3.26.2021 – words far from perfect

words far from perfect
words needed to hear myself
words as an escape

I laughed out loud while reading for the first time in a long time last night.

By chance I came across the book, “Furiously Happy: A Funny Book About Horrible Things” by Jenny Lawson.

I had no idea what I was getting into.

I thought maybe it was a look at all the terrible goofy things that happened in history by accident.

Warren G. Harding, Nancy Reagan and the Tacoma Narrows Bridge.

Those type of things.

It turned out to be a collection of essays about one person’s on going battle with depression and anxiety.

It is a book that defiantly draws outside the lines.

The book is profane, loud, brash, sensitive, apologetic and non-apologetic all at the same time.

Somehow Ms. Lawson is able to describe, comment and explain depression in a way that I can only step back and admire.

And laugh.

And feel like crying.

Maybe seems cold hearted to even imagine saying that or saying that anyone could write about such an awful thing in a way that makes you laugh.

But there it is.

Read the essay early in the book about dealing with insomnia and how Ms. Lawson was trying to to get her cat … well you will have to read it for yourself.

If you don’t laugh, well, that’s fine.

But I laughed.

Ms. Lawson hit a nerve for me when she wrote that she writes words that she needs to hear.

I like that.

I liked that a lot.

Maybe its a crack in the ice of my writers block.

Just words that I needed to hear.

I really like that.

To add to that, Ms. Lawson is also right there with making up her own words when existing words don’t work.

Witness her footnote for Concoctulary: “... a word that I just made up for words that you have to invent because they didn’t yet exist. It’s a portmanteau of “concocted” and “vocabulary.” I was going to call it an “imaginary” (as a portmanteau of “imagined” and “dictionary”) but turns out that the word “imaginary” was already concoctularied, which is actually fine because “concoctulary” sounds sort of unintentionally dirty and is also great fun to say. Try it for yourself. Con-COC-chew-lary. It sings.”

It sings.

I love that.

Early in the book, Ms. Lawson writes “If this sentence seems confusing it’s probably because you skipped over the author’s note at the beginning like everyone else in the world does. Go back and read it because it’s important.”

This kind of freaked me out as I have been having a long discussion with myself of late of whether or not to read the forward to a book.

So far in life I have ignored forwards pretty much.

Somewhere someone I figured if it was important to the topic, the author would have found a way to get it in the book.

Or it was just a place for the author to say thanks to the girlfriend (this can be dangerous – See Garrison Keillor’s 1st book) or the person who typed the manuscript or the people who told the author that the concept was worthwhile and they should follow their dream.)

In this case I noticed the ‘Note from the Author’ but I skipped it.

Feeling like Ms. Lawson noticed personally, I skipped back and read it.

Had to read it a couple of times.

A lot of people close to me are talking about depression and anxiety in their lives and in the lives around them.

My heart goes out to all of them.

I wish I could I help.

So does Ms. Lawson.

Ms. Lawson is angry about this.

Ms. Lawson writes, “found myself really angry. Angry that life can throw such curveballs at you. Angry at the seeming unfairness of how tragedy is handed out. Angry because I had no other emotions left to give.

What struck me over and over again is the personal nature of it all.

You can be aware.

You can want to help.

You can empathize.

You can sypmpathize.

You can experience some of this all on your own.

BUT NO and I MEAN NO ONE can understand what you are feeling.

Ms. Lawson calls it, “Imagine having a disease so overwhelming that your mind causes you to want to murder yourself. Imagine having a malignant disorder that no one understands.

In very real battles with depression and anxiety, its one on one.

Ms. Lawson writes, “When cancer sufferers fight, recover, and go into remission we laud their bravery. We wear ribbons to celebrate their fight. We call them survivors. Because they are.

When depression sufferers fight, recover, and go into remission we seldom even know, simply because so many suffer in the dark … ashamed to admit something they see as a personal weakness … afraid that people will worry, and more afraid that they won’t. We find ourselves unable to do anything but cling to the couch and force ourselves to breathe.

Ms. Lawson writes that she decided to fight back.

She states, “I’ve HAD IT. I AM GOING TO BE FURIOUSLY HAPPY, OUT OF SHEER SPITE.” (Emphasis in the original)

One on one.

So where do we or any other people come in.

Ms. Lawson does not come right and say it.

In fact she reinforces the one on one struggle.

So doesn’t ever seem to come out and say, “if you know some one like this” or “if you want to help…”

But in the background of the book is her husband Victor.

No matter what he seems to be there.

No matter what happens he seems to be there.

No matter.

He really must love her.

I am sure there are words and things said and regretted but in the end, they are together.

I guess you call it unconditional love.

I am sure things happen but they go one.

Ms. Lawson fights her battles.

And she fights alone.

But she knows there will be someone there this afternoon, tonight and tomorrow.

And they go one.

If that isn’t how it turns out, I don’t want to know.

It is an awful way to suffer all alone.

It is awful to watch and feel helpless to help.

If I can tell myself that I can do something and that something is just be there, I will grab on to that.

Near the end of the back, Ms. Lawson writes, ” ... That’s what we do for people we love.”

I laud their bravery.

I wear ribbons to celebrate their fight.

I call them survivors.

Because they are.

And I love them, unconditionally, very much.

3.25.2021 – low tide waves slide high

low tide waves slide high
rolling long wide water thins
washing up retreats

Part of a series based on afternoons spent at the beach on Hilton Head Island.

I wanted to see if I would be ‘inspired’ by what I saw, by what I heard, by what I smelled, by what I tasted, what I felt emotionally and what I felt tactilely.

Some turned out okay.

Some were too forced.

Some were just bad.

Some did involve some or all of those feelings.

As far as it goes, I guess I was inspired by by what I saw, by what I heard, by what I smelled, by what I tasted, what I felt emotionally and what I felt tactilely.

Click here for more Haiku from the BEACH

3.24.2021 – old arguments

old arguments
never die but neither do
they just fade away

They tell this story along the lines of one time manager of the Baltimore Orioles, Earl Weaver.

There this one umpire, and it may have been Ron Luciano but it could have been any one of the American League umpires at the time Weaver was a manager.

The story went that both Weaver and the Umpire had been rookies, rookie manager and rookie umpire, years before in the then Eastern Minor League.

Weaver managed the Elmira Pioneers.

Both Weaver and the Umpire went on to the Major Leagues.

From 1968 to 1982, Weaver managed the Orioles.

At some point over that span, Weaver and this Umpire came together again.

This Umpire has a bad day with Weaver and Weaver is tossed from the game.

Weaver is beside himself.

Weaver tosses his hat.

Weaver does his trademark move of kicking dirt on the umpire.

Weaver stalks off the field and into dugout.

When Weaver got to the dugout steps he stops, turns and yells one last thing at the ump.

“AND YOU MISSED THAT CALL BACK IN ELMIRA, TOO!”

In the movie, Citizen Kane, Jedediah Leland, the character played by Joseph Cotton, says to the reporter, “I can remember everything. That’s my curse, young man. It’s the greatest curse that’s ever been inflicted on the human race: memory.

Tell me about it.

3.23.2021 – embodied order

embodied order
cooperation among
same time tedium

Adapted from the book, The Art of Travel (2002, Vintage Books) by Alain de Botton, and the passage:

I began word-painting.

Descriptive passages came most readily: the offices were tall; the top of one tower was like a pyramid; it had ruby-red lights on its side; the sky was not black but an orangey-yellow.

But because such a factual description seemed of little help to me in pinning down why I found the scene so impressive, I attempted to analyse its beauty in more psychological terms.

The power of the scene appeared to be located in the effect of the night and of the fog on the towers.

Night drew attention to facets of the offices that were submerged in the day.

Lit by the sun, the offices could seem normal, repelling questions as effectively as their windows repelled glances.

But night upset this claim to normality, it allowed one to see inside and wonder at how strange, frightening and admirable they were.

The offices embodied order and cooperation among thousands, and at the same time regimentation and tedium.

A bureaucratic vision of seriousness was undermined, or at least questioned, by the night.

One wondered in the darkness what the flipcharts and office terminals were for: not that they were redundant, just that they might be stranger and more dubitable than daylight had allowed us to think.

Adapted from the book, The Art of Travel (2002, Vintage Books) by Alain de Botton.

According to the website, GOOD READS, Any Baedeker will tell us where we ought to travel, but only Alain de Botton will tell us how and why.

As I said in the section on Architecture , what I find irresistible in reading Mr. de Botton is his use of language.

I get the feeling that if you made a spread sheet of all the words, adverbs and adjectives used by Mr. de Botton, you just might find that he used each word just once.

Neat trick in writing a book.

If I knew how to do that, hey, I would.

** More from the category TRAVEL — click here

3.22.2021 – at first have viewed

at first have viewed
aesthetically even
mechanically

I based this haiku and several others like it from the writing in the book, The Art of Travel (2002, Vintage Books) by Alain de Botton, and the passage:

On entering a new space, our sensitivity is directed towards a number of elements, which we gradually reduce in line with the function we find for the space. Of the four thousand things there might be to see and reflect on in a street, we end up being actively aware of only a few: the number of humans in our path, perhaps, the amount of traffic and the likelihood of rain. A bus that we might at first have viewed aesthetically or mechanically—or even used as a springboard to thoughts about communities within cities—becomes simply a box to move us as rapidly as possible across an area that might as well not exist, so unconnected is it to our primary goal, outside of which all is darkness, all is invisible.

*Adapted from the book, The Art of Travel (2002, Vintage Books) by Alain de Botton.According to the website, GOOD READS, Any Baedeker will tell us where we ought to travel, but only Alain de Botton will tell us how and why.

As I said in the section on Architecture , what I find irresistible in reading Mr. de Botton is his use of language.

To also quote myself, I get the feeling that if you made a spread sheet of all the words, adverbs and adjectives used by Mr. de Botton, you just might find that he used each word just once.

And to reemphasize, neat trick in writing a book.

If I knew how to do that, hey, I would.

** More from the category TRAVEL — click here