typo (diary excerpt)

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…  I’ve noticed that Tara [my friend; also, my beleaguered housekeeper] maintains a fifteen-minute window on either side of her arrival. Right now the time is 3:40. In five minutes I must begin to be on the lookout for her. And so it seems these days with death too—I feel so often lately the anxiety before the anxiety. How dare I say I live forever, when I’m so terrified of dying? I’m afraud …

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[Apologies to Tara for comparing her to death. (She is, in fact, the opposite.)]

Both (thinking out loud)

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We are both log and fire, both noun and verb. Time devours us, yes, but it’s as true to say that we devour time. And the odd thing is, I can’t think of any way this simultaneity can’t go on forever. Our cyclical natures–the perpetual balancing act of matter and energy, growth and dissolution, birth death birth death birth death birth–will keep us caught in their back-and-forth until the universe ends, or the laws of physics change. How could it possibly be otherwise? Frankly, there’s just nowhere else to be but here, and no other time–no time we can taste–but now.

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Apophenia (random thought) (an extended tweet)

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My favorite thing these days:

http://en.wikipedia.org/wiki/Apophenia

It’s vital to the human creation of art, yes?

The fact of randomness (and I may as well posit it as a fact, because I don’t know how to know differently) is the miracle from which we all spring, and the foundation upholding everything we feel, think, do, create. We needn’t even learn–we are born to know how–to take advantage of random events (“coincidences,” with all that word’s various connotations), insofar as we’re able (and willing?) to. Just seconds after our birth, among the otherwise “meaningless” distortions of a suddenly visual, almost certainly terrifying world, our eyes are somehow and irresistibly drawn to the life-saving pattern of our mother’s face. We feel better; with muscles we’ve never used before, we strain to reach her. I think it’s like this: She’s our first “Jesus-in-a-piece-of-toast.” She’s our first “Face on Mars.” (In my own private parlance, she’s the “pirate in the bathroom tile”) Two eyes, one nose, one mouth (and, in the pirate’s case [but probably not the mother’s], an eye-patch and a droopy mustache). That simple visual pattern becomes our first lullabye, our first fable, our primal surrender to the comfort of the arbitrary.

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Reminder (a poem)

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Reminder

On my forearm, close to my wrist,
there are two white scars so faded
and tiny that you might not notice them

even if I pointed them out to you.
They’re the remnants of a bite mark
I received on Christmas Day, 2001. One

is a short white line and the other is
roughly circular–the circumference
of a molar. And of course they’re not all

that remain of my daughter–I have stacks
of pictures and videos, school art projects,
doctors’ reports, activity charts, MRI scans,

Special Olympics medals. I’ve kept five
or six pieces of her clothing, including
the sneakers I wear when I take the dog

for a walk along the rutted ATV trails
just west of town. I even, ridiculously, have
her brown velour La-Z-Boy rocker, ripped

and stained, the underlying structure so
decrepit that when you lean back into it,
the broken laths curve around to

conform to the shape of your body,
as if in capture or embrace. But it’s
the little scars that soothe me most,

because they’re always right there
with me, like pale tattoos, and they’ll
be there till the day I die.

How It Was (a poem)

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How It Was

If I’d flung her through the window that night,
no one would have known I’d done it. For how many
windows had she smashed by now? How many walls
had she cratered? We lived in an asteroid storm.

(A feeble joke we told our friends: that we
could gauge our daughter’s growth by the height
of the holes.) I’d pinned her down—embrace turned
tourniquet–on our bare, midnight mattress. But

I could have let her go, and when she charged,
I could have shoved her hard against the one
broad pane not yet replaced with plexiglas.
Her only chaperon: the air. Only sidewalk,

her release. But if the window didn’t break?
Or didn’t break enough, and left her equipoised,
and only bleeding? We thought her unassailable,
thought shards of glass, like all of us, were barred

from ingress. (Was her very skin oblivious?)
However founded in calamity, she seemed
unscathable. I seemed to think she might
cavort through fire unburned, clash with a car

without breaking a bone, drink poison and feel
merely sated. Not that I had ever thought
of burning her, breaking her bones, feeding her
poison. Understand, if you possibly can,

that I ached to be the one who leapt
into the fire, snatched her from the line
of traffic, forced the ipecac down. It flew
at me just once (no–twice)—this fierce retort:

throw her out the window. This urge—more howl
than wish–I let it go. For I knew windows well
by now. They’re not like in the movies. She would fall
halfway through and dangle. Is there a heart

that wouldn’t vaporize at once, rather than
abet that second push? …And so she’d end up hurt,
not dead. (Beyond my scope, this lone barbarity:
to make her feel worse than she already did.)

One Thing I Know For Sure (a vignette)

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One Thing I Know For Sure

This happened on what, by our standards, was an ordinary night. It was maybe a year after the diagnosis; Hannah was four years old. We were in the living room, and I was holding her, rocking her, in the La-Z-Boy. In those days she still liked being held, at least by me—I’d kept her used to it, I guess, by all the nursing, which was something she still loved so much that I’d given up the habit of bathing very often, because I knew how much she enjoyed breathing in my sour, mammalian smell. But right now I wasn’t nursing her. We were just rocking slowly, and watching TV, probably one of her Sesame Street videos, I don’t know. We were alone—I don’t know where my husband was.

I was talking to her endlessly, just absently commenting on the action of the video, or singing along with the songs. It’s what they tell you to do, of course—you’re supposed to keep talking and talking to an autistic kid, trying to make some little connection, elicit some tiny response. It came to remind me of how, if your ship is sinking in the middle of a dark empty ocean, you keep sending up flares anyway, just in case someone else might be out there, invisible to you.

We felt cozy that night: we both liked the Sesame Street videos, and we both liked rocking, and I think it might have been winter outside, because being inside felt more than usually luxurious. I leaned in close to Hannah’s ear, and I whispered, “I love you, Hannah.” And as we kept rocking I added, “Now you say, ‘I love you, Mommy.’” And it was just one of my rituals—I had so many in those days. I didn’t expect a response. I didn’t expect anything. It was just another of those things people told you to do, like waving goodbye when she boarded the pre-school bus, or trying to coax her into blowing out the candles on her birthday cake.

But on this particular night, just like that, as if it were the most everyday thing in the world, Hannah actually turned her face toward mine and said, very plainly, ‘I love you, Mommy.’”

Or maybe she didn’t turn her face. Maybe she just stared into space as she said it. It happened so fast, and it was almost twenty years ago. I’m not sure I can trust my vision of it. I can’t remember the tone of her voice anymore, whether it seemed heartfelt or just mechanical, parrot-like. (‘Echolalic’—that was the term they all used.) Just seconds after it happened, in fact, the whole thing fell apart, started to feel completely unreal, like a scene from one of the thousands of dreams I used to have in which Hannah talked.

So by now, some five years after her death, the only way I know the thing happened at all is that I made a point of remembering it. I said to myself—right then, as I held Hannah in the chair, and we watched Sesame Street, or whatever it was—I told myself that I’d have to hold on to this moment. It might be the only time I’d ever hear these words, I thought, so I’ve got to carry them with me forever, and they have to be enough.

You Need to Know This (a found poem)

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romance_1920_-_sydney__keane

You Need to Know This (a found poem)

Enlarge your pole with wonder pills
Cumming has never been stronger
Your package is set to grow
Your love tool is set to thrill
Nothing beats a huge stick
You need to know this

Disappointed at your lack of performance?
Stop being a nervous wreck
Don’t embarrass yourself in bed again
Get the manhood you’ve always desired
Big self-esteem makes her crazy
Be the master of the bed

Get huge and scare off the competition
Scare people with your tool today
Rectify your manhood issues easily
Impress all in the locker room
Power pack your tool in your pants
Size DOES matter

Smell sweeter below the belt
Evoke your girl’s delight
Make her the queen of the world
Stop leaving your partner dissatisfied
Give her the best of you
Have the pecker of her dreams

She will surely pounce on you
She will not be able to resist
She will want MORE of you
Hitting her g-spot everytime
Make her come again and again
Never let her down again

Attract the RIGHT girls with wonder pills
Your erection will become huge
So hard you can break an egg
Every cunt is tight after having that size
Hear ladies scream in bed
Leave a lasting impression

Rock her hard on your first date
Turn her into a pleasure machine
Give her more of your love rod
Give her what she deserves
She’ll swallow if you take this
Because she wants it

This is totally unbelievable
Certified by doctors
Fantastic results for length and girth
Why waste any more time
This is not a myth
You need to know this

Another letting go (a poem)

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Another letting go

“The one that got away.” The fish that broke free
of the hook. It’s a powerful cliché. It’s the perfect
crushed-into-scrap-metal metaphor for what we all
feel, deep down, how much we worship and long
for whatever we’ve lost. It’s seldom the one who
stayed whom we love most, but the one who, like
the prodigal son, escaped us. My husband got away.
He got away, perhaps, for good. He’s sitting five
feet to my left, reading a book about the Middle
East, but he’s lost to me, and I to him. Not that
I’ll ever tell him this. No, we’ll go on, and we’ll
be happy. Still, it’s a sad thing to give up on
someone, to leave him to drown. But it’s what
you have to do in the end. Henry and I had no
other choice. On his side: I’ve become crazy,
or at the very least, incomprehensible. On mine:
I had to let my husband go because I could see,
far too clearly, that he had already gone. (Yes,
yes, but how arrogant I am to assume he’ll
drown. Everyone knows that fish swim fine.)