Losing and Finding

As of New Year’s Eve, I’ve lived in my apartment for five years. (For me, a woman who has moved and moved and moved throughout her life, that’s a long time. It’s not the longest I’ve lived somewhere, but it’s in the top three.) Early in my time here, I misplaced two things that are deeply precious to me: the charm bracelet my mother made for me when I was in high school and a beautiful piece of aventurine that was a gift from my best-beloved aunt many years ago. 

When I first realized my bracelet wasn’t where I thought it was, I thought immediately of the fact that its clasp and safety chain had been in need of repair. I wondered if it had fallen off the last time I’d worn it, which would mean it was truly, irretrievably gone. I didn’t want to believe that, felt certain that I’d have noticed it slipping off my hand. Still, it was nowhere to be found, so the possibility of for-real loss was there.

But I knew the aventurine had to be somewhere in my apartment. I had once almost lost it years ago. I used to carry it in my pocket to hold like a worry stone when I was out and about. After the near-loss, I’d stopped carrying it, stopped bringing it outside. So the aventurine had to be mislaid, not lost.

I’ve misplaced things in my home before. I mean. Doesn’t everyone? Those missing items have always turned up eventually. The charm bracelet and aventurine didn’t and didn’t and didn’t. Didn’t and didn’t and didn’t. 

I was sad about the losses in a wave-like way: sad all the time in a quiet, under-the-surface way and then bursts of frustrated-and-weepy sad. Neither item could be replaced. My mother had spent four years adding charms to my bracelet, each one selected to represent some bit of me – the instrument I played, the hobbies I’d enjoyed, my age. The one time years ago that I thought I’d lost my piece of aventurine, I’d bought another couple of pieces to replace it. None of those pieces had the color and glitter of my piece, and even if they’d magically been identical, they wouldn’t have come from Mildred, so the love I felt when I held that stone would still have been lost.

Last year,  I was reorganizing my clothing storage, doing a little bit of a Marie Kondo purge-and-refold. In a ring box in a bag that I thought held only jewelry I was either going to chuck or salvage for parts, I found my bracelet. I was ecstatic. As soon as I saw it, I remembered putting it in the box so that I could take it to a jeweler and get it fixed. How the box wound up in that bag of mistakes and messes, I don’t know. I shuddered, remembering that I’d twice almost tossed the whole thing in the trash without looking through it.

I took everything in my closets apart then, certain my aventurine must be there, too. I searched through places it would never have made sense to keep it. I looked in every storage bin and bag, checked the pockets of every dress, every pair of jeans, every coat. Nothing.

Since the start of the year, I’ve been slowly working my way through Apartment Therapy’s January Cure. I’ve done the Cure once in entirety and twice in unfinished fits and starts. I’ve been pushing myself this time around, determined to complete the house overhaul. The pandemic has made so clear to me how much I haven’t truly made my house a home in the five years I’ve been there. I’m determined to make my space work more comfortably for me, clear out the many oddbits I truly have no need or desire for, finally sort and organize my craft storage closet, set up a second WFH area in my dining alcove so I don’t only have to work in my bedroom.

On Saturday I gave myself 15 minutes to reorganize my journal storage. Used and new notebooks had been piling up haphazardly on a couple of shelves and frustrated me every time I looked at them, so I set about clearing the space so I could put things back in a way that made sense.

I found more than journals, of course. I found a folder of my writing that I’d forgotten about, and another folder of readings from the discussion group I co-facilitated when I’d worked in the Mayor’s Office. I found a small container of catnip, twenty dollars in singles and fives, some cute stickers a friend had sent me, some note paper I’d started using during the handwritten-letters portion of the pandemic, and some stamps I’d saved from a package that had come from Ghana.

And – under all the papers, shoved so far back in the shelf it was poised to fall out of the rear opening to be lost behind the bookcases I had no plan to move – was my aventurine. 

Yes, I cried. I cried. My beautiful stone from my beloved ancestor was no longer lost. No. I have no idea why it would ever have been on that shelf, how I would have piled papers on top of it. But it was found. At last. 

My senior year of college, I was out for a museum day with a friend. We took a cab from the museum to our chosen late-lunch spot, took another cab to Grand Central to head back to campus. In that second cab, my friend realized she no longer had the lovely silk scarf she’d been wearing. She searched her bag and pockets, talking about when she’d gotten the scarf and how much it meant to her. She was sad and frustrated to realize it was gone, that she likely left it in the first cab. 

Our driver, hearing and rear-view-mirror witnessing the discovery of the loss and the fruitless search, shared some driver-side wisdom: “We only lose the things we don’t really need, the things that don’t serve us or hold us back. The next person to find that scarf needs it, more than you.”

My friend was enraged and spent the rest of the ride haranguing that man. She refused him a tip when we reached the train station, asking for every coin of change back.

That … was a mess. From both sides. There may be a kernel of knowing in what the driver said, some deep, way-of-the-universe mumbo jumbo that could have served a purpose. But for-sure not in that moment, not when the loss has only just been discovered. And, too, would it ever make sense to put so much weight on a pretty piece of fabric? To say it was holding her back, not serving her? I mean, really. It was a scarf. It had served perfectly well until it was lost.

Had my bracelet and stone been truly lost forever, it’s possible that whoever found them would have been happy to have them, might even have come to cherish them to a degree similar to mine, though not for the same reasons. Had I lost them, the love that created the bracelet or inspired the gift of the aventurine wouldn’t have been lost, of course not. But I like my physical, tangible tokens. That’s a truth that stands between me and a future tiny-home life … and one that makes the loss of beloved objects painful, makes the finding of them joyous. 

That cabbie’s half-flippant dismissal would have set me off, too. Beloved possessions don’t need to have the power to hold us back or propel us forward. They just are. They charm us (no pun intended), connect us to memories. Losing them might not bring world’s crashing down, but the losses have weight, and we get to feel what we feel and don’t need strangers brushing our human-ness aside.

I’m glad this period of separation from two of my favorite things has come to an end, glad I no longer have to mourn the loss of either … and glad that they, like many of my most cherished things, are quite small, small enough to join me in my future tiny house.

I don’t subscribe to the notion that every loss is orchestrated by the hand of fate. Some losses are just losses. The finding, though … the finding often feels like a kind of divine serendipity, objects returning to you when you need them specifically or miss them most acutely. That’s a notion I can get behind.


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In 2017, I took up Vanessa Mártir’s #52essays2017 challenge to write an essay a week. I didn’t complete 52 essays by year’s end, but I did write like crazy, more in 2017 than in 2015 and 2016 combined! I’ve kept working on personal essays, kept at my #GriotGrind. If you’d care to join, it’s never too late! Find the group on FB: #52Essays Next Wave.

Gratitude

I’m in Alaska at my writing residency. It’s lovely here, and I feel extraordinarily lucky to be here. My tourist day in town — the day before I came up to the residency itself — was studded with random moments when I’d be walking around and suddenly “Thank you,” would just bubble out of me. Out loud. Literally just saying it aloud as I walked on the beach, as I stood in the museum, as I sipped mead, as I stared up at the mountains. Thank you, thank you, thank you. I’ve never had gratitude burst out of me before. It’s a curious feeling. I’d like to experience it some more!

I’m here to write. I’m here, most specifically, to work on “Fat Talk” essays. I am determined to shape that series into a collection. And, while I haven’t been away from the project for long, I kind of have, too. I did some writing in November, but never cleaned it up and posted it. I’ve been thinking about the project, but haven’t gotten any words on paper.

So these two weeks are time to pull this project back to the front of my brain and see what’s what.

And that’s hard and stressful because a lot of what I want to write about it hard and stressful. Having to put into words the ways in which I have been mistreated is hard. Having to put into words the ways in which I have mistreated myself is harder. It’s good to be here to do this. To have time and silence to push through the rough pieces. To have a group of writers to sit with at dinner and feel embraced and heard. This. THis is why “thank you” just kept bubbling out of me on Saturday. The understanding and anticipation of the gift of this

I came up a day early so that I could recover from a 20-hour travel day and play tourist in Homer for a minute. I wish I could have come up a full week early. I enjoyed my day of wandering in the cold and rain, however. I was exhausted — arrived at 7:30 in the morning but couldn’t check into the hotel until 5, so I had to stay awake and do something all day. And I did. Walked on the beach, stared at the mountains, had a really good omelet, went to the very excellent and inspiring Pratt Museum — if you’re going to be in Homer, for-sure visit the Pratt. It’s small and lovely. After the museum, I walked over to the Sweetgale Meadworks to try mead for the first time. I sampled all the meads ( 😉 ) and even got pics of a visiting moose before it was time to head to the hotel. On the drive to the hotel, we passed a coffee klatch of bald eagles — six of them just hanging out on the beach. And then I discovered that I’m not too early for late daylight! I thought I’d miss the whole midnight sun extravaganza … and I will, but the sun sets after 10pm right now, so daylight just goes on and on. It’s magical.

Here are some pics from the last few days:

My first good look at Kachemak Bay, taken from the back deck of the hotel where I stayed the first night.
The flights of meads I sampled. The flight on the left had my favorites: Sweetgale, Nagoonberry, and Wildflower.
One of the two moose who came by the meadery as I was sipping mead.
The view from my hotel room … at about 9pm. Crazypants that it was still this bright out!
Hanging out at the Salty Dawg Saloon before heading out to the residency. (That Stella Cidre was good stuff!)
A piece of the view from my cabin window here at the residency. That’s Cook Inlet.
Running away to write. 10/10 highly recommend
A mated pair of Sandhill Cranes who were hanging around outside the main house when I walked up for breakfast yesterday.

And now it’s time to get back to work! ❤


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Count Down to Fabulousness

I am in the countdown to my next writing residency. It’s still a bit of a lengthy countdown, but it’s closer and more exciting to me every day. I am thrilled to be part of the 2022 Storyknife cohort. Storyknife, a residency for women writers, is in Homer, Alaska, and I’ll have two weeks there. Two weeks to breathe, to dream, to test, to release. And yes, to write.

This will be my second formal writing retreat — the kind you have to apply for and be accepted into. I’ve given myself a few DIY retreats, and they have been wonderful, but there’s something different about a residency.

One of the best things about a residency is being around the other residents. Storyknife is for writers. My first residency was for artists of all types. There were five of us — two painters, a photographer, a poet, and me (I was there to work on my comics). There can, of course, be differences in genre among a group of writers. Working alone in my room while being surrounded by people focused on their work has a kind of magic. Coming together over meals and sharing whatever’s been swirling in our heads all day is another kind of magic. My DIY retreats have all been great, but I was alone for all but one of them, so that working-alone-but-in-creative-company aspect was missing.

So looking forward to my two weeks. I wish it could be longer, but two weeks is how long I can reasonably run away from my job. In the case of this particular residency, I wish I could take an additional week just to be in Homer, just to be in Alaska. I’ve never been and have always wanted to go. I’ve added a couple of days to the start of my trip so I can be a tourist (wildlife sightseeing boat tour, here I come!), and I’m hoping the temperature will be my friend and I’ll get to write outside a little during my stay.

Here’s a lovely video about the idea and experience of Storyknife. In it, Executive Director, Erin Coughlin Hollowell, says, “Women’s stories will change the way our society works.” Whew! The way that statement reverberated in my head and heart!

I’m receiving a lot of YES about my writing lately. That’s a good feeling … and a feeling akin to having a gauntlet thrown down in front of me: here it is, the thing I’ve said I wanted and needed. What am I going to do with it? I’ve written about how I can’t resist a challenge, and a residency is a kind of challenge I want to welcome again and again and again. What will I do with it? We’re all going to have to wait and see!


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Better than a message from our sponsors …

My city has been producing an evolving series of PSAs starring the Commissioner of the Department of Health and Mental Hygiene. And now, the Deputy Commissioner as well. They’re all about Covid and how to protect and care for ourselves and others, how to take on this fight together as one big family in this city.

When I first started seeing the PSAs a couple of months ago (interrupting my very important binge-watching on ParamountPlus), I thought they were silly. Did I really need messages from the amiable and nerdy, soft-spoken Dr. Chokshi? Turns out, yes. Yes, I did. Not because I was learning new information but because Chokshi and now his Deputy Commissioner, Dr. Morse, are so grounding and reassuring. There is something gentle and confident and comforting about both of them.

And, too, I did learn something from Dr. Dave (he calls himself this, I’m not being overly casual). In one of his newer PSAs, he reviews the three kinds of masks recommended to keep us Omicron-safe … which is how I learned (FINALLY!) the name of the mask I’ve been wanting to try: the Kf94. I’ve been seeing people wearing these masks (they’re quite common), but every time I ask someone what it’s called, they’ve told me it’s a KN95 … which is a totally different mask.

So, I’ve just ordered a batch of these “fish mouth” masks (does anyone really call them that?!), and I’m hopeful that they’ll work better for me than the N95s and KN95s I’ve struggled with.

I will now acknowledge that I love these tiny PSAs, these quick hits of health info. Love them. Dr. Dave and Dr. Michelle are pleasing the mess out of me. I would love to know whose idea these spots were. Who looked at Dr. Chokshi and said: yes, this guy is exactly who the city needs to hear from during commercial breaks. I’d like to shake that person’s hand and commend their cleverness. Dr. Chokshi is a hit, and now so is Dr. Morse. They’re a one-two punch of public health help.

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And yes, there’s more to the fabulousness of these PSAs than the Covid messages that are being given. Both the Commissioner and Deputy Commissioner are BIPOC. Both appear on camera in lab coats with their names embroidered over the breast pocket. And I can’t help but think about the power of that image, the power of seeing this brown man and Black woman standing and delivering, representing the formal administration of health and safety for this city full of brown and Black people.

There’s always someone who questions how much representation matters, who questions whether it matters at all. I’m not here to argue nonsensical questions. It matters. Full stop. These PSAs are plentiful, and they’re quick, tossed into the sea of ads that fill in the spaces between segments of our chosen programming. Seeing Doctors Chokshi and Morse over and over in their quiet minute-long spots is sending an even quieter message, one that I am definitely here for.

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I am making myself laugh, seeing how into these PSAs I am … and now I’m even more into them because I’ve just seen a new one that features the First Deputy Commissioner and Chief Equity Officer at DOHMH, Dr. Torian Easterling. Dr. Easterling is a big, Black man with a resonant, calmingly authoritative voice. He’s also someone I met back when I worked in the Mayor’s Office and whom I’ve liked and admired for years.

These PSAs are exactly what I needed right now. I wish I could also believe they will be the magic bullet that will help turn the tide here, bump up our vax percentage and get the unmasked to straighten up and fly right. I don’t see that happening as a result of gentle PSAs, but a girl can dream.

In the meantime, I’m just enjoying seeing “the city’s doctor” encourage sanity and compassion. Thanks, Dr. Dave!


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Original Slicer - GirlGriot

Making a Run for It

I am a great fan of stories in which a woman decides to run away from her life. Think Shirley Valentine. It’s one of the first versions of this genre that I recognized as a Runaway Lady movie. My all time favorite, however, is an Italian movie called Pane e Tulipani (Bread and Tulips). In the case of this film’s heroine, she doesn’t make the decision to run away from her life until her life walks away from her, but she embraces the change in circumstances in the most beautiful and pleasing way.

So yes, it was a while before I recognized the pattern of my fascination with these stories, how drawn to them I was. I don’t have a life that is even a little bit like the lives of the women in those stories. I’m not married, have no children, don’t feel trapped and invisible in my world. And yet …

I said Pane e Tulipani was my all-time favorite of this genre. And that’s true … or, it has been true for years. Last year, in my Covid-inspired just-watch-every-streaming-thing life, I found a new movie to add to the list, and it quietly slipped right into the number one slot.

The movies that fill this category for me all have one clear thing in common: the star player is a white woman. Always and always, the sad, lonely, beleaguered, undervalued, tired, frustrated woman who chooses to walk away from her world is white. She goes somewhere, often someplace “exotic” and finds new happiness. I’m not casting aspersions on my much-loved plot line. I’m just saying that these particular plot details stand out in their sameness and in how much they aren’t like me.

Yes, there is gorgeous Angela Bassett as Stella getting back her groove, but Stella didn’t run away from her life. She went on vacation, that’s not the same at all. No.

Pane e Tulipani is still bathed in golden light and still holds a warm place in my heart, but the movie that smiled and laughed its way to the top of my list is Juanita, starring the incomparable Alfre Woodard. Juanita has so much going on, quietly and charmingly, and juggles all of its pieces skillfully and beautifully.

For me, the chance to watch this completely regular woman – not someone who can afford to buy an Italian villa (Diane Lane in Under the Tuscan Sun) – decide to just pack her bag and go is an invitation to breathe deeply, to settle in and enjoy. And yes, the fact that Juanita is a regular Black woman makes all the difference. She’s no Stella with a high-powered job as a lawyer and a big, gorgeous home. She’s a caregiver, working in a skilled nursing facility. I can look at Juanita and see myself, which I could never do with Bassett’s Stella or Julia Roberts as Elizabeth Gilbert (in Eat, Pray, Love, one movie in this genre that I really, truly don’t care for).

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I am not dreaming of running away from my life. Not in any significant way, at least. I would happily run away from the mountain of fertility treatment debt I continue to pay off, but I rather like my life otherwise.

So, not running away, but definitely wanting more opportunities to get out of Dodge, to escape, even briefly, from the miles-long lists in my bullet journal and actually sit still and quiet and have time to breathe, to think, to write.

A few weeks ago I gave myself such a getaway. A friend and I decided to make a DIY writing retreat. We went to the woods somewhere in Pennsylvania and were surrounded by woodpeckers, blue jays, mourning doves, and goldfinches, surrounded by trees and trees and trees … and with nothing to do by get the worlds out of our heads and onto the page.

This was my fourth DIY retreat, the third that I’ve done with friends. I had let myself forget how important this kind of time is to me. After all, I’ve been sitting alone in my apartment for 18 months, shouldn’t I have been able to use some of that time as a mandatory retreat or some such? But, of course, no. That’s not the same as taking myself away for dedicated writing time. Sitting in my home means being surrounded not by chatty birds but by all my undone chores. They mock my attempts to stay focused, reminding me of everything I have to do around the house.

I do write at home. Of course I do, right? If I didn’t, I wouldn’t have much to show for myself, since I spend the bulk of my time in my day-to-day life and not on vacation.

Still, respites are gold and so very necessary. They give me a kind of reset with my writing, and I need that whenever I can get it. A chance to recommit, to remember my writer self.

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This most recent getaway was the first time I’d drawn even the faintest line of connection between my retreats and my obsession with runaway-middle-aged-lady stories. It’s not the location that’s inspiring me. If I were to flee my life, it wouldn’t very likely be an escape to the Pennsylvania woods.

My guess is that, rather than a “running away from,” what’s connecting for me is the “running toward” that is at the heart of each of these stories, that’s at the heart of my insistence on turning every vacation into a writing retreat. The women in those stories need to turn away from something in order to get closer to themselves, to their most authentic selves. I don’t need to turn away from my life, but I do need to remember to always move in the direction of my writing, always make and find space to do what I do when I go on retreat: sit still and quite. Breathe. Think. Write.


In 2017, I took up Vanessa Mártir’s #52essays2017 challenge to write an essay a week. I didn’t complete 52 essays by year’s end, but I did write like crazy, more in 2017 than in 2015 and 2016 combined! I’ve kept working on personal essays, kept at my #GriotGrind. If you’d care to join, it’s never too late! Find the group on FB: #52Essays Next Wave.