Nonfiction

Instructions for Falling Out of Love.

1. Stop expecting. Fields of expectation yield harvests of heartache. 2. Curb your craving. This is fairly easy: for every pang in the hollow of the chest, tighten the cocoon you’ve made of a favored blanket; for every pinch at the lips where his kisses once lingered, taste a comfort food — or healthier: belt a loud, offkey song. 3. Stalk. (And this is a critical, oft-concealed step.) Find out how quickly he’s moving on and how. This will have no bearing on your own pace; it just satisfies a maddening curiosity. Make peace with the fact that she’s pretty (and witty and brilliant. He has good taste, after all; he chose you). Do not call; preserve the fourth wall. But allow yourself your petty voyeurism. It will pass when you’ve seen enough (but first — and perhaps longest, it will sting). 4. Remind yourself that rescinding this romance means an end of self-censoring, a recalibration of filters: let more in, let more out. You will not feel so accountable; you will feel much less beholden. 5. Fully realize the self rejection teaches you you can be: steely, unapologetic, affirming. Combative, if necessary. 6. Say aloud and often you are better off friends, not just because it’s true, but because there should be walls, low and easy to clear, but resolutely erected: piled, pebbled markers on an otherwise boundless affection; a redistricting of wide-open spaces you once claimed as your territory: Time, Enthusiasm, Mouth, Conversation. Accept that it is all shared domain. Accept that there are moments when he is not open to the public. Understand that you are now the public. Mercifully, this cuts both ways: you are also your own again. These days, you are greeting yourself in mirrors as you would a long-lost friend. 7. Resist blame, especially if you’re prone to blaming yourself. It doesn’t work this way. There is no sense in believing you’re broken. You will approach every new suitor with inordinate deference, with a palpable, discomfiting desire to be fixed. 8. Admire him and raise a glass. You don’t know how he does it. 9. If you ever see each other again, be mindful of how you hold yourself. Your every appendage speaks a language, but you are no longer on safe terrain for the utterance of old dialects. When you recall this, when you remember all the sentiments left unsaid, you may find that the need to touch him overwhelms. Dead languages are too beautiful not to be whispered. They were meant to be murmured in understanding ears, meant to be conveyed with a too-long embrace. If this is your case, wrap your arms around your breasts; press your fingers into your back. Become your own strait jacket. 10. You are not out of love at all; you are in the eye of it, watching it whip around, carting off heavy things, antiquities you once held dear. Your meager walls, your feeble resolve: collateral damage. But this is the clarion purview. Be your absolute stillest. Feel and look and listen. Soon it will crash in; it will carry you off. This love that once felt close as breath will fling you far way.

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Nonfiction

Dimly, As Through Glass.

I tend to bend toward ambivalence. Romance is a whirl I can withstand; romance does not quite uproot me. It is the man who makes me question why I have come, who leaves the silence draped around us in an open room, who is kind but, in every way that matters, begrudging. He is the leveler.

For him, I will be all three rings of circus: here, the contortionist, pretzeling with anticipation, folding in and unfurling when it doesn’t seem to bore him; here, the fire breather, holding for far too long in my chest whatever ignited my ardor in the first place; here, the tightroper. (I will spare you suspense: I fall.)

Even as the tents collapse, I am cycling, juggling, looking for signs other than exits.

It is curious, how rejection becomes an intoxicant, how similar being slighted can feel to being loved, how easily a shrug can absolve a lover.

Because I am as often a pusher-away as I am the pushed, I understand the value and artifice of open ends. I respect the intentional blur. Like breath wiped from glass, I can see the hint of a message, an illegible trail left by fingers whose nimble urgency once beckoned me near. It is still there, beneath the smear. With love, there can be no clean erasure, and as it wanes, I will always, always cling to the streaks left behind. Are they kitschy nostalgia or coded promise?

Here is where I will linger, on a sidewalk outside the glass. I will come here to hope long after I’ve trained myself not to expect, to continue questioning silently what my pride has stopped me from pressing aloud, to venture sentiments into the silence, bracing for nothing but echoes.

Beyond the smudges, I can see him moving on. There is no greater delusion than believing I can slow or reverse this and no greater hubris than wondering how my every movement may have impacted his choice.

But these are the possibilities that surface so simply in fog. This is where imagination breaks free and runs.

I want to hit the glass, or better, to break it as though this were an emergency. Instead I wipe the pane, collect the smudges somewhere along my sleeve, and accept for fact the sight I’d always second-guessed.

When he spots me, I will mouth: This is how far apart we’ve grown. This may well be as close as we’ve ever been. Let us light upon each other and not look away. We will never be so clear again.

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Faith, Nonfiction, Parenting, Uncategorized

Dovetails.

1.

The last time you were here, you left an open pack of tube socks in the trunk of my car. It’s still there, two weeks later. It will stay there until you return.

I often feel responsible for the things that remain when you leave. There are imprints of you where I do not want them and one beaming emblem of you I could not live well without. I am accustomed to keeping things safe till you reclaim them. I suppose I will continue to; it does not seem to do me much harm.

I can say this without animus now, but it is not always as easy as I lead everyone — including myself — to believe.

2.

Loving anyone other than you had long been an alien concept. Twelve years long, if we’re honest. We were only together for eight (nearly nine) but even when it ended — even during the pregnancy, when I hoped and I prayed that alone or reconciled to you would not be my only options — I did not truly believe I’d fall in love again. I would not let myself, not if this was how I’d feel at love’s departure.

But what could I tell my daughter of love if I could not remember its shiver? How would I hear her fawning first brush with a tremulous hand if my own palms knew only a craven kind of emptiness? How could we parse her first heartbreak if I never let go of mine?

3.

This is the supernova, the white burst, the back-pressed-to-wall, the unending kiss, the lips that won’t leave yours even to whisper, the words you get to roll on your tongue and relish the fact that they were once, just moments before, not your own.

You are holding them now. You are holding him now. And being held and being held and — Father in heaven — being held.

It hardly seems sane, for your arms to know an embrace other than your wriggling toddler’s, to know kisses other than the ones she sees fit to bestow, in boredom, in blessing, at bedtime.

And it isn’t sane, really, or sustainable. It peters as quickly as it popped, a fire in a lidded jar now. And this great, ghastly, heart-pounding, promise-eating love is swallowed up in air, in sky.

4.

Weeks ago, Father John, the eldest priest in our small parish, preached of love.

I wanted him to say something sense-making about women like me, alternately afraid and excessive, who understand love simply as being someone’s priority. I wanted him to tell me how such a low bar could be so difficult for some men to clear.

But I wasn’t entirely listening. I was thinking of all the things and people to whom I’d come second and third and sixth. I was wondering whether or not I was worthy of preference, whether it was fair or childish to expect to be preferred.

“You know that passage, that 1 Corinthians 13 that people like to read at weddings? That’s God’s love. Agape,” he said with a wave of his massive hand. I watched him shake his head, as if all we romantics were a bit misguided.

Father John moved on quickly; for him, this was just an aside.

For me, it was a lifeboat.

Someone else would find this alienating, this idea that we should not use agape love as a matrimonial blueprint because we could not possibly erect it properly and would feel as if we were failing whenever a window shattered. Someone else might scoff at the notion that we shouldn’t strive toward a perfect, selfless care for our fellow man.

But all I could do was think of my own loves: often impatient, sometimes insecure, disinclined to hope or believe all things, occasionally self-seeking, and certainly — if nothing else — susceptible to failure.

I leaned back in my seat, and I sighed relief.

5.

How do we do this? How does anyone do this?

6.

I used to believe I would never be rid of you because you were my predestination. Then I thought I could never be rid of you because of our girl, who looks back and forth between us, whenever we’re together, with calculating eyes.

You make moving on difficult, because you are a kind amnesiac: giving and grinning and hoping to catch us, even as we flutter on, mostly without you. For all your texts, your calls, your checking in, you do not remember — and sometimes do not even accept — what you are not here to witness. You will always believe that I am the keeper of things you happen to leave behind.

I am your safe deposit box. I am your cage.

7.

The other one was elegant, an autodidact, confident in ways I couldn’t imagine, calm in a manner that requires discipline not artifice. He was meant for a family — but he was not meant for mine.

Of all the things that are difficult to accept, this is perhaps the hardest.

He, himself a cage, a keeper of things left behind, always treated me like a bird who’d forgotten the grace of flight.

We who understand what it is to be a series of gilded, bloodied bars want nothing more than to bend them for others. We are the freers, even at our own expense.

8.

I used to be a woman of many compartments. But motherhood makes you an open space. Anyone you love must stand on your floor and face the things and the people you once had an inclination to hide.

There are no fallout shelters. There is no time to assuage hurts, massage egos. No strength for mediating others’ aughts, for carrying burdens larger than those upon which we’d already agreed.

Everyone’s interests must dovetail. Or else, the only door stands open. All are free to exit at will.

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Nonfiction

Mirages.

I crawled into you and set up camp. You were warm, steady as a strong-blooded pulse, and I was shivering. I came because I was sure I could survive. But you wanted me, remember? I did not invade; I was invited.

Soon enough, I learned you were a desert. Everything that grew easily had been gutted. You were no mirage; I touched you, beveled, pocked, and longing. Every space where you hurt hummed under my hands; I saw the blood. Sometimes, I walked away with a spot of it staining a dress. Old blood, crusted yet somehow fresh: oozing from regenerative wounds.

I saw enough — felt enough — when I leased this square inside you, already so overrun with other squatting things. I thought I understood. There were memories and guilts and sadnesses you must nurse and not evict. They are the true lay of your land. And though I did not set out to save you, I still cradled a garden in my palms: every seed I thought you’d need not to die. I still prayed that I’d grow the right balm to properly bandage your gashes.

It was easy to ignore how dry your tongue remained after giving you so many gourds of water. Your kind of thirst is difficult to quench; you wish for a well whose waters bend time. At my best and on the keenest-eyed of voyages, I will never scout you this. But we remained silent on the subject. It seemed enough that, even when your eyes were sallow, listing, they still lit when they locked on my face.

(Didn’t they?)

Sometimes I followed your gaze and saw them: a family, waiting, their laughter carrying across these empty arcs of dust and air. You would rather be with them. Our circle of seeds was inadequate.

You could see what I had yet to: the futility of tilling. But it brought you the briefest of hopes. You have always wanted a garden. Something must’ve appealed to you: the gentleness, perhaps, with which I lifted sand and primly patted it back, my cracking lips dropping promises: someday, we’ll dine. You could see it, once, couldn’t you? A feast of eggplant and lentils, of grapes so pregnant with juice that their skins pulled away from the stems?

I could be so strange, sometimes, so withholding. But I wrote you so many loving missives in the sand. (You read them? The winds will let you hold them?)

Yours is a house of sorrow but your porch was built of cedar. We sat there, somewhat happily, awaiting signs of life.

It has been months since winter. But yesterday was cold. The frost bit our first — our only — emerald tendril.

(Or did it?)

Deserts are impossible places for love, overrun as they are with so many duplicitous images.

But I know that the family is real. Some of them are waiting. I see them, even when it seems I don’t. They are waiting, but they are also watching. Do not rush to them; they want you alive. They need you to drink and revive, to grow green things again.

So did I.

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Uncategorized

Love and Language.

1.

First comes the absence of accent. You hear it before its loss registers elsewhere: a flatness, frosty and far, where there were once warm lilts and bends. Your voice was a carousel, your language a whirligig. It’s since sanded itself, become polished and practiced, indistinguishable.

You are hiding your truths in places you will not so readily find them.

It is easy to tell a man you love him, easy to mean it. But over time, it morphs in your mouth, its meaning multiplying, reducing, clouding. Something is always wanting, in the translation.

You are not clear when you articulate love, because you have never understood men as more than audiences. Perform for them, but keep them distant. Perform for them, but know when to leave, when to grant an encore. The performance must be evocative, but respectable. It must titillate but it must also offer insight.

You are less actress than apprentice. You cannot tell if he is on the edge of his seat or yawning. Men, in this way, are mysteries.

But this is beside the point. Audiences owe so little: attention, at best, and in short supply. The actress owes a world.

No, never view a man you love as something to be acted upon. You mustn’t perform. You will always feel you are earning a keep. You will dance till dawn for a bit of applause and feel empty, wanton, when he withholds it.

Women learn this first with inconsistent fathers. When they are with you, you wish to dazzle them — and you do. For as long as you care to, you do. Find his heart, his preoccupations, his passions. Become conversant in them. And you will be clever and interesting because, at first, you are the most flattering kind of mirror. When he is with you, you offer such forgiving reflections. He is younger with you, time has stood still, a judgment day feels far enough at bay that you’ve nearly convinced him he’s invincible.

But he is often gone. And in his absence, you are building calluses over your needs. First it will be hard and hurtful to articulate them. Then, you will not feel the need to do so at all.

What is love, if not knowing when to keep silent?

The beginning of new relationships is when your accent is heaviest. Love leaves your lips easily, and love on his lips takes a razor to every callus.

I want to know everything, you whisper. I want to tell you everything, he responds.

You hope to dazzle him, and you do. But soon, you will want your distance. And in the distance, the calluses crust over.

2.

My daughter’s speech is muddy, a mix of water and silt. It floats out, as if behind gauze or a veil. I understand her, sometimes, but less than I’m told I should by now.

I am not one of those mothers who begs and borrows and steals to acquire the trendiest literacy aids. I do not own an iPad. I believe in board books and conversation and sunshine.

She watches television. (And I realize, at this point in the reading, someone is sending me to the stocks or the noose in old Salem. But understand, at this point in the reading, that if my daughter did not watch television, I could not be writing this. If I hadn’t watched as much television as I did growing up, I wouldn’t likely have wanted to be a person who writes things down.)

Now that she is closer to three years old than two, I am told her speech should not sound like it is being sifted. She should be clear, responding to questions, asking them, forming simple sentences.

Because she is not in daycare, we have both been spared the intense developmental comparisons we’d find there. But whenever she does get to mingle among peers, I am concerned with her insouciant acquisition of language.

She is no loafer. Story is an empath, a firebrand. She is intellectually curious, musical, startling perceptive. She is creative, a gesturer. She cobbles her own expressive roads.

But she does not speak in ways that are easily understood.

Even mothers like me, neither tigers nor minimalists, know when to be concerned about their children. And for us, it is rarely overreaction.

I worry that she has inherited my ambiguities. I do not often know how to speak, either. Perhaps it is just that the words morph in her mouth in more literal ways than they do in mine.

But here is where that similarity ends: my daughter knows exactly how to love. It is not complicated. It is in the eyes, in invented songs, in laughter, in the folding of her bony limbs and skin around mine. It is all the kisses I give her, returned. It is alphabets and gifts of toys, constellations, saying hello to the moon, to her mama’s smiley-face mug in the morning.

It is not confined to the way her words are formed.

3.

Nearly a fortnight ago, in the basement bar of an East Village restaurant, I slid onto a stool, waiting for a lithe, sparkly-eyed twenty-something to transfigure an excerpt of fiction I wrote last year, in a fit of pique. She was first in a lineup of actors cast to read the works of writers, both established and grappling. I am the latter, of course, the non-resident only in New York for a few stolen hours, the sole writer featured without a published book to sell.

In Baltimore, it is easy to forget who you are. It is not so often affirmed. In New York, if you are literary, neither affirmation nor criticism are ever in short supply. You are among kinsmen fluent in the language of representation and publication, professorship and craft. You are among people who amass rejection and do not identify it as masochism, but as love.

I had never heard my work publicly read aloud by anyone besides myself, let alone performed. New York is the only place where I’d want to.

The audience waited for the first line, spoken by a seven-year-old twin to her conjoined sister: “Do you think Mommy loves us?” It’s a play on an age-old theme, a lifelong wonder. Are we allowed to interrogate love? And when we do, will we ever be ready for the result?

The girls are black, sharing organs at the lower torso. One is developmentally delayed, the other fairly precocious. In this scene, they are in conversation. It is difficult to imagine this going well. The actress is white and grown, her body positively un-twinned.

But the language is universal, her interpretation thoughtful and quiet. She draws the attention of our intimate crowd, pulls them toward the words, and for a moment, they are not my own, and she is no longer there. There are only the twins, those susceptible twins, and their questioning of a mother’s love.

My friend Shelly, who co-organizes the event, tells me witnessing this often makes writers as nervous as if they were reading their own words aloud. Indeed, it is a foreign thing to see something intended for silence enlivened. It is strange to surrender a sliver of an incomplete novel to a room, to see the way your own words land on other ears.

This is is what readers do all the time, Shelly reminds me. They take our words into themselves, add their own inflections, superimpose their experience. They gasp, perhaps chuckle, and occasionally, they call into question their loves.

It is risky to be let in on this process. Day to day, we understand the words we write as spores, floating out and off and overhead, but rarely touching down.

Here, I was watching cupped hearts catch them. I could see them sink into the loam.

I had my answer, then, about the way I communicate love. Mine is an adoration mapped with words. For the utterance of a loving word is the loudest act there is.

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Nonfiction

The Writer, In and Out of Love.

Whether you keep record of the glorious or the grotesque, beware the lover whose first impression of you is forged through your work. The suitor who falls, head first, for your words — their beauty or strangeness; their raw, vein-opening properties; their subtle choreography across a page — will never truly know you. He may think you part-goddess, a sorcerer, a changeling, confusing your rare talent with an unattainable affection. For him, your heart is only to be apprehended in increments, a collection of short, amorphous fictions. For him, you are slightly more than mortal, a creature to be loved but held aloft.

He is not wrong. You do possess a particular power; all women do. But for the writer in love, words are an amulet of impregnable potency. Carefully composed, your words can bear him up. They can be lowered into pits, dropped like ladders from the sky. They can carry him elsewhere. But they can also be a murder, an acquittal, an asylum.

Maddeningly, what they meant months or weeks or mere hours ago may not be what they mean the next moment.

In this way, it is more possible for the woman-writer to destroy something essential in a suitor than it is for any other construct of woman in existence. It is right for the men we love to treat us gingerly.

If we are idealized, it is, at first, not entirely unwelcome. We intend, however quietly, to be adored. Here is our secret: we do not feel mortal, not always. When we are with the work, in solitude, we are transcendent. And when we emerge, we covet the worlds of our making, disappointed when we look up and find ourselves tethered to a reality we cannot so easily bend. No, we do not expect to die; our words, should they reach the eyes of future generations, will regenerate us.

Writers may be more reclusive — may appear more enigmatic — than actors, but we court a similar importance, perhaps especially in our romances. We may come to our lovers as casks filled with nothing save our insecurities, and expect that they empty us then refill us with affirmation. We may find ourselves unable to fully invest in their conversation or emotion, so preoccupied are we with capturing the moment for later freeing on an empty page. We may pummel them with a deluge of missives and demand that they respond in kind. And if our dealings with them begin to breach that most sacred of spaces — the space within which we create — we will grow to resent them.

It is unsurprising, then, that the layman who falls for a writer often feels he has gotten both more and far less that he’s bargained for.

But woe unto the woman-writer who becomes enamored of one of her own. They will be as two tempests in battle, each on quests to throw the brighter bolt of lightening. Whether hot or cold, they will gasp under the weight of all their words. The lava and the avalanche are equally likely to consume them.

None of this is to say that we should resolve ourselves to solitude. It is simply a reminder. We must never let our power corrupt our ability to care. We must remind ourselves that the bone and the breath, the warm inner skin of a palm, belong to a person and not to one of our paragraphs. If we are to love at all, we must understand our limits. Though our words may grant us second life, it is only this first in which we are able to truly live.

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Nonfiction

What Comes of Falling for a Fantasy Buff.

For you, the erstwhile Tender, a good bar serves mead and counsel to common men, and bawdy talk to strangers is but a prelude to battle, a toast to what may be one long, last ride. You, as if by unspoken vow, are a keeper of tallies, of wagers, of secrets, a steadfast sage often mistaken for a mere villager.

For you, Baltimore is but one of many kingdoms, its harbor a passage to freedom, to war. Yet your wanderlust has been waylaid and you’ve felt tethered, as if by some sorcerer’s edict, to home. Though a firstborn son, a namesake, an heir, you do not seem as interested in these familial vestments as you are in the many storied marvels that lay months away from your own hearth, as you are in worlds written into the endless reams of parchment you are able to consume in far less than a fortnight.

You are someone else; you are more, meant for a life beyond the hills of druids, beyond fair Canton’s shore. You’ve an earned nobility, if not a noble’s name, an unused valor, and purposes as yet unmined. You are most at peace among large, intimidating tomes that foretell unspeakable futures as well as untenable pasts. You are warm, even in winters of the soul, when the hearts of lesser men grow coldest. You deserve to slay dragons, to gaze on citadels of light, to stare into the eyes of sirens without succumbing.

Though I suspect I am able, I’ve no desire to turn you to stone.

When I met you, you were full of tales, of lives interrupted, of grounds both gained and lost, and you looked at me as though I were a great ship’s bow, a star pointed eastward, a vast sea itself. Would that I possessed the power to knight you. I would see you kneel this very night. I would hear your solemn oath.

But none knight men like you, save God and Self. You are your own, and everyone you serve is better for it.

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Nonfiction, Parenting

Exeunt.

“Am I a mean person?” I ask, in the minutes after he tells me he isn’t sure he ever plans to marry. But what I mean is: did our relationship break something vital inside you? Are you ambling through this hereafter, ever aware that a cog is rattling, that a filament has burst leaving all in the corner of yourself I once occupied hollow and dark? Am I supposed to be doing something more about this? I will put forth a truncated version of these queries just before we end our call. He will not know how to answer.

Now, he stops short but recovers quickly. “No.”

“You paused.”

“I was trying to find the right word for what you are.”

So am I.

We are two-dimensional to each other now, a collection of sounds and footage, electronic data across thousands of miles. The realest artifact left of those years we spent in love can be heard squealing with glee in the background of our calls or else parroting the few eavesdropped words she can clearly pronounce.

She is the only memento I’ve kept.

It’s all this shifting. Our transitions have been swift and our space so limited. Each encampment is heavier to fold into itself and transport; at every pass, more must be sloughed.

It has always been difficult for me to determine what is worth salvaging.

The word he settles on is eccentric. “You’re very particular. You get upset when people behave in ways that you wouldn’t.”

“That’s fair,” is what I say, though I’m not sure how ‘eccentric’ his example makes me. I think he means ‘idiosyncratic.’ The strangest things cause me internal combustion: being followed by a student to the lectern as I’m entering a room, before I’ve set down my briefcase or taken off my coat; wet footprints on rugs in a bathroom; someone else opening or polishing off food that I’ve purchased; being told what I should and shouldn’t share online; the expectation that I should forget a rejection, when its din and ache still ripple through me like an echoing chime.

I have been mean to him. We both know it; this is not why I asked.

He tells me that he’s comfortable now, that he considers his role as a father to be an honor and a sacrifice, and it is all so familiar, this rhetoric. It’s similar enough to the phrase he’s turned so often before, an idea that, perhaps, every single father must utter a few times aloud, in order to fortify himself for the work that lay ahead: regardless of what happens with us, I’m going to be there for our child. 

I wonder how fully he understands the way this falls on my ears, how clearly the truer sentiment presents itself in the hearing: caring for our child is a point of pride in a way that caring for you was not. 

In all its iterations, I believe it. But it never gets easier to hear, not even now, after we’ve heard and said so much worse.

“Everything is harder, ” he muses more to himself than to me. Then we talk about changing careers, earning certifications, making ourselves more financially solvent. The naivety is seeping out of our dreams, and we hear too little of ourselves in the other’s aspirations.

It occurs to me that this has become an exit interview of sorts, the last and loosest of our ends being tied. All of what I’ve hoped and feared is converging. The years-long work at repairing the rattling cog has finally been exhausted.

My lips part. There are other things I want to say: as co-parents, what we get isn’t so much closure as cauterization — we sear our pain shut to survive our shared duty; there is more than one way for a family to be “intact;” if given a mutually exclusive choice, children will opt for their parents to be happy rather than together; and I am ready — so far beyond ready– to be happier than this. I know you are, too, and this is what we both deserve. Then I’d whisper the confession that always cripples me: no matter how anemic the possibility, I would’ve held on as long as you did.

Next time, things will be sweeter. I will not be coy. I will not secret parts of myself away. I will not offer a man decades when days will do.

This is all I can predict of the next time. But I feel a great sense of relief knowing there will be one. This is not a grace we would’ve been so easily afforded, had we married. This, I suppose, is part of why we never did.

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Nonfiction

How Angry Single Black Mothers With Little Hope of Marrying–Ever!–Spend Valentine’s Day.

We spend it loving, spend it splaying schoolhouse Valentines into arcs on the carpet, prancing around them in circles wearing wings.

We spend it grinning, giggling, pressing our foreheads to our children’s, conspiratorially. No one else knows, we whisper, how rich we really are.

We spend it working, for work is love made utilitarian. There is no more steadfast expression of care than rising with the dawn and pressing into day to serve and to earn for ourselves and our babies.

We spend it placing phone calls, hearing voices. Some will remain in an echoing past, never to receive the intimate attention we once bestowed with relish. Others may prove part of a hopeful future, their laughter a boon we’ve earned with our wit and our charm.

We reach for our grandmothers, aunts, sisters, mothers, thank them for teaching us how inconsequential opinions should be–even theirs, in many cases, and how there is as much dignity in being alone as there is joy in being healthy and coupled.

We hold our men–our sons, their fathers, our own–and make clear to them just how profoundly they are loved. We teach them, either through doting or measured distance, the many ways to be caring, invested, supportive.

We treat ourselves and others: soak in candlelit tubs filled with salts and rose water, take copies of Essence and Ebony’s black love issues to girlfriends, buy our own confections, compliment the ladies at the office who’ve had gifts delivered, buy a new book, watch our favorite shows, and love and love and love.

We spend it knowing. There is nothing pitiable about self-preservation. We do what we can to withstand intense scrutiny and treat ourselves with the understanding and care often denied us. We do not require society’s affirmation. We are lovable just as we are.

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Nonfiction

How To Fight Self-Sabotage.

Turn 32. Recognize the Day of Birth in ways you did not before. Now that you are a mother, understand that this day, that this life, is not yours alone. There is a debt you must pay to the people who brought you here. There is a debt you must pay to the girl your body opened up–like a whale expelling Jonah–to release.

Know now that the time you have spent convincing yourself of an intrinsic unworthiness was not yours to waste. Those interminable years you whiled away, in conflict with yourself, could well have been spent slaying dragons, climbing Everests, loving deeply and well. Reset your internal clock accordingly.

Recognize that your worries–about the traction of your ability, about the accessibility of your talent, about your value–were the shallow trifles of the bourgeoisie. Women like you cannot afford to laze about on a chaise lounge of loftiness, noshing on the bon-bons of inaction. You–the gypsies, the transients, the intermittently penniless, the debt-laden, the mothers–must walk the length of deserts, must fashion a bridge of rejection letters, must set sail away from inadequacy, tossing overboard inattentive men, and finally, upon a new shore, must drill down to the marrow of your souls and extract the dreams you’ve buried there.

Remind yourself that this painful drilling need never have occurred, if only you’d kept your goals at the fore and tended them the way you do the face you so constantly lament isn’t lovely enough.

Repent of the audacity it has taken to thumb your nose at God. Tell Him what he has given you is potent. Your words evoke tears, evoke action. They occupy hearts, link arms, sit-in, sing songs that overcome. They stir the reader, alert him to the need for revolution, compel him to broaden his capacity for love.

Shame on you for re-enacting the parable of the talents, for burying all that you’ve been given, because it looked too meager to present before kings.

Beg forgiveness. Promise that, should He be gracious enough to let you keep these gifts, you will treat them as gold, not tin. They will no longer be susceptible to tarnish.

Give more to the world. Do not gaze at its magnificent surface, full of the colorful impressions of history’s trillions, and say: there is no space left for me. Leave your you-shaped imprint; none other is like it.

Concede that the artist is a public servant. But never surrender your growth to the public’s expectation. Should you find yourself in a box, obliterate its walls.

Believe those who tell you they cherish your work. You hear this often enough to trust it. Do not dismiss true praise as hype. Question those who would proclaim you the Next Whomever. You hear this often enough to be wary. Do not mistake hype for earnestness.

Finally, in pursuits of love, be kind to yourself. You were never meant to be the girl who pined for disinterested men. You always did, perhaps because it is easier to court rejection than to give all of yourself to the pyres of love. Be no man’s second choice. Be the echo at the end of the cavern into which he yells, in search of interchangeable women’s companionship. Be the voice he longs to hear again, now that he knows he never will. Do not become a salted pillar for him.

Instead, dance wildly at the water’s edge and bring your little girl. She must see what it means to at last be free from desiring far less than you should have.

Be assured: someone will be watching. And a love unlike any you’ve known will ignite itself within him.

But regardless of whether he approaches, regardless of whether he has learned to circumvent self-sabotage, you must slather on your war paint, with the girl on your hip. Begin to deliver your words to the larger space, honor them in ways you haven’t before, and watch them transform: tiny airless things at first, slowly yawning into giants.

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