“Doesn’t it make you shiver? | There’s a fearlessness I envy | In the simple soft wavering dark.” ~ Alicia Ostriker, from “Ohio Evening”

Spring Grove Cemetery & Arboretum, Cincinnati by David Ohmer FCC

Johnny Appleseed Statue, Spring Grove Cemetery & Arboretum, Cincinnati by David Ohmer (FCC)


 

These things float around in my head
Like a boat that cuts its motor
In the middle of a lake,
Where under a full moon and no wind
The singing of the crickets far away
Goes up and up like a curtain of beads.” ~ Alicia Ostriker, from “Ohio Evening”

Monday afternoon. Cloudy and humid, 73 degrees.

Cooler temperatures have me longing for fall—red and orange foliage, mountain trails, the smell of loam and cold spring water, crisp apples straight from the orchard, wildflower honey. Ah me. I don’t know if I’ll make it through a real post today, so I’ll just start musing and see where it takes me, okay?

So Corey heard from the landowner, and it doesn’t look promising. The owner wants to sell outright, no lease to buy, and that’s perfectly understandable; also,  the other family that is very interested in the property told him that they can have the financing by March of next year. So if we want this property, we need to sell one of these houses so that, we hope, we can secure a new mortgage for the property before March 2015.

Did you get all of that?

Tofukuji Temple, Japan by Ari Helminen FCC

Tofukuji Temple, Japan by Ari Helminen FCC
Even though this image has a copyright symbol on it, it was listed on the photographer’s site as being creative commons

In essence, unless we sell something, we’re not going to get my dream property. And the bummer is that we just cannot put our house on the market without doing some work on it. I refuse to take a loss on this house, which might seem stubborn, but it would seem too much like a failure.

Here’s what we need to do to put it on the market:

  • Rip up the old carpet and make the floors look presentable
  • Install a new back door
  • Replace all of the windows
  • Gut the kitchen and install new cabinetry and tile
  • Paint everything
  • Replace a couple of interior doors
  • Have central ac installed
  • Replace three ceiling fans and install new lighting in the kitchen
  • Finish the bathroom

“And you are left in the end with all that pain cannot take from you.” ~ Carole Maso, from Beauty is Convulsive: The Passion of Frida Kahlo

It actually isn’t a whole lot, and we can do everything except for the AC, and if we do the work, I think that we can get everything done for between 20 and 30K.

I mean, the boys and I can work on the painting while Corey is out. If we’re not staying here, then we don’t need to install the expensive door that I had picked out, and we can save on the kitchen cabinetry as well. Doing a kitchen is not nearly as hard as doing a bathroom; I know this because I’ve done the kitchen in this house before (my ex and I). Installing cabinetry takes a level and two people to handle the cabinets.

Oregan Trail in Autumn by Ian Sane FCC

Oregon Trail in Autumn by Ian Sane (FCC)

Corey has said that he never wants to take on another renovation project himself, having been almost defeated by the bathroom gut and reno; he says that he would rather hire someone to do it, but I think if it means the difference between getting and not getting this property while we wait for funds to do the work, he may see it my way. At least I’m hoping he will. This is one of those situations in which it would be nice if his brothers lived closer so that they could chip in a day or two of help, especially his brother Chad, who is incredibly handy and seems to just know how to do anything.

Anyway, if we start on this work next month, I honestly think that we could be finished by December, and then we could put the house on the market.

Am I not being realistic? Maybe. But this means too much to me to just sit back and accept that we cannot do it.

“A thousand dreams within me softly burn.
From time to time my heart is like some oak
whose blood runs golden where a branch is torn.” ~ Arthur Rimbaud, from “Evening Prayer,” trans. Wyatt Mason

As far as putting the house on the market, I have no idea what the market is like in this area at the moment. I haven’t been in touch with any of my realty contacts in years, so I don’t know if the market is a buyer’s or a seller’s or no one’s. I know that the market has rebounded since the crash of 2007, and I know that it isn’t inflated like it was in 2004-05. Other than that, I have no idea if we can even sell this stupid house.

GE Eastman House, NY by Lisa Cook fcc

GE Eastman House, NY by Lisa Cook (FCC)

I really don’t want to think about it any more at the moment. Let’s see, in other news . . .

I’ve been eating everything in sight for the past few days. No idea where that’s coming from unless it’s stress. It’s stress . . . it’s always stress . . . I throw up . . . it’s stress . . . I eat too much . . . it’s stress . . . I can’t sleep . . . it’s stress . . . I sleep too much . . . it’s stress.

Sheesh. Whatever.

Later this afternoon I’m picking up Olivia, and she’ll stay with me until tomorrow. At least I have that to look forward to. A few hours with le bébé, and almost always it puts me right as rain, even though it leaves me exhausted . . . it’s stress . . .

More later. Peace.

Music by Luke Sital, “Nearly Morning”

                   

So Much of the World

So much of the world exists
without us

the mountain in its own steepness

the deer sliding
into the trees becoming
a darkness
in the woods’ darkness.

So much of an open field
lies somewhere between the grass
and the dragonfly’s drive and thrum

the seed and seedling,
the earth within.

But so much of it lies in someone
standing alone at the edge of a field
with a life apart

feeling for a moment
the plover’s cry
on the tongue

the curve and plumb
of the apple bough
in limb and bone.

So much of it between
one thing and another,

days of invitation,
then of release and return.

~ Gregory Djanikian

“It began as research. I wrote of silences, of nights, I scribbled the indescribable. I tied down the vertigo.” ~ Arthur Rimbaud, from “Alchemy of the Word”

Still Life under the Sea 1960 by Mary Kessell 1914-1977

“Still Life under the Sea” (1960, oil and pastel on canvas)
by Mary Kessell


“a taste which I have in my soul depresses me.” ~ Pablo Neruda, from “Dream Horse” 

Sunday afternoon. Sunny and not too hot, 83 degrees.

I am in a very, very strange place today. Partially depressed, partially heartbroken, partially agitated. I simply cannot pinpoint it, and I hate it. It’s one of those episodes in which so many conflicting emotions are hitting my brain and my heart, leaving me drained and bereft.

Theodore Earl Butler The Epte, Giverny 1908 oil on canvas

“The Epte, Giverny” (1908, oil on canvas)
Theodore Earl Butler

My heart aches for Corey; just his nearness helps, even a bit. I’m sitting here, and I really need to go pick up my prescriptions (which might be part of the problem), but I truly don’t have enough energy to put on clothes and get in the car. Look, I don’t even have enough energy to change into a bathing suit and float in the pool, even though today would be the perfect day to do something like that. I just can’t.

Sitting at the party yesterday, surrounded by so many people, some of whom I know and others I should know and some I’ve never met before—it’s the kind of situation that always makes me anxious. I cannot help but feel that people are judging me. Don’t ask me why I feel this way, but I do. The truth of the matter is that everyone is so wrapped up in their own lives, their children, their next beer, whatever, that I know that I don’t even enter their peripheries, yet I allow myself to feel insecure.

“And isn’t it true, sorrow, I know you;
you are the longing for the good life,
the loneliness of the dark heart,
of the ship drifting beyond disaster or star.” ~ Antonio Machado, from “It is an ashen and musty evening”

What happens is this: I look around at all of the people who seem to be having so much fun, and I think to myself, “why can’t I be like that?” And then I think to myself, “who are you? You never used to be like this.”

Georgia O'Keeffe Blue, Black, and Grey 1960

“Blue, Black, and Grey” (1960, oil on canvas)
by Georgia O’Keeffe

I know. I just don’t get out enough, and that’s mostly by choice and partially because of physical conditions, and to some extent because, well, life.

Lately, because of circumstances, I feel my loneliness too keenly. Alone and lonely are two separate things—I know this. But the truth is that it has morphed into acute loneliness.

I have considered going to the karaoke bar that Corey and I used to frequent, just sit there and have my cup of tea and write in my journal like I used to. I was more comfortable in my skin then, I think. No, I know. But I also know that going someplace alone at night is simply not the safest thing for a female, regardless of age, to do anymore.

Last night I dreamed that Corey and I went there, and we knew no one. The entire staff had changed; all of the people we used to know by name were long gone, and the whole place felt foreign, uncomfortable. Then later in the same dream, I fell asleep on the front porch, but it was my mother’s front porch, and when I woke up, the bricks in the steps had started to come loose, like the mortar holding them together was dissolving, so that the very ground beneath me was dissolving, and I couldn’t explain to anyone why I had slept on the porch, and then when I went to make coffee for everyone, the carafe was dirty and stained, so I left the kitchen and walked towards my mother’s bedroom, and the door opened and one of Eamonn’s friends came out, and I didn’t know why he was there or why I was in my mother’s house in the first place.

I don’t need psychoanalysis to know that the ground is shifting beneath my feet, and I’m not where I need to be . . .

“I am working out the vocabulary of my silence.” ~ Muriel Rukeyser, from “The Speed Of Darkness”

For so long I told myself that once the kids were gone and I had all of this free time, I would use it to be productive. I would write and write and write, and yet, I write nothing at all.

My heart is so heavy with the burdens of motherhood, and they feel like burdens because I am so asea as to how to fix anything for anyone. I look at my daughter, and I know that she is not happy, that it’s all an act. I look at one of my sons and I know that he is lonely and searching for his place in this world, and I look at my other son and know that he is lost within himself and has no idea as to how to break through the waves.

Gustav Klimt Moonlight by the Mediterranean 1892

“Moonlight by the Mediterranean” (1892)
by Edvard Munch

How did I get to such a place, a place in which I find myself to be so wanting as a mother? How did they get to where they are? I talk to their friends and I hear the same stories, different versions. They all seem to be lost and wanting something they cannot find. I don’t remember being so lost in my 20’s. I didn’t have all of the answers, certainly, but I knew exactly what I wanted, or at least, I think that I did. I had goals, and I had dreams.

Time muddles the memories, changes their hues, makes us remember people and situations in ways that may have never existed. Within the chambers of our memory palaces, we pluck days, weeks, in which we remember perfect skies, glorious sunsets, true loves, long embraces, but did any of it really happen?

After having a long talk with one of my son’s friends in which he bemoaned his ability to find the right person to be with, I felt bad that I had no true words of wisdom for him, that he would only learn by doing and by losing and by trying again and again. I wouldn’t want my 20s again for anything, yet so much of what I did to become the person I am now happened then. How do I reconcile that?

“And how do I know what you are to me?
Our theories are untested. You must not laugh.
We thought there were other ways.
Probably there are, but they are hidden
and we shall never find them.” ~ Paul Bowles, from “Next to Nothing”

As I sit here and parse the words and syllables, try to reconcile the immense feelings of loss, I realize that I know next to nothing, truly. I offer these young people advice, but what do I know, really . . . nothing, nothing at all. I am living a life filled with holes, and I know that so much of that comes from not working at all after working my entire life, working at some job or another since I was 14. I hate these circumstances. I peruse the ads on LinkedIn, read the qualifications they are seeking, say to myself, “Oh, I could definitely do that,” and then I close the window because I know that applying is futile. How could I possibly work for anyone when some days I cannot even summon the energy to walk to the kitchen, when some days I must stop and rest after folding laundry.

Emil Nolde Starry Sky 1938-45

“Starry Sky” (1938-45, watercolor)
by Emil Nolde

I hate this more than anyone could possibly know, and I know that I sound like a broken record, but sometimes it just has to come out: all  of the frustrations, all of the losses, all of the days wasted, and I have no one to blame but myself. And I know that I’m in a particularly sensitive spot right now because of things that are going on beyond my control, and perhaps that is what bothers me the most: the lack of control, mostly because I feel that I should be able to control these things, or at least be able to fix them. If not me, then who?

And I walk through the house and notice the mess on the dining room table, notice the cushions on the couch askew, notice the tumbleweeds of Tillie’s hair in the corners of the rooms, I must face that today I can do absolutely nothing about it. I just don’t have the energy. Look, I seriously contemplated skipping the family party yesterday, but I didn’t have enough energy to come up with a convincing excuse, so instead I arrived late, but it took every ounce of wherewithal to put on clothes and leave the house.

“I wrote down silences, nights, I noted the inexpressible. I fixed vertigos.” ~ Arthur Rimbaud cited in Delmore Schwartz’s Rimbaud in Our Time

Listen, I know that I have a good life; I have a spouse who truly loves me, a comfortable but slightly rundown house in a relatively nice neighborhood, two dogs, thousands of books, three children. I know that I have absolutely no right to complain about my life. I know all of these things.

Yet I also know that I ache, a deep abiding ache. I ache for someone to come to my door and say I will be your friend. I will visit you and I will understand your quirks and I will not make you feel less for having them. And I know that I have friends out there who feel this way. I would only have to write or to call. I do know this. But knowledge sometimes is not nearly enough to overcome great sadness. If it were, then I would have no problems at all.

Edvard Munch Starry Night 1893 oil on canvas

“Starry Night” (1893, oil on canvas)
by Edvard Munch

To be able to retreat inside my mind is something I have always been able to do. But sometimes, once inside, all that I truly want is a long, hard hug, a soft whisper in my ear, a gentle touch of my hair. I’m not talking about passion; I’m talking about compassion.

Most of the time I try not to write about these things, mostly so that Corey does not read them and worry about me. I want him to be able to focus on his job when he is away, so I try not to say anything, but sometimes my voice betrays me, and I feel absolutely wretched that he can tell. He reads me so well.

But today, it is all too much, and I am too tired and too lonely, and my heart feels akin to breaking, and not even the soft warmth of my dogs’ bodies lying next to me is enough to calm the pounding in my heart.

I wish for better days. I wish that I knew how to make those better days. I wish I wish I wish I wish I wish…………………………………………

Enough. More later. Peace.

I cannot get this song out of my head today: “My Salvation,” by Gabrielle Aplin

                     

Es Verdad (It’s True)

Ai, what work it costs me,
wanting you like I want you!

All on account of your love
the air
hurts me —
my heart,
even my hat.

Who will buy it for me,
this hatband I’m holding,
and this sorrow of linen,
white to make handkerchiefs?

Ai! what work it costs me,
wanting you like I want you.

~ Federico García Lorca

“I’d prefer that people such as I get our rights because we command respect and evince dignity, but if we get them because there’s money in it, that’s fine.” ~ Andrew Solomon, from The New Yorker blog (April 5, 2014)

This is perfect for a drizzly Monday afternoon . . .

Reblogged from The New Yorker (to see full post, click on link)

honeymaid-580.jpg

Honey Maid and the Business of Love

For a long time, prejudice made a certain business sense. You could argue that it was immoral or wrong; others insisted that it was moral and godly. But there was little dispute about the business piece of it. Bill Clinton liked gay people, but he signed the Defense of Marriage Act nonetheless. Karl Rove knew it was smart to put all those anti-gay-marriage initiatives on the ballot. Coors beer could advertise in gay magazines while funding anti-gay interests and keeping any hint of the “non-traditional” out of the ads it ran for general audiences. The regressive side in the so-called culture wars was presumed to include a majority of American consumers; businesses, worried about their image, tended to defer to them.

Now, Honey Maid, that old-fashioned brand of graham crackers, has launched an ad that shows, in the most radical and moving way of any national campaign so far, how much that has changed. It shows a two-dad family, a rocker family, a single dad, an interracial family, a military family. The two-dad household is featured at some length; you cannot be distracted away from it. Most striking is the tagline of the ad: “No matter how things change, what makes us wholesome never will. Honey Maid. Everyday wholesome snacks for every wholesome family. This is wholesome.” The ad is deeply heartwarming—not simply because it shows diversity (which other companies have done) but because it labels these families with the word “wholesome,” which is exactly the kind of word that tends to get claimed by the evangelical right. People have long suggested that the new structures of the American family are “unwholesome” as a way of rationalizing intolerance. The idea of what is “against nature” has been central to messages of prejudice about both interracial relationships and homosexuality.

Honey Maid knew its ad would provoke controversy, and it did. So the company has made a follow-up spot that has been released on social media. “On March 10th, 2014, Honey Maid launched ‘This is wholesome,’ a commercial that celebrates all families,” the online short proclaims. “Some people didn’t agree with our message.” Viewers see close-ups of tweets and e-mails with remarks such as “Horrible, NOT ‘WHOLESOME,’” “DO NOT APPROVE!,” and “Disgusting!!” The title card says, “So we asked two artists to take the negative comments and turn them into something else.” We then see thirty-year-olds Linsey Burritt and Crystal Grover, who collaborate under the name INDO, taking a printout of each hateful comment and rolling it into a tube, then grouping the tubes at one end of a vast, industrial-looking space to create an assemblage that spells out “Love.” The artists appear to walk away, their work done. Then the online ad proclaims, “But the best part was all the positive messages we received. Over ten times as many.” Then we see e-mails with epithets such as “family is family” and “love the Honey Maid ad” and “this story of a beautiful family” and “most beautiful thing.” The entire room fills up with tubes made from these messages. Finally, we are told, “Proving that only one thing really matters when it comes to family … ,” and then we see the word “love” embraced by a roomful of paper tubes. The pacing of the spot is impeccable: the first half turns hatred into love, and the second half provides evidence of love itself. In its first day online, it garnered more than 1.5 million views.