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Write the Year 2024—Week 5: Zag, Zig, Zag

This is a trinet. I suppose it’s loosely a response to this prompt at Poets & Writers, though not creative nonfiction, obviously. The danger beagle has been wandering strange paths lately. One day this week, we wound up at a back gate to the cemetery where my grandmother is buried.

Title: Zag, Zig, Zag
WC: 66

St. Mary
A sign
A gate currently swung open
And yet we two cannot enter
Oh well
I couldn’t
Find her

No graveside
For me
Or Dancerella two days after Christmas
(Or so I think. Memory is weird)
Did my
Other grandmother
Watch me?

My name
Is not
The same as hers, but almost
And I wish it had been
Six years
Not enough
To map

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Write the Year 2022—Week 18: Still, Life

Sort of, but not really, responding to the Reedsy theme for last week.

Title: Still, Life
WC: 500

There’s a picture of a turkey among the clutter on the shelf above the TV. It’s tiny. It’s in a cheap frame, no doubt from Walgreen’s. It sits at an angle and doesn’t quite fit. It’s a joke and a totem. If my aunt ever steps foot in my home, there’s a prize in it for me if the turkey is on display.

It was my grandparents’ turkey. I don’t know which one. That’s the joke. My aunt has a basement full of my grandparents’ things, the source of all prizes to be awarded. The source of the prizes she awards at the brunch she has—she had—on Christmas Eve morning every year when she’d run a game of family trivia. It turns out that the turkey is, hands down, the most frequent photograph subject in my grandparents’ collection.

There’s a picture of my grandparents on the cluttered shelf above the cluttered shelf above the TV. It’s black and white, and the frame might’ve come from Walgreen’s, too. It was in the goody bag my aunt sent everyone home with a few years ago. Maybe the year before the turkey. They’re on a lawn. They’re walking toward the camera, it seems.

My grandmother is wearing a dress, a shawl, a stole, or a long, wide scarf. She has on ankle-strap shoes, the kind I am sure I’d love if I could see more of them. They’re some dark color. Her hair is some dark color, and so is his. My grandmother is looking up at my grandfather, laughing. He’s squinting into the sun. He has one arm around her. His right hand is shoved deep into the pocket of his pleated-front pants. His white t-shirt blazes. He is not looking into the camera.

There’s a third picture leaning against the frame that has my grandparents frozen within it. This one is small and square, in a metal frame so old that its finish has corroded a bit, sticking the photo to the glass.

It’s black and white by design, not by historical necessity. There’s a tall, thin, dark-haired woman in a halter top and flared jeans. There’s a little girl next to her, young enough to be wearing something that would have come in two matched pieces—a long, blousy smock and tiny shorts with frilled elastic around the thighs. Her mushroom-cut hair is not light, but it’s not as dark as the woman’s, either.

There are white geese all around. They are huge, taller than the girl whose hand is outstretched. We see them from the back, the girl and the woman, that is. The girl might be afraid. She might be exhilarated by this as she has been by everything about the days surrounding this moment. She is learning what an apartment is and that some of them have ponds with geese and ducks. She has the undivided attention of the woman who knows the value of this.

She knows about prizes.

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Write the Songs 2021—Session 2, Assignment 1: Envision

Song 9

Forgot to post this earlier in the week.

Lots of puzzle pieces this week: AABA form, no refrain. Held-out notes in the melody, fewer words than usual (think I get a check-minus here), bridge modulates up a perfect fourth, a memory from ten years ago.

I started with the memory. My nephew was born ten years ago in a very cold January. The birth was complicated. He was pretty big, and my sister-in-law is very tiny. I drove up when he was four days old, and it had been a rough time for all concerned, thanks to sleep deprivation (nephew has definitely inherited the familial sleep issues). I remember thinking “Okay, everyone here is in a dark place. Imma take the bebe . . .” As he’s grown up, nephew has always been the kind of kid to ask strange, impossible questions. As a weirdo myself, I feel qualified to answer these.

Getting out of the bridge and back into the verse was harrowing, as was deciding where to capo this. The high note (which came out of the urging of my voice teacher to write something with a sustained note up in my range) imposes a ceiling, but the rest sits over an unpleasant place in my voice. Meh.

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Write the Songs 2020—Session 5, Song 3: The Letters of Your Name

Song 29-ish? of 2020

Matilda T. ZombieQueenPro Unlimited

Harmonic Minor. Cool sounding (although noteworthy that most people in the class found it depressing, I found it just kind of spooky), though my fingers are not smart and many of these chords were/are hard for me to get to. Why I didn’t go with the Am shapes is a mystery lost to the ages.

This started out with some of the few details I know about my grandfather (he smoked Pall Malls, he had no hobbies, but continually painted the exterior of the house I remember best from my childhood, and I found out last Christmas that the surname on that side of the family is not spelled at all how I have spelled it my whole life). But this , very obviously, became Not About My Grandfather.

This is rooouuugghhh.

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Write the Year 2020—Week 37: Odsutnost (Absence)

This is not really a response to this prompt.

Title: Odsutnost (Absence)
WC: 800

I’ve been thinking about my grandfather this week—my last living grandparent, though he’s been gone for years, and he was, to me, so largely a blank. That seems like it shouldn’t be true. I spent days and weeks and months at my grandparents’ big yellow frame house in Gage Park—Mimi and Papa’s house. 

But my memories are dominated by Mimi, who would play checkers with me on a TV tray and never let me win. 

Mimi, whose chair was a cracked brown leather recliner with an ancient heating/massage pad slumped over the back. 

Mimi, whose dresser-top glass sheltered a hundred prayer cards from a hundred funerals underneath, every one guarded by the Blessed Mother and a massive jar of Pond’s cold cream.  

Mimi, whose olive green transistor radio I’d hold up to my ear as I stared up at the trompe-l’œil wallpaper of crumbling, mossy green bricks.

Mimi, whose bed I would sleep in when I stayed over, who would sleep on the plastic-covered couch in the front room and always—always—send up a horrible wail in the middle of the night, trapped in some dream no one and nothing could wake her from. 

Mimi’s room was not Papa’s room, though every one of my uncles and at least one of my aunts had a story of coming across Papa “sleepwalking” in the hall outside Mimi’s door. Papa’s room was at the absolute back of the house—a tiny converted porch, maybe, past the back hall where the Frigidaire sat in the dark. 

The room had an old, twin-sized iron bedstead and a beat up chest of drawers. I know this—I know about the contents of the room—only because the pantry had a tiny window in its back wall, high up. My cousin and I, one day, pulled one of the rickety kitchen chairs back there to look, a clandestine operation foiled by the fact that those damned chairs would tip over if anyone so much as looked at them. 

Papa smoked Pall Malls and drank beer—or Schlitz malt liquor—out of the big forty-ounce bottles. That much I remember, though that makes him sound like a direct-from-factory pre-War grandfather. He wasn’t, I don’t think. He didn’t smoke a lot. He didn’t drink a lot. I thought of him as a fiddly, nervous driver, but I think his car had a three-on-the-tree shifter. (I don’t even know what kind of car it was, but ask me anything about Mimi’s 1972 Nova with the vinyl houndstooth interior and bingo chips and coupons flying around.) 

My aunt says he was always—always—painting the house on his weekends and off days. If he had hobbies, I never knew about them. And I don’t remember him in the house. I simply don’t. 

At someone’s wedding—one of my younger uncles? One of my sisters?—he sang and danced along with Cab Calloway on Minnie the Moocher, loud as anything and smooth and joyful in his big body. At my cousin’s wedding—the daughter of my youngest uncle—he danced in his wheel chair to “Shout,” more aware, I think, than anyone had seen him be in a long time. Someone gave him a framed picture of Mimi to hold. I’m not sure he knew why. I’m not sure he knew it was her. 

He had what always seemed like a million brothers and sisters. It’s hard to get an accounting of them all, though I loved the enormous family picnic we’d sometimes have at a huge park somewhere. There’s a picture of me and my cousin, each of us perched on one of his knees, at one of these. I don’t remember this. 

One of his brothers lived near my house. My husband and I drove him one year to a Christmas party in the back of beyond at my uncle’s, to my aunt’s second wedding? Maybe both. He had a Crown Royal bag filled with change for the tolls. We couldn’t explain the I-Pass to them. Standing around at the church, he asked me out of the blue, “Do you and your husband keep up the Catholic faith.” (Uh. That would be a no.)

But these are all—almost all—stories not about Papa. I learned just last Christmas that his family name is not spelled at all the way we have always spelled it—the way my mother spelled her name and a hole set of my cousins spell theirs. That hit me hard for some reason. I think because these are stories not about Papa, and they’re other people’s stories. I don’t know that I have any stories of my own. I don’t know that I have a single one. 

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Write the Year 2020—Week 34: Sign/al

Sort of a slant response to this prompt at Poets & Writers. The prompt itself is rather dumb—of course those things vary. Of course there are shibboleths and family gestures.

In any case, it got me to thinking about this.

Title: Sign/al
WC:
500

I fold my hands left thumb over right. You probably don’t. Most people don’t. Most. 

I cross my arms right over left. Here, we might agree. Maybe. Mostly. 

The maybe and the mostly might be myths in the first place. Did you learn this? One gene, two alleles, no escape? Did you try folding your hands, crossing your arms, over and over until every sensation felt wrong? Did you forget the lesson and go back to doing what you’d always done? What you’d never before noticed you do? 

These are the kinds of things science studies among the Solomon Islanders (one year after I was born), among the denizens of Basque country (a decade later), in aphasic patients with left hemispheric lesions (before my time, to my surprise; much before my time and still). 

I am, I find through a late-night literature search, that I am crossed. I amnon-congruent. I am ambiguous of laterality. And so, the literature tells me, “Such patterns have been thought to indicate dysfunctional brain organisation.” To this, I say: No shit, which might be the psychopathology talking. Can it be, please, that I am simply not a good person of European descent? Or an oddball fourth-born child, a strange female. Can it be that?

The babies in my family clasp their hands overhead while they sleep. They make a circle with their arms, right palm over left, or left fingers hooked over right. They did this when they were babies, though we are out of those for the moment. Maybe they no longer do. Mostly. 

I clasp my hands overhead when I am hopeful enough that sleep might come. I lie on my back and make a circle with my arms, right palm over left, or left fingers hooked over right. I don’t know if there’s a maybe here. I don’t know if there is a mostly. I don’t know if most babies—most people—make a circle with their arms and hope for sleep. 

I don’t suck my thumb. As far as I know I never did. My older brother did—does, still, almost certainly. Left or right, I don’t remember, just belly flopped on the bed, on the front room floor, watching television. 

My youngest niece, my baby niece, whom I haven’t seen in months now, sucked her thumb—does still, I think. She has a strong left-hand preference. It may be exclusive. Mostly.  (I’ve just spent eleven minutes photo confirming this at 1 am. This is a data-driven exercise.) 

There are times when she’s really into it—when she’s tired, or she’s content, that her fingers fan upward, hiding  half her face. And in these last few months, sitting in a chair, staring at a screen, working from home, I’ve found—anecdotes and ex post facto findings are not data, and yet I’ve found—that my resting position is left thumb under my jaw, fingers fanned upward, hiding half my face. 

Yours probably isn’t. Maybe. Mostly. 

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Write the Songs 2020—Session 4, Song 1: Before We Lose the Light

I think this is song twenty-two of 2020 or something?

We were supposed to write about what we would do differently (or just do?) if we learned we had very little time left to live.

I was about to say this was not fun to write. It’s truer to say that all week, the IDEA of trying to write it was anxiety-provoking, not because I am terribly uncomfortable thinking about death, but writing about trying to make meaning, make amends, make puff pastry from scratch while staring down imminent death just felt like a big task that would be all to easy to do a really shitty job of.

But my brain just more or less sidestepped the whole exercise, so although the song is a disappointment and a lost opportunity, it was not especially excruciating once I started writing.

I had the idea of “losing light” in the back of my mind, particularly in reference to the day my friend Russell drove up to Wisconsin to take pictures of my nephew, who was about 18 months old at the time, right around this time of the year. We went down to creek bed near my brother and sister-in-law’s house, and Jamie was playing in the creek, and I just had the image of the cuffs of his little denim shorts turning dark as the water splashed up his legs. The photography image also gave me the core of the bridge (and obviously the chorus)

The second verse just really doesn’t fit with the first, though. It was more or less dropping lines in to fit the scansion, repetition, and rhyme scheme of the first verse. I kept trying to do questions again, but that just seemed tedious. I came up with “on my lifeline” via the “scrambled eggs” method, and then the second half of the verse kept trying to be about “heartstrings,” and I fell down a deep, dark metaphorical hole (both a hole OF metaphor and a hole that WAS a metaphor), trying to find out if “heartstrings” are a puppet thing or a pizzicato thing. And then I had to kill it with fire and I ended up with a verse that is all I vowel sounds, which is failure times eleventy.

So there you have it.

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Write the Songs 2020—Session 2, Song 6: As I Live and Breathe

So I think this should be the 12th song of the year?

We had to write a song that was about still being alive/still breathing. On a run (this is the only thing I do other than work), I saw a bubble, but the landscape was, of course, devoid of people who could have made a bubble, so the idea of some stranger’s breath trapped and floating by captured my attention (and then because my Brain cannot have nice things, I recalled that it could have just been random trapped air if the bubble maker were spinning or waving the bubble wand about).

The second verse was partially inspired by my niece, who turned 7 on Easter Sunday. Her friends did a parade for her, which was very sweet, but of course, she’s sad and she misses her best friend, who lives across the alley. Her best friend’s present to her was pink walkie talkies, so they can talk. And then I was thinking about my own childhood neighborhood where moms would stand on the porch and call out our names in increasingly threatening tones when we were supposed to come in for dinner, and just subtle signs that things aren’t as they would be at this time of year (like replacing the winter storm doors with spring/summer screen doors). For the weirdest image, see the image with the song, also harvested from a run. As I said elsewhere, there’s a Pompeii feel to it at this point.

The bridge is just because there needed to be one, and those are the happenings in my yard. By the alley fence, there is usually a single tulip that grows, but this year there seem to be pink hyacinths. I didn’t plant either. And there is a very fat robin that is strutting along the fence, driving the yappy dogs across the alley crazy.

I’m not crazy about the music to this. It feels like I’m ineptly cosplaying Neko Case, although it was revealed to me in my private lesson that most of the melody is the same little run as Fi-ga-ro, Fi-ga-ro, etc. Steal from the best, they say.

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Write the Songs 2019—Session 4, Assignment 2: Big Sky and Snow in July

Big Sky and Snow in July: Twentieth song of 2019

I actually did write a song for assignment 1 of this session (which would be number 19), but I skipped class to have dinner with my nephew. I’ll toss up a recording of that at some point.

Hard assignment this week, and one I definitely skirted the edges of. We were to think about what it means to us to be American—what is our experience of it.

I’ve often felt that I have metropolitan fervor—Chicago is tremendously important to me and my identity—but little to nothing in the way of nationalist feeling. But that’s a cop out, of course. I have the privilege of experiencing life here in that way.

As to the times we’re living in, trying to write about that is, for the most part, off the table along with listening to Nick Drake or Elliot Smith. It’s just too much. That’s also a cop out.

In any case, when I sat down to write, what welled up were memories of the car trips my family took every summer. We went everywhere on very little money. The trips were long and uncomfortable with too many people shoved into too-small spaces, but in my less self-centered moments, I realize that it’s pretty amazing how much of the US I’d traveled by the time I was a teenager.

These are memories mostly from a trip west through Montana and up into Canada. I remember my oldest sister’s extremely short, extremely tattered jean shorts and how absurd they were against the backdrop of snow at Glacier National Park. I also remember vividly it still being twilight near midnight up in Tillebrook Provincial Park.

My younger brother was about 18 months old and we bought “bear bells” for his old-fashioned white baby shoes. He would not stop screaming unless we were listening to a cassette of his Sesame Street record. My sister, who worked at Woolworth’s, had a big paper shopping bag full of romance novels with their covers torn off. I think I am actually illicitly drawing in the Urban Cowboy soundtrack, which had “Could I Have This Dance?” on it. That might have been from another trip. I considered calling this “Other Brother (Not Pictured),” as one sibling is entirely invisible, and one of my sisters makes an appearance only in the plural, but that more or less reflects family dynamics.

I wrote this un-capoed, but this recording is capo 2. The high notes (which are not that high) are super iffy this morning.





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Write the Year 2019—Week 17: Waltz

No exposition here. Just something I’ve been thinking about.

Title: Waltz
WC: 1100

Turning left into the winding driveway always felt like traveling back in time. The flanking redbrick walls with their bas relief oak leaves served as endpoints of an invisible line of demarcation. 

There was no stop before making the great leap back that day. Usually there would have been, for an orange pop and a soft square hamburger tucked upright in the white cardboard castle. Usually the girl would have carried the bag, letting it swing at her side as she asked a stream of unanswerable questions that would last the entire way down the vanishing point–long hall with its haphazard line of wooden-backed wheelchairs and its scuffed, old-fashioned tiles. 

The girl hadn’t asked about the change in routine. That day, she didn’t ask much at all, and the man wondered what she knew, what she understood, how she felt, but he didn’t ask questions. It wasn’t the nature of things between them, and the walk down the long hall with its scuffed, old-fashioned tiles was all but silent until they came to the shop. 

They had tried for seasonally cheerful, whoever “they” were. Half volunteer, half charity cases themselves, like the rest of the place, he supposed. Worse-for-wear tinsel glinted dully in the overhead fluorescents. The nicked-up push bars on the glass doors had off-kilter red velvet bows and dented jingle bells dangling on ribbons. 

The girl’s steps slowed as they moved past. Her hand, empty of its usual white bag, reached out to make the bell chime. His own steps slowed—stopped—as the tinny note sang out. They stood side by side for a moment, looking through the glass into the shop before wordlessly making their way in. 

There was little out of the ordinary to him. The glass cases with their blonde wood sides were the stuff of his childhood, as were the lace handkerchiefs in cellophane-topped boxes, the rolling waves of navy, maroon, grey socks, three to a box, one shelf over and down. 

To the girl, everything was out of another time entirely. The brush and mirror set with its mother-of-pearl backing was an exotic thing of beauty. The circle pins and tie bars tucked into tiers of blue-plush velvet were treasures locked away behind the curving glass that bent the light to pale green from her vantage point.

The man watched as she moved methodically from case to case, pressing up on her toes to peer in from the top, crouching  low to study from another angle. She was careful not to touch the glass, though the warmth of her breath sometimes lingered in clouds, temporarily obscuring an object of particular interest. 

She asked nothing either for or about anything she came across until the businesslike march brought her to a display of Christmas items. There was an unsteady circle of gold-plated angels dangling above a ring of tea lights. The man leaned down to tell the girl how they would fly on currents of warm air when the wicks were lit. 

She nodded in awe and pointed to a white ceramic tree, rough with sprinkled on glitter snow, was studded with plastic pegs in red and gold and blue and purple. She traced the cord to the boxy wheel switch and smiled as the low-wattage bulb inside passed on its light in a wash of colors over the backs of her hands. 

She asked nothing until she came to a mystery. It was about the size of a softball, red and heavy and round, with small feet to stand on. With a look up at him and nod down at her, she found it chimed as she turned it over and over in her hands until she found the swing hinge at its wide waist.

The globe opened into a mirror-topped figure-eight shape with wisps of snow, green leaves, and holly berries in careful paint around the edges. It was a music box of sorts. The stiff wings of its key were none too eager to turn under the stubborn force of small fingers 

“Careful,” he warned, though she was by nature. 

The music, when she’d worried the key more gently, more patiently, wasn’t the Christmas tune he’d expected. Warbling at first, as though the music came across some vast distance from another age, it smoothed out into a melancholy waltz that tugged just at the edges of memory. 

“There should be a drawer,” he said, nudging her hands back to the red underbelly of the globe. “There should be skaters.” 

He watched, holding his breath as her fingers found the seam. Her brow furrowed as she traced its edges, tugging with her short fingernails, then pressing and pressing until she hit the spring mechanism and the drawer slid open. 

“Skaters,” she said, lifting the two figures free and hefting their surprising weight in one hand. It’s a boy and a girl with pretty painted cheeks and long winter grins bundled up for an outing.  She set them on the surface of the mirror, one in each hand. She smiled  in surprise as their heavy bases snapped to, and one after the other, they glided away from her fingers. They twirled in circles, together and apart, as the melancholy waltz tinkled on and on. 

He bought the stupid little thing. He let the girl buy it, though he thought all the while how silly it was to let even the few dollars it cost go. He let her carry the flimsy bakery box the elderly lady at the counter had unearthed from somewhere, and the hundred questions she asked about it lasted the length of the hallway with its scuffed, old-fashioned tiles. 

They spilled over into the room, their destination for now, and he thought at first to quiet her, to check her ever-present impulse to clamber up behind the head of the bed and set the grey rubber and stainless steal of the triangle grip swinging. But in the end he let things be. 

In the end he sank in silence into the chair at the head of the bed and watched his mother’s eyes follow the movements of the girl’s hands as she swung open the wide waist of the red globe and set the skaters in position. He watched one corner of his mother’s mouth tug upward in the last vestige of a smile as the girl coaxed the melancholy waltz out of the cheap music box. 

“Watch, Grandma,” she said. “They skate. Dad says it’s magnets that make them skate.”