Archive for the 'birth' Category

April, An Excerpt from A Million Tiny Things by Kenna Lee

a million tiny things by Kenna LeeEditor’s Note: I met Kenna Lee when our children attended the same school for a stint, and “met” her again online, impressed not only with the quality of her writing, but impressed that she was working, midwiving, and mothering three children, all while “blogging to booking.” Having chosen “April” to run (pulled in by this birth chapter’s beautiful blend of the forthright and the lyrical), I realized this excerpt happens to be missing the eco-query that dominates the majority of Lee’s book.

By eco-query I mean the kind of contortions one goes through in one’s mind with children in utero, on hip, underfoot and the future (theirs) suddenly matters, as do the choices we make as consumers: wooden toys? recycled plastic? cars that run on veggie oil? worth the choir of fighting that goes on in a smaller hybrid vs. the notorious mini-van with AC?! Lee tracks these interior monologues and more, by turns relentless and hilarious, in A Million Tiny Things. I still, however, stand behind this lovely chapter as well. Enjoy.–Tania Pryputniewicz

 

Year One, April                                                                     By Kenna Lee

Bright Eye’s roses are blooming, bringing the first year of her life full circle. No, they’re not on the rose bush we planted over her homebirthed placenta, California hippie-style, because said placenta is tucked half-forgotten at the back of the freezer still, languishing in typical third-child neglect. We’ll plant it someday, when we remember, when we muster up some of those elusive items that such tasks require, namely time and energy.

No, Bright Eye’s roses have come to be called that because they were blooming when I was in labor a year ago. These baseball-sized white popcorn roses are improbably right outside my bedroom window; improbable because our house is built onto a hillside, and so my bedroom looks out into the treetops on the downslope. This particular rosebush, in order to survive, has reached up through the canopy of trees to claim its ration of sunlight. In most locations, a sky-high rosebush would be wasted, its blossoms inaccessible to human enjoyment, and from the ground below one would never suspect the exultant profusion of blooms lurking above the tree limbs. But here is my window, from which I can almost reach out to pick them, and from here, one year ago, I pondered them for many hours as my contractions became less and less manageable.

I was reluctant to leave the bedroom when I was in labor, as it’s the room farthest from the neighbor’s house, the same neighbors that called the cops, suspecting some domestic disturbance, during my last, nightmarish labor, during which my repetitive, Psycho-worthy screams let everyone know that I was definitively not a strong, silent, capable baby-haver. This time, knowing that I lacked the self-discipline to endure the agonies of childbirth quietly, I hid out in the bedroom, encouraging The Pragmatist to distract the boys elsewhere. I paced the short feet of floorspace left between the king-sized family bed, now protected by a plastic sheet tucked beneath our least-cherished bedding, and the padded turquoise birthing tub set up hastily that morning after I woke with surreal surety, announcing, “We’re having a baby today, boys.” Within this cramped space, I paced, and stopped, and moaned, and stared at the roses.

As skeptical as I’ve always been of the idea that having a focal point would make the intense pain of contractions more manageable, it worked. Probably because I didn’t plan it and wasn’t trying to focus on something, I was just, well, staring at the roses. And of course, it only worked until I reached that “I can’t do this anymore” stage which was the secret code by which The Pragmatist knew to call the midwife, even though I had expressly forbidden midwife-calling until I was really quite farther along, having gotten very tired of having a midwife around during that first, 49-hour, self-esteem destroying labor.

But by the time the midwife showed up, I had mostly forgotten about those instructions, and about the roses as well, and was just trying to imagine how anyone anywhere is able to endure torture without immediately divulging any and all pertinent information. I knew then that I would never, ever be able to become a spy, because I would have told anything to anyone if it would have made the pain stop. I became unbearably self-pitying and bossy, to which The Pragmatist responded by announcing that if I ever had another baby, she would divorce me unless I got an epidural.

I bellowed and shrieked, and the boys, playing with our friend Rachel in the kitchen, dug out the industrial workman’s ear protectors I had bought them to prevent them from incurring early-onset hearing loss from The Percussionist’s drum set, and came dancing through the bedroom to show them off. “We’re going to Rachel’s house to sleep, mom,” they giggled in my panting breaks between the contractions, “because we are tired and you… you are TOO LOUD.”

“And it would just be too uncomfortable to wear these earphone things to bed,” The Percussionist explained.

Before they even completed the five-minute drive to Rachel’s house, we’d called them to turn around if they wanted to see the baby come out, as the baby was on the way any second. They got back just in time for Mowgli to state his preference to sleep and immediately do so, and for The Percussionist to see everyone gathered around the birthtub, watching me squatting in such a way as to prevent anyone from seeing or knowing that the head was coming out, except by the fact that I was clutching between my legs and ordering the midwife to “HELP ME BREATHE NOW.”

Once the velvet head slid out under my palm, and it was a sliding motion, though that particular verb fails to convey even a slight sense of how incredibly torturous the moment was, I sat back on my haunches and announced, “The head’s out,” somehow expecting someone to do something about it, you know, like deliver the rest of the baby. But I believe I had cowed them all into such submission that they all froze, waiting for their next order, so I shrugged with intense frustration, and thinking, “for god’s sake, MUST I do everything myself?” I pulled my daughter out of me and up into my arms.

So tiny (at 8 lb, 6 oz the smallest of the three), she nestled there, wet-warm and cheesy, head out of the water, while I suddenly shed the shattering terror of laboring and embraced the more tender terror of motherhood again. The pain behind me, I could stop fighting, lay down my arms, and surrender to the awe of her first breath of air. Not the most articulate person during times of great stress, I kept breathlessly repeating, “I’m so happy. I’m so happy,” over and over, as if I needed convincing of it.

The Pragmatist and our midwife supported me as I stood to move onto the bed for the delivery of the placenta, and I paused, towel-wrapped babe in arms, noticing with intense gratitude the treetop cascade of roses hovering just beyond the window. Even now they remind me that behind pain can lurk unfathomable beauty, just as behind the burning and fear of birthing my daughter, a great healing lay within the experience of bringing her into the world with my own hands. Something that had broken in me during my first too-long, too-scary birth was put back together by that sensation of feeling her muzzle-soft crown swell into my palm, the impossibly smooth skin bloom into her face. For days, weeks after she was born, I repeated the motion, sliding my palm over her soft hair, down her temple, and in doing so I was telling myself without even realizing it at the time: that which is broken can be healed.

It is a message she does well to bring with her, accompanied as she is by my load of eco-anxieties. Her roses are blooming again, and for her first birthday, I’ve managed to pull a few down from up high to cut for our kitchen table. On her actual birthday, as if aware that I won’t be able to remember the milestone without this coincidence, Bright Eyes takes her first reeling steps toward me, my only-yesterday newborn girl, walking. I greet this new child, this toddler, with the same words I used when I first looked into her face one year ago: “Hello, Bright Eyes. I’m so happy.” Happy, and scared shitless, but still walking forward, step by careful, brave step.

Full-time nurse, part-time environmentalist, and all-the-time mother, Kenna Lee lives in Sebastopol, California, with her three semi-feral children and several domesticated animals. Her book, A Million Tiny Things: a mother’s urgent search for hope in a changing climate (Mole’s Hill Press, 2012) is available now through your local independent bookseller; for more information, visit her website.

Excerpts from Birth Mandala: The Power of Visioning For Childbirth with Nancy Burns

Birth Mandala Book Cover by Nancy BurnsEditor’s Note: Nine years ago, pregnant with my second child, I followed a set of handwritten directions that took me through the curves of the backroads of Sonoma County, and eventually, after a number of wrong turns, lead me to my much coveted destination: a Birth Mandala workshop at the home of host Nancy Burns. On the heels of a first birth fraught with hospital interventions, I took Nancy’s workshop in the hopes of envisioning a more empowered kind of birth experience.

Back then, Nancy told me she envisioned putting her mandala work into book format. I’m so thrilled to be able to host some of Nancy’s words on the mandala process itself, as well as a sample of some of the images that appear in her book, “Birth Mandala: The Power of Visioning for Childbirth,” mingled with the words of the women who created the mandalas. I should also disclose that while I lost my original mandala in our last move, an early version of it appears in Nancy’s book. So lovely to see the fruits of your labor, Nancy, and to share them here. –Tania Pryputniewicz

Nancy Describes the Birth Mandala Method:

 

Headshot for Nancy Burns

Nancy Burns

“Birth Mandala: The Power Of Visioning For Childbirth” is a unique and creative method to prepare for childbirth. The subtitle of the Birth Mandala book is truly the essence of this method of preparing for childbirth and should not be overlooked. The Power of Visioning is the ability to reveal personal strengths and weaknesses that influence the outcome of birth.

Just as the body knows how to breathe, digest and excrete food and perform all of its functions without the conscious mind directing it, the same is true for birthing. The body is naturally programmed to release the hormones necessary to begin labor and to produce milk to feed the baby, it does not need the conscious mind to tell it what to do. Then what gets in the way of the body doing what it knows how to do?

One of the greatest influences is a woman’s perception of labor and birth. Beliefs about childbirth formed by what we have seen, read or heard produce feelings of either fear or trust in oneself and in the process of birth. Beliefs affect emotions, and emotions trigger the body to release chemicals that support either a state of relaxation, or stimulation and constriction.

There is a chapter in the book entitled I’ll Believe It When I See It, I’ll See It When I Believe It. In this chapter there are exercises to identify limiting beliefs that could interfere with the birth you want and to change them to supportive beliefs. To envision the best birth possible, some questions to explore are: What do I need to release? What strengths do I need to embrace? What do I need to shed to allow myself to be fully empowered? What am I needing to allow myself to be fully empowered? What does it mean to be empowered? This is a very personal and important question to contemplate. The purpose and intention of the book is for all women to be able to experience a deep connection with themselves, where trust and faith replace doubt and fear.

So, what is visioning and how does it support birth? Visioning is a process that allows clarification for what you are wanting. We generally focus on what we don’t want to happen or when we focus on what we do want it is too abstract a concept to produce the desired effects. Imagine walking into a restaurant and telling the waitperson all the foods you don’t want to eat? It is impossible for the server to get you what you do want to eat.

Or, imagine being in a restaurant that has a list of soups and you really want to eat some soup. If you say I want soup they are still unable to get you what you want. In the same way, being as specific and clear as possible helps you to get the desired results. To say I want to be relaxed is going in the right direction, however, relaxed is very abstract. For the body consciousness to know what relaxed means to you, it is important to describe the concept of relaxation in concrete terms by using your five senses: what would you be seeing if you are relaxed, what would you be saying to yourself or hearing from others; what sensations would you be feeling in your body?

I offer an example in the book from a client that was concerned about her mother being present during the birth of her baby. She said she regresses to a child around her mother. I asked her what she wanted? “To feel strong and in my power”, she responded. I then guided her to envision what that would look like, what she would be seeing that is different from what she is fearing. And guess what, that’s exactly what she was able to deliver (no pun intended!).

The process of visualization is then used to support the new beliefs and vision for childbirth. Visualization is like mentally role playing. Visualizing what you are wanting further imprints the vision into the subconscious mind and keeps the vision alive. There is a chapter in the book that guides a visualization of labor and birth. I also created a CD that is a visualization of birth that can be ordered. This is where the mandala for birth comes in. The process of creating a mandala for birth draws from both the conscious mind (goals and desires) and the unconscious mind (information that may not be available to the conscious mind). A mandala for birth is a visual representation of the positive birth experience you envision. It further clarifies what you want and acts as a reminder to help stay focused on your desired outcome.

Interview with Nancy Burns:

What was the seed or prompting for your work using mandalas to support women’s experience of birth?

At the time, I was co-facilitating a Sacred Wisdom Support Group for Mamas-To- Be with a midwife friend. We incorporated her knowledge of midwifery and birth with my knowledge from counseling psychology for birth. We were using art as a medium for their expression of various topics about birth. The idea for making a mandala for birth came when I was meditating. The idea of making a birth mandala began by having a visual image of a 10 centimeter circle to support 1st stage of labor. The mandala expanded to include a woman’s vision for birth through the use of images, shapes, words, colors.

How have you seen images in the mandalas of the women you work with translating into, or empowering, their experience of giving birth or how they view themselves?

This question would best be answered by the women themselves. The following are some birth mandalas and quotes from the women:

APRIL’S MANDALA

 

 

 

 

 

 

 

“Birth unfolds as a butterfly signifying metamorphosis, flowers opening up towards the light, owls wise and all knowing , signifying the relationship of the internal and external worlds/heavenly and earthly worlds. The inner goddess spirit that is in all women can soar and I draw upon her endless energy to bring new life into the world. The dancer of flamenco is there to remind me that birthing is a dance, as is all of life, and to remember my passion and flirtation for and with life.”

STACY’S MANDALA

 

 

 

 

 

 

 

STACY’S REFLECTIONS ON HER MANDALA

“The relationship between creating life and creating art really manifested for me during the mandala project. Both take intention, mindfulness, love and patience. Verbalizing my intention helped me tofocus my creative energy and thoughts. Nature, especially water, represents the flow of life in me and around me and through me. The shell represents the sacred spiral and the path the baby will take to leave my womb. Purple is a powerful feminine energy color and the nesting flowers give birth to a perfect moon-like orb, representing my baby. The moon cycle on the bottom mirrors the opening of my cervix during labor and birth. Two spirit guides, the dove and the Virgin Mary surround me, reminding me that my higher power is always present, loving and supporting me. A golden halo-like semi-circle encircles where my head should be. It symbolizes the holiness of living in the present, which can happen when I remove my head as the barrier to surrender.

The gift was working through my mental barriers and fears to create the reality I desire for my birth experience. I intend to use my mandala to focus on what I do want: balance, centeredness, confi dence, peace, rather than what I don’t want to happen.

STACY’S REFLECTIONS AFTER BIRTH

“The birth mandala has a special place in my heart and birth story. It is such a beautiful journey. The birth mandala has been very grounding. Upon completing it, the mandala was hung in my bedroom with a beautiful scarf around it. I really wanted to create a sacred place to honor my intentions for the birth of my child. The theme of my mandala was surrender, and it was in full alignment with this pregnancy. ….The mandala was a constant source of gentle and loving reminders that I was not in control of this birth and to surrender to the moment…

…Throughout the labor I used it to ground myself in the rhythmic waves of tension and release. I envisioned my baby spiraling out of my body and into the water, just as I depicted in the mandala. I felt the presence of the Holy Spirit as life was being brought forth from my body and the warm maternal love of the Creator – symbols of which I had included in my mandala. A little past midnight on July 25, 2009, my daughter slid out of my womb, up through the water and onto my belly. Hazel stared at us with wide eyes and amazement and I knew I had just been part of a miracle.”

AMY’S MANDALA

Amy's Mandala

 

 

 

 

 

 

 

 

“When I was creating this birth mandala, I felt like I was giving myself courage and strength I never knew possible. I am more confident after this experience. I feel peace and a connection with my baby that is so deep and beautiful. I am now ready for an amazing, healthy and safe birth experience.

AMY’S REFELCTIONS AFTER THE BIRTH:
The mandala helped me go into my center and set intentions around the type of birth I wanted. I looked at it during my labor. I felt powerful and strong, just like I did when I was creating the mandala at the workshop.”

Nancy, in your role as a counselor in the birthing field for many years, what would you say are the primary concerns you’ve witnessed women wrestling with?

This is an interesting and important question and has taught me not to make assumptions. I thought for sure the issue of pain would be predominant, but women were expressing other issues of concern like: fears around single parenting, the addition of a baby interfering in the couple relationship, and financial issues. All of these concerns are so personal and important to be addressed, accepted and come to terms with. I included a chapter on Reframing Pain because my own personal experiences and the feedback from women who used self-hypnosis and other tools to have a non-medicated birth was very empowering and satisfying.

What has been the most surprising, rewarding aspect of running these workshops and writing the book?

The workshops begin by creating a sacred space; women sitting together in a circle; lighting a candle and expressing their intentions. I suggest they spend the day creating their birth mandala in silence, which allows them to stay focused and dive deep within themselves. This in itself is a wonderful preparation for childbirth and is very rewarding. I trusted in my own inner guidance to offer this work. When I received positive feedback from women about how the process helped with their birth, I was not so much surprised as delighted. It was at that time that I felt inclined to put the work in a book form to reach more people than I was able. I am offering workshops for childbirth professionals to be able to offer this work to their clients in a deep and meaningful way.

Any mentors or other resources in the field of birth and female empowerment you wish to share with us?

My greatest mentor lies within myself. That is what inspired me to co-create with Constance Miles, the CD; A Pregnant Pause. In this CD women are guided to find their ‘inner midwife’ that guides them and supports them in birth. It is my belief that we all have the wisdom within, we just need to unveil societies and programming from the media to get in touch with our own inner guidance. Writing the Birth Mandala book brought a very important lesson to me that is equally important to birthing a baby, or anything we are pregnant with. Another childbirth author cited my work in her book and people were contacting me to buy my book. I became anxious about completing the book quickly. Like birth, you cannot force anything. It ends up with complications. The book taught me to have patience and trust the natural unfoldment of its birth. When I felt stuck that is when I did the Mother Nature Mandala Collage to take my time and honor the process of birthing the book:

MOTHER NATURE MANDALA COLLAGE

Nancy's Mother Nature Mandala

 

 

 

 

 

 

 

 

 

 

 

As far as resources, there are many books and DVD’s available to empower a positive birthing. They can be found at the end of the book.

Nancy Burns is a licensed psychotherapist in private practice in Northern California, specializing in pre and perinatal concerns. For over 30 years, she has supported pregnant and postpartum women in various capacities. She has been a doula, childbirth educator and prenatal yoga instructor. She has also been a presenter at the California Association of Midwives annual conferences.

Nancy invites you to join her for “a FREE unique evening that promises to stimulate a fresh vision of childbirth” on Friday, March 30, 2012 at 6:30 pm at Soul Shine Chiropractic – 440 So.E St., Santa Rosa, CA, and a Birth Mandala Workshop on April 20 and April 21, 2012 at the same location. For more information,  e-mail Nancy: BirthMandalas@gmail.com.

Exploring the Fictional Worlds of Poet Tasha Cotter

Headshot for Tasha Cotter, Writer

Tasha Cotter

Your prose poem, “A Lack of Power at the South Central Women’s Clinic” opens with a clean, crisp image of “men in hard hats dart[ing] like bats in a gray air.” Can you talk to us about your process of writing this poem? How you decide when to use the prose poetry form? (Or to blend traditional stanzas with prose poetry, as you do in “Description of a Figment and a Letter to Imagination?”)

Even now A Lack of Power at the South Central Women’s Clinic seems strikingly different from much of my other work, the language and scene feels more raw and exposed. The poem came about when I was in a lobby, waiting to get a physical (it was a requirement before I could work with kids in the schools). Like so many of my poems, I used one element of reality to begin sketching a fictional world. For me, it feels like taking the essence of something and building a world to anchor it.
The poem began like this: I got a journal out and began braiding threads together–segmented thoughts and abstract concepts all started fitting together. The man at reception, the discomfort that arises from the most trivial things. I asked myself what if you were very scared? I tend to be a very discreet person, very secretive too, and so I used a voice much like my own in this prose poem–a form I associate with Baudelaire and the french, that’s being reimagined and redefined by contemporary poets like Sarah Manguso, Laura Kasischke, and Ann Carson.
I sat there scribbling for a while, hoping that I didn’t seem too strange, lost in my frantic little world in the Professional Park Plaza. It was rainy and cold out–a combination that always puts me in a gloomy mood. I remember feeling better once I got most of the poem on the page. It felt like I’d had a parallel anxiety that only found relief once there was something on the page. Odd, I know. The whole business of writing continues to alert me to aspects of myself I didn’t know existed….
You preface “Description of a Figment and a Letter to Imagination” with a few lines by poet Sarah Manguso. Can you talk to us about what draws you to Manguso’s work?
Sarah Manguso has been a very important influence on my own work. My two favorite books of hers are “Siste Viator” and “Captain Lands in Paradise.” I still remember how I felt after first reading her poem “Address to Winnie in Paris.” Dickinson said that she knew poetry by the sensation of “her head being taken off” and whenever I read Sarah Manguso’s work, that’s how I feel. My other two favorite poems of hers include “What we Miss” and “Love Letter (clouds).” The world gets re-ordered when I enter her poems and that’s what I look for in poetry. I was always drawn to the surrealists and the dada movement in Paris always captivated me for that same reason. I love Man Ray’s work and Duchamp’s—when I view their work it’s like something in me is being fed. Poets like Rusty Morrison and Ilya Kaminsky are other poets who just continue to inspire and astound me. They infuse my life with beauty and so I return to them again and again.
The poem Description of a Figment and a Letter to Imagination is something I’ve been working on for about three years now. It’s one of those poems you put away for a while and re-visit every six months or so, tweaking a line-break, checking the language, and basically improving it incrementally. The poem arrived too fast–I’m always suspicious of anything that comes about too easily, even if it feels nearly right. I don’t know where the idea for the poem came from, but when I re-read it a few months ago, I had a new take on it–it felt spacious and airy.
The white space seemed to operate like stage lighting for the beginning half of the poem. For some reason I kept imagining a white landscape when reading the poem–a blank modern shell of an apartment that comes off as distant and cold. The poem seemed to defy intimacy and inhabit it all at once. Now, more than ever, I see the poem being about the possibility of fertility–there’s something about life giving rise to life that seems so mysterious, so unexpected to me. Sometimes I just sit and meditate on what feels magical in an effort to understand it better: the notion of birth, some technologies, computer languages… I am endlessly fascinated by these things.
One of my favorite lines in “She Shouts at the Absence,” is the one that suggests, “Talk like a cowgirl who has chased an animal / For days, in a lonesome expanse of burnt orange country.” How did you arrive at this image? Any desire to discuss the writing of this poem?
I wanted to begin with a directive of sorts. I’d seen it done before and I liked the effect of pulling the reader into this world. I begin with “Go to a party…” and I wanted to continue building this world and guiding the reader. At the time I was living out west, surrounded by a burnt orange landscape. Mountain sage grew wild. I’d never seen anything like that vastness—it’s an image that still stays with me because of how compelling it all was—it just made a big impression. I was living in Colorado and I couldn’t help but think about how land—spectacular places like that—have this ability to minimize all other preoccupations and really transport you out of yourself and out of all that is human. You can’t help but feel small and a little awestruck. You start to question the great mysteries when you’re living in the shadow of a mountain range.
It’s that feeling I was trying to capitalize on when I was writing the lines you mention in your question. When you’re facing something that vast—when you’ve lost something that could by now be anywhere—you can’t help but feel lost and a little hopeless, but it doesn’t keep you from searching, even if what you need remains unreachable. I’ve always looked to the land for contrasts in my work. Naomi Shihab Nye has this line in her poetry about inheriting the ability to stand on a piece of land and stare. She’s not changing it, not transforming it, but looking as if to find something—to receive something just by that gesture of being present. I grew up in the rural south—I’ll always crave a certain amount of distance between myself and the rest of the world.
Some say it’s necessary to find “one’s voice” in their work. They work and work until something stabilizes–the voice, themes, language. To an extent, I understand what they mean. But when I look over my own work there are several personalities present: contradictory theories on life and lots of literary forms at play because I’m constantly experimenting. Maybe there’s a common denominator that I’m missing, I don’t know. The truth is I pay little attention to genre, focusing almost entirely on whatever it is I’m trying to communicate. I’ve written a three page poem before and I’ve written a hundred word story. As a writer, it feels like society wants to find a label for each piece of writing, though I think journals are getting more comfortable with accepting pieces whose form is irregular and resists classification.
Any mentors you’d like to share with us?
I was an undergrad at the University of Kentucky when I met Nikky Finney, who was a hugely important figure in my life. I took two of her courses—Poetry 407 and 507. She was a constant inspiration. She made me think of myself as a writer, constantly treating me like I was a peer. I’d never met anyone like her. Her comments and feedback on my work were exactly what I needed. I remember she had us all keep a word journal in which we were to turn in ten new words each week—a short definition and a sentence on why we chose each word.
I kept my words in a black moleskin journal—I still have it. I remember I logged a lot of hours at the William T. Young library that semester, trying to find the most interesting, most poetic words to include in my journal. I still have that journal—it’s like a treasure chest. She motivated me to think differently and to observe everything. At the time my poetry was rather cryptic, not anchored to the ground at all. She opened my eyes to narrative and accessibility in poetry. I was thrilled when I heard she received the National Book Award in Poetry—it couldn’t have gone to a more deserving poet.
For a long time I called poetry home, though I never, ever called myself a poet. I didn’t even like the term writer. I surrounded myself with books by Hemingway, Fitzgerald, Plath, and Joyce growing up, so I don’t think I’ll ever feel right referring to myself as a writer or poet. I remember in June of 2006 getting a package of books in the mail from Nikky–(all by Guy Davenport) she’d written ‘Poet’ after my name on the front of the package she’d mailed to me. I’ll be honest: seeing that title after my name thrilled me, but, despite being immensely flattered, I rejected the whole thing, opting instead to identify myself as teacher, educator, advisor. Anything but writer. Anything but Poet.
What are you currently working on?
For the last two years I’ve been in the midst of writing fiction. When I heard that The Fertile Source wanted to feature three poems, I felt a bit like a prodigal daughter, finally home after a very long trip away. I re-read the work and began to recall the choices I made. I remember who I am when I return to my old surroundings. There was poetry, waiting for me though I’d been away for some time. There was something comforting about being back–after all, poetry was what started it all for me. It has personally defined me for so long now. It’s been a lens I’ve used to give shape and meaning to my life.
Right now I have two full-length poetry manuscripts in need of a publisher. I’m not very good about entering contests–the whole thing can get pretty costly in no time, so I’ve been doing research on small, independent presses. Although I’m mostly working in fiction, I almost always have a poem I’m polishing–at this point it’s an act that I’m convinced is bound up in my identity. I like the element of understanding and the process of discovery comes with trying to capture the nuance in what I see and what I feel. In terms of publishing, I try to always have some of my flash fiction or poetry circulating among the literary journals. I’ve found that having a background in poetry can be a very useful skill-set for a fiction writer. I’m convinced that working in more than one genre can only improve upon the other.
And Tasha, for fun, we noticed the guitar in the photo on your website. Is music part of your poetry?
The picture on the website was taken at Normandi Ellis’s PenHouse Writer’s Retreat in 2011. It was an open mic event. I will say, though, that the idea of flight and music play a big part in one of my poetry collections. I’ve always been fascinated by bird imagery—Booth published a poem of mine titled “Goldfinches” last year. Some of my work seems to orbit both of those elements. It’s also true that I listen to music a lot when I’m writing. Right now I’m listening to Bon Iver, Lana del Rey, Vetiver, and The Shout Out Louds.
I want my work to be sonically pleasing. Without fail I always read my poems aloud as I’m editing them. I want the sounds to sort of inform each other. If a line feels clunky, or I leave out a word when I’m reading the poem aloud, I know something needs correcting and I’ll work to smooth out the language.
Tasha Cotter’s work has recently appeared in or is forthcoming in Booth, The Rumpus, Contrary Magazine, and elsewhere. Her fiction was recently nominated for a story South Million Writers award, and her poetry has been nominated for Best of the Net Anthology 2011. You can find her online at www.tashacotter.com.

Into the Center of a Maze:Amy Amoroso on giving birth, motherhood, death, medical school, and writing

Interview by Jessica Powers

Amy Amoroso’s essay, “Hundred Year Old Soup,” was published in The Fertile Source on December 5, 2011.

1. One of the things that really drew me to your essay was the way you discussed how your understanding of what it means to be a writer helped you through the last final gasps of giving breath. Can you talk about that process a little bit more–both the writing process but also the fact that knowing this helped you give birth?

 
 
 

Amy Amoroso, photo by Duncan, age 4

Amy Amoroso, photo by Duncan, age 4

Giving birth to Duncan required going into a kind of dream-state. Seth and I took a class called Birthing from Within to get ready for the birth, and one of the things we learned is that the journey into labor is like journeying into the center of a maze. You (metaphorically) turn corners and twist through small places, moving further and further away from your rational brain and closer to your animal or mammalian brain. Our mammalian brain helps us to birth a baby without drugs or interventions. In this state, we don’t feel pain in the same way. But there are things that can take you out of this trance, like fluorescent lights, loud noises, or perceived stress of any kind.

 When things got stressful during Duncan’s birth, I did momentarily come out of the dream-state and it was very scary. I began to doubt that I could give birth at all. But I was able to get myself back into the birth trance by looking down, turning inward, and lots of deep breathing.

 When I’m writing and things are going well, I go into a similar place that allows me to turn off the part of my rational brain concerned with logistics, like the checkbook, the house cleaning, or the grocery list. In this state, I can transport myself to different times and places. I can be the people I’m writing about, and let the story unfold organically.

But coming out of that state in order to edit or revise, requires a different part of my brain. And if I come out of the dream-state too soon and start to layer in metaphor or play with the larger themes before the story has been “birthed,” I risk doubting my instincts, making a wrong turn, and losing the story altogether.

Maybe on some level, I was able to return to my birthing trance because I was familiar with the dream-state of a writer. But I think we all have access to this state. It’s just a matter of letting yourself go there.  

2. Knowing that Duncan was born without breathing, I initially had a very different thought upon reading those lines, “If the sun and moon should doubt, they would go out.” Can you talk a little bit about the symbolic and metaphorical links between a) being an artist, b) giving birth, and c) that awful reality called death?

 When Duncan was on the cart not breathing and I was on the bed holding my breath, I was hit with the reality that he could die, and that everything we’d prepared to bring him safely and peacefully into the world and back to our home, all the love we’d already filled ourselves with for this child, would be for nothing. And that place was even darker than where I was when I was doubting my ability to push him out. I think I was also, on a subconscious level, scared to lose a part of who I was, if Duncan didn’t survive.

 Children carry on our gene pool and our legacy. Art carries a piece of the artist’s soul, and as long as the world is willing to read or look at it, art will live on forever. Birthing, parenting, and writing require my heart and soul. And pouring heart and soul into a work of art that may never be born or that will never see the light of day can be devastating because you’re giving up an integral part of yourself. My greatest hope is that my work, as a mother and an artist, will thrive long after I’m gone from this world.

3. Why do you think so many of us mother writers are compelled to write the stories of our children’s births? What compelled you to write “Hundred Year Old Soup”?

I initially wrote Hundred-Year-Old Soup to heal. When I began it, I was pregnant with my daughter and I knew that I needed to heal the wounds of Duncan’s birth before attempting to give birth again. The first version of this essay was three times as long. In that first draft, I did a lot of exploration to try to figure out why Duncan got stuck and why it happened the way it did. I went down many different paths— everything from blaming myself for my own patterns of getting stuck in my life to blaming Seth for having such broad shoulders and passing them on to our son!

What I finally came to was that none of it mattered and that I just needed to tell the story and forgive myself for whatever I thought I’d done wrong. I spoke at length with Duncan’s pediatrician about the helplessness I’d felt when his cord was cut and he was taken from me. She reminded me that I wasn’t helpless, and that I knew exactly what Duncan needed when I told Seth to go over to him and let him hear his father’s voice. This was a pretty big shift in the way I began to see the story.

I think mothers are compelled to tell the stories of their children’s births because they need to understand what really happened. We are so quickly thrust into raising these little people that it is hard to reflect on and process what happened on the day they were born. And too often we hold on to judgment of ourselves for the choices we made—sometimes without even recognizing it.

I’ve been teaching a class on writing birth stories here in Portland at a wonderful community center called Birth Roots. And the work we do to find the heroic moments in child birth is transformative for so many mothers who start the class feeling shame or guilt or remorse about the choices they made around their child’s birth. And it is not like we are just putting our rose-colored glasses on. There are always heroic moments in childbirth—for the mom and the baby. Always.

4. You left medical school to become a writer. Tell us about the process you went through to make that choice. How does your background in science/medicine inform your writing?

My decision to leave medicine is another essay (or book!) altogether, but it was one of the most difficult decisions I’ve ever made. As a child, I was fascinated with the insides of things. I remember in seventh grade the day we dissected the cow’s eyeball was the day I decided I was going to be a doctor. And as I grew up and became more and more interested in stories, my choice of medicine was reaffirmed because what better position to be in than a doctor’s to hear the most intimate details of people’s lives? My plan was to be a doctor who wrote novels.

There were many heart aches in medical school for me. But in the end, I was not happy doing it. I kept a notebook where I was supposed to keep notes on various health issues and treatments, but instead I wrote about my patients’ lives. I wrote about the sterility of the hospital locker room. I wrote over and over again about how something was missing in my life. Something was missing.

In my second year, I took a class called Medical Humanities. In it, we read poetry and fiction, watched films and looked at paintings and sculptures all related to healing, death, dying, and medicine. It was probably the best class I’ve ever taken in my life. I remember sitting on the ground outside of my pathology lecture hall, reading Tolstoy’s The Death of Ivan Ilyich. I never went into my pathology lecture that day. I just sat their reading for two hours.

Eventually it became clear to me that what was missing in my life was writing. And when that reality hit me, it hit hard. I couldn’t go back to the hospital for one more day. I remember one of the mornings after I’d decided not to go back, my mom took me to breakfast and was trying to convince me to just finish out my surgery rotation—if anything for the writing material. It was good advice, because I probably could have gathered all kinds of good material. But I was done and it was the first time in my life that I decided I was going to follow my heart and not listen to the advice that everyone (even those I loved and respected dearly) else was giving me.

My two years in medical school left me with a great many stories and even more layers to weave into my work. Medicine is such fertile ground for writers because it is rich with tension, disappointment, humility, and miracles.

5. What are you working on now? And, how do you balance the demands of being a mother and being an artist?

 I’ve been working on a novel about a fictitious family who lived in the toxic neighborhood called Love Canal in Niagara Falls and lost a son to Non-Hodgkin’s lymphoma. The book begins with their twenty-two-year-old daughter, Ila, born seven months after her brother died, on a quest to find out who her brother was. Through stories from her brother’s high school girlfriend, his pediatrician, and her mother, she begins to uncover the circumstances that lead up to her brother’s death, while also coming to grips with her own surprising history.

Being a mother and a writer is a balancing act. I rent a writing shed that’s about two blocks from our house and if I wake up before the sun, I can usually sneak out of the house before anyone is awake and write for an hour at the shed. But if someone is sick or had a bad dream or sad about something else, I don’t get to the shed. And that’s okay, too, because everything feeds the work. If we are constantly running from our lives to get our writing done, we miss the opportunity to be there when life happens. And being there when life happens is the very best material for writers. I will write about all of it at some point.

Hundred-Year-Old Soup

An essay by Amy Amoroso

For Duncan

 

 

I made a pot of carrot lentil soup the day before going into labor. It was big enough for dinner that night, plus two nights during the week. But instead of easy meals for my final days of pregnancy, the soup came to the hospital with us, where it would sit in glass jars on a shelf in the Labor and Delivery refrigerator for days. We never ate the rest of it. And for some reason that lentil soup is one of the details I can’t ever forget.

            Duncan came four days early. He came without crying. He came without breath. And after all of our childbirth classes and birth plans, we couldn’t have been prepared for what happened during his birth.  On the short ride to the hospital, I thought of all the things I’d left undone. There were boxes of baby clothes that needed sorting, the sixty-year-old family bassinet that needed painting, and the cloth diapers that needed another round of washing and hanging in the sun. I assumed, since Seth and I are perpetually late, that our child would fall into line and that I’d have plenty of time to get these things done. I also imagined that after a healthy and hard labor, I would welcome my child immediately into my arms and onto my chest like I’d seen in the DVD’s we watched in class. It turns out that I was wrong, and maybe I should have taken my early broken water as a sign.

*

 Seth and I expected to spend most of the early labor at home, but since my water broke, our midwife thought we should meet her at the hospital. At first we were giddy and excited about meeting our baby, but as the hours went by, time became warped and we stopped exchanging words. Orange leaves dropped from a maple tree outside our hospital window and the sun was high in a blue sky, but I had no real sense of how long we’d been there. Yes, there was pain, but I can’t access it anymore. Not in a concrete sense. I remember breathing like the sound of waves, loud enough to push my thoughts away and deep enough to dampen the sharp edges of my contractions.

            Before I knew it, the sun was gone. An entire day had almost passed and I was still laboring. Most of the details are fuzzy, but I remember chicken salad, a red rose on the windowsill from my sister, and Van Morrison singing Astral Weeks. I wound my way inward to a place inside my body I’d never been before. Numbers, time, even food had left my consciousness. I moaned and moved according to the rhythm of my body. I floated in a Jacuzzi, squatted over a toilet seat.

When it was finally time to push, I was on the floor. Seth and our midwife were there too. Their faces weren’t in my view, but I could feel their hands and hear their words. With my knees bent and my head bowed, I felt like an animal. It didn’t matter that I was in a hospital on the corner of State and Spring streets in Portland, Maine. I could have been in the woods on a bed of pine needles or in the middle of the ocean.

*

Duncan’s head came while I was there on the floor, and I felt immediate relief. But the rest of him didn’t slide out like I’d seen in the birthing DVDs. I didn’t know this at the time, but he was stuck, and our midwife had started to panic. She tried moving me to different positions and then finally decided to help me up onto the bed.  I was reluctant to heave my pregnant body, complete with a newly born head poking out, back up onto the hospital bed. It was the one place I had decided early on that I did not want to give birth. When I was squatting on the ground, I could push every one away and focus. I could imagine I was an animal birthing in the woods the way we talked about in one of our childbirth classes. Up on the bed, plastic monitors flashed digital numbers, numbers I had no concept of at that point. People in scrubs swirled around the room. And the gray institutional doors and florescent lights brought consciousness back to me. All of it lifted me from my birthing trance and I suddenly became rationally aware of what was happening.

            When I was in graduate school for writing, a professor of mine would say, If the sun and moon should doubt, they would go out. He was talking about us as writers and the natural flow of a story. It’s only when we start to doubt what we’ve written, when we stop to break down the components of the story before it’s done, that the whole magical gift of storytelling goes out like a light. Giving birth is similar. You work yourself into a trance and you flow there until the job is done, until the pain of it is over, and you have the first draft of a beautiful life. But if you stop in the middle of it and think about what it is you are actually doing, you risk putting the breaks on the whole process.

            So there I was, surrounded by nurses, by Seth and my midwife, and by the reality that it had been 22 hours since my water broke and at 24 hours it wouldn’t be as safe for the baby to be inside me anymore.  I wasn’t sure what kinds of interventions they would try, but I saw in their faces that it was time to push the baby out. Except that now I was suddenly conscious of how much time it’d been since I last slept and how utterly exhausted I was. They were all cheering me on as if I were twelve years old again and swimming in a race. That’s the one, Amy. That’s the push. I wished they would stop. I wished I was back in the middle of the ocean by myself, birthing my child. I told the midwife I couldn’t do it anymore. I knew in my heart that I wasn’t giving in to anything yet, but for some reason I had to say the words and see what kind of power they had.

            It was then that I saw Seth’s eyes. I mean, actually saw them. Blue, blood shot, determined. He moved his head into my line of vision and somehow lifted me from the hospital room, the bed, the day that had slipped away from us, and said, “Aim, we need to get this baby out now.” He wasn’t mad or scared, just matter-of-fact, like he always is, pulling me back to the work that needs to be done. Somewhere between consciousness and dream, I pushed, and the others in the room chanted, I pushed, they chanted. It went on forever it seemed. But finally, with a nurse shoving my legs back toward my ears and the midwife pressing hard on my belly, Duncan was born.

 *

He came into the world silent and blue. Before I could catch my breath, Duncan’s cord was cut and his slippery soul was whisked away to a plastic cart beside my bed. A nurse pressed on his tiny chest and blew air into him. For seven minutes we waited, suspended between life and death.

            Flashes of what I knew about babies in the womb came to me like tiny dreams, messages from the gods. “Go to him,” I told Seth. “Let him hear your voice.”

            My knees were heavy. My arms numb from pushing the bed, the floor, the tiles in the shower. But I held each limb with such intensity that I was almost hovering above that hospital bed.

            Our midwife yelled to call anesthesia, to get the baby intubated, but the nurse refused. She was calm. She’d been here before. “He’ll breath on his own,” she said, quietly. “He can do it.” Two fingers pumping, lips blowing. Nothing.

            Seth moved from my side to the cart. He took Duncan’s tiny fingers in his own.

            This couldn’t be happening, I thought. After all of that, he had to be okay.

            If the sun and moon should doubt… There was a space just above the light of the warmer, a space full of air and breath and the energy of all the women who’d given birth before me in that room, a space where the sun and the moon had shone, where everything merged together. It was that force, like water coming together at the mouth of a river, that I focused on during those minutes of limbo. I held it with my whole being, that God of the moment, and begged it to give me my child. To make him cry. To fill the room with the missing sound I ached in the center of my chest for. It was worse than what I imagine being starved of water or food would be like, my own flesh and blood nurtured and loved for 40 weeks, tucked safely under my heart, now limp on a plastic hospital cart that seemed miles away.

            The room was painfully quiet as Seth leaned down close to Duncan’s body. “Hey, little guy,” he whispered.

           And then I could see a foot move. Fingers curling. Then, full of the gusto of life and fight, Duncan parted his lips and screamed. He screamed a blood curdling beautiful song. And we all took a long, slow breath, as if we too were tasting air for the very first time. Even though it seemed the whole world had been in suspension a moment before, we now didn’t have time to doubt the animal instinct inherent in all of us: to simply fill our chest cavities with air and breathe.

            Hey, little guy. I still hear those words like a prayer in my mind.  

*

 

Duncan screamed for almost an hour. We cried, too, and laughed, and held him so that his little lips were pressed against our skin. Feeling the warmth of his breath was like feeling sun on my body. When it was over and we were sure he was okay, I walked down the hall to the hospital refrigerator. I was starving. There on the middle shelf in two glass jars was the lentil soup we’d brought from home. It was just as orange as it was the day before. And it reminded me of all the undone things I had on my to-do list. It reminded me of the bassinet, and the piles of clothes, our dirty bathroom and all the things that didn’t really matter. Everything had changed since I last ate that soup. I’d been out to the middle of the ocean, to the woods, to a place only the animal brain can understand. I’d hovered in limbo for what seemed like hours, waiting for my baby to come to life. And I wasn’t the same person. I would never be who I was when I made that soup again. It seemed like the soup was 100 years old as I stood there in my slippers, with my uterus shrinking. 

            That night, Seth told me he felt something different in his heart now. “I don’t know how to explain it,” he said. “It’s like waves pulsing in my chest.” He put his hand on his heart and his eyes filled with water. Perhaps he’d been to the woods and the ocean and back, too. We didn’t eat our lentil soup that night. Instead, my sister brought us sushi and champagne.

Amy Amoroso is a writer and mother of two. After leaving medical school, she completed an MFA in Creative Writing and went on to teach writing at George Mason University and the University of Southern Maine. She currently works as a ghostwriter in Portland, Maine and helps women write about their birthing experiences. Amy is working on a novel and several nonfiction essays. Her fiction is published in Alligator Juniper and Upstreet.

 

 

 

 

 

The Empty Cradle

Photo by Kathy Leonard

The Empty Cradle

Kathy  Leonard says, “When I photograph, I do not consciously search out particular types of images, but I find that there is a surprising similarity in many of my photographs.  There is dark and light, great contrast, or “chiaroscuro” as the Italians call it.  I find this juxtaposition of light and shadow very appealing in black and white photography, especially when it serves to highlight the angles or curves of some object. These are the elements that drew me to photograph the wooden cradle. The natural light from the window cast dramatic shadows on the hand-carved cradle and I knew that the resulting image would be stark, simple, and beautiful.”

Kathy Leonard is a professor at Iowa State University.  She studied photography at the University of California, Davis, and at the University of Nevada, Reno, where she received a degree in Fine Arts with specialty in photography. Her photographs have been published in numerous magazines, websites, online journals, and in textbooks and have been exhibited in various venues in California, Nevada, and Iowa.

Limitations, Imitations, and Haiku as Form of Expansion: an Interview with Poet Stephanie Lenox

Poet Stephanie Lenox, headshot

Stephanie Lenox, Photo by Sabina Samiee, Oregon Arts Commission

In “Confinement: A Haiku Sequence in Ten Parts,” (published earlier here at The Fertile Source) the narrator speaks to her unborn child, “My fears feast on you / But even the leaves let go.” This beautiful line in particular seems to hone in on the way a mother’s brain has to rewire itself to accept the responsibility of loving someone we can lose at any moment. The rest of the poem also documents this process (which starts in utero). Can you talk about how the images came to you? And why you chose the form of haiku? How did the conditions of bedrest figure in to the psychology of the narrator?

I was inspired to start this haiku sequence after taking a workshop with Ce Rosenow, president of the Haiku Society of America. Her workshop reminded me that a haiku is so much more than simply a 5-7-5 syllabic form. Since haiku traditionally include images from nature, I wanted to do that in my sequence, but for the most part my imagery is confined to those things I could see from my bedroom window – telephone wires, a few treetops, the sky. I invited nature into my haiku through other images, but for the most part I aimed for images that reinforced the cramped, claustrophobic feel of pregnancy, especially a pregnancy spent on complete bedrest.

I started with haiku in part because motherhood and the preceding 70 days in bed was such a monumental experience – it completely rearranged me – that I wasn’t sure where to begin. So I started with five syllables, then seven more, and I slowly built and layered one image on top of another. (It was also a writing project I could chip away at between feedings, diapers, etc.) The formal restrictions of haiku helped focus me. I also discovered in the process that haiku, while appearing small, is a form of expansion. Without punctuation, it is intended to unfold and expand in the reader’s mind. I liken it to one of those toy capsules you drop into the bathtub that transform into a sponge dinosaur.

In “Last days of nursing,”  the metaphor of the magician strikes me as a clever way to point to the intermediary nature of motherhood—part God, part magician, yet so rooted in tangible and impossible acts, like weaning a child. I believe every mother who has had to wean her child will relate to this poem! Were there other metaphors you considered along the way? Poetry by any other writers you’ve seen covering this topic you’d like to share with us?

This poem is a direct response to the poem “The End of Nursing” in a beautiful book called Out of Refusal by Carter McKenzie. Her poem begins: “Interminable nibbler, attached fish, when / does this end?” My poem, in its last line, answers hers.

I felt so empowered to write about this topic after reading her poem that I practically stole her title and started writing my own version. I’m sure I considered a lot of metaphors along the way, but I settled on the extended use of the magician because magic is messy, or at least that’s the way I envision it. From the audience’s point of view, it’s all illusion, but for the magician and the assistant it’s a rehearsed performance, one that begins with awkward practices and risky errors and that eventually works its way toward mystery.

We understand you are at work on a new series of poems inspired by the birth of your daughter. Can you give us an inside peek at the range of topics you’ll cover? (And let us know when it comes out so we can alert our readers and support your work.)

I have been fortunate to receive an individual artist grant from the Oregon Arts Commission in support of new work inspired by my daughter’s birth. My first book of poetry, Congress of Strange People, will be coming out from Airlie Press next fall. I’ve always been intrigued by bizarre characters and events, and my first book explores this in large part through the use of persona poems. But in my new work, the strangeness has come home with me. I find it in the middle of the night during a feeding. I find it in the ants crawling through my kitchen cupboards and across my newborn’s tongue. I find it in my dog whose severe separation anxiety caused her to consume baby bottle nipples and parts of my breast pump.

I’m also experimenting with imitations of other poets. Theodore Roethke has said that “Imitation, conscious imitation, is one of the great methods, perhaps the method of learning how to write.” I’m a perpetual student of poetry, so imitations are my way of tracing my poetic lineage through poems that have changed the way I think about what language can do. I like to think of my poems as “offsprings” of the originals.

Any mentors you’d like to share with us?

I’m a member of a poetry response group known as The Peregrines (named so because we meet twice a month at a different member’s house). They apply the gentle pressure I need to keep writing in spite of all the competing obligations. I’ve likewise been grateful for the mentorship of the editors at Airlie Press, the nonprofit poetry publishing collective that is publishing my first book.

Has your experience of motherhood changed your relationship to your writing or your editorial work?

Motherhood has made me more honest about my time: either I do it, or I don’t, no excuses. I’ve actually been more productive since my daughter was born than I was in the years before she arrived. I work during naps and by the good graces of babysitters. My daughter has a bedtime of 6:30 pm, which used to give me a lot of time to work. However, since I’m now expecting my second child, I no longer have the creative energy to write in the evenings.

I wish I’d realized how good I had it when my daughter would sleep in my lap as I compiled an issue of Blood Orange Review or read submissions. I miss the days I could read an entire book of poetry at 3 am while rocking my daughter back to sleep. Now that I have a toddler on my hands, there’s no working while she’s in my presence. But what I’ve learned most from motherhood is to constantly adapt to today’s challenge rather than forcing yesterday’s solution. 

Any programs for writing mothers you’ve found helpful or that you’d’ like to see developed?

The grant I received from the Oregon Arts Commission has been especially helpful for me as a writing mother. It’s paying for the babysitter right now as I answer these questions. Another thing that helps is finding other writers with young children. It’s extremely useful to share one’s frustrations and accomplishments as a writer while the babies roll around on the floor together.

As for more programs for writing mothers, I’m dreaming now, but I’d love to see more daylight poetry readings, ones with a separate room with childcare provided. I think one reason you see poetry audiences aging (at least in my corner of the world) is that young families face a lot of barriers to attending evening events. This has been the part of my literary life most impacted by motherhood. If I’m going to spring for a babysitter, I want it to be for my own writing or a date night with my husband.

Stephanie Lenox lives in Salem, Oregon, with her husband and daughter. Her chapbook, The Heart That Lies Outside the Body, was published by Slapering Hol Press in 2007. The work published here was written with the support of a 2010 Oregon Art Commission artist fellowship. She teaches poetry at Willamette University and edits the literary journal Blood Orange Review. For more information, please visit her website at www.stephanielenox.com.

Stray Pets

An essay by Jody Keisner

 

Besides the frogs, fireflies, grasshoppers, and June bugs that my younger sister Debbie and I trapped in canning jars, my parents adopted seven cats, six dogs, three rabbits, two hamsters, one duck. And me. I had been adopted as a newborn, and Debbie was my parents’ biological child.  I don’t remember some dramatic moment when my parents told me they weren’t my first set of parents. It seems like I have always known. It wouldn’t have bothered me that I was another adoptee in the Keisner menagerie, except we moved to the country when I was nine, and the lives of most of our animals ended tragically. I wondered if I was next.

Our new home was on four acres in Louisville, Nebraska, a town with a population less than 2000. My bedroom faced a mowed front yard that led to dozens of dense trees. Unkempt pasture and the occasional cow bordered one side of our home, separated from us with barbed wire. The adjacent farmland gave us opportunities to stick our noses into trouble. One dog died from a gunshot wound inflicted by a half-blind farmer, one cat met death from a parasite living in cow pies, and a hamster was flattened under a truck. My mother swore an eagle plummeted from the sky to snatch a lap-dog from the snow. I found my rabbit stiff as a board one morning when I went to feed her, the death ruled a mystery. A furry gray and brown puppy we named Odie, who we liked to roll down the sides of a small hill, disappeared into the middle of the night just weeks after his birth in a cardboard box in our garage. Armed with flashlights and Dad, we walked all four acres. We never saw Odie again.

The cats that roamed our property were once kittens Mom had rescued from a farmer whose only other option was a potato sack and a lake. Our dogs were strays my father brought home from the railroad, beaten dogs that tucked tails between legs and wolfed down food in a few bites. Mom’s dog, Ladybug, was different. She had been handpicked and was our only inside pet; she slept on my parents’ bed instead of in the garage on a smelly blanket with the others. A blonde Pekinese Maltese who always had goo in the corner of her eyes, Ladybug followed Mom from room to room, her toenails clicking on the linoleum of the bathroom or kitchen floor while my mother cleaned. She tolerated my sister and me, lifting her pug nose in the air. She allowed us to briefly pet her before prancing through the house, searching for something more entertaining.

I worried about our pets’ bad luck. Was I a doomed stray that had wandered into our family? Or had I been carefully selected like Ladybug, meant for a life of luxury and coddling?  I wasn’t like Debbie, who always wanted to be around my mother, boiling the spaghetti noodles while Mom stirred sauce or cuddling with Mom and Ladybug on the couch, watching Little House on the Prairie. I preferred to be alone, reading books or exploring the neighboring land with one of the transient dogs.

One day, I studied my mother as she sat on the couch, folding laundry into a basket.  She bent awkwardly to avoid waking up Ladybug who lay curled in her lap. Even though she was only 37, half of Mom’s hair was completely gray.

“Your hair looks frosted,” I said. “Like you had it professionally done.” I knew what “frosted” hair was supposed to look like from seeing it on a magazine picture of Madonna. Mom wouldn’t let me listen to “Like a Virgin” on the radio. She claimed I was too young to know about such things, but I learned plenty from listening to the older boys up the road. The thought of my mother and Madonna sharing a hairstyle made me giggle.

“What can I say? I’m a natural beauty,” Mom said, continuing to fold the laundry.

Mom had never colored her once-black hair or even had it professionally styled. Her beauty routine consisted of a bar of Coast and Pert Plus: Shampoo and Conditioner in One. She sprayed her short “frosted” hair into a stiff, helmet shaped hairdo every morning with clouds of Aqua Net that burned my eyes and made everyone but her cough. Aqua Net was good for other things, too, and I sneaked it out from under the bathroom counter to spray bugs permanently onto the walls.

My hair was what Grandmother referred to as dirty dishwater blonde, but Debbie was a brunette, just like Mom had been when she was a child. I wondered what color of hair my other mother had.

“Why didn’t that lady want me?” I blurted.

Mom looked up at me, startled. She held a pair of Dad’s worn Wranglers, stiff from drying on the clothesline.

“Your biological mother?” she asked.

Ladybug licked her paw and yawned.

I nodded.

She set the jeans in the laundry basket by her feet and patted the couch. I sat a few inches away. 

Mom scooted close to me and hugged me hard. “You are my special gift. I chose you.”

I imagined a room full of rows of crying babies in baskets, displayed like puppies or flowers. I imagined Mom pointing to me and saying, “I want that one.” 

 “You asked me about her once before—when you were very young. I couldn’t believe a three-year old figured that out. That there was another mother,” Mom said, her eyes filling with tears, which didn’t alarm me because she was what Dad called “Sensitive.” Little House on the Prairie set her to boo-hooing, even when the episodes were reruns. Sometimes she choked up just from standing in our bedroom doorways after tucking us in, her hand on the light switch. “I just love you so much,” she’d say. “When you’re a mother you’ll understand.”

“You’re my Mom,” I said. I meant it. Mom was her name, but she wasn’t my only mother.

 

Thoughts about my adoption were mostly infrequent. The concept was abstract. Mom was there, in the flesh, every morning to pick out my clothes and make me scrambled eggs with flecks of ham. At bedtime, she weaved my freshly showered hair into dozens of tiny braids, so that I could have “permed” kinky hair like The Bangles. The process took hours, me complaining of a sensitive scalp the entire time. (In high school, friends would brush my hair into ponytails for track practice because I wouldn’t learn how until college—my mother did it at home!) She was, in my mind, proper—a proper mother.  Mom had worked her way up from bank teller to credit union manager all without a college degree and still quizzed me out of my history books and clipped my toe nails before sending me off to bed at night. She made sure our family attended Mass on Sunday, even Dad who sometimes fell asleep in the pew after working third shift at the railroad.

But by junior high, I started to find the idea of having another mother romantic. I spent hours on the couch with books and with my favorite band, Journey, who contributed the soundtrack to my life. Books offered me an exotic world of mothers, each one I imagined saying, “Pick me. Pick me.” I fantasized about what the other mother would be like. I imagined a beautiful and sad woman dressed in a white, flowing dress, like a character from Gone with the Wind. She would stand in an open door in a house surrounded by tall, swaying grass, watching the same sky as me, feeling the same breeze, wondering where I was. She hadn’t appeared to me, so I made her anything I wanted, a Choose Your Own Adventure mother, like the sci-fi books where I could determine the protagonist’s fate. Sometimes I envisioned the other mother as a horrible woman, unfit to raise a child: a slobbering alcoholic, a hallucinating lunatic, a slut, a bum, a madwoman ready to throw herself off the roof like Bertha in Jane Eyre.

I knew that someday I would meet the other mother and she would welcome me like my favorite Journey song, with “Open Arms.” I mostly kept this to myself, since my recent renewed interest in my adoption flustered Mom, who began claiming she had forgotten. “It doesn’t even enter my thoughts,” she said. But thoughts of my adoption had begun to enter mine all the time.

I learned from Mom that 31 days between my birth and adoption were unaccounted for. “But where was I?” I pestered. “Who took care of me then?”

“I don’t know, honey.” Mom, exasperated, ad-libbed: “Nuns? You were well cared for.”

“What about the eye infection I had when you got me? You said my eyes were a mess! I’ve had surgery on both of them because of it!”

I became certain that every shortcoming I had could be directly linked to those 31 lost days and that I had been irreparably harmed in some way. I read all the adoption books in Louisville’s small school library, many of which theorized that babies removed from their natural mothers never learned how to bond with anyone else. Another book informed me that adopted children would always fear rejection. Suddenly, every possible psychological affliction in the book seemed like it was describing me, although Mom was usually nearby to assure me how special I was.

“You saved my life,” she confided. Mom had lost three babies before they adopted me. “After those miscarriages, I thought I would die. Then you came along.” Her eyes were already misting.

Mom told me my adoption was a closed one, which meant that descriptions of my biological parents were sealed in a file until I turned 25. I decided that until then, I would become the daughter that my imaginary mother would want. I studied every night to earn straight A’s, ran track and played basketball after school (even though I was equally horrible at dribbling, passing, and shooting), stayed away from situations where classmates were sneaking beer and groping each other. The more perfect I became, the more my real mother would mourn giving me up (I didn’t think Mom was my fake mother,  but the word “real” popped into my head whenever I thought of the woman who gave birth to me).

 I often felt out of place, but every kid I knew felt the same way. Some of my friends were even envious. “God,” they’d say. “You’re so lucky. I hate my parents. I wish I had another set I could trade them in for.” My status allowed me to choose my family at whim. I told myself I was not related to Uncle Dean, who smoked pot behind Grandma’s garage during family reunions. I denied relation to a distant cousin, a woman Mom privately nicknamed Dirty Martha, who picked her scabs with grimy fingernails at the kitchen table. When, during our annual Fourth of July family get-togethers, a drunken uncle began hugging our female teenage cousins for too long, I just denied him, too.

Sometimes, though, my biological truth sprang suddenly and without my wanting it. One Christmas day, Mom and Dad, my sister, our cousins, aunts and uncles, and grandparents gathered in the living room before opening presents. A younger cousin and I looked at the new issue of Highlights, racing to see who could find the kitchen appliances and other out of place objects poorly hidden in the drawing of a tree. It had been the best part of the magazine when I was a child, but now I was too old for it. My grandmother on Mom’s side cleared her throat. She pointed at the school picture of my sister on the wall. “You know who that picture reminds me of?” Then she looked at Debbie. “You are your mother’s spitting image, child.” She laughed, pleased and everyone nodded at the unmistakable similarities: the same dainty smile, black hair, and ice blue eyes.  I suddenly found myself swimming in a crowd of faces, but I couldn’t find my nose, my eyes, or my hands anywhere. I felt like the toaster in the Highlights tree: Can you find the item that doesn’t belong?

Debbie had been born my parents’ natural child ten months after my adoption.

“Our miracle baby,” Mom said.

I looked at my younger sister, who sat grinning by our Christmas tree in her lace-hemmed dress, and I felt my otherness wallop me in the head.

 

As a teenager, I relished the feeling of belonging elsewhere, mostly because I found my own parents too strict, too familiar, and too annoying. I pretended I was an uncaught character in a Nancy Drew mystery novel and that my adoption made me mysterious. I passed hours rereading the few documents my parents had recently given me (the only papers available in a closed adoption): my health statistics at my birth, a line or two about the physical condition of my extended biological family, and a succinct paragraph of description about my birth mother. It was the later I was most interested in. “The biological mother was 19 years at the birth of the baby. She has blue eyes and light blonde hair. Her complexion was listed as fair and she is of German descent. She has had two years of college and her interests are artistically inclined.” I told my friends that I was German. My biological mother and I had the same color of hair. I thought she must be a magnificent painter, her canvas capturing what she instinctively knew I looked like. She would paint my hair dirty-dishwater blonde, like hers. I would smile in her paintings, but my eyes would be sad, the loss of each other a secret between the two of us. Sometimes, when we had a hip, urban-seeming substitute in art class, wearing paint splattered slacks, I was sure it was her!

Mom sat next to me on the couch when I called United Catholic Social Services. In a few weeks, I would move to Wayne, Nebraska, a small farming and manufacturing community, to attend classes at Wayne State College. I had told myself that before I moved, I would work up the nerve to make the call. My stomach lurched as I dialed.

A sympathetic sounding woman explained that because my adoption was closed, the state couldn’t release any information to me until I was 25, and even then, no names, only more paperwork.

“Your biological mother has to agree to meet you, honey.” Her delivering-bad-news voice was as soft as a pillow.

“Has she been in contact? I mean, has she asked how I’m doing?”

“Sweetie, it looks as if we’ve had no contact from her, but that’s to be expected. For some women, the entire process is just too overwhelming.”

“Oh.” I was heart sore. How could she not want to know about me? I looked down at what I was wearing—a Jordache T-shirt and tight jeans rolled into pink socks. Mom squeezed my leg. I felt ridiculous.

“But it looks as if your biological father has contacted us. He wanted to know that we placed you with a good family.”

I felt ambivalent towards him. I only wanted to meet my biological mother, the woman who had shared a heartbeat with me for nine months. I had a vision of her filling in where Mom left off. I imagined my birth mother and I would conduct serious talks about literature (Thanks to my American novel classes, I was already becoming a literature snob), boyfriends and sex, and the meaning of life. Mom read novels with cowboys pictured on the cover, told  me my father was the only man she had ever slept with (and only after their wedding) and she was raised Catholic, so she believed that life was a series of good deeds you performed to get into Heaven. I hoped my biological mother wouldn’t really be like a mother at all but more like a cool older sister.

“What now? Is there anything I can do? Can I write her a letter?” I had written her dozens of times, though each attempt frustrated me and eventually ended up in my wastepaper basket.

“Well, sure. You can mail it to us, and if she contacts our service, we’ll send it to her.”

It wasn’t much, but it was something. “Okay.” I set the phone in my lap.

“I’m happy for you,” Mom said, leaning in for a hug. “It’s just, I don’t think of you as being adopted.” Her eyes were welling.

“She doesn’t want to know me, anyway.” The phone receiver was warm in my hand. I held it tightly for a few minutes before setting it in its cradle.

 

Wadded up drafts of letters filled my trashcan, imperfect testimonies and explanations of how much I needed my biological mother. The letter I had sealed and stamped was also unsatisfactory, an overwrought story I called “The Motherless” about searching for faces in a crowd that looked like mine, finding none.  I used the same phrases one might use in a letter to a love obsession, except I kept everything in third person so my real mother wouldn’t see how fanatical I was: “thought of my mother day and night,” “wished my mother and I were near one another,” “not certain who I am without her.” I asked her if we could meet, but the Catholic Charities woman had warned me that she likely wouldn’t want to. I disagreed.  I imagined this other mother to be someone who couldn’t live without me, someone who would understand my teenage self in a way my parents couldn’t. She would never think it odd when I wrote melodramatic poetry or spent entire evenings lying in my bed feeling certain that nobody could feel the world’s pain as deeply as me. I would lie backwards on my bed, my feet draped over the headboard, and write sad sappy poetry that I signed “Clover” because of a four-leaf clover pressed in my dictionary on the page defining leprechaun.

When Mom tried to draw me into conversations like the kind we had when I was younger, when the two of us used to snuggle on the couch, I answered in one syllable words.  How was I? How was my day? Was anything on my mind? “I’m fine. I’m fine. I’m fine.” Leave me alone to be with my important imaginings. My parents were exasperated with the self-absorbed teenager I had become and showed me with a poster that read:  Teenagers, Leave Home While You Still Know Everything. I felt certain my birth mother would not only understand me, but find me a wise old soul full of fascinating insights into humanity. And she, unlike Mom, wouldn’t hang her nylon granny panties on the outdoor clothesline for visiting boys to see.

Amazingly, two weeks after I sent my letter, someone wrote me back. Claire Marie the letter was signed. The last name had been crossed out, just in case, I reasoned, she decided not to meet me and didn’t want a crazed lost child hunting her down. In calligraphy, Claire told me her parents had sent her to a Catholic hospital to give birth to me, a place where nuns had prayed for her forgiveness. My biological father, also a college student, moved to a different town before the pregnancy showed. He didn’t know Claire was pregnant until Catholic Charities contacted him, asking him to sign the adoption papers. Because of the silence Claire’s parents demanded, my birth became a secret that she kept through college and eventually from a husband and two young daughters.  “I will never regret my decision to have you,” she wrote. “Deep in my heart I know that you are beautiful and my contribution to this world.” She prayed and hoped that I was happy, healthy, and loved and wrote that these were gifts she couldn’t have given me then. The letter had a note of finality, of closure. She never mentioned the possibility of us meeting. I slept poorly that night, continually checking to see if the letter was still where I had tucked it under my pillow. My only proof of her existence, I was certain it would disappear.

 

The fall semester passed without Claire and me exchanging another letter. I didn’t forget about her, but she wasn’t exactly on my mind now that I had college classes, parties, and guys to obsess over.  One afternoon I was summoned to the dorm’s hallway phone. Over the past few months, my phone calls with Mom had become increasingly scarce. I felt annoyed at having to leave the dorm room full of laughing co-eds. I answered the phone with an exaggerated sigh, but it wasn’t Mom calling to ask if I was using my food plan and getting enough sleep. It was a woman from Catholic Charities.

“Would you like to meet your biological mother?” the woman asked.

Adrenaline shot through me. My ears started to buzz. “Yes, I want to meet her! What happens next? Have you already talked to my parents?”

 “Honey, you’re a legal adult. You can decide for yourself.”

I forgot. I wasn’t in high school with permission slips jammed into my backpack. I didn’t need to ask Mom before doing something.

“When do I meet her?” I asked; the words were surreal.

Without my ever having spoken with my biological mother on the phone, Catholic Charities acted as the mediator, planning a reunion at Riley’s, a local restaurant in Wayne. I felt like I was about to win a major writing prize or a state track medal (Other than a sixth grade Young Authors Award, I hadn’t won either).

At my request, Mom drove three hours to be with me, to meet the other mother and hold my hand. She picked me up at my dorm room. We drove in silence. My withdrawal into college life was hurting her feelings, yet here she was beside me, humming to an easy-listening radio station.

I stared at the fast food restaurants and the college kids bundled in their winter coats. I hoped meeting Claire would live up to my expectations. I felt a little guilty for so badly wanting another mother, in addition to the perfectly good one I already had. I pictured Mom plugging giant headphones—my sister and I called them her earmuffs—into her Sony stereo and sitting cross-legged on the floor, singing off key to Lionel Richie and Barry Manilow when she thought she was alone in the house, her hair matted down by the band of her earphones. Eyes closed, she swayed and cried when the music really moved her. Watching from the doorway, I muffled my laughter with my hand, but these stolen moments also made me feel safe. Mom would never hurt me. But the other mother might.

Riley’s moonlighted as a dance club on weekends. I had been there with my friends, usually after we drank bottles of Bud Light in my best friend’s dorm room or at one of the known party houses. By the time we arrived at Riley’s on those nights, hoping for someone to ask us to dance, the floor was packed with bodies swaying and grinding. Mom and I were meeting Claire in the restaurant, which was separated from the dance floor, but it was hard for me to dismiss the images of college students, dancing hip to hip, from my mind. I wondered if Claire and my biological father had ever danced, full of a yearning for each other that would produce a love child.  In my mind, a relationship was not worth having unless it was first full of pain. I cried hardest at the movie love stories where the couple had to overcome some self-inflicted misery in order to be together, like in Urban Cowboy when Sissy and Bud tried to make each other jealous because they weren’t mature enough to admit how they truly felt. Couples who made juvenile, passionate mistakes and risked losing each other understood my heart. I wondered if my biological father still loved Claire. How could he not?

Mom parked the car and looked at me. “Are you ready to see who’s behind the door?”

 “I’m ready,” I said. We got out of the car. I grabbed Mom’s arm before she could open the restaurant door.

“I can’t,” I said.  I started to cry.

“You’ve waited so long for this, Jody.” Mom wore one of her work outfits, a navy vest and matching slacks, navy flats. She wore a strand of pearls around her neck; she had even put on mascara and lipstick for the occasion, flare she only wore for funerals or weddings. Her hair had turned from its natural “frosted” look to all-white years ago. Mom suddenly looked older and frail, though I knew she and Dad were in the midst of a remodeling project, and she would carry two-by-fours and aim a nail gun. Mom was tough when she needed to be.

I pulled my winter coat up to my chin and withdrew my hands into my coat sleeves, though I had read in an article on body language that this gesture showed insecurity.

“I’m scared,” I said. What if she didn’t like me? I wanted Claire to be impressed. Didn’t she regret letting me go? Hadn’t I turned out well? I wanted her to think so, even though I felt nerdy. I was more comfortable with books than with college boys.

“We don’t have to go in,” Mom said. She was unusually calm and unemotional.

“No. I’m okay.” I wiped my nose on my coat sleeve. “I want this.”

I stood in the entrance and let my mother enter ahead of me. I could see empty tables. “This is a special meeting,” Mom had said when she called to make reservations. “Can we arrive a little before the restaurant opens?”

Mom saw her first, inhaled and turned to me. “She doesn’t look very much like you,” she said. It was a comment I would think about later, considering how much we looked alike. I felt as nervous as I used to at the start line during a high school track meet, when for a millisecond, I thought how much easier it would be to flee to the school bus. I took a deep breath and pushed past Mom into the restaurant where all of the tables sat empty except for one, where a fair-haired woman sat with a man. I knew who she was immediately. She stood. We were the exact same height. I walked over to her and hugged her stiffly without really looking at her. I didn’t want to cry again, so I went numb inside, a trick I learned to use when my first cat died.

Mom hugged Claire. Even though Claire was only a few years younger than Mom, she seemed like a child in her embrace. Mom patted Claire’s back before she sat down. I sat down between them.

“It’s so nice to finally meet you,” Mom said when no one else spoke.

I first stole glimpses of Claire’s face while Mom talked about the drive to Wayne. Just the tip of her nose. Then her eyelash, her eyebrow, the curve of her lips. I stared at her hands, which were visibly shaking. Her hair was reddish blonde. Claire wore city attire, a long form-fitting dress, black knee-high boots, hand-crafted jewelry. I was used to seeing my Mom and other Nebraska Moms in Midwestern mom attire: jeans with elastic waistband, oversized T-shirts with pictures of furry animals or a Huskers football logo, and dirty tennis shoes. Claire was an eccentric sort of pretty, more exotic than Mom and more attractive than me. I suddenly felt frumpy in my oversized sweater and jeans. The tanning salon near the campus sold dollar tans, and my face was unnaturally orange. With my inch-high hair sprayed bangs and winter fake-bake, I looked like every other college girl in Wayne. Ordinary. I was sure Claire would know it.

“This is Rick. My friend,” Claire said. “He’s here for moral support. I don’t know that I would have come without him.” Her voice surprised me. Unlike her shaky hands, it was sturdy and low, the way I imagined the matriarchs of my British Literature novels sounding.

“Jody, you can’t possibly imagine how happy Claire is to see you,” Rick said, “Or how much she has thought about you.” Rick’s voice was full of saliva. He spoke each word slowly. I stared at his thinning hair and his wide forehead. His glasses slipped down his greasy nose.

I had thought of meeting my other mother for years, rehearsing reunions in my head where years of experiences would finally be shared. I was unable to say any of those things. Unwilling to face possible rejection, I went mute. Mom filled our silence by presenting the best version of me, how I wrote for The Wayne Stater, my high GPA, the time I placed third in a cross-country meet, my braces in junior high and perfect teeth now. She left out the recent arguments we had been having about my college partying (in my freshman photo album, I held a beer in every picture). I was glad Mom was there to take the pressure off of me. While Mom talked, Claire remained silent and aloof. It surprised me that her demeanor seemed restrained, unlike the warmth of Mom’s.

“The two of you,” Rick said looking at Claire and then me, “just need to snuggle.” Rick reminded me of a salesman in a New Age Store. Everything out of his mouth was sappy and intrusive. I wondered if he had read my letters to Claire. I felt pathetic and needy. I hated him. Rick leaned across the table and put Claire’s hand on top of mine. We all looked at each other. Claire’s hand was cold and rigid. I slowly slid my hand out from under hers and fiddled with my napkin.

“I didn’t want to give you up,” Claire said. Mom looked surprised that Claire was addressing me. “My parents are Catholic. My mother, well, she thought it was so shameful for me to find myself with child. Out of wedlock.” She looked at Mom when she said this, and at Rick, who was smiling and nodding. Then she turned to me. “I didn’t know what else to do. Or how I would take care of you.”

I didn’t know anything about taking care of babies. I didn’t have a boyfriend. Having a child seemed like decades away.  I couldn’t relate to what Claire was telling me even though it was about me. So far the evening had been a conversation between my two mothers. I wanted to say something, but my words really needed to matter when I finally opened my mouth. Did Claire think I was insecure? When I looked at Rick, he winked.

“You and Claire need to spend time alone together,” Rick said. “In order to have those feelings, to really unearth them.” He leaned in towards me. The pores on his nose were enormous.

Mom shifted uncomfortably in her seat and cleared her throat.

“Did she have brown hair?” Claire asked.

“What?” The waiter had brought our salads and my mother had a speared baby carrot on her fork.

“The nurses wouldn’t let me see her. They didn’t even let me hold her.” I thought Claire might cry, but she sat straight up and regained her composure. “When I went down to the nursery, I saw this baby, with this beautiful brown hair. I felt something. I felt like it was my baby.”

Mom winced at Claire’s words: my baby.

“Was it her?” Claire asked.

“Yes.” Mom started whimpering. It amazed me she had lasted so long. “She had a head of brown hair. All of this hair.”

 ”Our hands look exactly alike,” I blurted. I’d often thought my hands looked like my father’s. It was a small way I looked like my adoptive family, but now I could see it wasn’t true.

Claire’s eyes met mine. “You remind me of your biological father. You look so much like him.” She placed her hand next to mine on the white linen tablecloth. I looked at our identical hands together. My pinky touched her thumb.

“It’s hard for me to look at you,” Claire said.

 

I knew Claire even less after meeting her. She wasn’t anything like I had imagined. We were still strangers, and it surprised me. I had expected we would have some instant, intuitive connection like a couple who fall in love at first sight. I wanted to see my friends so we could scrutinize everything Claire had said, like we did after first dates. Will she want to see me again?  Did she think I was smart? Pretty? What will she tell her friends about me? Why didn’t I talk more? My English professors could never shut me up, but tonight when it really counted, I just froze. I wanted to look at my hair sprayed bangs in a mirror to see if they looked stupid.

“It’s a lot to take in,” I said to Mom. We sat in her car outside of my dorm.

“If you want, call me tomorrow. We’ll talk about it.” Mom leaned across the car and hugged me. She was still belted in. When she pulled away from me, her face dissolved in tears.  “It’s just…” She rummaged in her purse for a wadded tissue. “I just think of you as my own.” Mom was driving back to Omaha, a total of six hours in the car for two hours of dinner. Her mascara was smeared from crying, and her lipstick had worn off during dinner.

It had hurt her to meet Claire. Claire was intriguing, and I wanted to know everything about her because I wanted insight into myself. I liked to imagine a fantasy mother and Mom liked to imagine she had given birth to me. Claire had ended both of our fantasies.

“I guess I’m Claire’s daughter now, too,” I said, but I didn’t really feel like anyone else’s daughter. I got out of the car.

“Yes, I guess so,” Mom said.

Mom lifted up a hand, wiped her eyes with a tissue and waved her signature wave. Debbie and I called it her ‘tootles’ wave: index finger, middle finger, ring finger. She left for home.

That night I lay awake in my twin bed, my roommate snoring in her twin bed across the room. I thought of all the clever things I didn’t say when I had met Claire. I replayed the night in my head with Wynonna Ryder as myself in the starring role of a sophisticated, beautiful, long-lost daughter and Claire as the gracious, loving long-lost mother. In my edited version, we hugged and cried and spoke years of emotions with our eyes.  We were a Lifetime movie. Mom was merely backdrop, the unremarkable but sturdy character who sets up the key lines. I had great hopes for how things might turn out for me and Claire. The next morning I called Mom to tell her all about them. She was in the middle of mixing a dish of dried cat food and milk for her newest drifter. I could hear the persistent “mew, mew, mew” in the background. Mom had named the fluffy white cat Snowball, a sign that she had opened her home to the small traveler and probably her lap.

Other than me, the longest living Keisner-stray—a mixed-breed dog with soulful brown eyes—was nearly ten years-old. None of the others, though, had made it longer than a handful of years.

 “Don’t get too attached to Snowball,” I teased Mom. “We both know your track record.”

 “I know,” Mom said. “I just can’t help myself. What if she doesn’t have anyone else to care for her?”

“She might have a family somewhere, wondering where she is,” I said. When Mom didn’t say anything, I added: “Maybe she’s been abandoned.”

“It just breaks my heart. That someone would abandon such a little thing.”

“I’m glad she has you,” I said.

“Me, too,” Mom said with a sniffle.

I couldn’t predict how the story would end: Snowball might wander off the next week and find the family she last lived with, she might meet an odd and early death, or she might stay with my mother until old cat-age. I was hoping for the latter. We were lucky to have my mother, the other strays and I, however we came to her, however long we stayed. 

 

 

Jody Keisner is a full-time writing instructor of the University of Nebraska-Omaha, a weight-lifter, and a Real Housewives junkie (the latter for academic reasons, of course). She lives with her husband and young daughter, Lily. She has publications in SNReview, Left Hand Waving, Women’s Studies, Third Coast, Studies in the Humanities, Modern English Teacher, and NEBRASKAland. She is busy on her first memoir, The Runaway Daughter.

 

Light and Gravity: A Sampler of Birth Images by Elizabeth Sobkiw

linoleum cut monoprint pregnant skeleton

Morning Sickness (9 1/2 x 11 linoleum cut monoprint)

 
 
 
 
 
 
 

 

 

 

 

 

 
 
 
 
 

Blue backdrop pregnant body in white with black pelvic bone

Water Birth (18 x 24 monotype with xerox transfer and stitching)

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Green backdrop pregnant body white purple butterflies and black pelvic bone

Feel the Flutter (18 x 24 monotype with xerox transfer)

 

















 
 

 

Detail purple butterflies and spine pregnant body on green backdrop

Detail from Feel the Flutter (18 x 24 monotype with xerox transfer)
















pregnant body, white plaster, spine and ribs like butterfly

According to Light and Gravity (9 1/2 x 3 1/2 plaster)


















Elizabeth Sobkiw-Williams (www.elizandra.com) is currently an art teacher in Montclair, New Jersey, where she lives with her husband, Matthew. She earned her Bachelor of Arts degree in Theater Studies in 2007, and completed her Masters degree in Art Education in 2011. She is passionate about art, travel, good food, and loves spending time with family and friends.

Brittney Corrigan: Three Poems

Guilt Poem: Unplanned

You didn’t want another child.
How you wept, how you weighed,
in those first undertow hours,
what you never before imagined.
You looked up the addresses
of clinics, your hand wavering
between belly and phone.
How such a faint, unformed thing
could ambush you so. Utterly
ensnare you. Knock you
sputtering into the deep.

You were already sinking.
Your boy—your difficult, discordant
child—took all you could gather
of yourself just to make it
from one end of the day to the other.
Where was there room in these riddled,
sapped hours for anything, anyone
else? Where was there room
in your heart, already compressing
with the weight of the descent? And, too,
the fear that blackened you when it rose,
would crush you if you spoke it:
what if this child was fractious as the first?

Everything you’d done up to now
was mustered from love.
You learned to assemble when
he crumbled. Shifted your orbit
to accommodate each essential,
rigid routine. You re-centered
your world to plunge into his.
Accepted the peculiar, unruly shimmer
of his being even as you wished
darkly for an easier child.

So you could not summon wonderment
or joy, feared this new child, insistent
and blazing, would sense how you felt
in the long, anxious months.
And what should you do with this
even more terrible thought that a second,
less arduous child might tamp
your love for the first? You could feel
yourself fragmenting, space debris
left circling in the black.

But with each tide your dark thoughts
were coaxed back to the depths.
As she grew and fluttered and spun,
so you grew to yearn for her coming,
urgent want flooding your bones.
It flattens you to think about now,
how she might not have been. She emerged
smiling, open-eyed and bright and necessary.

It is as if some otherworldly visitor,
sent with a message, decided to stay.
Something luminescent about her,
a glowing specimen feathering the deep.
How everything alters: your axis,
the revolving, the dizzy spin. How you
understand now the need for constellations,
the pull to make connections between stars.
They will keep each other, these satellites,
this sibilant galaxy of two.

Now the universe has two centers.
Or something like the balance of water
and air. Your world is no less difficult
for the changing. Still you dip and tread,
splay ragged at the leaving of the day.
But now you are a two-mooned
planet, spinning as they chase you
through expanding sky. Sometimes
they are too brilliant to look upon.
Sometimes they are reflected in your eyes.

16 Weeks

Waiting for the quickening, those little
knocks and bumps, a new rendering

of Morse code, our own body
language. You’re learning to control

those opalescent limbs. Little
dragonfly, my hummingbird, you hover

at my center, looking for the place
to wingbeat your first hello.

38 weeks

You are gaining an ounce a day
now, little person, growing creases

in your skin like fine folds
of cloth. My belly tightens around

you in preparation for your birth,
making me stand still, hold my hands

over your upturned limbs. Even now,
when I can’t wait to meet you, my whole

body holds you in, holds you tightly,
is reluctant to let you go.

Brittney Corrigan’s poems have appeared in The Texas Observer, Hayden’s Ferry Review, Borderlands, The Blue Mesa Review, Oregon Review, Manzanita Quarterly, Hip Mama, Stringtown, and Many Mountains Moving, among others. She is the poetry editor for the online literary journal Hyperlexia and lives in Portland, Oregon with her husband and two children. To read more of Brittney’s work, visit her website; links to her poetry on-line may be accessed here.




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