When You Need A Little Hope, Revise

I’ve been working this essay about Ramadan dresses (dara’as, caftans) and while the process is fun (interviewing! I’m interviewing people who can teach me more!) and I’m learning about the region’s holy month traditions and drafting real time, I really needed a chunk of writing to go somewhere this week. The Ramadan dress essay is like a sheep going from one tuft of grass to the next. I really don’t know where it starts or ends right now.

But
yay
for
revision
work.

I returned to the first essay I wrote for the creative nonfiction class I’m taking, reread comments and questions before parking myself in front of the draft to revise. I was a revision rock star. It helps that I’ve been thinking about this essay since first drafting it. It helps that I decided to do as I say: I sat in a chair and made myself revise. Discipline has its appeal.

What follows will get another go at some point. For now, mostly finishing a piece feels so good.

Fahaheel Sea Walk

One Saturday I take the kids for a walk in Fahaheel. This Saturday feels like one of the last cool days before the heat arrives to keep us moving from one air-conditioned place to the next, from apartment to car to shopping mall. During the summer I miss the Gulf. I miss its changing colors, grays and blues mostly but sometimes turquoise or murky green. I miss standing on the rocks off the path, watching waves form and crash. So this Saturday I want the Gulf. We park at the Sea Club and start walking south on the palm lined cobbled path. Claire and Grant jumped from the low wall to the sand and run alongside. When I first found this path, I had only Claire. And the next year I had Grant too, wrapped snug against my belly. The three of us made a twenty or thirty minute walk stretch the morning. On this Saturday my kids race ahead, circle back. Grant holds out his hands to show me treasure: popsicle sticks, a bottle cap, a cracked Happy Meal toy. He has an eye for screws, nuts, nails too, anything his dad might use on a project.

“Can we play here?” Claire asks. We’re halfway to AlKout, halfway to the coffee and hot chocolate we’ll have at a café there. Claire jumps up and down when I say sure, go, go play. She yells for Grant to follow. I sit cross-legged on the low wall. I can see Claire and Grant bending over something on the sand, then race toward the edge of the beach where a shisha bar overlooks the Gulf. They run back and forth like that, pausing to dig holes with pink Baskin Robbins spoons or examine shells. I remember pausing here when Claire was a toddler, squatting to speak with her. We came that morning with a group of moms and strollers and kids but at the first zig in the path, Claire sat down. The others waited a polite distance ahead. When we walked together, we were always pausing for someone to catch up but that morning Claire wouldn’t go. I waved at Jamie. “Go on ahead,” I called, “We’ll catch up.” She called back, “You sure?”

I wasn’t sure about much that year. I don’t remember how long I squatted there, Grant wrapped against my belly and Claire sitting, resolved. I am sure I sighed. That year was knit in sighs of tiredness, frustration, sorrow, surrender. I remember speaking gently. “Come on, we’re almost there. We’ll get a hot cocoa,” I might have said. And when Claire’s little legs still wouldn’t take another step, I’d promise a croissant too. I remember being gentle but not feeling gentle and when Claire finally got up and took my hand, I wanted to hold her hand so tight it hurt. The group was too far ahead to catch up but we walked toward them anyway.

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The Poetry Obstacle Course

This week I asked my students to try an exercise by Marcia Southwick, from The Practice Of Poetry.

Write a poem in which you include approximately on object and one action per line. Each individual line should make sense in and of itself, but don’t worry about connecting one line logically to the next.

I attempted this exercise a couple of times – every line self-contained but a whole, random mess – before deciding to anchor my lines to a place. A month ago I wrote about one of my favorite walks here, a short path in Fahaheel. For this piece I made the lines center on our walk along the corniche in Salmiya. We take this walk nearly every Friday or Saturday during winter. I started with images or scenes I could contain in single lines. I wasn’t sure how I’d break or order the lines later.

Here are some lines from my notebook, cross-outs included:

My daughter finds a starfish washed in

My daughter finds a starfish she must keep
She makes a home from a styrofoam cup

I try to  explain no: the starfish needs his sea

The rocks meet the sea
We lost our secret beach last year
The path crowds and thins

It goes on like that for three pages. One object, one action per line seems like an easy exercise which is why I’ve skipped over it when looking for a writing prompt. But this time I read the prompt and thought it might be a way to think about the lyric essay form. I wrote each line not thinking where it might fit in the revised piece, though I chose a coherent whole by picking the corniche. When I reshaped the piece, I structured the poem to follow our walk. I also cut words so lines connected. I broke up long lines. Here’s the piece I shaped from today’s practice:

On A Nice Day

Rocks meet the sea
The path crowds and thins
My daughter parts the crowd,
climbs down the rocks to the sea
and finds a starfish she must keep,
makes him a home from a Styrofoam cup

Fishermen send loops of line out and wait,
reel in, snag rock, send out again

We all walk or ride bikes or pause to watch

My daughter carries the starfish in his cup
He is small and needs the sea

Dozens of pairs of shoes line the mosque steps
Prayer mats on grass angle toward Mecca
Men raise flat hands to their ears,
move their lips, bow

Old women claim the shade of low trees,
watch the path move without moving

The starfish needs his sea

My daughter climbs a playground
sitting on sand like a shipwreck
while I go to the fountain fed by sea
and listen to water sound

A couple sits on a bench, whispering
Their knees touch,
their hands move like small birds

Boys box on trampled grass

Grass makes a floor where
families unroll carpets and eat lunch
I see the chin of a woman
who lifts her niqab to drink tea

My daughter takes her starfish back to his sea,
holds her arm straight like a stick over the water,
turns her hand so he drops
She climbs the rocks, doesn’t look back

We eat fatayer, cucumbers, ice cream
Lunch and sun make me heavy
The languages around me make me quiet
I sit cross-legged and read my book

My daughter runs barefoot from one tree
to the next, testing the low branches,
swinging a leg up, yelling for me to look at her
hanging upside down from a tree

I wave her over, kiss her hair
She smells like being here, like sun and dirt
When the breeze lifts our hair, I think
we, right here, we need our sea

570 Word Sentence

This month I put to words something that I had been nudging, getting the shape of, for a while. I’ve been teaching for over a decade, though I accepted my first job expecting to leave the profession after a few years, when I was ready to start an MFA program. I like teaching. But when I think about being part of the field of education, I don’t aspire to do more than keep a classroom and become better at teaching. Meanwhile I’ve watched many colleagues and friends take on other roles in the field. And sometimes I wonder if I shouldn’t clamber for a new title too. But what I really want is to be a great writer. So I practice this craft at the loss of tallying credits toward a masters in education, at the loss of school leadership, at the loss of a raise. Occasionally I wonder how long I hold this split: it seems I might be a great teacher or a great writer but teaching full-time and cobbling time to draft and revise means I’m good at both (even very good, catch me on the right day), but not great at either. I’m only good for the consistent practice. Ten more years of this creative tension and I’ll be exhausted but great.

So I’d been looking for a way to say this. I haven’t found the best way. But when I had my students write one long sentence telling a complete story, I told a kind of story too. Part profile. Part rumination. I chose to write about myself in the third person which helped me cut through the noise and say what I wanted.


Great At ___/ The Only One For ___

This year Sarah Marslender returned to teaching full-time after four years of teaching part-time because her writing career remains an unpaid fantasy (let’s say this really is her fault and she knows it, because she’s a squawking chicken about collecting rejections from literary magazines and because she isn’t sure she is a brand anyone wants to publish and because she’d rather not stay up past nine for this fantasy, instead wishing for an editor or agent to magically materialize and insist she take sabbatical and finish what she’s started: a multigenre collection tacked together piece by piece over the last five years and showing readers what mattered/ matters to this woman/ wife/ mom/ writer/ friend/ teacher) but also because she is good at teaching and likes it well enough that she’ll probably keep teaching in some capacity for years to come and, more, she wants to figure out better ways to teach writing and revision and developing flow while you write (something she is desperate to hold onto for more than an hour at a time herself) and she wants to help you instill discipline in your practice (something she has by way of games she plays, like filling a notebook a month) – yes, Sarah wants good things in her classroom but this month she also craves being told she is good at what she does because like every other thing that sucks her time and talent, teaching remains a fairly thankless profession if you have anything but a selfless mindset or take to heart the Facebook posts about how great teachers/ teaching is and Sarah thinks this is because there is a high moral expectation for educators, that teaching is akin to taking religious vows which spur dedicated teachers to find even greater meaning outside the classroom, packing their schedules with voluntary committees, sports coaching and activities sponsoring; vows which spur dedicated teachers to pursue masters in education with an eye on curriculum or administration which may get them out of the classroom because that is one way to gain notice in the field, to leave the classroom and all that entails (grading, management, grading, planning, grading) to prove themselves as great educators by helping their colleagues better assess/ manage/ plan; Sarah is just embarrassed to realize that watching her fellow teachers grow into promotions at her school, chosen for positions they fit just right, has made her look at her own empty want of specialness, that icky taste in her mouth of wishing someone would look at Sarah Marslender and think She’d be great at ___/ She’s the only one for ___ and then she’s ashamed because she knows she’s needed and appreciated not only because Facebook regularly praises her profession but because she has relationships at school that matter for a semester or two or a year or so and many times much longer; oh, Sarah is embarrassed her ego was bruised by her colleagues’ deserved placements, which she didn’t even want for herself: no, it’s the wanting to be thought of as Perfect for ___ that kills her this month because what she’s perfect for is teaching and learning and adding up unpublished pages and making herself say it’s okay to matter in a hundred unsaid ways and it’s okay to keep balance like a quiet and flushed student thinking of an answer when someone asks what Sarah Marslender is great at/ the only one for.