“It was fun while it lasted.” I guess I could say that about many periods of my life, especially when it comes to relationships with men.
I am thinking about that as I read Jack’s obituary. Our relationship lasted about three years, back in the 80s, and it was fun while it lasted. One of the legacies of that relationship, oddly enough, is friendships I formed with a couple of the women whom he dated after me. He had a knack for seeking out smart, creative women.
I kept in touch with Jack on and off over the decades. When, after he moved to Portland OR and my pedestrian son needed a ride from the oral surgeon’s office, I called Jack and he took care of it all. He was a good, imperfect guy. I am glad that I knew him and sad that he is gone.
More than ever, these days, I am painfully aware of the relentlessness of time – which really does seem to accelerate as one ages. And, here I am, at age 78, still trying to figure myself out as those relentless sands continue to carry me along.
It is all about the journey. Slogging through the sands of time. It’s all about the metaphors. Baba Bogina. The Raven. The knight with the swan helmet crest.
My Jungian therapist often uses “sand play” to stir and spur our conversations. I find that I intuitively pick out figures for the sand play without consciously knowing why. And then we work on the why.
I am still pondering why I chose the warrior with the swan helmet crest. It is the only figure I chose that was not obviously either male or female. Its face and body are covered with armor. Its stance can be interpreted as aggressive, defensive, or protective. It is blocking my path. Welcoming? Warning? And then there’s that anomalous spread-winged swan sitting on the top of its head.
My therapist did some searching before I had a chance to, and she send me a link that explained: a medieval tale about a mysterious rescuer who comes in a swan-drawn boat to defend a damsel, his only condition being that he must never be asked his name.
Does that help or not. I don’t know. I will need to ponder this a lot more as I wait for some synchronicity to spark an epiphany.
Is there someone on my path waiting? To lead me to the authentic “me”? To accompany me for a while on my journey? Or is it me in there, under the armor, my wings wanting to escape the hold of the protective helmet.
This is what my “journey” looked like in sand play.
The ancient Hanged Man is the center of attention, oddly modern in straight lines and upright, bloodless repose.
I am at a funeral mass in a church that is a testament to privilege, from the pale polished wood of vaulted ceilings to the delicate stained glass windows, graceful allegories of allegiance and ardor.
My dead friend rests in a simple urn among flowers and photos. I am here to honor him, but the incense filled air and steady droning of apocrypha ease me into images from my past life.
I am in fourth grade, sitting next to my classmate, Stanley Szymanski, enthralled by the drama and special effects of a Black Friar production of the “Stations of the Cross.” As our bones vibrate to the crashes of recorded thunder and our hearts flutter to the rhythmic flashes lightening that signal the death of that Hanged Man, Stanley reaches over, grabs my hand, and whispers “Let’s get hitched.”
I am somewhere in my pre-teens, standing next to my father, who smells vaguely of Old Spice and who subtly hums along with the inspiring choir. He is tall and strong next to me, and, for the first time, I feel stirrings of some kind of desire. Someday I will learn about Electra, and I will take courses in psychology, and I will understand.
When I return home after the funeral service, I finish reading a book I requested from its author because, these days, I am even more fascinated by death and the processes of dying than I was as a child growing up above the viewing rooms in my father’s funeral home.
I also am a fan of Carl Jung and Joseph Campbell, so I tend to have an affinity for archetypes, and Polishing the Bones by Jungian Analyst Penelope Tarasuk tells of a journey that embraces both of my passions.
It is a unique story – one that can only evolve between two very creative, introspective, and unique individuals as they embark upon a shared journey to unravel and understand, first, who they are as patient and therapist and, finally, as companions on a final pilgrimage.
Tarasuk invests eight years in partnering with her “client” to prepare for the inevitable, which comes later than sooner and provides a richness of inner growth for both.
Theirs is not an experience that can be easily duplicated, but it does offer tremendous insight into how it is possible use the limitations of mortality to spark creative energies and insight.
More than 25 years ago, I was fortunate enough to pair with a therapist who used Jungian and Shamanistic techniques to help me explore my own dreams and demons. I wrote about it in an essay that was published in 1990 in a psychotherapy journal, Voices.
If you are interested, you can read it here: shadows2
I have a unique relationship with death. My father was an undertaker, and we lived in an apartment above his business. Contemplating death and dying — my own and others’ — has been a part of my life since childhood. I have sat vigil during the hours and days of the deaths of both of my parents. At the age of 77, I am closing in on my final years. I have no control over when or why I will die; but I am learning about the choices I have about “how”. What I have come to believe is that it doesn’t matter what one believes about an “after-life”; what is important is to live fully while embracing the fact that we, after all, are all “terminal.” Those individuals whose religious beliefs preclude them from participating in such a process can follow the dictates of their religions, but those of us who have different beliefs should be allowed to make our own choices.
The Commonwealth of Massachusetts is once again considering a Death with Dignity bill. Modeled on the Oregon law, H 1991, Compassionate Care for the Terminally Ill Act, would give terminally ill people more freedom, control, and peace of mind at the end of their lives. It is called “The End of Life Options Act”. I noticed that both the Northampton City Council and the Amherst Town Meeting passed resolutions in early November that called on the legislature to enact “The End of Life Options Act” (H1194 and S1225). I urge other municipalities to become familiar with the intent of this bill and take action to lend their support.
Seven out of 10 Americans who support the end-of-life option allowing qualified terminally ill people to end their lives through physician-prescribed medications support having a process to enable terminal patients to choose how they want to die. Such laws have enacted and practiced successfully in other states. I believe this bill has strong safeguards to ensure that no one – including people with disabilities, the frail elderly, and the low-income –could be coerced or pressured to end their lives rather than live longer or seek continued treatment for their terminal illness.
This is NOT assisted suicide, but rather an option to give people the right to choose to end their suffering (and that of their family) when faced with a prolonged and painful dying process.
I support this bill because I have sat by the beds of both parents as they suffered through their last days and hours of pain before death took them. When my father was in the last stages of pancreatic cancer in 1984, thankfully, we were able to use the services of Visiting Nurses (this was before Hospice was available) to give him drops of morphine while he lay in his bed, gasping for air and enduring a level of pain I can’t even imagine. It took him three days to finally die.
My mother, who died at the age of 94 in the “Comfort Care” unit of a hospital, hung on for a week with renal failure, until I finally insisted that the doctor increase her morphine dosage. A “Death with Dignity” Act would have spared both my parents painful deaths that, at that point, were inevitable anyway.
Please join me in contacting the co-chairs of the Joint Public Health Committee: Sen. Jason Lewis (firstname.lastname@example.org, 617-722-1206) and Rep. Kate Hogan (email@example.com, 617-722-2130). Urge them to pass H1194 before the deadline in early February.
He was a crowd favorite at urban poetry readings, especially at the former punk club QE2 on Central Avenue, where he screamed his edgy and ironic “White Boy” poems — often completely naked. Occasionally, he wore a baseball catcher’s mask to go with full-frontal nudity.
Such is how my once friend and colleague, Paul Weinman, is described in a tribute posted in the Albany Times Union today. He just died from the complications of Alzheimer’s. He was 75 years old. The newspaper piece celebrates Paul’s delightfully skewed lifestyle and creative pursuits and is an entertaining read even if you never knew him.
I met Paul when I began working at the New York State Museum in 1980. He already was a fixture and a legend in that institution, often annoying the staid administrators with his controversial off-site antics, while, at the same time, becoming a beloved and entertaining teacher in the Museum’s educational program. Parents and kids alike flocked to his workshops based on the Museum’s exhibits, and inner city neighborhood kids would show up in the Museum after school hours just to hang out with Paul and be entertained by his adventurous historical tales and re-enactments of life in the wilderness of the Adirondacks. He treated all kids with respect and affirmation; he dealt with adults with honest response to the way in which they dealt with him; he responded to the hypocrisies of every power structure with naively gutsy irreverence.
My professional path crossed with Paul’s because we were both poets in an institution that shared a building with the New York Sate Library and Archives and that often held literature-related events. Together, Paul and I organized and hosted the Museum’s annual “Banned Book Week” public readings. We held ekphrastic poetry events in conjunction with Museum art exhibits. We worked well together as colleagues supporting the educational mission of the New York State Museum.
Outside of our jobs, as part of the Albany poetry community, we came to know each other as writers, although our styles — in both content in presentation — had very little in common. As a challenge to my more conservative bent, one day Paul suggested that we do a collaborative poetry chapbook that explored male-female sexual tensions. I would write a poem and then he would write a poem in response. We would go back and forth like that until we had enough for a chapbook. Paul would print out and staple copies of the chapbook and then distribute it, for free, around the area, as he did with all of his poetry projects.
The whole idea was way out of my comfort zone, but Paul was pretty much an icon in the local poetry scene, and I was intrigued by both him and the challenge.
This is what the cover and back page our chapbook looked like. “Fruits of the Harvest Press” is just the name Paul gave to his own personal printing and distribution system. There’s no date on the publication, but it probably was in the late 1980s.
It took me a while to figure out how to approach the subject of sexuality, but I found a way to do it my way: through food metaphors. Hence the title: “Eating Disorders and Other Mastications.” My first effort was inspired by a Thanksgiving turkey neck.
something about turkey necks,
gizzards nestled in palm of hand,
stroked with oil,
until firm, juice-laden,
ready for needing,
fine night dining,
And we went on from there, as I branched out from the food metaphors into other expressions of female sensuality and Paul responded with blatant come-ons such as this, which became one of his famous “White Boy” series:
IN QUIVERS OF INAD-
EQUACY, WHITEBOY TRIES
BUCKUP UP HIS IMAGE
AS HE STRUTS FOR ELAINE
A. autographing pens
strapped to hips
B. rakish hat
C. boots tooled
with female in-
WHITE BOY TRIPS…
POLEVAULTS ON THAT
POINT HE’S TRYING 2
GET ACROSS: ARRESTED
4 SEXUAL HARASSMENT
My relationship with Paul never moved beyond friendship, although as a willing participant in Dionysian revelry, he might have taken it in that direction. But as attracted as I often was to “bad boys,” Paul was way out of my league in that arena. Plus I got to know Paul’s wife at the time, Judith Braun , a talented visual artist who really didn’t come into her own until she divorced Paul. I liked Judith, enjoyed the bohemian parties they threw, was energized by the creative energies with which they always were surrounded. Paul caused me to stretch the boundaries of my writing and my perceptions of what is acceptable to me in both words and life.
Paul loved the lore of the Adirondacks, and he spent the last five years of his Alzheimer-ridden life making miniature chairs out of tree branches. As the newspaper tribute reports: He built miniature chairs in the Adirondack twig furniture style and left them anonymously around town with a note: “I’m an orphan chair. Please take me home and put a stuffed animal or plant on me.”
I don’t know his latest wife, but I’m going to try to contact her to see if I can get one of those chairs to hold a plant in my garden and hold his memory in my heart.
I am going to Maine with two friends next week. While there, I am going to put to rest what remains of the guilt and sorrow and regret regarding my relationship with my mother.
The other day I went and spent some time with a good friend, and who is also a healer of souls carrying burdens of regret and guilt. Ed Tick began as my therapist and over these 30 years, that relationship blossomed into a friendship. I still reach out to him when I am troubled, and I visited him earlier this week in his new home not far from where I now live.
The result is that, next week, in Maine, as part of solidifying this new phase of my life on which I have embarked, I will do a ritual to let go of stuff that needs to be freed. I will build a fire, read this last missive to my mom, and then burn the paper. And then burn the triptych with her images — sending her history as a woman to soar with the gulls.
In preparation, I have set up a little altar to honor the good parts of my relationship with my mother, who died five years ago. I have her wedding ring that I put on a chain, and beads from the old red coral necklace (that has been a part of my matriarchal lineage for several generations) that I made into another necklace. I will wear these during the ritual, but, for now, they are a part of the altar. One of the few things I have left of hers is her old statue of Saint Anthony, the heretic converter. I’m sure that she prayed to him all of the time to convert this heretic. It didn’t work, but this icon,one of her favorites, has become mine. Maybe I like him because he holds a lily. And a child. And an open book. In my poetic heresy, I can interpret that any way I like.
So, here is what I will read. And what I will burn. In place of prayer, I write. Here and wherever. Because I can.
If we become the mother
we wanted, our children
grow the roots and wings
of our lost early yearnings,
Our daughters become
the women we wish we were,
our sons the men we dreamed.
But too often we succumb
to the echo of her voice,
caught in the tangle
of a cord never cut.
There is no burying our mothers,
though we lay them deep.
They live in us one way or other,
whether we heed or not.
I am sorry, Mom, that I was not the daughter you wanted. I’m sorry that you were not the mother I wanted. I know that you tried your best to be the best kind of mother that you knew how to be – the kind your mother was. And I did my best to break away from that kind of suffocating tradition.
Yet, despite how I disappointed you over and over, you were always there for me when I needed you. Because that is what the mothers in our family do, And that is how the best parts of you still live on in me – in the kind of mother I have finally become.
I’m sorry that your last years were filled with such turmoil. I wish I had made better choices about how to give you the care you needed. I guess it was my turn to try my best. That was all either of us could ever do.
I’m sorry that your last days were not what you had always hoped they would be – to die at home, in your own bed, with family around you. I did the best I could, Mom. I tried to make sure that you didn’t suffer. Instead, I suffered for you, and that was OK because it meant that in those last days I kept you safe from enduring some unnecessary familial narcissistic tyranny.
There were good times and bad times during the last of the years that we lived together. I like remembering the time we had then to talk and laugh, to dance the polka, to sing all of the old songs, to share our memories of times that were good for us both. I liked that I was finally able to do things for you that you really appreciated, that made you feel good. Because I know there were many other times before that when I made you feel bad.
All of those years as I struggled to grow up, I never really saw you the way that others did. You would have been glad to hear what cousin Cristine wrote to me about you after you died. She said:
I remember the enigmatic smile she always wore, like the one in The Portrait. I never remember her upset or angry. She was always dressed impeccably and I remember her love for Ferragamo shoes. Odd what we remember from our past — the strange minute things that become permanent strong memories and the important things that fade away. I always remember the bathroom at your house on Nepperhan — the l-o-n-g narrow pink bathroom with a door at each end (how cool!) and how it always smelled of green Palmolive soap. I remember your mom cooking and running back and forth to the kitchen and not sitting down and enjoying her own meal.
Someday, I will write a poem about that “enigmatic smile,” which I now think was a biting back of your disappointment and frustration for the parts of your life that you were never allowed to make your own — but I was too wrapped up in my own selfish agendas to realize that.
I don’t know if you were aware of much during your last days, but there was a sea gull who spent most of each day screeching from and pacing on the roof outside the window of your hospital room. This is what I found out about sea gulls:
Sea Gulls are messengers from the gods, especially ancient Celtic deities. They bridge the gap between the living world and the spirit world. Opening yourself to their energy enables you to communicate with the other side. Sea Gull can also give you the ability to soar above your problems and see things from above. Seeing all the different viewpoints.
So tonight I am here at the ocean, communing with the messenger seagulls, sending this message into the wind, into the endless sky: I miss you, mom, I’m glad we had some good last days together, and I wish we had been able to be closer, sooner. I release what is not worth carrying, and I cherish what is left: the comfort that, at the end, we knew how much we loved each other.
I gave my writing circle the prompt “the coat was shabby.” And I gave them a challenge to use strong verbs and specific nouns. As I began to write my response to that prompt, I decided to put it someplace in history and do a little research for details. This is my result, my first ever try at historical fiction:
The Gypsy Coat Tale
The coat was shabby, but its aspect still spoke of nights thrown over a naked shoulder at a smokey Montparnasse cafe, or tossed onto the back of a scarlet sofa at a late night Paris salon. Its stained fabric revealed a careless pattern of absinthe, bathtub gin, and the mascaraed tears of its most passionate devotees.
They say it once belonged to Nina Hamnett, self-proclaimed and notorious “Queen of Bohemia,” who wore its gold satin lining next to her skin while she danced shimmering lights into the weave of the rich silk brocade. On those nights, the coat created its own melody, a mesmerizing harmony of color, texture, and pattern, the timeless echo of a Siren’s song.
Legend has it that the coat was created by the two Japanese weavers and the Gypsy woman whom Hamnett befriended during her brief stay in Paris before the war started, before everyone folded themselves into enclaves of creative ferment or else fled to the safer shores of England and America.
And that, they say is how the coat finally wound up in the window of the Fifth Avenue Parisian boutique on the afternoon that Zelda Fitzgerald walked out of New York City’s Palais Royale Hotel in search of the perfect evening dress.
She did find the perfect dress: a long black beaded silk with a sheer back that dipped down to her tailbone. But is was the coat that took her breath away – the coat and the legend and the fantasy.
The multicolored floral brocade boasted gleaming gold threads that reflected the bright city sunlight. Elaborate scrolls etched its lush black velvet cuffs and ankle-skimming border. A face-framing swath of black fox, added as an afterthought, brought the coat to the level of a work of art.
By the time I rescued the coat from the empty corner of my spinster aunt’s nursing home closet, its shabbiness was well-earned, having been Zelda’s constant companion through her bi-polar adventures played out over two continents and two decades, until both she and the coat began to unravel.
My aunt had been a nurse at the Highland Mental Hospital in Asheville, North Carolina, where Zelda spent her final years capturing on canvas the remaining bright colors of her memories and telling my aunt the elaborate coat-tales that fed her lonely dreams of prodigal nights ablaze in the heart of a drowning Jazz Age.
Just days before the hospital fire that took her life, Zelda gave my aunt the coat to wear to a costume party.
And so the Gypsy Coat was retired to the back of my aunt’s closet, although she always took it with her whenever she moved, unable to dispose of its vibrant history. The Gypsy Coat is mine, now, to ponder on the relic that it is – a remnant of legendary lives lived with creative abandon, dazzling artistry, and deadly excess.
The day after I wrote this, as I was watching a “Friends” rerun with the family, Phoebe appeared wearing the coat I had described the day before.
Well, I say I know her, but she’s really a friend of a Facebook friend. Well, I say that she’s young; she’s really my daughter’s age — just over 50. It’s all a matter of personal perspective.
Anyway, this young woman is very ill with a disease of the blood and will only get worse. She is very smart and creative and well-known and respected in the technical information/education publication world. That is not a world I know. I only know about her. And I only know about her because there is something in her brightness and bravery that moved me and made me want to learn more about her.
I needed/wanted to do something for her — because I can’t fix any of the things wrong with this world, with my country, with all of those folks hurting and trying and dying. Because I am a maker of things and because I wish — how much I wish — I could make magic.
And so I got on Google and downloaded images from her Facebook page and from her book covers on Amazon. I figured out how to do a simple world cloud using words from her various posts.
I printed out the images on washable fabric. I appliqued the images onto the front of a t-shirt.
Then, I appliqued a healing mandala on the back of the shirt.
And then I looked up her address on 411.com and put it in the mail.
And I included this note:
If Magic were something I could make,
I would spin you a spell of healing,
thread it with the strength and energy
of all of your best moments, color it
blue like water teeming with life,
the burgundy of blood, the red and white
of cells induced to dance again,
of a thousand loving thoughts
warming the fabric of hope.
Then you could wear it like armor
a curative cloak, medicinal mantle,
that primitive sympathetic magic
powerful in intent as any prayer.
I did it as much for me as for her. We are both powerless against the arbitrary surges of fate that drag us into those dark places where we would not choose to go and then leave us, spent, to find a way out. Only she has no way out of this one.
Apparently, a colleague and friend of my e-mailer, who was missing since March 22, has been found dead. Police do not suspect foul play; my e-mailer suspects suicide. He also seems to believe that she was somehow involved in de Ruiter’s group.
I guess he is doing his own investigation, and so I gave him the names of my old friends who left all of those years ago, in case they are still around and can help him. And in case they might like to get back in touch with me.
That’s why I blog. Because all of my stuff is sitting somewhere out there in the world wide web, and sometimes it is just what someone is looking for.
Well, it’s one reason I blog. I blog because I’m a writer and I need a place to write.
Six years ago today, my friend and once-husband died of lung cancer. This is the only existing photo of the day we eloped in 1962.
We were kind of a fire and ice mixture. Made some fascinating patterns and two great kids, but we were destined to destroy each other if we didn’t separate.
Our son published some of his writings, which are available on Kindle. In the early days, we were very competitive with each other regarding our writing/achievements. Back then, I kind of viewed us as an “F. Scott and Zelda” situation.
Only I didn’t jump into a fountain and wind up in a loony bin. I jumped out into the life I was destined to have.
We eventually were able to become good friends, and I was with him on his last day.
I often think about how much he would be enjoying the paths that our two kids have taken and the way his grandson is blossoming.