Falling Petals; Beating Hearts

The top floor—the fourth floor—of the Center for Advanced Medicine, Building B, houses the Renown Institute for Heart and Vascular Health, or to put it simply—cardiology. In fact, the entire top floor is dedicated to cardiology and not a square inch of this space goes unused.

Well, first the poem and then a little context.

Falling Petals; Beating Hearts

Center for Advanced Medicine,
Building B – Early Spring 2022

Cherry blossoms—pink and white—
sway like clouds against the sky,
minding not the plates of rough
gray wrinkled bark from which they spring

They offer no assurances, yet
comfort nonetheless—and thrive
for merest moments, fading back
like apparitions in the sun.

Beneath them hearts that have endured
too much to bear beat slowly by
as here and there a petal drops
and flutters lightly to the ground.

They enter at a door that leads
four floors above this transient ring
of urgent color, beckoning
for but the slightest hint of cheer.

So, this is a sakura poem. If I write nothing else in a year, I’ll always strive hard to pull of at least a sakura poem in the spring. It’s always a challenge to dream up new contexts, circumstances, and metaphors to connect to these remarkable trees.

As I post this, it’s the middle of Summer. I’ve been busy with my new job, which has me stationed at the location in question, and tired—always so damned tired. I won’t go into the nature of the job in this post, but I’m enjoying it and I really like the people I work with and around.

So the inspiration for this poem came as I showed up and left from work amid a parking lot full of cherry blossoms in all stages of bloom—a fairly even distribution of both wild cherry (Prunus avium) and Japanese cherry (Prunus serrulata)—that completely encircle the long wide building. Having researched Japanese cultural connections to the cherry blossom (sakura) in the past, I found their juxtaposition to a building full of medical offices that deal with life-threatening conditions striking, fitting, and moving all at once. And so the first lines came to mind, which I later expanded upon.

My wife’s cardiologist is on this floor—the irony of my ending up employed here is not lost on me. I see him in the halls with some regularity. The first time we went to see him, following up from her multiple admissions for supraventricular tachycardia as she gradually succumbed to her as-yet undiagnosed refeeding syndrome, it was early spring and the blossoms were in bloom.

I wanted to write a poem about them then—her heart rate reached in excess of 240bpm, like the flutter of a cherry blossom in the wind—but our struggle with her cancer loomed large in mind and there wasn’t much mental space for that sort of thing. Maybe I’ll still find myself exploring this metaphor as that nightmare moves further into the distance. Thus far, four and a half years later, she has returned to near-normal health—and that damned cancer is still gone.

The Fritillary’s Flight

It is often the plight of a poet to find themselves reflecting on a story heard or overheard until the inspiration mounts to explore and extrapolate upon it through poetry. The story behind this poem is not mine to tell, so I won’t.

The Fritillary’s Flight

You wove up through divergent ancestries
        into being, knowing full well—
                                        I have to believe—
    your time could be brief, not much
more than a fritillary’s scattered flight
                through high desert meadows.

A parent finds something like religion
    in gazing upon their firstborn child—
There is wonder, hope, and yes… worry.
    You come, eyes bright
                                    as a newborn star,
        radiating life in all directions,
            the dimmest horizon now bright
                            with possibility.

You blessed us with infinite trust…
                    frailness and uncertainty.
    The scaffolding of your perfect being
contained but one irregularity, leaving
        your new home exposed to invisible
            dangers. Yet still you smiled,
    laughed and pointed… and as all things
                living must, sometimes cried.

    We learn quickly
        something is wrong—your body
                        will not fight disease,
                the prognosis unclear and
                                fraught with dread.

Still we raise weary eyes to your coos
    and meet your needs
        as we smile back fathomless fears.
Still we scour journals, consult experts,
    and visit doctors who assuage—
        as best they can—with that fabled
                    rhetoric of the powerless.
Still we call out with all that we are
    for a benevolent spirit to hear,
        heed, and come forth to our aid.

And somehow, through miracle, science—
        or both—there has been a glimmer
            of better days to come,
    of the feel of grass, fresh high desert air,
the touch and unfettered laugh of playmates.

    We will be here through all that comes—
and never waver—in the hope that one day
it will be you who approaches two long plots
    of earth with flowers, memories, and
                                    gratitude.
        Where we, having lived out the fullness
                of our days, wait in the rustling
            leaves of a cottonwood to hear you
    speak of love, loss, joy, pain—the entire
                            fullness of living.

And maybe you will hear our joy and pride
                whispered in the slight brush
    of a fritillary’s powdered wings just near
            your outstretched ears.

In Sickness

I made a note for the idea behind this poem when my wife was dying from refeeding syndrome in 2018. At the time, I was way too close to the matter to even think about writing a poem like this. But, now some time has passed, and my wife survived to regain her health again.

In Sickness

If I knew then what now I know,
  would I still take the vows?
Would I still pledge my life to you
    beneath the cherry boughs?

      Your arms are like a skeleton;
        your face is gaunt and frail.
      A bag is taped against your side
          collecting what you spill.

Would I still bear the looming loss
  if somehow then I knew
what “sickness” meant so long ago
    within that heavy vow?

      You vomit everything you eat;
        your heart rate will not slow.
      Each day it seems you’re nearer yet
          the place we all must go.

The truth is, I have no idea—
  The man I was back then
might well have taken every step
    to circumvent this end.

      The doctors at the hospital—
        They have no reason why
      you will not stabilize and heal—
          I fight back bitter sighs.

But he is not the man that’s here.
  For all my fear and grief,
I will not turn away from you
    so long as you draw breath.

Turns out there is a fairly high percentage of cancer patients who die from refeeding syndrome—a metabolic cascade failure that ends in death—especially with large stage 3 tumors. This is because the tumor takes all the body’s nutrients, essentially starving the patient. When the tumor is gone, the effect can be just like the prisoner of war returning to a normal diet for the first time after rescue, which can trigger the syndrome.

Unfortunately, it seems most doctors don’t know to look for this. It was pure chance that someone on my wife’s medical team realized what was happening and started the protocol for saving her life—parenteral nutrition. This means being fed intravenously until the body remembers how to correctly metabolize food through the digestive system on its own.

The Seekers

I am not currently working on any project poems, and I don’t plan to start one any time soon. Hopefully this means my mental space will be freed up for more spontaneous writes such as this:

The Seekers

For as long as I can remember
I’ve watched them grope,
fumbling through dark places
over jagged, uneven surfaces.

I’ve watched them wander long
grey corridors, faces gaunt,
shoulders slouching faded sighs,
feet reechoing short, tired scuffs.

I’ve seen their distorted figures
through stain glass windows, heads
bowed, arms raised, faces creased
with longing for the slightest sign.

I’ve even seen them half concealed
by timbers on their way to peaks
and rivers to seek out some hidden
solace, some priceless psychic gem.

But, somehow I think it’s up there,
slipping between the stars, bits
and pieces sometimes flaring bright
streaks of insight within the night.

This was sparked more by a feeling than a thought. The feeling was invoked by a poem I read in a Facebook group, though I can no longer recall the poem or what it was about. Four of the five stanzas actually formed very quickly, but it didn’t feel finished, so I put it aside for a while. This was a few months back.

Recently I looked at it again and just kind of knew where and what the missing stanza should be and then it was done. Funny how that works.

Broken

Today is the anniversary of my father’s suicide. He used his trousers to strangle himself to death early in the morning 40 years ago today while being held overnight in the Monterey City jail’s drunk tank in California.

For most of my life, probably starting the very next year after his death, I forgot what day he died on. But, every June I’d begin to destabilize emotionally in various ways and this would come to a head by the end of the second week of July with some kind of epic breakdown—all without my remembering his death date.

Last year, on July 13th, a Monday—he died on a Monday—I suddenly remembered as my shift ended at work that he used to suffocate me in my sleep. This psychopath would cup his big hand over my little face in my sleep, closing off my airway entirely, so that I woke up in a panic, clawing and freaked out, until I passed back out again. Suddenly, out of nowhere, I felt his hand, I felt the absolute terror and helplessness of waking to suffocation, and I gasped and gasped for air with this vivid memory until I hyperventilated my way into the ER.

Why did he do this? I don’t fucking know. No-one in my family will even verify this memory, including my sister who has told me many times over the years that he would hold my jaw closed in my sleep when I would grind my teeth—which she now denies ever telling me. But this isn’t the resurfaced memory anyway. The intent was clearly to suffocate me unconscious, and the trauma surrounding this abuse is extreme and ongoing.

So, in memory of my father’s 40th deathaversary:

Broken

You were a broken man…
            I know this.

And though you have long since
                  turned to ash
      your broken hand still rests
            upon my shoulders.

In those days I had no way
                  to understand you
      except as something
            to fear,

                        and terribly so.

When you were gone—
                  the moment I knew—
            I felt relief.
      Yet your touch remained.

When you were gone—
            the moment I understood—
                  I felt gripping loss,
      your grip finally loosened.

When you were gone—
      the moment I grasped its meaning—
                  I felt searing guilt.
            Your rage had been extinguished,

                        and could burn no more.

And when you were gone,
            I never once wondered why
      you never came to say goodbye
                  somewhere in my dreams.

                                    Yet
                        I still could feel
            the broken weight of your hand
      pressing, squeezing, clawing
                              somewhere in my spirit.

You were a broken man…
            And you broke your small boy
                  with the terrible, violent weight
      of your broken hand,

            a touch that reaches still—
                        like the sting of cigarette smoke—
                  from the dreaming.

So, yes, another cathartic poem. I swore some years back that I’d use poetry more for artistic, highfalutin endeavors. Because, you know, I’d like to be a more serious, highfalutin poet. But, whatever. I’m a person and I’ve been through a lot.

In the end I should consider that poetry saved my life as a teen. So maybe catharsis is also a part of giving back to the spirit of this muse.

One more breath

Sometimes I start writing a poem based on a feeling that I don’t really know how to express. And, here even with the poem written, I’m still not certain what the feeling was that inspired it. Though the poem focuses on the decision to not commit suicide throughout my life, this doesn’t really represent the feeling from which it began.

One more breath

My life was over…
     Rivers of poison flowed through
          my veins and every fiber of being

My spirit was dark with dread,
     insurmountable dread, dread instilled
          by willful neglect, countless curses,
               endless threats and blows.

A thing like strychnine or a cobra’s venom
     coursed throughout my thoughts,
          through the depths of my psyche,
               my subtle form and corrupted even
                    the shattered crystal mist of my
                                                       soul.

There was no life support for a sickness
     such as this, where the light within
          grew so dim and obscured it could
               no longer be seen, or even felt.

I wanted only to live a moment more,
     so I took in a breath and cried to the stars,
          “Then all I ask is you take from me
               this fear of dying.”
                         And the moment passed.

I wanted only to live for one more day,
     so I screamed out by the tireless river,
          almost in rage, “Then all I ask is
               you take from me this one terror.”
                         And the night passed.

Again and again I found myself with no
     divider yearning to swerve into bright
          headlights. Again and again I found
               myself on top of cliffs yearning
                    to fling myself from sorrow.
                              And the moments passed.

          There was no reason to believe
               in a life beyond tomorrow,
                    today,
                         or even the moment…

          But here I am
               looking back on yesterdays,
                    yesteryears,
                         decades

          that never should have been.
               And for the moment,
                    that yearning has passed
                         yet again.

So, what was feeling? I’m sure it’s woven into the subtext somewhere. If I had to guess, maybe it’s a sort of wonderment that I’m still alive despite feeling so undeserving of life overall. Or, maybe it’s this ever-present sense of dismay and unease at the fact that this urge or desire to be done with life along with the associated thought processes—the poison—still remains.

Maybe it’s both.

Specter

I’ve been seeing a therapist off and on over the past couple of years. My goal was to try to make sense of an unnamed trauma that has had a powerful influence on my state of mind and emotion for as far back as I can remember.

The work we did was forensic in nature, looking at what I do know and can remember of my life through the lens of various schools of psychology. It was attachment theory that led somewhere, as this revealed that I likely suffered extreme neglect during my first 3 years of life. I’m unable to verify this, however, because family who still live exist in a state of perpetual attempts to gaslight and deny.

Specter

She made me …
  from filaments of stardust
    mixed with the loess
      of broken dreams

She bore me …
  stark into the light of rage
    and left me naked, crying
      deep in an empty well

She gave me …
  poison fruit from a withered tree
    and i ate, having lost all hope
      of anything more

She made me …
  the imago of her darkest dread
    an ever present specter looming
      deep within her afterthought

The Outline

Since the mid 2000s, I’ve more or less tried to avoid using poetry to process traumas and strong emotions. This decision was inspired by a friend and mentor who expressed open disdain for such poetry. I suppose, since I was still working through issues of neglect and abandonment from my childhood, I hoped this would his win his approval. But that’s another story.

I think that—slowly, dimly—I’m beginning to realize that for me using poetry to process personal traumas, experiences, and strong emotions is not only essential to my process of working through the deep stuff and eventually moving forward, but to my overall inspiration to produce new material. Now, where I’ve actively tried to resist urges to use poetry to process my traumas, I’m working to move in the other direction.

The Outline

All around
                                   a storm.

                    Clouds
                              swirling.

               Winds
                          howling.

     Leaves
                    blowing.

          Walls
               creaking.
 

Through the window
          deep in the turbid havoc
     distorted by patterns of rain
               and side-blown rivulets

a thing moves massive
          amid black coiling clouds
     outlined only in part
               by flashes of light

                         and thunder.
 

          And there it is
               the Monster
     outlined in grainy gritty
                    shades of gray.

          The doctor points
               talks of radiation
     chemo and surgeries…
                    I blink back fears

          and struggle with all
               my might to see
     beyond reverberating peals
                    of terror and loss.

Of course, the storm is a metaphor for the emotional chaos stirred up by the diagnosis of cancer in a loved one. The outline in the storm adumbrated by flashes of light is metaphor for the image of the mass itself produced by scans—which basically use various kinds of flashes of light to produce the image, from X-rays to electromagnetism.

It’s been about two and a half years now since sitting in doctor’s offices with my wife going over scans and asking questions between long, strained attempts to breathe. And although my wife has been in remission for a couple of years at this point, I think it’s safe to say that I’m still traumatized by the experience of it all, hence this little bit of psychotherapeutic personal poetic trauma processing.

Event Horizon

I am hoping to get back into the swing of things when it comes to producing poems. For now I’m setting myself the goal of writing and posting one poem each month. If I can manage this, then I’ll look at stepping it up from there.

As I try to return to the habit of writing, I find that most of what occupies my creative thoughts is the experience of dealing with my wife’s cancer. As of now, she’s been in remission for two years—a miracle in itself to be sure. But no matter how long we both may live, I’ll never forget the experience of being caught within the gravity well of that singular tumor and forcing ourselves to go about each day within its event horizon.

Event Horizon

Despite the aching crawl of time,
         I wake each day
               from fitful sleep,
      stumble to the car,
                  and drive to work.

      Despite the crushing pressure
            of uncertainty,
   we take our son to preschool,
         to the park to play,
               and ready him for bed.

Despite the all-consuming darkness
   that haunts every thought,
         we buy groceries,
               prepare our meals,
      and pay the bills.

The diagnosis was unexpected—
            I suppose it always is.
      In but a moment, all
   forward momentum was lost
         and we found ourselves
            locked in the fathomless
                     grip of a tumor.

         And yet despite
               the overwhelming gravity,
      we continue on and
                  go about our lives
            just inside the event horizon
                        of oblivion.

Greensleeves (a retelling)

One of my all time favorite melodies is “Greensleeves”, especially the chorus. Yet I’ve always found it difficult to fully enjoy because the lyrics are so incredibly chauvinistic. The song is basically about a man feeling “cast off” by his love interest after showering her with gifts, attention, and the promise of status—implying in no uncertain terms that she’s a soulless bitch for having a mind and a heart of her own.

Even so, I’ve found myself singing the first few verses over and over again all my life. But something happened a few years back; I began to experiment with alternative lyrics as I sang. This eventually inspired me to go all out revising this song about personal rejection into a tragic lament about lost love:

Greensleeves

Alas, my Dear, you are dead and gone,
your spirit cast on the starry sea.
And I have loved you oh so long,
delighting in your company.

  Greensleeves was my heart of Joy—
  Greensleeves, my one true love.
  Greensleeves was my sole delight.
  And, who but my Lady Greensleeves.

We met beneath an ancient ash.
Her youthful leaves danced in the sun.
A stream ran near with gentle plash.
We talked until the day was done.

All summer long we made our tryst
where oaks grow strong by the garden gate.
When autumn fields were gold we kissed
and vowed our love with eyes elate.

  Greensleeves was my heart of Joy—
  Greensleeves, my one true love.
  Greensleeves was my sole delight.
  And, who but my Lady Greensleeves.

Our marriage was a quaint affair.
I gave to you my father’s sword.
We traded rings and tender stares,
exchanging many a heartfelt word.

For eight full phases of the moon,
we joyed alone in solitude.
We drank the golden mead at noon
and passed our nights in loving mood.

  Greensleeves was my heart of Joy—
  Greensleeves, my one true love.
  Greensleeves was my sole delight.
  And, who but my Lady Greensleeves.

All winter long and through the spring
you carved inscriptions in the cheese
and chanted charms to bless and bring
our unborn child to life with ease.

At night you hummed by candlelight
the songs your mother sang to you
while weaving clothes to soon bedight
the hope that curled within and grew.

  Greensleeves was my heart of Joy—
  Greensleeves, my one true love.
  Greensleeves was my sole delight.
  And, who but my Lady Greensleeves.

But on that day you labored hard
and in the end for all your strife
the sacred path to breath was barred—
Our child was born devoid of life.

For three full days in bed you lay
with burning brow and a will undone.
On that third night you passed away
and went to join our stillborn son.

  Greensleeves was my heart of Joy—
  Greensleeves, my one true love.
  Greensleeves was my sole delight.
  And, who but my Lady Greensleeves.

Alas, my dear, you are dead and gone,
your spirit cast on the starry sea.
And I have loved you oh so long,
delighting in your company.

The original version repeats the chorus every other verse, but here I decided to come back to the chorus every third verse—though I lead and end with a single refrained verse before the first and after the final chorus. I liked the idea of the opening verse acting as both prologue and epilogue. The last two lines from this verse are the only part of this revision that remain entirely unchanged from the original. Over the years, I’ve encountered several variations of the chorus, so I felt pretty free about creating my own variation, one that more closely fits the story as I’ve reimagined it.

Since the original song seems well rooted in Medieval Britain, I studied up on Anglo-Saxon traditions around courtship, marriage, birth, and death as I explored this recreation. I’ll run through what I used from top to bottom.

It was customary for the groom to give the bride his father’s sword during the marriage ceremony. She would later present this sword to their firstborn son as he passed into adolescence. Rings and vows would also be traded much as we do now. In fact, our current tradition of trading rings and vows stems from this period.

I was surprised to learn that our current use of “honeymoon” is rooted in medieval Britain. Once married, the bride and groom would promptly retire to a remote location for one full cycle of the moon—so 28 days, or “eight full phases” as I put it—every day drinking mead (fermented honey) and making love. It was thought that the mead would bring good health and help ensure conception during this time. Perhaps this worked, as the bride was usually pregnant by the time they returned.

Pregnant women of the period were wont to inscribe charms into the cheese and/or butter they ate. These charms were thought to help ensure full and healthy development of the fetus. One such charm popular at the time was the “Sator Square,” which didn’t even have anything to do with pregnancy or childbirth. Women would also recite charms throughout their pregnancy, often while enacting elaborate rituals, such as stepping over the body of their sleeping husband in bed a certain number of times.

Turns out there was good reason for all this superstition, as today’s anthropologists have determined that as much as 50% of deaths among females in their 20s and 30s occurred during or shortly after labor or miscarriage. The risks would have been well understood at the time. A similar percentage of infants died during or shortly after birth. While pregnancy would have been a time of great joy and anticipation, it was also one of great worry and uncertainty.

Now, I’ve been singing these lyrics ever since deciding they’re finished, and I don’t feel at all weird about it.

The Survivor

It is common for those who survive disasters—especially lone survivors—to feel a sense of guilt about it. Maybe this comes from feeling like someone among those who died in the disaster would have been more deserving of that second chance. Maybe this exacerbates a sense of worthlessness that already lurked within. Whatever the case, not all disasters are created equal, though the guilt of having survived is just as poignant.

The Survivor

It was not a train wreck. The car
didn’t screech, slow, tilt and roll,
passengers sent flying throughout
the cabin with their tablets,
purses and cell phones. There
was no shattered glass, no screams,
no sudden eerie silence amid
cracked skulls, broken bones
and twisted frames of steel—
                                 But I survived.
                 I don’t know how.

It was not a plane crash.
There was no sudden sensation
of lost momentum, no jarring
thrusts up, down and sideways.
The captain never broke over
the intercom in strained, measured
tones, “Brace for impact.”
I never tucked my head
between cramped knees
and waited for that last, terrible jolt—
                                 But I survived.
                 I don’t know why.

It was not a shipwreck. A massive
rogue wave never folded out
from the wake, snapping untold
fathoms against the wide, blue-gray
hull—covered orange lifeboat ripped
away. Steel plates never buckled
abeam at the blow, seams splitting
abreast open seas. Water never
flooded the holds, one by one,
as gunwales leaned in slow motion
down to drink in the surf.
                                 But I survived.
                 I don’t understand.
 

It was the snap of his belt, the back
of his hand, holes gaping jagged
rage from the walls, a relentless
unpredictable fury that sent my soul
crashing around in the tumbling
train car of never-ending terror.
                                 Yet I persisted,
       and learned to curb his rage.

It was the bullwhip crack of her
tongue, the icy black slash of her
words, the voracious canine rip
of her blame, an ever present hair-
raising resentment that plunged all
self-esteem headlong into sorrow.
                                 Yet I endured,
       and learned to quell her malice.

It was an ocean of apathy where just
beneath the steady rise and fall
of visceral uncertainty lurked
sudden swells of violence that rose
and smashed through the wide hull
of sanity, sinking always again what
dim hope there was into darkness.
                                 Yet I emerged,
       and learned to calm my unrest.

The final three stanzas treat on the three parents of my childhood. First, my father, physically and psychologically abusive, who committed suicide when I was 10. Next, my mother, a venomous, vindictive, emotionally damaging woman with a form of Munchausen Syndrome by Proxy that involved psychiatrists instead of medical doctors. The last was the Los Angeles County Juvenile Courts, who took custody of me at the age of 12, placing me in one abusive environment after another until I ran away and stayed away at age 15.

I have always felt like someone who has survived a catastrophic event on the order of at least a plane crash or shipwreck. Or maybe on the order of an major earthquake or tsunami. Or perhaps on the order of something even more catastrophic. For this was not a single event that occurred only once; it was ongoing and systemic abuse across the entire span of my childhood. And though running away at 15 freed me from the clutches of the abusers, there is never really freedom from the effects of the abuse itself. That must be dealt with and addressed every day for the rest of ones life.

The survivor of childhood abuse must learn to survive all over again every single day. In some cases, the survivor may even begin to show signs of thriving in spite of it all.