Oyster Knife :: November 2024

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Last night I dreamed an eagle flew into our house. We screamed and jumped up while it perched serenely on the back of our couch, huge and beautiful, and we ran around hiding cats and looking for gloves, trying to figure out what to do with it. It hopped to the floor and began exploring, clicking across the hardwoods, testing the rug, chasing off the dog. I ran to get my camera to record the event and when I came back, it had grown smaller, about crow-sized. I watched as it picked through the cat’s food with its beak, and by the time someone came back with the gloves, it had shrunk even more. Now it looked like a pigeon bobbing around in the living room. Over the next few minutes it changed again. Its feathers faded, its body hollowed out, a fire ignited in its chest and flamed briefly upward. The eagle put its beak on the ground and tipped over on its side, dead.

I woke sad and a little stunned that my subconscious had given me this story in the night. Yes, I thought, this is exactly what it feels like. Even if the country survives this intense fracturing, what I thought about America, the deepest part of me that trusted in our basic decency and goodness has tipped over, dead.

Since election night, I’ve been looking for torches, something to show me the way forward now. This shimmered out of the dark at me yesterday, from Zora Neale Hurston’s 1928 essay, “How It Feels to Be Colored Me.”

“I do not weep at the world, I am too busy sharpening my oyster knife.”
— Zora Neale Hurston

Hurston was writing about the limits a segregated America tried to put on her and how she refused them. Despite the pervasive, soul-crushing racism she faced, she saw herself as belonging to the world, capable in it, entitled to that oyster prize like every other human. I love that so much. Maybe I just need to feel possible, to have a direction for all this dismay, but it’s the thought of getting down to work, of honing my blade, that is helping me live right now.

“This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silences, no room for fear. We speak, we write, we do language. That is how civilizations heal. I know the world is bruised and bleeding, and though it is important not to ignore its pain, it is also critical to refuse to succumb to its malevolence. Like failure, chaos contains information that can lead to knowledge - even wisdom. Like art.” ”
— Toni Morrison

Sometimes what I have to offer the world feels so slight, just a thread of words tossed into the wind. But writing is what I do, and I’m going to work now. Here, there, everywhere.

How about you, my friends?

Sending love,

tonia

P.S. You might like Eve L. Ewing’s poem “what I mean when I say I’m sharpening my oyster knife”

not done yet :: July 20, 2023

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              I’ve been born again many times: in a crowd, at an altar, in my seat, on my knees, on my feet. Those were jarring rebirths, laboring under the strain of my supposed corruption and persistent doubt, brutal attempts to bring a roving mind to heel. Always, the newly born me would flourish for a time and then falter, would need another altar, another crucifixion. It was years and years before the realization that all this monitoring, repenting, dying, rebirthing was someone else’s idea of living, a system I inherited but didn’t want. Slowly, finally, I killed off my attachment to it. (Don’t bother looking, the grave is in the woods; I burned the bones and buried the ashes deep.)

You must know that no matter what they tell you, nothing can really destroy the original self, the core person. She sleeps, she waits, and when the time is right, she rises.

“Practice resurrection,” Wendell Berry wrote, as earnestly as if he had just pilfered the power from the coffers of the divine. The idea lay in my spirit for years simmering like some stolen jewel, until one summer afternoon when I was alone outside, journaling and watching the bees in the honey locust. The old life was done, had been ending for so many years, but I had not been able to admit it yet. Words began to form themselves under my pen, words I didn’t even know existed in my mind. The moment they became visible on the page, I began to shake. A door behind me clicked shut, the sleeping girl opened her eyes, I was through to the other side.  

            When I try to write about this, I often end up splitting myself in two, the way you do in dreams when you both experience an event and observe yourself experiencing it. I am the girl who was silenced and the girl who held a hand over my mouth. I don’t know how to reconcile this, but the original girl does. “Forget that,” she says. “We’re going to live.” She signs up for school, makes friends, gets a tattoo, plans solo trips, buys a pair of walking shoes, piles of books, a tarot deck for the hell of it, ditches a life’s worth of anger because it’s not worth our time.  The woman who has done my hair for the last 18 years tells me, “You get younger every time I see you.” She is not talking about my appearance. Though I can only seem to write about it in a fractured way, what she recognizes in me is a wholeness, a completion, a freedom. I am the girl who lives.

            As I write this, I am sitting in a café in the little beach town I sometimes dream I have moved to. I’m eating coffee cake and drinking my third pot of tea. I am a little footsore from a walk and frizzled by the mist that comes off the ocean here, and I’m happy. I am halfway through my life and I am happy in a way I didn’t know I could be happy. Now I face the task of nurturing and growing up the original girl. How to do it?

  Find joy, I think. Joy is the path.

            My oldest granddaughter taught me something about this recently. She is 7 now, and most of those years have been spent with a pencil in her hand, drawing. She’s been calling herself an artist since she was around 3. Last time I visited her, she told me she was writing a book. It’s about a rabbit named Thorna and she has written 14 pages of it so far. She has plans for “about 30” but no one can see it until she’s done. Every couple of hours or so she would go to her spot at the dining table, take out a basket of paper, ignore the chaos around her and work on that book a little. Then she’d put it away and go play or read or eat or whatever life had brought her at the moment. She’s been working on this project for several months. No anxiety, no pressure, no deadline, no self-loathing, no avoidance, just claiming her truth, doing her work, day after day. I can’t quit thinking about it. When I look at her, I see what could have been, what still can be.

            My life is not quite so simple and straightforward as a 7-year old’s, but the path is still the same.  Play a little, work a little, follow the quiet strings of joy’s pull day by day, that is the way to grow a self.  Maybe especially, a self that has been forced to sleep for so very long. I have spent a good amount of time grieving those misspent years, but something inside me keeps promising: it’s never too late. As long as I am here and breathing, I am becoming who I am, who I always have been.

            A couple of years ago I put this framed encouragement from Lucille Clifton in my office. I’ll leave it here where it might encourage you too:

 i am not done yet


as possible as yeast

as imminent as bread

a collection of safe habits

a collection of cares

less certain than i seem

more certain than i was

a changed changer

i continue to continue

where i have been

most of my lives

is where i’m going

            

(I know before I publish this that friends who read here have their own experiences, different than mine; that some of you have found peace where I found pain. I honor your story and your choices and want only for you to find joy and wholeness, wherever that is for you.)

 Reading and thinking:

funeral rites :: April 30, 2023

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The people at the funeral don’t believe in ghosts, though they nod gently when I tell my story about the dream the night before, how the dead woman had come to sit so sweetly beside me, how she laughed when I told her about the funeral.

“I think she was happy,” I say, and they smile with relief and Christian politeness. A bridge has appeared for them to bring my ghost over.

“Of course! She’s dancing with Jesus!” one woman says excitedly and raises her arms. She jigs her hips a little. She has lost two sons and a husband. Her eyes, when she leans in to say this again, are both kind and a little manic.

The people all look like memories I have forgotten. Faces emerge somberly out of the crowd, claim to be old babysitters or Sunday school teachers or friends of my mother. I am mistaken for my sister several times. Everyone wears the same clothes they wore thirty years before. Everywhere the sound of polyester, the squeak of stiff shoes.

The dead woman liked purple. I appear with her in a slideshow: 12 years old, 14, 18, 45. We wear no makeup, then too much makeup, then we are middle-aged. The slideshow ends; she will always be middle-aged. The preacher tells us we don’t need to be sad, she is happy now. I rub the back of my heel with the toe of my other shoe, wonder if eternal happiness is as exhausting as it sounds. The dead woman liked butterflies. On the screen behind the preacher now there is a purple sky; it fills and unfills with butterflies.

Everyone says it’s a shame we only see each other at funerals and weddings; I think that’s the whole point of having them, but I don’t say this out loud. There are many things I don’t say out loud. I see an old teacher from the church school. He asks about my husband, a man he has met once. He thinks my husband is a pastor. This accidentally makes me laugh. He wants to know then about my husband’s job, his health. He reminisces about the Olive Garden where they were introduced. I am fine, I don’t say. I write. I am finally in university. He has to go, there is a lot to do at funerals, but he tells me to assure my husband that he enjoyed having me in class.

After he leaves, I stand still, waiting to see if I am actually visible. I feel as insubstantial as a ghost, as if you can see through my body to the rows of chairs, the red-flecked carpet. I look around for the dead woman, maybe I can see her now. People circulate. Someone plays softly on a keyboard. I resist remembering this life. I resist the unresisting me that lived before.

In the back room there is a reception. I consider a row of water bottles and a plate of cookies, but I have read my fairy tales: food offered in a transitory space is always a trap. One cookie and I will be haunting the halls of this church forever. I move on to the display of the dead woman’s life. Here are the books she liked as a child, here the photos she had on her wall, here a wooden cat, purple. When I die, what color will I be?

I find my husband just before he takes a cookie and we make our way through the goodbyes and out the door.

“That wasn’t so bad,” he says.

“No,” I say. The sun is shining, and I am suddenly sure of myself once more. I look back at the church, imagine the butterflies escaped from their screen, circling, fluttering over empty chairs, taking refuge in the plastic greenery. I want to run back and open the doors, let them all out. I don’t. There are no butterflies in the sanctuary, just as there are no ghosts. We get in our car and roll through the parking lot. I watch the church recede in the side mirror and catch a flash of purple. The dead woman waves from the steps.

She looks happy. 

 Hello friends,

How are you? I don’t know how many of you are still out there, but I’m sending a wave from my corner of the world. It’s been several months, but I’m getting used to these new routines of interaction, study, commute, work. For a while, I couldn’t do much but go to school and recover from going to school (my HSP friends, you understand) but these last weeks I’ve found things coming easier. There’s more space for taking care of myself, more space to enjoy, less exhaustion. I’m finding I want to put my experiences into words again, so I’ve come back to this space today to tell you about a personal loss, and the twist to the heart that sometimes comes when we are asked to revisit our old lives. I’m just telling it in my own way – a little slant, a little storybook.

This piece came to me very clearly one morning. Joy Harjo says we all use the second sight – in dreams, in intuitions, in our art.* I’ve been leaning into this idea that I am already in touch with whatever I need to articulate in this world, trusting myself to write words the way they come to me, instead of rounding their edges so they don’t cut, or delineating too clearly their meaning. Mostly when I write, I don’t know the meaning anyway. Words rise like shoots out of the ground of what I’m living, feeling, experiencing, and consuming. It makes me conscious of how I nurture myself, how I fill the time. I want the ground of my being to be rich and complex and full of possibility so the words can grow straight and true. Maybe we feel these things most clearly when death’s skirts have so recently brushed past.

Wherever you are, I hope you are safe and well. I’ve missed our conversations and our sharing. Thanks as always for reading these words here.

peace keep you,

tonia

…

Some of what I’ve been reading, watching, enjoying these days:

 Listening to:

*Commonplace podcast, episode 109 with Joy Harjo

Watching:

Perry Mason

Reading:

~ Fingersmith // Sarah Waters – a twisty, unpredictable, dark Dickens of a tale.

~A Ghost in the Throat // Doireann Ni Griofa – absolutely gorgeous writing about mothering, poetry, and passion. Unlike anything I’ve read before.

 ~The Outermost House // Henry Beston – Beston’s account of a year living alone in a house he built on Cape Cod in the 1930’s is beautifully written. I can’t quit thinking about his hours alone there and wishing for my own quiet cabin somewhere.

 ~Standing in the Forest of Being Alive // Katie Farris - Farris’ battle with early breast cancer told through poetry. Incredibly intimate, funny, and strong.

a midwest journey :: july 2022

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Kansas City Skyline

I seem to always get stuck in the middle seat of any flight, so I had to content myself with brief glimpses of the quilted Midwest landscape out my neighbor’s window as we passed over it last week. I never get tired of the patient geometry of the center of the US, the white snakes of road wide enough to disrupt the green and brown grid, the occasional rise of land, a blue glint of lake, a sparkle of river scratching through the earth. On two of our flights I was stuck between strangers, tucking my elbows carefully against my body so as not to disturb the men on either side of me by actually taking up physical space. Once we were in the air, I spent some of my cramped time considering why I feel compelled to perform this deference to others. The men beside me gave no thought to commandeering both the armrests. Probably, if I had insisted on space for my arms, they would have given it to me, but sometimes social pressure breeds a kind of forgetfulness and I resort to long-ingrained habits of being the good, invisible girl.

I encountered that old self a lot while we were visiting Missouri. The subconscious reads the landscape, rings a bell of recognition to tell us how to feel and act. I kept seeing old shadows on the streets, hearing whispers on the drone of hot air. The only features rising from the flat earth were the buildings, an occasional tree. It took me back to summers as a kid in the thin dust of Idaho: blistering pavement, ice cream from a truck, late night church services. One night in our Missouri loft an old memory returned to me in the form of a dream: I was six again, kneeling by the couch to say the sinner’s prayer, crying because the devil wanted me. I woke to the weight of sticky air on my skin. When we got on the plane again and flew home and I saw the shoulders of the mountains emerging, the trees leaping up like they’d been waiting for us, I could feel myself growing cool and green and straight again too, in recognition of home.

Despite the rising of old ghosts, I did love my trip to the Midwest. The best part of travel is the chance to inhabit the lives and places of others and learn a new context. I’m always interested in the narrative of a place, the way weather and geography fraternize with history and tradition to create the stories we live out of. I gathered the heat, the cloudless skies, the tree-lined highways, the churches, the strip malls, the billboards promising redemption and/or judgement, the farmland, the frozen custard stands, the blues singers on the evening sidewalks, the short shorts and tank tops, the gorgeous diversity of faces, the gun and ammo shops, the historical markers, the earnestly waving flags, and found I understood a little better the whats and whys of that place.

On the flight, I had been reading Barry Lopez’ posthumous essay collection, Embrace Fearlessly the Burning World. “…to endure, we will have to stretch our imaginations,” he says. “We will need to trust each other.” Lopez was an uncommonly humble man, always open to learning, with no apologies for who he was and what he stood for, but no hubris to assume his way was the only way.

“And whenever I found myself in those situations, I came to understand that it was always good to hold in suspension my own ideas about what the practical, wise, or ethical decision might be in any given set of circumstances.”

He was a good companion for the journey.

~I also finished Johann Hari’s excellent book, Stolen Focus: Why You Can’t Pay Attention and How to Think Deeply Again, on that trip. It’s validated my decision from 3 years ago to delete my Instagram and most of my social media accounts and try to use my phone as a tool, not a distraction device. It’s also inspired me to work on my deep reading and attention span, which are really just muscles that need strengthening. I’m making good use of the Lady Crawley chairs that I bought at a consignment shop several years ago. They’re perfect for deep reading as they are comfortable, but they force me to sit upright and not slump over and fall asleep. In addition, I keep a pencil in hand for making notes and underlining. It makes a difference! (I’m also intrigued by Ryan Holiday’s suggestion to swarm.)

Hari also contributed to the conversation with Lopez’ work about being slow to draw conclusions:

“I realized one of the key reasons why social media makes me feel so out of joint with the world, and with myself. I think all of these ideas - the messages implicit in these mediums - are wrong. Let’s think about Twitter. In fact, the world is complex. To reflect that honestly, you usually need to focus on one thing for a significant amount of time, and you need space to speak at length. Very few things worth saying can be explained in 280 characters. If your response to an idea is immediate, unless you have built up years of expertise on the broader topic, it’s likely going to be shallow and uninteresting. Whether people immediately agree with you is no marker of whether what you are saying is true or right - you have to think for yourself. Reality can only be understood sensibly by adopting the opposite messages to Twitter. The world is complex and requires steady focus to be understood; it needs to be thought about and comprehended slowly; and most important truths will be unpopular with they are first articulated.”

(If the book is too much, Rich Roll had a great podcast with Hari on this topic. It’s long, but you can break it up over a few good walks!)

~ Pat Barker’s books on the women of Troy (read gorgeously by Kristin Atherton) have been keeping me company on my walks this month. Highly recommended!

Light and love, friends.

tonia

Poetry in a time of war

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a winter field with dew and cloudy skies, trees distant

I made a rule for myself a long time ago not to feel pressured or guilty about commenting or not commenting here on current crises. There are enough words going around at any given moment that mine are rarely needed, and I don’t think they are needed now with Russia’s attack on Ukraine. I just want to point you to poet Ilya Kaminksy (a USSR-born Ukranian poet who now lives in the U.S.) and his work Deaf Republic. I’ve seen We Lived Happily During the War around in several places but the whole book is worth your time. Especially, if you, like me, lie awake with a head and heart full of feelings and questions about war and its myriad agonies and dilemmas. I find I often don’t want “answers” so much as I want to acknowledge the way it feels to live in safety while others suffer, to just be helpless and confused and saddened. That’s what poetry allows. Maybe you will also find it a place of refuge.

Padraig O’Tuama’s take on We Lived Happily During the War.

For me, I’m sitting with this selection for awhile (from the final poem, In a Time of Peace)

“All of us

still have to do the hard work of dentist appointments,

of remembering to make

a summer salad: basil, tomatoes, it is a joy, tomatoes, add a little salt.

This is a time of peace.

I do not hear gunshots,

but watch birds splash over the backyards of the suburbs. How bright is the sky

as the avenue spins on its axis.

How bright is the sky (forgive me) how bright.”

May peace keep the people of Ukraine and all of us.

tonia