Happy Endings

Tonight I saw Suzan-Lori Parks’ Topdog/Underdog. I never saw the original production with Mos Def and Jeffrey Wright. I imagine it was magnificent.

I’ve never known the story of this play, so tonight was entirely fresh for me. Still, I knew that people really shouldn’t have been laughing — or at least not quite so uproariously — at certain turns in the plot. I knew very early on where we were headed.

Knowing didn’t make the experience any less powerful. Maybe gave it that much more weight. There are so many reasons that this story resonated deeply for me. But, beyond the feelings of personal connectedness with this story (which, of course, could not be less like anything in my own life, but still), there was the beautiful revelation of the actors’ performances.

Not surprise that Corey Hawkins and Yahya Abdul-Mateen II are good actors. I’ve known that for some time. But the nature of the play creates such an extraordinary space for two talents to expand in, so much room to stretch fully into the roles, into the electricity of playing off one another, into owning so much real estate on the stage.

I left needing some connection, some … something to shine its light on me. Not a happy ending. I don’t always need a happy ending. But something. My walk from the theater to the subway had no magic, however, and folks on my train were very drawn into themselves. I mean, of course, but I needed some energy from them, some of the random connection this city often tosses up.

And then we pulled into Dekalb. A bunch of people left the train. A man jumped up and crossed over to a seat A young woman had just vacated. He was shouting … because she’d left her fanny pack on the seat. She was walking away from the train, not hearing him or any of the other people who began shouting for her. Whatever was streaming through her earbuds did a good job of keeping her focused away from the train.

Trains don’t sit long in stations, so there wasn’t much time. Some people in the car told the guy to toss the bag onto the platform. A teenaged boy and I had left our seats and were standing in the doorway. We shouted almost in unison: “Lady with the green hat!” And she finally turned around and saw the man waving her bag in the air from the next door down the car. She ran over and grabbed it, the doors closed, and we continued on our way.

Thank you, my city. It was what I needed. I didn’t want to feel so anonymous in that moment and New York conjured up some we’re-all-family business for me.

What’s more, I’ve been that woman in the green hat. Years ago, I walked off a tram in Budapest without my purse. I ignored the shouts behind me and kept walking. Someone on that tram made the decision to fling my bag at me before the doors closed. And that lovely soul had a strong arm and great aim. My bag slammed into the back of my head, very definitely getting my attention. I was that woman just a few weeks ago. I took off my backpack at the grocery store and was walking away after checking out when the man behind me smacked my arm with my bag. I have been that woman a number of times between Budapest and Foodtown. And always, someone saves me from my foolishness.

So thank you again, my city. We’re all family, and I’m not in this alone. Wrapped in one random moment on a southbound express train. I’ll take it.

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.

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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On the cusp …

Today was first contact. First emails exchanged with the cohort of women I’ll be joining in Alaska in 12 days. And it has me feeling giddy and smiley and full and deliciously excited.

And these women, this group of strangers, has already extended their kindness, made a change in whatever plans they’d made for this residency … for me. From the moment I knew I’d be heading to Alaska, I’ve been looking at day tours, looking for one that would answer my craving for nature and wildlife and (with luck) excellent photos. But then I discovered a) that most of the tour outfits don’t start up until well after the time of my residency and b) the one that runs year-round doesn’t book solo tours and doesn’t have any tours scheduled that I could tag along on. Their minimum number for a tour is four people.

So I wrote my cohort and asked if they’d be willing to give up a chunk of a residency day to help make my dream become a real thing … and they stepped right up and said yes!

I am feeling lucky tonight, feeling seen and held. We don’t know each other … but we know each other, right? We know that each of us is a woman writer who’s been granted this time to embrace ourselves and breathe deeply and expand out to our farthest edges. And to support one another in that embracing, breathing, and expanding. And if part of that for me is getting to go on that wildlife tour, and I need their help to make it happen … well, there they are, saying yes. Saying yes for me.

Grateful.

And this little bubble of bonhomie is extending to ghazals tonight. I won’t pretend I’ve suddenly fallen in love with my poems or this form, but this one works for tonight, and I’m grateful for that, too.

Greater than Fear

We run toward the center, we're diving in deep.
Our minds all open and clear, diving in deep.

We haven't yet met but still, drawn to each other -- 
common desire wraps our sphere, diving in deep.

Each one carrying pieces that need making whole,
coming with all we hold dear, diving in deep.

We have faith in the chance that we'll find what we need.
Faith that rises, greater than fear. Diving in deep.

And I, Stacie, make my lists and check them thrice.
I'm arriving, ready, sincere -- diving in deep.

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National Poetry Month 2022: the Ghazal

As I’ve done for more than ten years (what?!), I’ve chosen a poetic form, and I’m going to try to write a poem in that form every day for the month of April … and I’m saying that boldly, knowing that I’ve already failed. I couldn’t find my way through to a poem on Day One, but I’m determined to continue.

The “Ghazal” is the form I’ve chosen for this year. Here is the structure and a little backstory (thank you Poetry Foundation):

“Originally an Arabic verse form dealing with loss and romantic love, medieval Persian poets embraced the ghazal, eventually making it their own. Consisting of syntactically and grammatically complete couplets, the form also has an intricate rhyme scheme. Each couplet ends on the same word or phrase (the radif), and is preceded by the couplet’s rhyming word (the qafia, which appears twice in the first couplet). The last couplet includes a proper name, often of the poet’s. In the Persian tradition, each couplet was of the same meter and length, and the subject matter included both erotic longing and religious belief or mysticism.”

Should be interesting!

24 Hours: Do I Dare?

What is it with me and challenges? I can’t resist them. Cannot. I never used to think of myself as a competitive person, but I so am. And that’s part of the driver behind my saying yes to challenges. I’m competing: against the ridiculousness of the challenge, against myself.

I think it throws me back to taking a dare as a kid. Someone would thrown down some petty or foolish gauntlet, and I would immediately feel the pull to dive in and prove … who knows what, but prove it all the same. Clearly, I’ve never outgrown the inability to resist that pull.

All this to say I can’t resist. Generally speaking, the challenges I take on are fairly mild. They come in the form of, say, doing NaNoWriMo. Or the 30/30 poetry month challenge … and sweetening the pot by choosing a poetry form and writing that form all month long. Not easy for me, but pretty harmless.

The 24 Hour Project is one of the challenges that keeps captivating me year after year. It tests me on different levels:

1. Can I stay awake and mostly functional for 24 hours?
2. Can I find something or someone to photograph every hour of the day?
3. Will I be able to imagine a story to write for each photo I post each hour (this is the “sweetener” I’ve added to the basic rules of the 24HrPrj)?
4. Will I be able to get all the photos of people that I want without being spotted (I fail this every year, always get busted at least once)?
5. Will I venture into neighborhoods I haven’t visited on previous 24HrPrj days?
6. Will I post all my “leftovers” after the day — all the pics that didn’t go up on the challenge day but which I still want to make stories for (I haven’t succeeded with this one this year … yet)?
7. If I’m going out alone, will I settle into the fun of the challenge and not let the worry and discomfort of being alone on the street in the middle of the night sour my good mood and make it hard for me to take pictures (this one is really a crap shoot and has as much to do with me as it does with who else is out on the street in the middle of the night)?

Is it any wonder that I love this challenge when it has so many challenges baked in?

I had a lot of fun this year … after I managed to succeed at Number 7, calming down about being by myself. Both of the friends who’ve gone out with me in the past weren’t able to do the Project this year. I did wind up running into my friend S, the person who introduced me to the challenge. I spotted him in Times Square around 4 am and hung out with him and a few other 24 Hour Photogs for a couple of hours then met up with him for another couple of hours in the evening.

I was rusty with the story-making. Not only was the Project Covid-canceled last year, being in quarantine for the last forever has meant not being out and about that much, not taking pictures, not having the catalysts/inspiration to make up stories.

So yes, quite rusty. But after a couple of hours it began to feel easier. There’s a picture from the two o’clock hour that was the turning point. I had found an all-night diner (key establishments for making it through the Project, to be sure) and took a picture of a police officer who was having dinner and a very involved conversation with his partner. In the picture, he is studying the menu. The combination of his serious face and the fact that he reminded me of a friend’s son and echoed her older brother who had been a police officer all clicked for me and the story just fell into my head. From that point forward, the stories came more quickly and smoothly.

*

I miss my city. Eighteen months in my room is a long time to be separated from people watching, grabbing a coffee at a favorite café, chatting with store employees, having random and excellent encounters with strangers.

That last one is one of the things that struck me hardest during the 24 Hour Project. I miss talking to strangers, something I’ve always done quite a lot of … but not since Covid came to town. Around 7:30 Saturday morning, having seen my way through the long midnight-to-dawn of the challenge, I was headed home to charge my devices and recharge myself. I stopped in my grocery story because I still needed a photo for the hour. I saw an elderly woman I wanted to take a picture of. I did take a picture, but she surprised me by starting to talk to me.

Not only did she talk to me, but she was funny and sweet. At two moments in our conversation, she reached over and put her hand on my arm. You know, the way you reach for a friend’s arm when you’re talking and you want to emphasize your shared feeling at that instant. And she did it twice.

I am a toucher. I like affectionate physical contact. Not with everyone, of course, but yes, I like it. Having this woman touch me in this conversationally intimate way — after a forever of almost no physical contact, when we were strangers, when she was a tiny elderly white woman and I a big, Black woman — it was absolutely beautiful. It made my heart smile.

I have missed this type of sweetness my city has always given me. Yes, the city has given me some ugly moments, too, for sure. But I get much more of the random kindness and connection of that exchange in the chips and cookies aisle.

* * *

(My 24-Hour experience this year was a warm welcome back to my city. But what a difference a couple of weeks can make. I was out taking my pictures on July 24th … and now, Delta is threatening new lockdowns. I’m glad we got the Project in before the tide started to turn, and I really hope we can stay on the safer side of this variant wave.)

Do I dare? Well, I certainly always do when it comes to the 24 Hour Project. It’s such a great idea and a fun event, and I love following people from around the world, getting to see a day in their cities. This year I followed two Italians, a Pole, two Mexicans, one Turk, a couple of Australians, and a handful of people around this country. In a sense, I guess it’s a virtual way to have a random conversation with a stranger.

I need to get back to posting my leftovers … and some of the shots I’ve captured since the event. I’m already looking forward to next year!

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What I Would Give for Surprise

Officer Rusten Sheskey of Kenosha has returned from administrative leave. He will not face any disciplinary action for shooting James Blake.

And it’s Tuesday. A Tuesday like any other. Nothing shocking, nothing out of the ordinary. One more in the forever line of days of being at constant risk in this land of the free (whites) and home of the (trigger happy) brave.

* * *

Let’s talk about Golden Shovels, shall we? I’ve been so tired the last few days, I haven’t had time to think about how hard this form is for me. All I’ve been able to do is churn out a poem and get it posted. I posted a comment earlier that showed me at least part of what the road block is for me with these poems. Yes, having a prescribed set of words and word placement is restrictive. The bigger issue is that the lines I’m using as my source text are from Clifton’s poems. Using them feels rudely audacious and makes me even more self-conscious than I would normally be. So yes, the task I’ve set for myself for this month is specially designed to trip me up. Brilliant!

Despite all of this, I am actually starting to feel more comfortable with the form. Not snuggled in the way I was with the tanka. I don’t know if I’ll ever feel that cozy in another form, but I am feeling less like a combatant, less under siege. That’s a good sign, of course, and it’s kind of right on time. It’s usually around the middle of the month that I stop approaching my chosen form as if we’re cage-fighting. It remains to be seen if I can approaching something closer to actual ease with this.

Tonight’s source text is from “the times.”

No Charges

That confidence, safety, certainty is so white,
so very, blindingly white, and
the heat of it burns, glowing, as I
watch it dance, saunter, flaunt its might.
I understand.
I do. I might be the same, except
nothing in this unwelcoming birthplace has afforded me that
freedom, that comfort. Instead, I
have built every good thing I am.
And today what I feel is tired,
as again I spit out a bitter draught of understanding.

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National Poetry Month 2021: the Golden Shovel

As I’ve done for the last forever, I’ve chosen a poetic form, and I’m going to try to write a poem in that form every day for the month of April. I don’t always succeed, but I always give it my best shot. The “Golden Shovel” was created by Terrance Hayes in tribute to Gwendolyn Brooks. I learned about it from my friend Sonia (aka Red Emma). I’ll be using Lucille Clifton’s poems as my starting point this month. Here are the rules:

• Take a line (or lines) from a poem you admire.
• Use each word in the line (or lines) as the end word for each line in your poem.
• Keep the end words in order.
• Give credit to the poet who originally wrote the line (or lines).
• The new poem does not have to be about the same subject as the poem that offers the end words.

If you pull a line with six words, your poem would be six lines long. If you pull a stanza with 24 words, your poem would be 24 lines long. And so on.

Should be interesting!