Tag Archives: Writing

Poem–Analogy #poetry #writing

Analogy

My life is like
A set of lost
Car keys

Unimportant
To so many
People

Valuable
To others who
Use it

Find my life in
The cushions of
Your couch

Or in pockets
Of your heavy
Old coats

Drop it in your
Pants until you
Need it

Where it will be
Waiting whether
You know
It or
Not

February 27th, 2004–flash fiction #fiction #writing

February 27th, 2004

     The phone rang at three AM and I knew it had to be trouble. The moon was full and shining through my window; I could see a deep layer of frost on the ground, like the world had been cast in silver. The frigid house enveloped me. I picked up the receiver and mumbled
     Hello
     and shivered twice, hard, almost dropping the phone. It felt like ice against my face. I halfway expected it to rip away a layer of skin when I pulled it away. The moonlight stabbed into the room, pooling on the floor like blood. From the phone a ghostly voice said
     Is this the morgue?
     and I said
     No. You must have the wrong number
     and the voice said
     Huh. I could have sworn this was the morgue.
     I hung up and rubbed my eyes, feeling the grains of sleep jab into my skin like knives. The house was colder than ever. I wondered who had died and why it had to happen on a frosty night at three AM, when death seemed no more than an ordinary nuisance.  

Belated Victims–Original Nonfiction #nonfiction #writing

Belated Victims: Living and Dying after the Storm

      Her name was not Michelle, but that’s what I’ll call her.

     On the surface, she wasn’t much different from any other freshman English student. She wrote mostly middle-of-the-road essays and got mostly middle-of-the-road grades—usually in the low B or C range. She seldom spoke unless directly called upon. She even sat in the middle of the classroom—not a front-row overachiever or a back-row misanthrope, just a student who wanted what an education might bring into her life. She probably wanted a job she could live with and perhaps love, money, a place in the world.

     This is how I remember Michelle, the picture that formed in the sixteen weeks or so in which I saw her three times a week, the duration of a freshman-year course that she would complete only months before Hurricane Katrina killed her. These memories might be faulty, mashed together with images of a thousand other students I’ve seen since then. Or perhaps I’m creating a person that never was, reacting to my own guilt over not paying more attention to her in life.

     But faulty or not, this is the image that I carry, the one that I can share.

 

     In August 2005, I was living in Baton Rouge, Louisiana, and finishing my doctoral dissertation. I was working as an adjunct instructor at Baton Rouge Community College, and while much of what I experienced there frustrated me, I found the student population fascinating. Having only taught at universities, I had become accustomed to dealing with traditional students, many of whom were children of privilege. But at BRCC, I encountered over-25 students, budding small business owners, and people from the lower tax brackets. At the beginning of every semester, my classroom filled up with single mothers and middle-aged men working two jobs and youngsters whose parents could not afford LSU or Southern.

     And after Hurricane Katrina near-missed New Orleans and devastated the gulf coast, after the levees broke and the streets flooded and the city became a powerless third-world town, after the debacles at the Superdome and the Convention Center, after the evacuation and dispersion of the Crescent City’s poor and largely African-American populace began to resemble a new diaspora, after the universities and colleges that could still operate began to announce the creation of emergency courses for evacuees and the hiring of displaced educators, I went to work one day and met Michelle.

     I didn’t know then that she had lived in the lower parishes. I didn’t know about her home life or her relationship to her extended family. It isn’t the kind of thing that comes up in class, at least not often, and it certainly isn’t the kind of thing you ask about without cause. I only knew her name, and with all my other students to remember, it would take a few weeks for me to associate the name in my grade book with the quiet young woman who sat in the middle of class.

     More wasted time? No, it was only the natural progression of any semester, the adjustment period in which you learn who the students are and how badly they really want to be there. But in retrospect, it’s easy to wonder what each moment might have cost. Michelle’s life was already rushing toward disaster, as if someone had turned over an hourglass, one day in her life for each grain of sand, the pull of her destruction as inevitable as gravity.

 

     That isn’t completely true, of course. Michelle’s death was no more certain that the eventual appearance of a storm like Katrina, or its growth to Category 5 strength out over the Gulf, or its losing momentum just before making landfall along the Louisiana-Mississippi coast. But Michelle’s death was seeded decades before her birth, planted by governmental neglect, fertilized by Louisiana citizens’ indifference, nourished by an “it will never happen here” attitude that itself grew in power each time a storm veered east into Mississippi or west into Texas. Michelle’s death became more certain every time the levees held.

     You can blame Katrina on global warming, God, or plain old bad luck. You can blame people’s decisions to stay on stubbornness or on Mayor Ray Nagin or, more likely, on a collision of political, historical, and socioeconomic factors. You can blame the federal government’s slow response on George W. Bush’s general incompetence, on the rich’s laissez-faire privilege, on FEMA. But the levees—well, we’re all responsible for them. Whenever we failed to demand levee reconstruction or allowed the passing of one storm to lull us into believing New Orleans would always be safe, we hastened the day when Lake Ponchartrain would spill into the streets and carry away all our assumptions. And because we own the levees, we own Michelle’s death, and others like hers.

 

     The last time I saw Michelle, I hurt her feelings. It was the day of our final exam. She wrote her in-class essay quietly, as she had done everything all semester. When she brought her exam to my desk, she handed it to me. I took it and smiled.

     “Have a good break,” I said.

     Instead of leaving, she unzipped her backpack and pulled out a package wrapped in Christmas paper. She held it out to me.

     “This is for you,” she said.

     This kind of thing happens occasionally, and the moment is always awkward. Knowing that a student actually appreciates you warms your heart, even as the mind screams Danger! Danger! You want to listen to your heart, but accepting gifts from students is simply unethical. Even the appearance of favoritism can lead to appeals, even lawsuits. So being offered a gift in front of a classroom full of students, especially during a final exam, felt incredibly dangerous, as if someone had opened the door and tossed a cobra into the room.

     I didn’t take the package. I said, “I appreciate the gesture, more than you know. But I’m not allowed to accept gifts from students. I hope you understand.”

     For a moment, she just stared at me, the present still held out, hanging between us like a broken promise. Then she half-smiled, nodded, and put the gift back in her bag.

     “Merry Christmas,” I said, as cheerfully as I could.

     “You too,” she replied, not unkindly, and then she walked out the door without looking back.

     The next time I saw her face, it was on the news.

 

     In the spring of 2006, my courseload included a couple of argument-based composition classes. As an exercise in social awareness and practical argument, I required my students to participate in online discussions of current events. The responses I got from these Baton Rouge citizens about New Orleans evacuees were often disturbing. In spirit, they sounded like this:

     “These people are living in new trailers rent-free. Seems like they’re making out all right.”

     Or this:

     “When are they going to get jobs and stop expecting the government to take care of them?”

     Or this:

     “They could solve their own problems and get their homes back if they just worked hard enough.”

     “These people,” “they,” “them”—my students were using the language of exclusion. Worse yet, they were stereotyping, assuming facts not in evidence, oversimplifying, overgeneralizing—everything I was trying to teach them not to do. And though I tried to present them with alternative points of view, the flavor of the discussion remained, for the duration of that semester, largely the same. Some people, who otherwise seemed rational and empathetic, disdained the victims of Katrina and wished them gone from the city. If one person refused to work, these students thought, then all evacuees were lazy, sorry parasites on the body of hard-working America. Never mind that countless evacuees worked hard and that others might have good reason for not working. Many people who had not seen Katrina blow their lives away were sitting in self-righteous judgment of those who had.

     Luckily for the country, this kind of thought seemed to be seated in a vocal but comparatively small minority. But some people went far beyond words.

 

     One night my wife and I were half-listening to the local evening news when I heard the anchor mention Michelle’s name. Snapping to attention, I turned up the volume and then fell back against the couch, my stomach in knots. As the newscaster explained what had happened, I recalled every careless word that those students had written. I wondered how they would feel now, if they knew what I knew.

     Michelle had been living with relatives in the Baton Rouge area ever since Katrina had washed away her home. I don’t know her exact circumstances, but I witnessed first-hand how the shock of losing everything you ever had weighed on people. Some sat motionless, shell-shocked, unable to muster the motivation to pick up the pieces. Why build a life when wind can so easily knock it down? Others fell into a deep depression. Others became violently angry. Nearly everyone, even those who immediately went back to work, felt the tension.

     Like many displaced Katrina victims, who often had to squeeze over a dozen people into a few rooms, Michelle and her family had been living with relatives. One evening, Michelle got into a heated argument with two of her cousins. Emotions led to words; the words led to violence. Michelle’s own relatives stabbed her multiple times. According to the news, she died right there on the ground. She never had a chance.

     As I listened to the story and remembered the girl who had brought me a Christmas present, I had to remind myself to breathe.

 

     We bought a sympathy card for Michelle’s mother, but I never sent it. In spite of being a writer and a teacher of writing and literature, I couldn’t think of anything to say. Everything sounded trite and hollow. Was I supposed to tell her that I only knew her daughter long enough to turn down a thoughtful gift? Could I express hope in the justice system when the killers shared her blood? After Katrina and her daughter’s murder, should I appeal to her faith in a God she might not even believe in anymore? And somehow, “I’m sorry for your loss” seemed inadequate.

     Besides, there was too much to be sorry for: Michelle’s death, my failure to remember her better, the levees and the politicians who always deprioritized them, the citizens who never demanded more, the federal government’s creeping response, Mike Brown, the laughably-named FEMA. For what, or whom, should I apologize?

     I’ll always believe that Michelle’s was a hurricane-related death. The storm destroyed her home and dropped her in the maw of familial and economic tensions exacerbated by uncertain futures and cramped living quarters. When she, and far too many others, needed strong, quick solutions, too many agencies pointed their fingers at someone else. “Let them take care of this; it isn’t our job.” Too many private citizens failed to look past the ends of their own noses.

     I hope we can all see farther now.

Screams–A Poem #poetry #writing

Written after a fight with an ex, and the requisite beer binge that followed…

Screams

The ex wife screams
Eugene O’Neill at me
In south Rhodesian
Dialects

I scream at her
A Gertrude Stein For Christ’s
Sake For Christ’s sake For
Sake Forsake

And neither one
Can comprehend the one
Who’s talking but that’s
Typical

Mardi Gras Flash Fiction #fiction #writing

You say you want some apocalypse? Here’s a glimpse of a personal vision…    

     The French Quarter was a human junkyard, bodies piled on top of bodies, throbbing and writhing with music no one could really hear and would pay no attention to anyway, the movement less rhythmic than sexual, a collective thrust between the legs of the city. The man pressing against my back gurgled, about to vomit, and I knew it would splatter onto my head and run down the back of my shirt, but I was helpless to get away, to move at all save for the almost-gentle back and forth wahhh-wahhh of the crowd. The woman to my right was topless, her breasts too rigid in the chaos to be real. Beads hung from her neck and both ears, her dead-fish eyes glazed over. I watched as a hand snaked around her waist and began pinching her right nipple. She did not notice. For all I knew she was dead. In the thronging masses she would have had no room to fall.

An Old Poem #poetry

Here’s a short one I wrote WAY back after my first divorce. I don’t know if it’s any good or not, but call it a look at one moment in time, lived in another life.

At Night

Sometimes I miss you
At night when the lights
Are out and I fail
To see who is not
Here though I still hear
Your breath

A Poem for Your Consideration #poetry

I’m still hoping to get back to writing new stuff soon. I’ve got some ideas for rants and essays on here, and I’d still like to practice creative nonfiction before I try to send any out. In the meantime, here’s another blast from the past, selected randomly. Perhaps it sucks; perhaps it will change your life.

Nomad

Last night the moon fell.
It exploded in
A field, gouging depths
In the dark landscape.
Nearby, a cold river
Flowed to nowhere else.

Today he fails to
See the blank hole in
The sky. He walks through
Fields of asphalt and
Drinks bitter air from
Riverless facades.

Cities never miss the moon.

Couching on the grass,
Wrapped around a cup
Of frozen peace, leg
Shot off by dead men,
He collects loose change
And ignores children.

Symbiote from wars
Leeching babies born
When he could stand straight,
He defends his name
From unseen monsters
And dying ideals

When the moon comes up again.

We Really Like Your Work, But…

If you look up the word “bittersweet” in the dictionary (or, as most of my students do, at dictionary.com), you should see a picture of a “good” rejection letter to a writer.

Every working writer likely keeps three piles of letters from journals, magazines, agents, and publishers. Pile #1 consists of standard rejections–the kind that begin with “Dear Writer” and go on to explain that your work simply doesn’t meet the editor’s needs at this time. When you get one of these, you’re disappointed, of course, but unless you’re already a household name, it’s pretty much what you’ve come to expect. After all, writing success often seems like one part talent, one part sheer perseverance, and two parts sheer luck. You have to get the right piece to the right reader at the right time, a process that is often rewarding and sometimes maddening.

Pile #3 contains all your acceptances. Some of these come in letter form, others in emails or even phone calls. Unless you’re Joyce Carol Oates or Stephen King, you probably still jump for joy whenever you get one of these, no matter how small the journal or how low the pay. An acceptance means that someone “gets” your work, that they’ve trusted your voice to enhance their publication, that an audience will see your story or article and know your name.

Pile #2 is where “bittersweet” lives. This pile is where you keep your “good” rejections–the personalized ones that call you by name and speak to your work specifically. Sometimes they come in the form of a personally-written rejection; sometimes they consist of handwritten notes on a boilerplate rejection notice. Most of the time, they tell you that while the piece you sent was not accepted, the editors liked your work and would like to see more.

The bad news? No publication. The good news? Somebody liked your work enough to talk to you, to encourage you, to let you know that you don’t suck. I keep good rejections close to my heart–not as close as acceptances, of course, but pretty close nonetheless. When you’re in between publications, they give you enough hope and confidence to keep on writing.

I got a good rejection today. I’ve been shopping a novel for a while now, at a time when agents and editors are understandably gun-shy about taking on new writers. I’ve gotten some boilerplate rejections and a few nibbles, but I haven’t reeled in the big fish yet. These days, it’s a victory when you can move past the query letter stage. I got that far again, and with a New York agent to boot.

In the end, she passed on the project because the kind of story I was telling simply didn’t appeal to her. But she told me that I was a good writer and that she would love a look at my next project. There’s no guarantee she’ll like it better than the first one, of course; you can’t control your audience, and I’ve always felt that trying to leads only to ulcers and bad writing. When you try to please everyone, you please no one, especially not yourself.

But she’ll get the first look. She was professional and personable, and she responded promptly. I’ll remember that, as I hope she remembers her kind words the next time I’ve got a book-length work to shop. If she doesn’t, I’ll be sure to remind her. How? I’ve saved her response. I can quote from it verbatim. I can even forward her the email if necessary. But I don’t think it will be, because she doesn’t view her job as a gatekeeper charged with fighting off bad writers. She seems to believe that her job is to support stories that she loves. I can get behind that attitude, even if she doesn’t love mine this time.

If she ever stumbles across this post and recognizes herself in it, I hope she’ll see this as my expression of my admiration and my thanks. As a writer, it’s part of my job not to take rejection personally, to use any feedback to get better.

I hope we both keep doing our jobs for a long time.