Every major city seems to have a botanical greenhouse where tropical conditions have been created to foster the growth of orchids, bromeliads, and such—or “July” as a resident of the American South might call it. I left just past noon today for a 25-minute sojourn around the neighborhood. When I returned, our weather gauge reported a temperature of 81.1°F and a relative humidity of 88.8% (now registering an even 89.0% 30 minutes later). Lighting was poor: completely overcast, the sun approaching its zenith. That’s okay. My poetry attempts have been poor today, also. This is my second try, the first being filed in the “maybe-it-can-be-saved” bin. This really isn’t poetry, more poetic prose, artfully arranged—unless it’s true what a friend said, that poetry is what I say it is!
Every Southerner learns gradual acceptance of sweat, wears loose garments, overlooks each other's spreading stains. "Only mad dogs" indeed. Why walk now? Surely my Fitbit will multiply steps taken in such weather?
Escaping my climate- controlled cocoon, black-eyed susans cry welcome. They're sprinkled beside rattlesnake master, goldenrod, butterfly weed. Abiding our warmth, humidity humbly, they suggest I follow their lead.
Minutes later brings one patriotically-colored whirligig, neglected, spinning madly with each new breath of hot air, much like my country does these days. Inured to these new great divides, I just see [whirligig; patriotic] as I pass.
One neighbor's mailbox decoration swings madly with each puff of air. Its caretaker keeps it small: Chinese fringe flower usually towers twenty feet.
Where once I wandered scrub woods (leftover nature long subdued), newer years brought townhouses, all units clad in ubiquitous white, (accented with charcoal trim!)
Townhouses get young magnolias, crafted ever-so- perfectly by your local nursery, while everyone else nurtures what such abnormal specimens become.
Headed homeward I give friend Crow midday greetings, reflect upon our tree-bound need for vegetables in front (sunlight dictates placement), admire still-red maple leaves, register my soaked T-shirt: its limit of three-quarters mile, exceeded by my four.
I’ve heard a writer should never apologize for his work. If I didn’t feel the compulsion to put a poem up here, I would work on this more. As may be: like a little boy who’s never quite clean enough for company, “it’ll do.”
for fifty years plus five or six he carried words he wrote. they traveled in one banker's box: to everywhere he'd stay. they seldom saw much light.
he carried dreams for less than that— they died in his mid-life. he feared his will, lost hope, discerned no path. life handed him ways he found weird, brought a future bright.
throughout bright hopeless times he wrote to capture what he felt. his prose earned bread but poems' notes sustained his soul—it is what kept dull paths away.
electrons now contain his thoughts, self-published at his whim. without his dreams he found he'd bought release from what trapped him. dreams died but words found day.
One to conceptualize it, Three to interpret it (in three different ways), Five to be too busy composing, and One food-poet to cook the meal.
How many poets does it take to screw in a lightbulb?
Two to perform scansion of each turn of the bulb (and argue about it), One to comment on bringing light to the darkness, One to rail against Man's innate desire to alter reality, Five to demonstrate ignorance of basic threaded objects, and One mechanical-poet to screw it in.
How many cooks and janitors does it take to describe grief as relayed in the robin's song at dawn which promises another empty day? How many paint their pain with words, plain for all persons to see? How many read to the last line of a silly poem about cooking dinners and changing lightbulbs?
16/100
Today I discovered I had numbered two poems #9. Yay! This so-called 15th poem is the 16th!
I had thought the poems I dragged out of notebooks and polished would garner more comments and better ‘reviews’ than those dashed out on the fly, but this isn’t the case. For the record, poems 1 and 2 were openly declared as poems written in June while traveling in Scotland, Wales, and England. I just hadn’t got around to posting before I started this 100-day challenge. Poem #3, “Business Poetry 101,” was written approximately 2004 or 2005, edited moderately and posted. Poem #7, “Between the Boards,” also received moderate editing; the biggest change occurred when I moved the final lines down one to signify they occurred at the same spacing as the boldfaced ones above them, and eventually they became boldfaced as they composed a new set of boundaries. The haiku written as #9 but in reality was #10 sprang from an opening line to a haiku which I then re-wrote for lines two and three. The most recent recycle job was #11,”Dova,” which had a final, three-line stanza added to it. I’m pretty sure I’ve run out of poems worthy of being recycled, 16% of the way into this challenge, the training wheels come off, the water wings disappear, and I need to keep the plates spinning by myself now. After that my next biggest challenge will be in two weeks when I need to write a poem each day while on a two-week vacation. (I might just stockpile them.)
Nighttime scribbles. Wish I could remember what that great title goes with.
One: did words just pop into your head? Dressed for success? Silently shouting, "Look. At. Me." Well? What will you write in response?
Two: did last night's "Tah-dah!" moment, captured scribblingly, profess any worth when illuminated by morning sun? Or did beer think itself scholarly? Well?
Three: has this image squatted in your mind, vagrantly occupying your attention, its presence exciting but annoying? Evict it by describing it?
Four: if Image brings her friend, Emotion, accompanying your nighttime scribbles, party troika promising trouble plus fun— you've got poetry.
Good luck, sucker, hanging on to your sense of control. See ya after your eyeballs roll back, you forget your agenda, you forget your promises.
In my childhood we peered between [FCC: public airways belong to everyone.] slatted media-control fences, won- [We cannot allow any but market forces to] dering where these LP's we saw came [dictate who will get licenses, who will be] from, artists we'd never heard, never seen [allowed to own a broadcast station, what] over our airwaves. Sometimes these fen- [those stations will play. If young people] ces presented themselves as white, snowy [represent compelling market demogra-] static on those TV channels which deli- [phics, market dynamics will act as incentives] vered no signals. We scoured back [to serve them.] [Record exec: one cannot] pages in magazines, looking for 'just one [suppose your average teenager knows] more' to satisfy our latent curios- [good music from bad. We don't truly get] ity. Our comics straddled two worlds to sur- [this so-called music ourselves, you un-] vive. Real good ones, 'too offensive,' hid in [derstand; certain performers make] head shops near bongs, fringed [better stars than others. We help main-] leather jackets, patchouli oil. Even shows [tain morality, give kids something to do,] we liked fenced us this way, making us [keep them from getting into trouble.] endure dog acts, plate spinners, [Sure, we pay to get our records on] Borscht Belt comedians to catch [the air. Capitalism's the name of the] three minutes from "Today's Latest [game, baby, how the world works.] Greatest Group, the..." Yardbirds. [You don't mind if I light this cigar?] Troggs. Beatles. Elvis. Lovin' Spoonful. [Your local politician: Zoning laws] Car radios came with buttons, we [can be used creatively to keep this] thought, to facilitate quick-punch- [craziness in check. If you really don't] ing from 'that awful song by...' [want your child to listen to this...stuff,] only to hear it anyway on our city's only [don't let them buy it. It's how Ameri-] other pop music station. We saw fences [ca works, donchaknow? {wink}] everywhere: Midwest, small towns, the [Now remember to vote for me next month!] South, anywhere without "a scene".
We chipped at, kicked at, hammered
at, pulled at those fences. Bit by
bit those slatted boundaries fell.
[Where ya bin'? I've sang these words] Ninety-minute TV concerts at [every day. Never saw you here before.] midnight. Imports in our record stores. [Listen to me. This ain't jazz, it ain't classi-] Lyrics about living, loving, dying, in- [cal, it ain't nutthin' but music, dude!] stead of "wake up little Susie" or [Ya payin' attention? Hey! I'm talking] "Tell Laura I love her...", we heard [here! Ah, forget it. You don't get it.] Woodstock's Fish chant. We cheered
This is not a laurel, but don’t rest on this either.
How to rest on one's laurels? Lie down gently, carefully, not disturbing Leaves painstakingly crafted long ago? Stare lovingly into one's past, enamored, About as useful as Lot's wife leaving Sodom? Or, Drop this poem onto them as one Eagerly pushes a new lover onto covers Which right now don't mean a damn thing?
I’m going to apologize right up front: this does not measure up to my writing standards. (And my standards aren’t that high compared to others who write for pleasure and/or money.) I’ve wrestled with this one for a year, and I’m done, at least for now. I’ve learned a little bit from writing this, which in the end represents all I seek to gain from my writing these days. Well, that and the ego-boost of seeing it ‘in print’ and knowing the world can see it too.
A confusion of color, symbolic to my topic. Open air display in Tacoma, WA, by Dale Chihuly. December 2009.
Last year on June 22nd I started a series about my father, intending to write 3-6 essays examining my life by examining his. I posted but three, and one is just a photo: here, here, and here. My roadblock occurred because I don’t want to speak ill of the departed, certainly not my father, but by avoiding the flaw in the diamond I’m not admitting to its true value and nature. And yet, though I accept that I must engage the topic, that I must “write it out,” I’m not going to do it, at least not entirely.
My father’s birthday is June 22nd. In America we honor fathers on the third Sunday of June which can be anywhere from the 15th to the 21st (as it was this year), smack dab in front of his birthday. My brother and I would complain about this: “I have to buy another present? I just bought him one!” Now in my twilight years its placement seems appropriate. He epitomized fatherhood, although I’m biased on the matter. He set the tone in the family, the example for his sons, the rules for their behavior, and the schedule of family events. He demonstrated love. He taught us about faith in God. All of this is inarguably good. He had a darker side, however, which could never be fully admitted to himself or us: a struggle with depression which clawed my father away from us in his final years. Or did it? Even now with the perspective of a dozen years past his death and a half dozen since my mother’s, I wonder if I’ve just concocted a storyline to avoid life’s messiness. We don’t live within well-paced literary arcs to our storylines. They bob, they weave, they stand in place, and even while standing in place, they may hide a different storyline we’re not even admitting exists.
I don’t know much about clinical depression, not its terms or conditions or permutations. I know only that during my lifetime a perpetually buoyant man interested in everything and seemingly always smiling, slipped several times into a very dark place. And I know or rather I strongly suspect the impossible standards he set for himself tripped him up when he realized he wasn’t meeting them, couldn’t meet them.
The first time I remember this occurring, I was in junior high in either the 8th or 9th grade. It was 1968. It could have spanned the end of one grade and the beginning of the next. Hindsight always changes the past, and I therefore cannot tell at this point if I knew he had been dissatisfied with his job or if I learned this afterward. At the age of 14, I didn’t know much, if anything, about mid-life crises, but he had turned 43 to realize there was no goodness in corporate America. For a preacher’s son, raised by a strict mother and a dreamy, idealistic father, this lack of moral behavior couldn’t be tolerated. Too much cognitive dissonance. Therefore he quit. We had only the profit-sharing money from his employer with which to support the family—my mother didn’t earn a salary from the moment she birthed me until her death in 2019. In today’s terms, that “profit-sharing” would be a 401(k). Oddly, one of the first things he did was to buy a second car for the family, reasoning that his search for purpose and a new job would require wheels, which would conflict with his wife’s need to shop for groceries, run other errands, and socialize.
There began a very odd time for us which thankfully my usually vivid memory has failed almost totally to record. He sought counseling, but in later years I learned it was career counseling, not emotional counseling. My brother and I were dropped off with family friends for a few days while my father and mother spent a little alone time. I can only conjecture what that might have been: re-igniting their marriage? reassuring my mother? frank discussions about “when are you going to get a job?” My folks had established close ties with three other families from “the old neighborhood” where we lived from 1956-1962. Even as the families scattered across the city, they remained close. It was to one of these families that my brother and I were farmed out for those days, and it was from another family friend that my father’s career rescue eventually occurred.
In the fall of 1968 this family friend contacted my father about a possible job opening. The increasing demands of directing financial affairs for a large local hospital and concurrently for the order of Catholic nuns which ran the hospital had grown to be too much for him. He asked my father if he would consider taking a comptroller’s position with the hospital. This suited my father’s psyche better. He got to work primarily with finances. Because the hospital represented an act of mercy for the Sisters, he needn’t worry about any conniving capitalism or lack of moral character. And as an added side benefit, I’m sure some kind of decent medical plan came along with it (although medical insurance back then differed from what it became in the 1980’s and beyond). As my father’s close friend received promotions, so did my father, eventually retiring almost 20 years later as the director of fiscal services for the hospital.
Primarily my father regained his equilibrium and was happy, but I believe he slipped again, not too much later. Again, my memory just didn’t record a lot of details. I know one unassailable fact: in 1991 when I sought counseling after an abrupt end to my eight-year marriage (a relationship of ten years), I initially went to a psychiatrist who had treated my father. If I pair this with another, shakier memory—that my father slipped mentally a bit when he realized that his new job still was “just a job”—I’m left thinking that sometime between 1969 and 1989 he had endured another dark time. And it could have been fairly soon after. I recall a visit to his parents’ house where he talked with his mother about how her perfectionism had made it impossible for him to measure up to his own expectations. Theoretically one’s realizations help one to cope. I’m not sure this occurred for my father because of what happened toward the end of his life.
I’m sure working in finance for the final 20 years of his career reinforced his belief that he had a talent for managing finances at the level of a large entity. This became a Catch-22 for him. In November of 2007, it came to light that the secretary for their church had embezzled a sizeable amount of money—at least, it ranked as sizeable for a modestly-sized Presbyterian church in Spokane, WA. My father at that time chaired the stewardship committee, which is a fancy term for “the laypeople who make sure all that tithing is being put to responsible use.” I don’t recall who discovered the embezzlement: was it my father? (doubtful) Was it the police? (I’m not sure how they would’ve known.) Was it just a combination of several committee members who couldn’t make the money add up? Regardless, as he said at that time, “It happened on my watch.” He felt responsible. By 2008 as he approached his 83rd birthday, his emotional state began to spiral. The embezzlement just shouldn’t have happened if he had been fulfilling his responsibilities. He had failed.
After my father died at the end of 2013, I would bring this up to my mother. She quibbled with my account, but I stand by it. I remember how we flew cross-country to visit in May 2008, something we never did before or after because the weather in Spokane, always a crapshoot most months, reaches its pinnacle of “who the hell knows?” in May. I’ve endured snowstorms, freezing rain, and 80-90 degree weather, all over the Mother’s Day weekend. I can show you photographs of my father at this time, but looking at most of them, you would call me a liar. My father is smiling, apparently having the time of his life, all because he cultivated a smile from when he was a child. (His high school yearbook actually singles out “the freshman who’s always smiling” when he and his family moved to Havre, MT.) Two photos tell the tale, I think, from both content and context. Here is one of the several posed photos I took. (Forgive the quality; this early digital camera didn’t do well.)
My parents on May 27, 2008. Sandpoint, ID.
My mother always hated when I captured her candidly. No wonder. But unlike her, my father instinctively knew to smile. Here’s what he looked like otherwise that day:
My father that same day. Sandpoint, ID.
Is it unfair to snap a photo of a man as he walks away from the restrooms? Absolutely. Yet the fact I would do it speaks volumes. I would never otherwise snap such a photo. I like candids, sure, but that’s not why I just suddenly chose to snap this one. A photographer shooting a candid chooses the story he’s trying to tell, or more accurately, the story that’s playing out in front of him. He doesn’t just point and snap willy-nilly. I chose to shoot this, and therefore we must assume I had good reason for this odd shot. It might help to know I cropped this photo a lot. It’s a shot across a parking lot of a man hunched over, deep in thought, as he walks from the restroom. He’s participating in a family outing to a beautiful place several hours from Spokane, where he lives. He should be looking around for his family, or the strikingly handsome geese we had just seen, or the grandeur of the mountains splayed out in front of him if he would only turn his head to the left.
The view to his left. Sandpoint, ID. May 2008.
I’ve lived that walk. You’re in your head and when you can muster the energy to be sociable, you slide the veneer on. You want to assure everyone that you’re okay. You’re not. The tape loop plays in your head, telling you whatever you did wrong, or how the world has mistreated you, or perhaps more horribly, both.
My parents visited us in Raleigh, NC, over Mother’s Day 2009, approximately a year later. I distinctly remember being worried about my dad’s outlook. I said to him the day we drove to coastal North Carolina, “well, Dad, you seem to be pretty upbeat today.” He frowned a bit and answered, “well…not really.” That’s all. His voice trailed off.
He lived in and out of this state for the remainder of his life, another five years. How much of it should we attribute to the inevitable decline many of us go through as we walk up to that door which will usher us out of this mortal life? I don’t know. I’ve watched four parents die, mine and my wife’s. There’s a detachment that develops those final years. But the thing that haunts me still is this: I think somewhere during 2008 and 2009 my father—the man who eagerly rose in the morning, excited about what the day would bring, the man who took delight in all the numbers and patterns, the man who just plain found life delightful—suddenly didn’t find life very delightful at all and that he would just tread water until he died.
Maybe my mother was right. I could have invented a story from bits and pieces. Maybe I’m just eager to tell a story where none exists. “But…but…,” my mind sputters, “he used to be so upbeat, so jolly! What happened to that?” Indeed. I’d really like to know if the inevitable tiredness and struggle of one’s fading years explains it all or if he took one too many psychic blows. I’d really like to know because I’m a lot like him. I’d like to know if I should circle the psychic wagons as I enter my 80’s—only eight years away!—or if I should just accept that one tires and detaches at the end of the journey. Yeah,…I’d really like to know.
Artists differ from most of the rest of humanity. Artists tap emotions and experiences others prefer to hide or, at best, to reveal carefully to select individuals and audiences. Unlike the careful revelation practiced by most, artists display their work on the public walls like graffiti in subways. Wedged between “For a good time, call ###” and obscenities, the artist inserts a portrait, often rooted in pain or struggle and rendered in words, brushstrokes, sculpted metal, or other media. Where most humans rush to clothe their naked feelings, the artist drops such obscurations to the ground and invites the errant passerby to look, but more than that, to judge. This is how they differ: they invite comment upon creations rooted in their own psyches, their own souls.
Humans hurt. We all hurt. We bear our wounds heroically, badly, simperingly, stoically, resentfully, and sometimes all of these and more depending on the time of day. Authors live with the uncomfortable knowledge that their wounds, their innermost thoughts, beliefs, prejudices, emotions, and most of all, memories, will bleed out—must bleed out—onto the pages they write, an emotional, psychic wound which perversely will not staunch without being exposed. It’s analogous to being handed a bite bar and hearing, “this is gonna hurt but you’ll thank me later.” Authors bleed out into their words and wait for the comments, but in truth, their healing began when the words gelled, the pages were printed, and the books displayed.
Commenting in any manner on such courageous behavior feels wrong. There cannot be a wrong way “to art.” As a teacher of English, though, I learned there exist many wrong ways to connect with an audience. And ultimately, anyone who publishes a book expects an audience to react to it. I’ve followed Kay’s blog Bridgette Tales for several years. Her personal revelations in that space represent why blogs need to be written. Done honestly and well, a blog sends joy and pain and struggle and hope out to the world, asking only to be heard. In the process, blogs show others, “Look! I hurt like you, love sunsets like you, see little clumps of moss like you, and I revel in it, even the painful stuff.” They build the global community. It came as a relief, then, when I discovered the stories were actually good. I’ve seen many a near-breathless author hand me something with excitement in their eyes and words, only to find upon reading it that the author hadn’t a clue either about constructing a story or writing one.
Don’t read Watering Words expecting John Cheever. These stories are not “high literature”—they instead represent what most readers look for: engaging stories with whimsy, a little magic, humor, and told with style. These stories speak less to the human condition than to one human’s condition. As one who has followed her blog, I see the pain, longing, fears, insecurities, joy, laughter, righteousness, sadness, glee, and maturity I’ve sensed in her near-daily posts. Two of the early stories stand out.
In the first story, “Waiting For The Bus”, every author will resonate with Kay’s personification of all those fears and excuses with which we keep ourselves from writing. The narrator’s ultimate triumph echoes Kay’s, I’m sure. And in “Final Goodbye” I invest my supposition that Kay writes of a home in her past (at least symbolically). I detect references to tragedies mentioned on her blog, but leave them for others to discover.
Read this book. Read it not for “high” literature but for “hi” literature: an author reaching out and saying, “Here I am. I’m saying it as best, as entertainingly as I can. Do you see me? Do you feel the same?
Several days ago I began a loving reminiscence for this little half-shelf of books:
Yep, repetitive, I know. September 2025.
Other than specific works of literature and the anthologies which collected them, I’ve pretty much trashed my college textbooks. One slim little volume, sporting a stiff paper cover, has followed me around since 1982 and will be there when I die very likely: Sentence Analysis by Donald W. Emery.
So small. So dull…to all but me. September 2025.
June 1982 brought me the final set of courses I needed to complete my English Education degree. Who knew a graduate-level course on grammar would be the most agreeable of them? Few of my fellow classmates agreed with me. First, the class began at 7 a.m., if I recall correctly, and ran for two hours. This allowed the professor (who happened to be the chair of the English department) to teach the class in only four weeks instead of eight. After the first week we diagrammed sentences. That’s all. Each day we discussed a construct of English grammar, diagrammed five sentences that night, and began the next class discussing how they should have been diagrammed and if there might be any which were open to interpretation. Even in something as definitive as diagramming English refuses to be pinned down. In fact, the professor told us we used the sentences in the book because they had been vetted to be “diagrammable”! It would take me too long to explain why English sentences as spoken and written by its practitioners do not lend themselves to analysis. Take my word for it, at least for now.
Unfortunately, I stole a bit of my thunder on this topic a couple of years ago when I ranted about compound prepositions, foreshadowing this book even if I didn’t name it. This series, Bibliophilia, however, purports to be about a love of books, not of specific topics per se. We attempt to not delve too much into the memories evoked by the books, but rather to celebrate them and explain why such feelings rise up. In this case, it’s pride pure and simple, pride in knowing something esoteric, something only a small sliver of English speakers know. My course contained about 15 students, all but three of whom were teachers returning for some of those credits mandated by law for the recently hired or to achieve a Masters degree. Despite the fact all were English teachers/English majors, I ran rings around that class. I aced it. I aced the final. After acing it I and leaving long before the rest of the class, I waited in the lobby for them to come out. “What did you do on the last one?” they asked. I could have been smug, and said, “what I did when we diagrammed it for homework,” because all of these sentences had been discussed in class. Instead I just answered the question. The bulk of these people were older than me. My pride came with a good dose of awkward, too.
Because we’re sticking to love of books, and on this shelf, love of language, I’ll save further discussions of the diagrams for another piece of writing. One memory will illustrate my love for this slim little volume: I hope I will never forget this experience which illustrates the frustration of teaching and the uselessness of diagramming sentences. In the 8th grade English classes I taught, I decided for a year or two to use diagramming sentences for a unit. I think this had to do with a “street cred” issue I had with another English teacher and also because teaching sentence diagramming comes about as close as possible to teaching math. Many teachers of English shy away from the ‘squishy’ nature of their chosen field. One can only teach writing by having students write and giving them feedback about it. This puts them in a bind. Reading, grading, and (God forbid) giving feedback requires huge amounts of time, time which could be better spent drinking beer/wine and reading a book. Worse, it’s nearly impossible to teach literature without having students write about it. Double-whammy because now one has to grade the content as well as the expression of it. But…begin a unit on diagramming sentences, and one can kick back like the math teachers do, marking the incorrect lines, assigning points, and adding up the points for a grade on that day’s assignment.
I don’t remember this kid’s name, so we’ll call him Rick. A little kid who could be used to illustrate the late-bloomer end of the scale for 13-year-old males, Rick sat in the front row because I probably put him there. His philosophy toward English seemed to be one of ignoring it: he had a perfect record for turning in homework which barely had been started or not turning it in at all. He consistently maintained a Failing grade–until I started the diagramming unit. Suddenly English interested him. He turned in every assignment. He did okay; not the top student, but a good solid one. Deconstructing sentences grabbed him in a way that constructing them had not. And as soon as we moved on, Rick’s turned his interest off like a faucet. His writing contained few sentences and none were well-written. I saw that just because you could take a car apart and put engine parts in one corner, drive-train parts in a second corner, and boxes surrounding them for the ancillary parts which supported those systems, that didn’t mean you could put the car back together. I also realized some students were going to tune out. They just were.
That’s why this book lives on my shelf. I glance at it fondly, remembering how truly great I was in the class! Quickly thereafter come the memories of how useless this information is to all but linguists, how useless it remains to teach to 8th graders (or any other student not majoring at the college level in English linguistics), and how I likely failed to provide some students the incentives they needed to try to better their skills at writing. It’s nice knowing something well that few know how to do all. It’s nicer knowing what to do with this knowledge to help others succeed.