.

•buzz rush•

Your life, in your own hands. How many more blinks of an eye?
"When will I die?"

Begin Again

This morning is hot coffee with cream and sugar, house and skin still cool from the night air, the sound of birds singing, the brightest summer light filtered to a soothing glow through white curtains, and the possibility of new beginnings.