spiritual

April 17, 2007

Boys and their toys

10withsword

I wrote a column for my Nature and Nurture gig at Gather. I meant to post it yesterday, but I held off. I'm rewriting it, rethinking my words. The tragedy in Virginia yesterday gave me pause. I wrote about my boys and the way they gravitate toward weapons of destruction even though I am a pacifist at heart.

What kind of animals are we, covered in skin manipulated, waxed, to look less mammal? We think we rule this planet, think we can scoop fresh earth and mold it into the future, into something that pushes us further away from the dirt itself. We have so many things to change about our kind. I don't know if we have it in us. I want to believe we do.

January 30, 2007

Thirty-six Days Past Solstice

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I have a story posted at Brad Listi's The Nervous Breakdown. Please visit my story: Thirty-Six Days Past Solstice in a Circle of Dead Refrigerators and leave me a comment over there!

January 01, 2007

Wish me luck...

I'm on my way to do the annual Polar Bear Plunge!!! Temp is a mere 22 degrees F, and Storrie Lake probably has ice mixed into her depths.

It's all part of my Re-Birdification process...

If I don't die, I'll update with photos!

December 21, 2006

Happy Winter Solstice!




It's Winter Solstice! What's a neo-Druid to do? Visit StoneFridge outside of Santa Fe, of course!

I'm taking the boys - if we can forge the blizzard-crusted roads - to see this monstrosity of refuse.

Report to follow...

December 16, 2006

The Marshmallow Paradox



Photo courtesy of Eric Swanson, photographer of amazing ability and two-marshmallowed phenomenon

A Santa Fe photographer knelt against the concrete curb, a long-lensed Nikon pressed against his face. I could see his dirty-blonde eyebrows, a hint of calculated smile. His left cheek radiated concentration, the stark and bitter flavor of work. His assistant lifted a memory-wire rimmed white circle. She let the sun fret behind it, let the flat umbrella cast opaque light on her subject. I stood, my cowboy boots on decorative gravel, an Avon bag in my left hand.

"Hey, what's the strangest person you ever photographed?"

I let my voice rise over the wind. My hair whipped against my back. A gold clip encrusted with fake jewels couldn't hold it, couldn't hold the mountain cascade of harsh air, the tide of time.

Eric didn't answer me the first time I asked. He hemmed and hawed, let his posture push me into the sage, into some kind of green rust-flavored background. He considered my question, answered with a few shorts words about a famous actress and her strange shoot requests. I didn't press. I shifted one leg, then the other. The wind blew my hair over my eyes, into the corners of my mouth. I moved the Avon bag from one hand to another. The photographer snapped one shot, then two. I felt silly, ugly, an Avon poser, a fragment of discarded beauty, a woman who shouldn't sell Avon, who didn't know one damn thing about looking good, who didn't know the least bit about positive thinking. The photographer snapped another photo. He pressed a button.

A slim card slipped out of his assembly. He replaced it for another. He knew the photo shoot had to radiate excitement, carry the viewer from home to some frenetic happy plane of existence. The customer, Positive Thinking Magazine, demanded it, asked for an Avon Lady with energy, with beauty room to spare. I tried to look thrilled, beautifully enigmatic. My nose itched. I rubbed it with an un-manicured finger.

"Hey, Birdie. You ever hear of the marshmallow study?"

The photographer paused as he examined the remaining memory chips. His young assistant brought her right hand to her updo. Her hair curved in the symbol of infinity, in a layered figure eight, held in place with two short wooden pins. I stared at her hair. I stared at her face. I wondered if I were old enough to be her mother. I decided I was.

"No, don't know anything about marshmallows."

He smirked. He held a light meter close to my face. He fiddled with his camera. His fingers looked like thin, mottled sausages, like cylindrical meat left in the sun, as if they were cured with thought nitrates, with some kind of solid emotion. This man's body understood, translated thought into binary message even the new moon could understand. I saw the sun bow behind him, saw the ground move aside as he closed the shutter. He motioned to his assistant to manage the light. He messed with this and that, with yesterday and tomorrow, with me so anti-beauty, so damn anti-Avon that I showed up for the shoot without a trace of makeup. He kept moving equipment, one piece then another, small pieces I didn't recognize.

"Well, a scientist - this was years ago - took a group of elementary kids and gave them each a marshmallow. He told them that they could eat the marshmallow right then and there, enjoy it. Or they could wait, and hold on to their marshmallow. If they kept the candy, they would get another marshmallow when he returned a few hours later. Some of the kids ate their marshmallows right away. Some of them kept them, waited for the prize. Years later, he determined that the kids that waited and got two marshmallows were happiest. They understood what it took to get through life, you know?"

I knew. I knew I was a two marshmallow kid, a wait for the prize kid, a delayed gratification human. I knew in that moment, though my year was frought with peril, with burnt marshmallows, with campfires plumb out of control.

Damn me and my fricken second marshmallow ways, I thought. I am tired of waiting for something to happen.

A week later a friend visited me. His name was John Bell. He came to me from the internet, from the interaction of our pixels, our somehow connected Avon thoughts, advertising thoughts, transparency thoughts. He visited because we built some kind of two-marshallow friendship. He brought his family, his two children the same ages as my two youngest, his companion, his open mind, his love of story and his deep understanding of the concepts that bind human to product, human to human.

John sat in my dining room, my three parrots watching our every move. He breathed the New Mexican air, the space I've experienced while pushing Avon, pushing product against reluctant consumer. He knew what I faced, in that moment he knew, knew the poverty and love I tried to fan across the digital divide. He knew.

His oldest child, his son, disappeared with my son, 11. They moved mirrors against a cool square surface, a game called Deflection. They shared the same space, the same love of science fiction and fantasy, the same shrug of sports, the same outcast fire. I didn't watch them. I sat with John, with his dear companion wife, with his daughter the same age as my youngest, 9, but removed by gender, removed by uncertainty. She watched the parrots, spoke to them the way only children and other birds understand. Her long blonde bob framed a young face round and content, a face decorated with thin-wire glasses, with innate happiness, with a two-marshmallow expectation of the goodness of the whole damn universe, the same two-marshmallow belief John and his entire family shared. We talked about life, about Avon and customers and children and New Mexico, all things delayed, all things that echoed the thoughts of that photographer in the stark Santa Fe sands.

I've surrounded myself with the Two Marshmallowed, I thought. I know them. I know them. We all believe in something greater than us, in the power of truth, the power of time, the power of forgiveness, the same crazy life understanding that my parrots, my dog, my pot-bellied pig understand. Only the happy know what we know.

John left, his family left, the same way Eric the photographer left, in a cloud of tired New Mexican dust.

Carpe mañana, I thought. Seize tomorrow, seize the potential we all have, the life we all hold underneath the surface.

As John and his beautiful family headed toward Taos I remembered my friend Carroll, the first real friend I met on the internet, the friend who taught me that sharing emotion was the only real thing I could ever, ever do.

"I'm so glad you're a pathological optimist," she said. She wrote it in email, but I could hear her clear California voice across the digital divide. "Because what else is there?"

Carroll doesn't know I printed out that email, taped it to my wall the fifth week I ever put my mind to words, my thoughts to blog. She doesn't know I carefully pulled the paper off the wall when I moved from ocean to mountain, when I stuffed my two Avon years in my pocket and made a new place home. I taped her words to the wall behind this damn computer, behind my sorry tiredness, my sickness with Avon, with being a single mom, with loneliness and fatigue. I taped it to my cracked stucco wall.

Here I sit, a few weeks after John, a month after Eric, almost three years after meeting Carroll. Though the year sets in darkness like the new moon, though I sit here in the same poverty, the same aloneness I suffered over three years, I feel the current of those two damn marshmallows, the current Eric lets unleashed through his photography, that John lets melt through his advertising genius, that Carroll seeps through her pathologically optimistic life.

Yeah, I'm lost, I'm two months from the death of both parents, I'm broke, I'm single, I'm alone, I'm afraid. But damn it, damn it. I would still wait for that second marshmallow. You know I would. Not just me, but Eric, John, Carroll, all the people they hold dear. We carry those second marshmallows like a holy sacrament. You know it.

Somehow, in our solitude, in our art, in our interaction with others. We are the happy.

December 06, 2006

Descansos

Descansos_1

I passed twenty-eight of them along the interstate on my way to the airport. Descansos. Resting places. Engraved metal crosses pressed into harsh red clay. Plastic flowers covered in brown highway spit. A bright blue teddy bear, damp and withered. A carved wooden shadow box filled with photographs I couldn't identify at seventy-five miles per hour. A balanced rock cairn next to an empty porcelain vase.

I passed them four weeks ago on my way to my father's house. He died that morning, died clutching a spiral-wired phone to his chest. He dialed 9-1-1, couldn't speak. The last thing he heard was an operator named Christine telling him to wait, to breathe, to wait, to wait. Help was on the way. Please breathe.

Christine is my middle name.

My dad liked to tell the story of the day I was born. I slid outside my mom's body, a corporal treasure of blood and transfered pain. He held my mom's hand, one of the first men to stand beside his wife in his generation. He forgot to tell my mom to inhale. He watched the doctor grab my head, turn me right, left, twist my shoulders free, let my body fade from perfect darkness to chaotic light. I breathed.

"It's a boy! It's a boy!"

The doctor raised one eyebrow above a woven baby blue mask.

"Uh, Mr. Jaworski, that's the umbilical cord."

My dad never got that boy. He birthed four more girls. He birthed a pink quintet, a collection too petite for football, a basketball team without space for injury, recovery. He treated us like sons, like his Catholic saints, like fallen angels. As the oldest, I was crucified, I was misunderstood, left to suffer the eternal punishment of the five, left to echo the unfinished business he couldn't clamp. I never made him smile.

He died clutching a phone. He died of cardiac arrest. He died eleven months, eight days after my mom. He died a few weeks after open heart surgery. He died not knowing I wrote, not knowing I unloaded that birth pain on paper, ignorant of my calling, of the one thing that bound us together.

My father wrote. He wrote. He spent his blood on story, on charred paper. He told one book, then another. He wanted to make it big, make it Oprah, best seller, New York Times' worthy. He didn't. The words he spilled in his field took root, found home, echoed in paid print. But the words he tended, the ones he wanted to leave his nest never took flight. They sit on my computer now, six Mafia thrillers, six adventure stories with heroes so much like my dad I can't read them without seeing his head of spiked grey hair, his chiseled chin.

I drove to the airport, passed twenty-eight descansos. Twenty-eight locations of death, of automobile failure, crash, burn, failure. Twenty-eight. When I returned, the number was thirty-three. Thirty-three crosses, bears, flowers, shadow boxes, balanced cairns, roadside memorials.

My sisters couldn't deal with my dad's body. They wanted it reduced to ash, captured in an urn, sanitary, removed. They didn't gaze upon his face one last time, didn't wipe his stray hair off his forehead. I did. I followed the white hearse to the crematorium, the lone mourner, the eldest, the most forgotten, most unloved, most mixed-up, most black in a sheep field of gray. I drove my dad's car, let it follow its master on roads so Kansas straight it seemed silly to follow.

An echo. That's what I am. An echo.

The hearse turned right, then left, passed through a hedge so narrow, lush, I knew I birthed again, felt the pain of loss and chaotic light as we dove into a clearing, a patch of dried cold Wichita prairie surrounding the house of fire. I parked my dad's car. It sputtered as I pocketed the key. It knew. It said goodbye.

I met the Fire Man in his chambers. Two funeral home men lifted a long cardboard box onto a slick black table. They left, left me alone with fire, with death, with a man who tended the gateway to heaven, to hades. Fire Man didn't meet my eyes. He lifted the lid of the cardboard box, dropped it on the ground at our feet, let me peer inside, identify my dad.

"Yes. It's him. Thank you."

I let the tears fall. I couldn't stop them. They filled my cheeks, the scalloped edge of my cotton blouse. I wiped a shock of hair from my dad's forehead. He wore the clothes I chose - hiking shorts, hiking boots, a hemp shirt I gave him one birthday. His face looked odd, looked skewed, uneven, as if he were contemplating a great truth, contemplating yet another punishment for me.

"Thank you."

I looked at Fire Man. He wore tortoise shell glasses with large frames. He wore a maroon Polo shirt. He wore three decades of fire silence. I knew his age, knew his long association with the transference of matter without his saying a word. He carried himself like a soldier, like a firefly, like someone who guards and lights and fusses just a bit, knows he has to shine his ass so that the living can see, can understand.

"I never visited a crematorium before. What happens next?"

I whispered my question, didn't want my dad to hear, even though his cheeks didn't rise and fall like mine.

"Here. Let me show you. Let me show you."

Fire Man repeated himself once, twice, three times. He kept saying the same words over and over as if it would seep into my dad's dead skin, into my own skin near dead with fatigue and fear. He pointed to a pine door and I followed him inside.

Fire Man showed me the oven, the place of transference, showed me the buckets of metal hip joints and skull plates and tiny screws that doctors use to extend our planet time.

"The recycle man takes them away every other week. They don't reduce to ash, Birdie. I don't know what else to do with them."

Fire Man treated me like his wife, like his daughter, like a treasured bit of protoplasm just born into his family, umbilical cord fresh and red and so much like the promise of new life. Fire Man knew me, knew my path, my desire to see my dad consumed, collected, cooled, encapsulated.

"Birdie, I have done this for twenty-eight years."

I flinched. Descansos filled my mind, the space of the unliving, the undecided.

"And in all these years I discovered something important. Maybe I shouldn't tell you. You're father hasn't gone through the change yet. I feel like I must tell you this, though. Whenever someone burns, I watch the smoke. It's like watching for the new Pope to be chosen. If someone's smoke is dark, I know that person didn't lead a clean life. You know what I mean? They weren't good. But white smoke, oh Birdie, that's someone who's done good."

I nodded. I expected my dad to exude the smoke of my family, the gray smoke of Maybe, of Kinda Good, Kinda Crappy. I expected gray or black or something altogether unidentifiable. I shook Fire Man's hand, thanked him for his kindness.

I sat in my dad's car outside the crematorium for an hour, two hours. I didn't know when Fire Man would pitch my dad's body into the oven. I waited. The sky stayed blue, stayed clear, knew my intention. I watched the chimney, watched with fear and trepidation, watched worried that my dad would burn black, burn evil. I remembered the bad times, the night times, the dad who couldn't grab my extended hand.

Smoke belched from the careful brick. Smoke. A hiccup of smoke, of white, clear smoke. The smoke of the just, of the beautified, of the sainted. I didn't smile, didn't feel anything but relief. I drove. A mile from the crematorium a small naked cross lay against the wind-swept ground. My hands moved in a motion I thought I forgot, the sign of the Catholic cross, the sign for rest, for peace, for resurrection.

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