Zoon, Zoon,
Cuddle and Croon
Poetry has shaped most of my life.
My father read poetry to me instead of bedtime stories. It was the music
of the language, the playfulness, and the places those poems took me that have
remained with me. Even now, I hear my dad reciting the first stanza of “Moon
Song” every time I see a full moon that lights my yard and the open sky.
Zoon,
zoon, cuddle and croon
Over
the crinkling sea,
The
moon man flings him a silvered net
Fashioned of
moonbeams three.
My love of alliteration and the rhythm of language had to come from “The
Baby Goes to Boston”
What
does the train say?
Jiggle joggle, jiggle joggle!
What
does the train say?
Jiggle
joggle jee!
Will
the little baby go
Riding
with the locomo?
Loky
moky poky stoky
Smoky choky chee!
The message of James Whitcomb Riley’s “Little Orphant Annie” (inscribed to
“all the little children . . . The good
ones—Yes, the good ones, too; and all the lovely bad ones) certainly kept me
and my siblings in line with its repeating refrain:
An’ the Gobble-uns‘ll git you
ef you
Don’t
Watch
Out!
I was certain that the long-fingered shadows of tree limbs on my bedroom
walls at night were the goblins watching me to see if I behaved!
Ink Runs from
the Corners of My Mouth
Writing is a solitary activity. You
spend hours and hours alone for the most part, trying to perfect on paper an
idea in your head. You arrange and
re-arrange words on paper that will paint a certain picture or evoke a certain
feeling for the reader. Sometimes that
arrangement is a complicated mixture of repeating lines and rhyme schemes. Other times you may include allusions to
other poets or poems and then hope that the reader understands it. All this work to be published in a literary
journal, an online journal, to read at an open mic, hoping that one day you
will have enough poems for your own book.
Sounds rewarding, doesn’t it?
Line breaks, voice, tone, meter, rhythm, stanza breaks, form, too many
adverbs. These are all the things we
think about as we meticulously craft each poem, no matter how short. Draft after draft. We pass along marked-up sheets to other poets
and ask for comments we often don’t really want. We sit in writing groups and give each other
face-to-face feedback.
The writing does not always come easy but, like a muscle, it has to be
flexed. Writers have tricks to prompt
themselves into producing a draft of something for the day, sort of like
dancers have warm-up exercises. I know
that some of my better poems have started as writing exercises—like my fairy
tale poems that served as the basis for my first book (After Enchantment).
I am a poet. It’s who I am, not a
job that I do. If it’s so hard and
solitary then why write? I write because
I can’t not write. The more I write, the
more I open myself to the world. The
more I open myself to the world, the more I am moved by my emotions. The more I am moved, the more I write. And so it goes.
Poetry is powerful. It can
transform a personal experience into words that hold meaning for others. I remember the first time that a stranger
came to me after an open mic and asked for a copy of the poem I had just
read. She had tears in her eyes as she explained
how my poem helped her understand how her mother’s dementia had affected them
both. She said that she had never
considered how the dementia felt for her mother. My poem had transformed how this stranger
viewed her own mother! At that moment, I
felt the power of my words in the world.
The biggest
compliment I ever receive is hearing a person say “I never liked/understood
poetry until I read your poems.” The
fact that my writing could unlock a new world for someone means more to me than
any monetary or literary rewards.
In 2008, I was introduced to the incredible poetry community here in
Washington, DC ,through the Split This Rock Poetry Festival. I had found my people! A world of poets and poetry of witness opened
up to me and I to it. I discovered that
my poems could find a home in the world, have meaning, and possibly inspire others.
Where Everything
is Music
Rumi tells us poems come “from a slow and powerful root/that we can’t
see.”
I don’t always know where my poems come from. I have poems that feel like they were poured
through me onto paper. Other poems I worked
on for years—writing, re-writing, putting aside, shaping words and phrases just
so.
A poet has to write from the heart.
But it is the most vulnerable and, at times, frightening place to open
to the world. Often the work is
raw. You have to be willing to feel
exposed to strangers, because even if the piece you write has nothing to do
with you personally, there is always a part of you in there. It is rather like giving birth over and over
again.
It’s hard to talk about my work. In
many ways, it’s very personal—even when I am writing about something not
related to my own life. I try to write
about what I see and experience, but since I write from my heart I can be
inspired by nearly anything—a picture in the newspaper (“The Painted Lady”), a story
on the radio (“A Typical Day”) or the title of a cartoon (“Coffee with Jesus”). I wrote the following poem after my youngest
son lied to me. Now I can’t even
remember the lie, just the anger and betrayal I felt.
Prevarication
He looked me in the eye
then he lied to me
his lips never sneered
eyes never flashed.
But he lied.
Then I could see it –
the lie – just beneath
his skin, moving around,
as if it were some parasite
burrowing, becoming part of him.
And when he smiled
it almost disappeared.
When he said I love you
all I could hear was the lie,
chewing away inside him,
burrowing deeper.
I am also attracted to the odd piece or the twist in the story. I have a sarcastic streak that is a mile
wide, thanks to my parents. In my version
of Sleeping Beauty, I try to use that twist and come out with a poem where,
after she awakens, the princess has insomnia.
Sleeping
Beauty
Every night the prince calls out to me
to return to bed and his dreams.
Insomnia is my friend now.
I have no use for sleep these days.
For those who criticize, I say
let me wander with Death
atop the walls of the night,
for only in that darkness
do I truly feel awake.
Sleeping Beauty, watercolor by E.A. "Skeeter" Scheid |
My friends often suggest “you should write a poem about that,” usually at
absurd moments in life. It’s easier said
than done. While I am drawn to the
absurd and comical, using humor well is more difficult than it appears. But sometimes it works.
Snow
White’s Math Problem
If seven dwarves each own
seven shirts, seven pairs of socks,
seven pairs of pants, and
seven pairs of boxers,
then how much money does
Snow White have to pay
for laundry, so she
can hang out in the forest
with friends, smoking
and reading cheap magazines?
When I write, I seek truth, spirituality, a sense of connectedness to
other people and the universe. I try to
have compassion for and to deepen my (and my reader’s) understanding of other
people’s lives. In writing poems of
witness, writing from someone else’s eyes or point of view is one way to deepen
that compassion. When Treyvon Martin,
and later, Michael Brown were shot, I thought about their mothers. I was the mother of two teenaged sons and I
tried to imagine how I would feel if either of them had been shot under similar
circumstances. It led me to write this
poem, in the style of a poem entitled “Otherwise” by Jane Kenyon.
My
Otherwise
(after Jane Kenyon)
I awoke today
with two strong boys.
It might have been
otherwise.
I kissed
their cheeks, pale
young, innocent
male.
It might
have been otherwise.
They walked through the park
and home again safely.
All day long I lived without
fear for the ones I love.
For lunch we made grilled
cheese sandwiches. It might
have been otherwise.
We ate dinner together
at a table with paper
napkins.
It might
have been otherwise.
The boys slept in beds
in a room with painted walls
and planned other days
just like this day.
And I prayed in the dark
because I know,
there are other mothers
with boys for whom
every day is otherwise.
Like the poem above, I also write social justice or so-called “political”
poems. I do so in order to stand in
solidarity, to write a poem of witness, to give a voice to people who are
suffering in the world. But I do not
consider myself exclusively a political poet.
Likewise, I consider myself a feminist, although I would not categorize myself
as a feminist writer. I realize, though,
that characters in my poems frequently speak as ardent feminists. In a series I am writing about Eve, I
describe her true birth happening the moment when she makes a decision for
herself. In this poem, Eve decides to leave
Adam (and the Garden) and live independently.
Eve
Takes Her Leave of Adam
All of this I would have gladly accepted—
the loss, the pain, my mortality.
If only you had acknowledged me.
All this journey, this search
for paradise, there was only ever
one decision, one opinion—
yours.
You thought I was yours too.
Fashioned from your rib,
I was a vessel
made of bone and sinew.
But I was empty,
until the storms came
and blew me into the world.
I am a woman.
Now, I need to travel the earth.
Feel the power at my edges,
the calm at my center.
You will know where I am
by the smell of rain in the air,
the mud caressing your feet.
There’s No Place
Like Home
It’s hard to sum up artistic endeavors and a lifetime of work in only a
few pages. The more I live in this
world, the more I come to realize that I had a “magical” childhood, sheltered
from the dark side of life. At first, I
was angry with my parents about that protection. Now I am grateful. I know it was an act of love on their part to
put me in such a position. It has allowed
me to find the good, the genuine, the kindness in life and then to write about
it so others can find it too.
Poetry speaks to the heart. It
connects us to each other. There is so
much pain in the world, sometimes we have to stand for beauty and compassion. So I’ll end here, as I often end my readings,
with this necessary poem.
Buddha
Buddha said
Un-attach.
When suffering comes
touch the earth
connect
to the root of all roots.
And when suffering finds you
be not the archer
nor the arrow.
Be the air
which parts
and re-unites.
Only air understands
this movement
and forgiveness.
This is Week 10 of 52 Artists in 52 Weeks. Thank you for reading and sharing Susan's story today! To connect with Susan, contact her on Twitter or you can attend the monthly poetry series she curates at Brookland Arts. Her book, After Enchantment, is available on Amazon.
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