Upcoming Performance: Sunday, September 3rd

I’m very excited to perform three new songs with David Lawton as (part of) our band Hydrogen Junkbox this Sunday, September 3rd at the Brooklyn Wildlife Summertime Festival!!

Hosted by Brooklyn Wildlife, an exciting afternoon of poetry, acoustic music, performance art and more at the LIVING GALLERY BK located at 1094 Broadway in Brooklyn, NY

Get ready to BBQ; we will have options for the folks that only eat veggies.

Doors at 4 pm – $5

PERFORMING LIVE:
Angry Young Mess 16:30
Jack M. Freedman 16:45
Hydrogen Junkbox 17:00
Elanzo 17:15
Joi Sanchez 17:30
Jordan Singh Vanderbeek 17:45
Brian Sheffield 18:00
Shanna Lim 18:15
Thomas Fucaloro 18:30
Melissa Hunter Gurney 18:45
Nathaniel Kressen 19:00
Mercy Bell 19:15
Craig Kite 19:30
PAN 19:45

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Falling in Love with Garamond

“I’ve changed my font time and time again. And now it’s Ariel.”    –Eileen Myles

You used to be newspaper. Linear and predictable. A few verb tense issues but barely any spelling errors.

When you were living near the mountains, you grew fond of a poet with windy hair and red, red lipstick. Her voice was smoky and intellectual. You started carrying around a dictionary to look up the words decorating her sentences. It’s like she spoke a different version of English, one with linen napkins and foie gras. You both shared a love for Bukowski and chai tea. She always had scrapes on her knees and her fingernails were chewed.

When you shared one of your poems with her, she said, “It’d be better in Garamond.”

When she left, you looked up this word because you’d never heard it before and you weren’t sure if it was a color or perhaps a type of sonnet.

Once, she let you kiss her because it was a Tuesday, or because it was raining and you let her use your umbrella or maybe because she like you. But probably because of the rain.

Her lips tasted of Henry Miller and peppermint.

You never told her that you started writing everything in Garamond, which you learned was not a color but a font. A shape of lines and curves. You never told her that you started to forget all about her red, red lips and instead, daydreamed about Garamond, named after a Frenchman. Spent your paychecks on ink for your printer to pronounce Garamond’s figure. You became monogamous with this font, unable to notice beauty outside of its letters and punctuation.

She started to notice. She started to notice that you stopped noticing her. She started to notice that your eyes no longer cared about the various shades of red bled into her lips and instead, just stared down. At your paper. And Garamond.

She had never been jealous of a font before; she wished she had never introduced you two.

You used to be newspaper. Black-and-white monotonous.

Now you are 16th century, Parisian engraved.

The Legalization of Love

Easy.

Measure two humans marinated in childhood trauma discourse. Add in a heaping scoop of resistance, fear, curiosity, desire, and a pinch of ready.

Build a bar or cafe or library or meeting place where people can walk through doorways freely. With windows. Several bathrooms. Strong, but not aggressive, lighting. Paper tablecloths.

Stop blinking. Get used to the way eyes begin to scream, begging for a nap. But you can’t because suddenly there is a human who makes you feel color blind. Because everything you look at is suddenly the color of them.

Introduce your fingers to theirs. Let them fumble against each other. Call this holding hands. Call this an opportunity to read the morse code of their calluses.

Swap stories, spit, and recipes.

Fill each other’s mailboxes with letters because you each like to watch your words in flight.

Leave your toothbrush at their house. A week later, carve a poem into their pillow and let it submerge into their knots.

Learn how to kiss for the first time even though you’ve been kissing for decades. Even though some even called you good at it.

Run away. Because that’s what you do. That is how you communicate that you are scared. Because you are feeling something.

Allow yourself to be found.

Kiss some more; learn how many freckles sit on their shoulders. Tell them the weightiest secret you’ve ever kept and feel the mass of your body shift.

Get used to what it feels like to be heard. To be understood. To be loved. Without cracks or disclaimers.

Read a newspaper; learn that even though you’ve been human all this time–just like everyone else–suddenly the law opened up to include you. And this person whose hand you hold, whose mouth you’ve memorized but still learn from, whose brain cells are like fireworks you are in awe of, this person, your person, is the one you stand beside each day. And even with the government involved, you still tempt each other’s wild. But now you call them spouse. And you still call them friend. Partner. Pen Pal. Love.

Migration

Against hip, an odometer.

My bones go twenty-two miles above speed limit but no one is watching.

My blood is without signal, so the only music I hear is static and a hum of talk radio.

The check-engine light blinks against my knees and I wonder what would happen if I never turned left or right but just remained forward. Would I fall? What corporate chained coffee shop might I crash into?

It is too easy to write that I am in search of the wild I buried in Nebraska and Colorado.

It is far too complex to mention that I’ve contemplated jumping off a diving board made from rainfall and seaweed.

I threw a party for my feet somewhere between Chicago and South Dakota but they never showed up.

I collected fourteen speeding tickets while living in New York City and I never even owned a car.

When we look up and the moon is being chased by its shadow and everyone from above and below has traveled days just to see it and the one who lives beside me kisses me back into calmness while the earth grows dark like underneath soil and the water still waves even from far away and everything seems possible again.

Thank you DUSIE for publishing my poem

Thank you to Rob Mclennan of DUSIE press for publishing my poem, two strangers underneath a city.

This is a poem about finding love on the subway and the intimate space shared with strangers. I have since turned this poem into a song called Plastic Seats for my poetryband collective Hydrogen Junkbox also featuring David Lawton and Zita Zenda.

Check out the poem HERE

Imposter

first published by great weather for MEDIA

 

You worry you enter rooms just for the free coffee. 

I write this into my notebook and leave it there, unattached to anything else. I try not to think about all the times I have walked into spaces I didn’t belong, or didn’t think I belonged. But this is not a story about coffee. Although, I am drinking some as I write this. No, this is about my life as an imposter.

I am approached by seven doors by the time I get to work. Some open and close without my hands pushing on them; some need to be messed with. I have a key to two of the doors, yet even when I’m inside, I’m not quite sure how or if I should be there.

I am a teacher. Some call me professor. Though that word sounds way too buttoned-up and makes it sound like I brush my hair or wear deodorant (I often forget).

Three days a week (sometimes four), I head into the Bronx and teach at a community college. Throughout the hour and fifteen minutes commute there, I read. Write in my notebook if there are enough words collected inside of me. Sleep. Stare at people staring at their phones. Marvel at the ways in which our lives can twist and turn us into so many different variations of being.

Every other week, I receive my paycheck and still grow astonished that I am getting paid to swell minds.

Growing up, I always thought teachers were aliens. Like flesh-covered dictionaries and encyclopedias. I firmly thought libraries of every book and fact lived inside their bodies, pressed up against their organs, which of course they knew all the names of. Ask a teacher anything and they knew the answer; this is what I believed.

My parents never put my report cards on the refrigerator like my sister. She was in the extra-advanced classes; I was in the low self-esteem club (yes, there was such a thing).

I wanted to be a veterinarian until I figured out I’d have to deal with blood and death. I thought about being a hairstylist, and then changed my mind to a pastry chef until I became a drug addict and that took me away for a bit.

I have been a nanny, a house cleaner, a barista, a bookseller. I’ve worked in a movie theatre, a diner, a dollar store, a fast food chain, a bagel shop. I’ve sold jewelry; I’ve sold my body.

Ten years ago, I never thought I would call myself teacher. What am I saying? Five years ago, I wasn’t sure I could call myself this. For most of my life, I never quite knew how to be. How to sit straight, how to socialize, how to be a girl, how to study, how to be bad, how to be good, how to remain.

I tell my students that doors represent an opening. An engagement with another side, land, perspective. I tell them that our bodies contain doors of varying sizes. Doors with padlocks; doors with police taped ribboned around; doors with broken locks. Doors with windows, screens, metal, wooden, translucent.

Even an imposter has a door to their insides. The problem is that sometimes they just don’t always know the way in or through.

I carried around an EXIT sign sewed into both my wrists from all the times I tried to walk out and jump off the ledge of this body. Yet I always found a way to get up and keep walking. But this is not a story about my mental illness and all the scars creating an alphabet on my skin.

I am an imposter. But maybe we all are? I mean, what qualifies any of us to be in any room? I want my students to remain and get their degrees, but that paper doesn’t necessarily get them into a room. Because then there are other STOP signs, which might assault their path like gender, race, class, religion, sexual orientation, must I keep going?

When I walk into the classroom, the students have no idea how nervous I am. Are they really going to listen to me? Me? But I almost flunked high school. I was a restless mess in college. And when I pass by the other teachers, I wait for them to ask me about my credentials. How many books I’ve read and if I’ve gotten through the literary cannon (definitely not).

In New York, where I teach, suicide is the 2nd leading cause of death for those ranging in ages of 15-34. Every semester, my students tell me about their depression. Their anxieties. Their losses and their fears. I do not tell them all the times and ways I tried to walk off the ledge of this body. How I still feel this urge…

I do not tell them because what I show them is far more important: I always come back. At the start of every class, I welcome them as writers (because they all are) and remind them to be as present as they can be. At the end of the semester, I tell them I will always be their teacher, even when we are no longer walking through the same door.

And yet, I still cling to this word of imposter. I’m not trying to deceive anyone, as the definition often suggests. It’s more about how I feel.

I scratch hate crimes into the death of my skin, dry from winter fornicating with its oils.

I find this in my notebook, dated a few months ago. I have a steady job and a magical spouse who I love and a dog and an apartment and things and nourishment, but this does not mean that I don’t fall sometimes. Mess up. Relapse into old behaviors. Hence, my self-stuck imposter label.

I worry that I am an imposter in my marriage because I don’t believe in this word. I’ve had no great examples around me, and even though it’s a word my people have fought to have access to (and won), I still feel unclear by it

I am an imposter hippie. Swallowed by panic attacks at marches and rallies. Hairy but hungry for all varieties of animal. Can I still be a non-conforming subculture beatnik, and live inside this queer-stained heteronormative lifestyle?

Recently in my Women’s Literature class, my students and I watched Lidia Yuknavitch’s TED talk titled, “The Beauty of Being a Misfit.” Though I have watched this many times, I still feel emotional throughout. She said, “Even at the moment of your failure, right then, you are beautiful. You don’t even know it yet, but you have the ability to reinvent yourself endlessly.” Afterwards, I asked the students to react and one announced that she felt like her soul had been touched. So often we don’t quite have the words to say how we feel or even what we are. And then someone else articulates it as though they have been swimming inside our lives, our brains. A student asked, “But what is a misfit?” And I let the other students answer: outsider, someone unlike the others, someone who doesn’t fit in.

Maybe being an imposter is like being a misfit. It’s this giant secret I have living inside me. Like seeds of my former lives growing in my gut, pushing it out. It feels like the reason I should not be welcomed, but maybe being an imposter is the reason I should be here.

I have an exercise I do with my students each semester. It is based upon all the times we are approached by boxes: a box to check off our gender, our race, socio-economic class, educational background, religion, etc. Before the students arrive, I tape up blank pieces of white paper all over the classroom. Then, I ask them to stand up and approach a piece of paper.

This is your box, I say. Think about all the times you are asked to check boxes that may not include what you are or how you see yourself. Boxes with someone else’s language and expectations. Boxes which aim to label you with words or categories you may not feel connected to. Boxes just not big enough to include your vocabulary. I tell them that these pieces of paper are their boxes. They get to fill it in with their words. In the past, students have written: mother, battered, divorced, misunderstood, smart, latina, multi-racial, brother, son, survivor, queer, human, pansexual, Muslim, and even a question mark.

I ask them to sit down when they are done and write in their notebooks about what it felt like to choose their lexicon. Then, we get back up and walk around the room, taking in each other’s language. We notice the repeated words, what we have in common, and what words surprised us. For some, this is their first opportunity to give away their self-identified language.

I absolutely hate labels, even though I wear this imposter one across my bound chest. And I wear other labels too, which I self-imposed. Do I do this before someone else does?

Dictionaries are thicker now, and so are we. In brain stem, worry lines, and flesh stretch.

Maybe we need new definitions? To take these words out of their tightly-sealed casings and wrap new syllables around them. Make room for more meanings. Expand the width of our doorways.

NYC Governor’s Island Poetry Festival!!

Celebrate Poetry, Sun, and Imaginations gone WILD at the annual NYC Governor’s Island Poetry Festival.

I will be there with great weather for MEDIA and hosting Queer Art Organics on Saturday July 29th, featuring Trae Durica, Sarah Sala, and Aldrin Valdez at 2pm on the Algonquin Stage.