Rejection, Inventory & A Pantoum

I am collecting rejections again. Two in the last week. A third likely to come tomorrow. Wander around the online lit journal world and you read names you’ve never heard before. I want to see what a journal is likely to take. Even then, if I can guess that my writing might fit under their banner, it’s just luck. Maybe an editor is tired or hungover or hungry and they open some confessional essay I’ve written and want to throw up because everyone plays therapy session on the page now.

For the record:

2 essays rejected
2 fiction pieces rejected
1 fiction piece still out there, waving its arms, I hope

If I really want to publish, I need to launch a spam-ish attack on lit magazines of all caliber. I should do simultaneous submissions and quit being picky about the fonts sites choose. Also, not a fan of blue hyperlinks but maybe the magazine that finally publishes me likes blue hyperlinks and I should get over that minor, minor dislike.

So I am taking inventory again, of pieces ready to go and places to send them. I open my files and hope to find the essay I have in mind. Titles are misleading and I trail down documents called March Drafting and Revision Work looking for the short piece about landing in Colombia, the way Cali at night looks like gold glitter flung in the valley and up a mountainside. I don’t find that draft but I do find a poem I wrote during my last year teaching freshman and sophomore English in Wisconsin, when I had students write pantoums. My affection for this poem is in how I remember feeling clever about the sounds.

Diving

She wades, waiting to find words
When they come she scoops them into a net
Carries the shallow words to water’s edge,
Empties the catch on dry sand

When they come she scoops them into a net
Standing waist deep, water licking her ribs
Watching for the right word
Feeling their shape with her feet

Standing waist deep, water licking her ribs
Her steps stir the sand, wave water weeds
Until she is up to her neck holding her net
Swirling a pale arm through green waters

Her steps stir the sand, wave water weeds
When she kicks off to where she cannot touch
Swirling a pale arm through green waters
Reaching for words no one likes to find

When she kicks off to where she cannot touch
She dips her head under, cool and close
Reaching for words no one likes to find:
Sharp words strong words long words

2007

Poetry Revision

I haven’t played with poetry this semester as much as I have in past semesters. Even so, this week I sat down to practice revision. I used revision suggestions from The Poet’s Companion by Kim Addonizio and Dorianne Laux.

First, a quick edit of my draft:

Gray day facing the sea,
waves turning over seaweed,
plastic bottles, shells,
our kids in the froth

Between us we’ve touched
all continents but Antarctica
We know how to pack a suitcase,
bringing what we’ll miss most:
cheese, chocolate, vodka,
the right pens, affordable shoes
Between us we know how to make
temporary permanent enough
so our kids make it through okay
and our marriages do alright
We paint walls, hang photos,
insist on familiar, heavy books
to fill shelves

Some places you just can’t make it
from the start or near the end
Oil and water,
your body and all the others
Even if you want to like it,
you can’t

Our kids come up from the waves,
shivering, kicking up sand,
hungry from play

It is good to sit
and look at the sea,
making it enough

And now, with lines cut and slight changes to how it looks on the page:

Gray day facing the sea,
waves turning over seaweed,
plastic bottles, shells,
our kids in the froth
Between us we’ve touched
all continents but Antarctica
We know how to pack a suitcase:
cheese, chocolate, vodka,
the right pens, affordable shoes
Between us we know how to make
temporary permanent enough
so our kids make it through okay
and our marriages do alright
We paint walls, hang photos,
insist on familiar, heavy books
to fill shelves

Some places you just can’t make it
from the start or near the end

Our kids come up from the waves,
shivering, kicking up sand,
hungry from play

And last, paring to the stanza that sparked the poem, and trying new:

Some places you just can’t make it
from the start or near the end
rural Wisconsin
New York
Kuwait
Even if you want to like it
you can’t
marriage
new motherhood
church
I make love a duty
to like this day enough

I drew the draft from a day at the beach with other expat moms, and from separate conversations over the years here. I like that a first draft turned out two different pieces. And I really like the line another woman said

Some places you just can’t make it

and how I finished it

from the start or near the end

The second revision includes another idea I’ve been thinking about, that sometimes love is a duty and there isn’t anything wrong admitting feeling comes much later, or not at all. That we love because it is right.

Getting On With It Again

Because this blog shows process, I decided not to delete the last post. I tend to make metaphors of not much. I worry what comes of my writing. I wonder if I waste my time on another draft. And then I remind myself what I know and get on with it.

When Grant was an infant I was all over the place. The year was good and bad at once. I learned to pray in a new way. (Constantly). And I started rereading the first half of Ephesians, grounding myself in my identity in Christ. Over and over, I’d read the short, encouraging chapters and pray that the words worked into rooted truth.

We need to preach to ourselves. We need to remember who we are. So with my writing, I repeat what I know:

I am a writer.
Practice and process are the point right now.
It’s okay to be small.
My work will land where it belongs.
So keep on.

What To Show After

The reason for my sorrow is pathetic in the details. For a week I’ve been wondering where all the watercolor paintings Claire and I made have been disappearing to. Claire taped an arrangement on the wall above her dresser. I taped a line of paintings near my desk. After work I’d see that another square of paper fell down (no Pinterist-worthy showcasing in my house, just tape unsticking from walls) and get on with the night. I meant to ask our maid if she’d put them in drawer or cupboard after I’d looked but hadn’t found the missing work.

I asked today.

She’s been throwing them away.

She apologized. I said it was okay, please don’t throw away our art ever again, waited for her to leave and went to my room to cry.

The fourth quarter of any school year is a terrible time for me to conduct a self-inventory but I did that, kneeling at the foot of my bed, crying about all my stupid paintings that were lost to all the other trash down our street. I bought the watercolors and inks because I was so tired (so so so tired) of making art that just sits in a file or gets put on a shelf once the notebook is full, art that rarely finds vocal expression or appreciation. I wanted to SEE what I’d made and enjoy looking at it after the pleasure of creating.

I look out my window and everything is the color of dirt except for clothes draped over balconies to dry. The last five years has been unrelenting examination. I question where I am, where I go. My watercolors were mostly stained glass, laundry on balconies, and maps.

I’m sad those first pieces of my return to an old favorite medium are gone. Like, really sad. Like, still crying about it sad. Because I can’t help but see a metaphor for every single thing I’m trying to do, in those pitched paintings. I can choose colors and let the first wash dry, add salt starbursts, play with texture, define with pen. I can paint with pleasure, an hour gone and the memory of street we walked down on paper. And then it all goes away. Nothing to show.

How much of our work, our art, is invisible after?

The lost watercolors viscerally remind me what I fear for the countless hours and pages I write. So I cry for what I suspect too, that one day all of this goes away. That I’ll find out I should have made play-doh on the stove or cooked better meals. That I should have pursued school leadership or hosted a Bible study. That I should have gone outside more. Something. I trade for my writing. But maybe I find out it’s a lousy trade. I thought about all that, kneeling at the foot of my bed, hoping the kids wouldn’t hear me cry about paintings that took twenty minutes when I’ve got work and relationships that are years, decades in the making, all of it as easily lost, and what to show after?

A Start Cools

I can’t think how to continue Tally. I drafted via notes and daydreams. I added a few hundred (unposted) words more. When I reread the piece, the start isn’t the right start and I’m afraid of how the story might end. Not that anything terrible will happen to Tally or Carl, but that maybe nothing much will happen. Carl goes to Montana, if you want to know, and returns. But Tally is an unsure girl. She could take Carl’s dreams for her own, as easily as she could turn twenty-two and still be on her mom’s couch Saturday afternoons. The drinking was a thing that never got too big. I think that’s what is keeping me from cutting Tally loose: she hasn’t let anything get too big yet. I’d like to know what might happen if she allows a part of her life to get too big.

Right now Tally reminds me of two other stories I wrote a few years ago. Totally different characters and situations, but a similar process, a feeling that I wanted to tell too much, turn over too many rocks, open too many closet doors and check dusty shelves. I finished those two pieces with gritted-teeth determination because my previous M.O. for unwieldy starts (any start, really) was to abandon the file and preserve the idea it would have been great. But those two stories, one about a woman named Laine, and the other about a young man named David, went on and on, the latter topping out at forty single-spaced pages. Cutting to nineteen pages did nothing but give me practice.

I don’t want Tally to turn into another weedy piece. I want to make her character. I have an affection for her, a regular girl who might not go anywhere. The world is full of regular people who don’t go anywhere. I like them. But for me to write Tally well, I need to give the story a chunk of uninterrupted time. Maybe a couple of hours would get her off the ground. I can find those hours. But I’m also okay leaving the start to cool.

Notes Pass As Drafting

My husband and father-in-law just returned from a week in Thailand, visiting one of our former coworkers in Chiang Mai. This is the third spring break we’ve taken separate breaks, me home with the kids, and he getting stamps in his passport. I like it this way because the alternative is more un-restful (it took them twenty-two hours to come home yesterday!) than loading the washer for the fourth time in a day or looking at the clock to see we have five hours until bedtime, if everyone is amiable to an early bedtime.

The first spring break we were apart I wanted to be supermom. Activities and outings. Good cheer. No swearing. Approaching holy. Claire was four and Grant was two then. Our first full day together started with me pulling the car over and yelling that they’d better stop scrapping at each other in the backseat or – I don’t remember what the threat was. No ice cream, maybe. This was before both of them could watch an entire movie. That makes a big difference. Last year’s spring break was fine. It was easier with kids who both wore underwear. And this spring break was awesome. I bought watercolors and good brushes for us and we took over the dining table. It’s been so long since I’ve drawn or painted and the pleasure of playing with colors and lines instead of words reminded me not to become so rutted in one particular art.

That was a huge difference this break: I gave myself over to each day. Not entirely. Don’t think me too saintly. I got a good run in each morning and didn’t freak out when Claire beat me to the kitchen and made herself a breakfast bowl of cheese popcorn. If we didn’t have plans to meet anyone, I didn’t care what we did. One morning we returned to an old favorite walk in Fahaheel, along the sea. When Claire was two and Grant a baby, it was the distance we could manage, with coffee for me and cocoa for Claire at the end. We rarely go there anymore, now favoring smooth cement for roller blades and bikes. But returning was sweet, for me.

I didn’t write much. Both writing chunks I’d planned were cut short. And at home, I enjoyed painting or playing or baking more than sitting with my notebook. When I did open my notebook, I wanted to continue writing Tally and Carl, but did something I’ve only just started practicing with fiction: I wrote the story in note form.

This works well for me. It smashes daydreaming with a pen, giving me  a rough outline of the next part of my story. And it makes me think through a story more completely. By the time I type a scene, I’ll have visualized it a couple of times. Even so, I often pause while typing to see what’s going on before I write it. I still draft plenty of snags. But what finally gets typed has already been through a mini-revision in my head.

There’s another reason why I’ve started drafting in note form first. That is: kids. My time is frequently interrupted. I parent, I teach. But when I get a chunk of time to myself, I’m more likely to burn through a dozen Candy Crush lives while listening to Slate’s Political Gabfest or This American Life. (I’ll save that for a confessional post later…)

I guess what I’ve come to is what many interrupted writers before me figured out: take what you can get. And what the better writers must know: use wisely what you can get. Daydream, take notes, write whole paragraphs and pages. Finish something in increments. Keep on.

Go Read “The Bronze Bow”

Mom read The Bronze Bow by Elizabeth George Speare when we were kids. It was one of the first times I wished I’d  been around to see Jesus walk this earth. And now, when I read the Gospels (why do I complicate so much? my pride is offended, but let my heart change more), I still think of the peripheral characters in the accounts. I imagine what it would have been like, to hear of miracles performed by a carpenter. Or to be confused by his teaching, or angry at his claims. Or to believe so fully, to leave my home and blister my feet following his path.

Drafting Real Time

This is the opposite of what I’ve been doing for years. I have notebooks full of starts (some finishes) and files of the same. When I started this blog a year ago, I wanted to dig into the writing process. For a most of the last year I wavered about posting any finished work, for a few reasons:

a. I’d rather an editor validate my work for print
b. I don’t want my work stolen (though it will be eventually, won’t it?)
c. It’s show-offy (and a little sad?) to showcase work that isn’t anywhere but on my blog, red by tens*

There’s some overlap there. When I started this blog, I was writing intensely introspective stuff about marriage and parenting. While early posts allude to those pieces, I probably won’t post them here. But I can post new fiction drafts and revision. Something changes when I’m writing to share. I’m still drafting, but with a new pleasure that this next chunk isn’t landing in a file, but going out for you to read.

Part 3 of Tally Draft (though the whole, revised piece will be read without divisions)

We don’t catch anything that Saturday but the next we catch a couple of small ones we pan fry at my house. I feed Shane slivers of white flesh, lick the oil and salt from my fingers. One Saturday we catch seven fish and invite Charlene to join us for lunch. She brings potato salad and sits across from Carl.

You’re Jenny Ross’s boy, aren’t you? she asks him. He nods and Charlene says, Such a sweet girl. I’m so sorry.

He shakes his head, pays close attention to the end of his fork. Mom mouths something at Charlene who stands, goes to the sink to refill the water pitcher. I don’t realize I’m holding myself tense until Carl looks up from his plate and says, It’s okay. This is a good lunch.

When he leaves, he tells me he might have to go somewhere next Saturday but he’ll let me know. My chest squeezes. I say I might have something else to do too, but the way I say it tells the truth.

Most Saturdays Mom puts Shane down for a nap and the two of us watch a dvd from the library. We microwave popcorn and sit close on the couch, cry at all the good parts. When Jessica still lived a few blocks over, she’d join us. Once Dad came home at the end of Sense and Sensibility and saw the three of us bawling. He went pale, thought some terrible news was on the tv. He clutched his heart. When he saw Hugh Grant and Emma Thompson on the tv, he said he thought it was another 9/11, the way we were crying.

While Mom settled Shane in his crib (Such a big boy! You need a big boy bed!), I made popcorn and put ice in our glasses. I cued the dvd. But when Mom sat on the couch she told me to wait. She angled herself toward me. Look at me, she said. She smiled at me. Carl is nice, she said. I nodded.

Are you kissing?

I shake my head. I’m embarrassed she thought we might be kissing, embarrassed because we aren’t. And after a month of standing out on the dam with nothing to do but fish and talk, is it okay that we haven’t kissed? But Mom seems relieved. She pats my leg. She says, Someday you’ll kiss and it’ll be the right time. I’m not sure if she means me or me and Carl. She tells me to be careful and I know she means about sex, but that’s all she says, just be careful, and then she turns to face the tv and I press the tiny forward arrow on the remote and we watch Sandra Bullock be sassy.

When I see Carl at school, he’s with the baseball players, blocking the hall. They’re high-fiving and joking so he doesn’t see me until one of the guys bumps me and I stumble into the lockers. Carl yells, Watch out for the lady, and the player apologizes. I’m sweating, dying. I can’t look at Carl. I just need to get to Mr. Halverson’s room. He calls me later that week to say he’s going to Richland, to visit his dad. It feels funny to talk on the phone with him. He pauses and asks if I’d like to fish on Sunday morning. My stomach flutters. I wish Mom hadn’t asked about kissing.

That Friday night I wait for Mom to fall asleep and reach under my bed for the water bottle. I’ve listened to Wolf and Midget talk about drinking. I know I don’t do it anything like that. I’m afraid to ask Carl for another water bottle, so I’m putting less in the jelly glass. It hardly does anything except make me sleepy. I prop myself on my elbow and listen to Shane breathe. Sometimes I reach between the crib rails and rub his back. He’s a sweet boy and I think of Carl going to Richland to see his dad. I don’t know if Shane will ever see his dad. We haven’t heard from him in a year. If I think about that for too long, I become the most unloved person in the world.

I almost think about it too long and pull myself upright. I think instead about Carl driving to Richland tomorrow, or maybe already there tonight. Charlene told me about Jenny Ross, one afternoon while we watched Shane drive trucks up and down the front walk. Carl was six when his mom and younger brother died in a car accident. The jelly glass on the floor is empty but I’m wide awake. When I was six, I had a box of watercolors I took everywhere, I ate toasted peanut butter sandwiches and begged for a baby sister.


*tens refers to TBTL, whose hosts celebrate their “tens of listeners.”