Author: Janie Braverman

  • Rise

    Rise up rooted, like trees.
    Rilke

    We rise, uprooted like trees.

    I have a vast vision
    of oak, cottonwood, catalpa
    all leaves and boughs down
    root balls up dangling
    dirt clods and earthworms
    like sticks and twigs in my hair
    boughs down, roots up
    a thousand spears of broccoli
    on an ocean bound journey
    bobbing downhill, downstream, downside
    up and wave their way by as if
    they were going to Mardi Gras
    and not to splinters.

    An aspen grove is single,
    like a forest, a field, a flock, but not.
    Manifested as many,
    connected at the roots.

    One day, I’m single, working
    the ten year plan of getting my children
    to and through college,
    minding my own business
    and the next
    I’m married, retired, moving.
    My children leaving for college,
    I’m running out of reasons
    I need to do anything else
    but love them.

  • The Love Lives of Rocks

    Granite mates, below the dirt,
    then rises over time to bare itself to the kiss
    of wind and rain.
    Warm in the sun, cloaked in lichen, cracked
    by the cycle of cold,
    granite lies dreaming
    of the time before and the time to come.

  • Try It On

    And so I try it on
    like a hat or a scarf
    or a creamy new lipstick

    dip one shoulder
    wondering
    how might it feel
    to want this man?

  • Lists

    Cat. 
    Donkey.
    Cigarettes and dust.
    Smoke from the trash heap.
    Allergens.  Triggers.  Potential poison.

    Dolphin.
    Beach.
    Hammock.
    Not quite cold enough Corona.
    The light in your eye.
    Comforts.  Pleasures.  Aphrodisiacs.

    The sweet grace
    of the back of your hand
    on my cheek.
    Warm calves accepting
    of my cold feet.
    A shared bowl of yogurt and nuts,
    frittata on your plate and then in my belly.
    Home.

    Two years ago she started to tell me
    the story of the day she didn’t
    drown her children in the bathtub, didn’t
    starve them in the closet, didn’t
    beat them until they couldn’t scream any more, didn’t
    burn them with cigarettes, or the iron, or stove,
    scald them with water or freeze them
    with scorn.
    Two years since she didn’t
    leave them on their own to die
    on the top floor of the old house
    converted to apartments
    dried by the western plains wind into
    kindling, tinder, fuel.
    Two years and counting . . .

    Salt licks at my feet and I
    remember the smell
    of the sea, blown across the tidal pool.
    And sweat.
    Airplane sweat – tired, confined, medicinal,
    metallic.
    Just arrived in the tropics sweat – too heavy
    clothes, socks, long sleeve shirt thick with the
    smell of city and work.
    Sun sweat – open to the air, coconut
    with the scent of summers past
    lingering youth
    new beginnings.
    And the sweat of lust, salt rising
    sweet from your skin or
    is it mine.
    I sweat back the sweet salt of the sea –
    as you, too, lick your way up my feet.

    A crushed Coke can.
    Beach glass.
    High tide mark of broken shells.
    A streamer of plastic bread wrapper.
    Bottle tops.
    Sand.  Endless sand.

  • At The Office Of My Son’s Psychiatrist

    it begins with family history
    a gentle inquiry into the lives
    of my parents grandparents brothers and sister
    my ex-husband has come and gone already
    telling the story of his side

    any thyroid disease drug abuse alcoholism
    suicide successful or failed

    I wonder which is which

    eating disorders depression trouble with anger
    unstable moods

    I shake out the genetic map like a long unused tablecloth
    spilling deserted desiccated crumbs
    I share them with this young man, this bearded stranger
    I tell my father’s rage
    my mother’s silence
    my own profound depression beginning at thirteen
    a history of migraines ·
    suicide contemplated but never completed
    the most recent episode still raw like a rusty hacksaw blade
    chosen bits of the stories of my life

    you were a moody child?
    Sarah Bernhardt my mother called me
    with a penchant for high drama at dinner
    loud tears and slammed doors

    genetic history is a useful predictor of risk factors
    he smiles and says
    I think you are
    bipolar

    the word thumps to the carpet between us
    rolls gently in my mouth a metallic musical word a poet’s word
    bipolar
    he is naming me this pretty word
    his fingers steepled below his chin
    I think you should be evaluated
    he is naming but not knowing me

    you have a classic history all the indicators
    he leans back
    I think but do not say
    of course I am depressed because
    I know this analytical young man
    with his well polished loafers
    my son’s-not my-psychiatrist
    he’s thinking drugs to stabilize my mood, my life
    to close off the San Andreas fault of feelings
    to level like a condemned building a thing of no use
    he means to help with this lie of better
    better living through chemistry
    better not the lows so deep and dark
    better not the highs so bright so frightening to those
    who don’t know them who won’t or can’t embrace them
    better to be calm and dull and stupid
    he means well but his means would kill me

    let me ask you
    I listen carefully balance my need to be safe
    against my son’s need for me to be known
    genetic history may be a useful predictor of risk factors
    I listen carefully and I do not lie

    do your eyes ever play tricks on you
    I ask what does he mean
    do you ever see things that aren’t there
    as I think how to answer this, he goes on
    things out of the corner of your eye and you turn
    and nothing is there

    I resist the temptation to say Are you nuts? for this is
    what he does think, that I am nuts
    of course I see things
    I see poetry everywhere-even here-in this office
    and the auras I see are where I see them
    no I say and this is true

    do you ever hear things – things that aren’t really there
    in a crowd do you ever think someone is calling you but they aren’t
    or you hear the phone or the doorbell when they don’t ring

    of course I hear Mommie in a crowd
    and think the voice is calling me
    that’s not what he means
    he means the voices
    I consider-for nearly a heartbeat-telling him
    about the characters
    who live and breathe and walk with me
    the ones who tell me their stories when I am quiet enough
    to hear them over the chaos of my exterior life
    I almost tell him of course I hear voices voices
    of people more real to me than him
    but he is asking am I delusional
    I answer the only way I can
    I hear only things that are real

    I am not your patient
    sensitive to the universe not moody
    awake not bipolar
    human not nuts
    but because I am first a mother
    because telling these truths will not be useful and
    to help this earnest young man in tweed help my son
    I quiet the voices

    for now
    I listen carefully and do not lie
    but neither do I tell

  • Bing

    I hear the grind of grasshoppers,
    rusty-hinge call of the redwing blackbird,
    my own breath, ragged and too quick.
    It’s been too long since I’ve taken this walk,
    forever since we took this walk together.

  • Blue October

    Bright blue winter glove on pavement.

    Smurf hand
    catching leaves as if snowflakes
    pitted asphalt ready for winter

  • How many is not supposed to be a trick question

    How many is not supposed to be a trick question

    Do you have brothers and sisters?

    At a dinner party, a wedding, the first day of camp, this could be an icebreaker. In grade school, it could be a prelude to drawing a family portrait. At an initial speech pathology evaluation following a serious brain injury, it’s supposed to be something else, a yes/no question, to elicit a yes/no response. An entry to analysis not only of the ability to speak, but of cognitive function as well.

    Do you have any brothers or sisters?

    My son doesn’t always answer. He is reserved in his willingness to communicate with people he doesn’t know. The damage to his short-term memory means it takes time and repetition for him to know someone. I categorize people for him: That is someone we don’t know. A constant refrain in hallways and elevators headed to therapy or on an outing to the grocery store, a basketball game, or a movie theater. Not someone we know. Not someone we know. When it’s someone new to his care team or his medical team it goes like this: This is [insert name]. [Name] is [insert relationship]. Repeat and repeat.

    My son has been asked the screening question about brothers and sisters many times.

    By the first speech pathologist, at the University of Iowa Hospitals and Clinics (UIHC), during his first hospitalization. A lovely white-haired woman with dangling earrings and the aura of an interesting past, who connected well with him. She was evaluating how much he could understand, how well he could express himself. He used his eyebrows, as he still does, but that was when he wasn’t speaking at all.

    By the speech pathologist at On With Life, the first of several rehab facilities, who fed him pancakes to evaluate his ability to swallow. Still not speaking.

    By the speech pathologist at the Center for Disabilities and Development at UIHC, where no, he did not want to shoot the little mermaid and her cartoon cronies, using lasers by moving his eyes while staring into a computer monitor. Evaluating him for a speech assistive device as he struggled to speak. He was, however, alert and aware enough to roll those eyes with an edge of snark, not wanting to be treated as a child.

    I sat there thinking, Die, little mermaid, die already! I wonder, had I said that, if he would have been more willing to use his eyes as lasers, to blast her doe-eyed little icon off the computer grid. Maybe. Maybe not.

    He was asked by the speech pathology students at the speech clinic at UIHC: Do you have any brothers? Or sisters? What they lacked in experience, they made up for in enthusiasm, in being closer to his age (22 or so to his then 32⸻young adults who hadn’t forgotten how to play), and in their ability to learn from what doesn’t work, like the inevitable question that comes after he says yes:

    How many brothers do you have? or How many sisters do you have?

    How many is not supposed to be a trick question.

    The answer is supposed to be a number. The question is supposed to be about memory, word finding, aphasia screening, and other things speech pathologists assess. Sometimes my son closes his eyes. Sometimes he averts them. Sometimes he rolls them. But it’s a question he never answers.

    In speech therapy, it’s not useful for the family to answer for the patient. We make an exception for this line of questions.

    He has three sisters. Ask them. If you’re taking a medical history, he has two. If you’re asking about early childhood, he had two. Now he has three. He has brothers. If you’re asking about early childhood, he had one. He lost him for a while, but now mostly remembers that he got him back; if you’re taking a medical history, it’s his half-brother.

  • Impala

    Last fall, six weeks after President Nixon resigned, my father went out. He went out through the kitchen, into the garage, into the 1971 Chevy Impala, impeccably white, the dark green vinyl seats cool and smooth, heavy with the scent of cigarettes. I smoked in that car when I was thirteen, in the back seat with Kevin Harrison, smoked and necked and knew Daddy would never smell the difference. Would never know the scent of my cigarettes laid over his, my desires drowning his. Daddy loved that car. More than he ever loved me.

    I smoked in that car when I was fourteen, smoked and screwed and said screw you to Darren Fuller, who dumped me for Susie Fiedler, who already had everything. A big house, the best clothes. Her daddy loved her, why did she have to have my boyfriend, too, except just because she could. And I smoked and drank and screwed Kevin Harrison who would then dump me for someone, anyone else in the weeks after Daddy left. And sometimes I smoked and did my homework. I did my homework because I was always good at school and that gave me hope.

    Nixon had been a big disappointment to Daddy. Just like me. On that day, when Daddy went out through the kitchen, into the garage and into that goddamned white car, here’s what he might have done:

    He might have gone to the 7 Eleven, sat outside in that car, in the parking lot, his face lit by the neon 7 and the neon Eleven, awash in disappointment. He might have let the engine idle in park until he put it in
    gear, into reverse, backed out of the parking lot, not spraying gravel because it might fly up and chip the paint, and drove down the highway into the middle of the night.

    But he didn’t. We know he bought cigarettes, Lucky Strikes, we know that from the guy behind the register, Kevin Harrison’s stupid older brother, Scott. ”Yeah, Regina’s dad was in here-two nights ago-bought cigarettes and a six-pack of Coke.” Scott Harrison wasn’t cute like Kevin.

    And he wasn’t smart like Kevin. He always let his greasy hair hang over his
    forehead, as if that would hide the pimples.

    But I knew before we talked to Scott that Daddy had stopped for cigarettes and Coke. He always did.

    Here’s what else he might have done:

    He might have broken open the carton, fished out the first pack, stripped off the cellophane right there in the parking lot, in the front seat of that white car, smelled the fresh rush of new tobacco before the sulfur and smoke of the match. Daddy never used a lighter, not even the one in the Chevy, just matches. The glove box of the Impala was stuffed with books of matches from the places Daddy had been-the White Horse Bar, the Zanzibar, P.T.’s Topless Bar, the diners all along East Colfax and the truck stops between here and Reno, the far west end of Daddy’s territory. He had matches from just about everywhere in the known world. The lighter stashed in the crack between the deep green cushions in the front seat was mine, not his. He might have turned on the radio to listen to the news.

    Daddy might have inhaled that first full drag, shaken out the match and
    settled back into the dark green seat. He might have let his arm dangle out
    the window until he’d smoked that Lucky Strike down to the filter, then
    flicked it away in the dark and said, “Fuck it. I’m outta here.”

    He might have driven through the night, moving from one radio station to another, from one call-in talk show to another, far west into the mountains then down into the Utah desert. He might have driven as far as he could and then fallen asleep behind the wheel, nodding over the dotted white line into the semi rolling east towards Grand Junction. He might have crashed in a shower of glass, talill1g the Impala with him, but sparing the truck driver so he could go home to his wife and kids. He might have done that.

    Or maybe he got all the way to Salt Lake City, ringed by the same Rocky
    Mountains you can see from the hill at the top of our street. Maybe there he
    had another family. I read a story about that once, a cowboy with two wives, two families and two houses. The cowboy’s first wife didn’t know until he died, kicked in the head by a horse. Maybe Daddy had another family, one with a daughter who didn’t smoke and screw and get drunk on rum in the back seat of the Impala. Who didn’t hate the war. Maybe he liked her
    better because she was smarter and prettier and funnier and didn’t slam
    doors and cry in her room. Who didn’t think she was better than everybody
    else because she was smart. Maybe he liked her better because she didn’t
    know he was screwing slutty Lois Johnson across town and probably every
    other woman from here to Reno because my daddy was so good looking
    that all the ladies loved him.

    And maybe the woman in that house really didn’t know, instead of
    pretend-not-knowing, all the time with her pinched angry mouth, like
    somebody made her eat soap for telling the lie of it-ain’t-so, my husband’s
    not a drunk and a liar and a cheat. I never smoked or screwed in my mother’s car. That would have been too much for her to bear.

    Maybe on that clear crisp day in the fall, when the cottonwoods and elms
    had all turned to yellow, and the maples and Virginia creeper to orange and red, and the nights turned cold, maybe he bought those cigarettes and then went down to the EZ Pawn and bought a gun and bullets and then drove out somewhere and blew his stupid fucking brains out and a stray bullet bounced out of his skull and hit the gas line of the Impala and instant immolation. Maybe Daddy died in a funeral pyre like those Buddhist
    monks. Only not so pure.

    And here’s what else didn’t happen.

    I did not sneak out of the house after him, find him at the 7 Eleven, have a smoke with him in the front seat of that car. I didn’t hear the neat snick of my lighter, then see him smiling in the flare lighting his face, brighter than the dashboard lights, as we drove down the highway, smoking those Lucky Strikes. I did not drink rum and Coke in the back seat with my daddy, crunch the ice before it melted, while he cried and told me he loved
    me but he was leaving, then pass him the rum until he was too drunk to get out of the car to take a leak without falling down, much less drive me home. That’s how I learned to drive, when I was twelve. Driving Daddy home. Home from the White Horse Bar or the Black Horse Bar or from Lois
    Johnson’s stupid, run-down little house, with her grass all brown and dead,
    but mowed. I was twelve when I started mowing our grass, so my mother
    wouldn’t have to.

    I did not take the little Army surplus shovel from the trunk, folded up and tucked in by the spare, for digging out of the snow if he got stuck before he got the chains on. That Impala always did handle like a pig in the snow. I did not bash his head in as a single unlit cigarette dangled from his face as he tried not to piss on his feet.

    I did not use my lighter, the little silver one engraved To SK with Love, the one I swiped from some guy sitting at the counter at the White Spot on East Colfax that night we stayed out, Kevin Harrison and me, to see The
    Rocky Horror Picture Show
    at midnight and then didn’t go home until later, much later.

    And I did not comfort Daddy with shhhh… it’ll be all right, shhhh… don’t cry, while he whimpered it was cold, so cold and his white car lay in the bottom of a gully up above Morrison, south of the interstate. I did not say Daddy, I love you, I love you, I love you. And I didn’t hold him until the shaking stopped and his breathing stopped and the fire ate up his car, blistering the white into grey and then black, char where it used to be green, smoke all over now and not just on the seats, and he could never leave us again.

    And I don’t sit in the front seat of my mother’s car on Saturday mornings, looking out the window, hating him, while my mother cries and drives me across town to that house where I watch him mow the grass.

  • Thinking About Craft and Process

    CRAFT

    /kraft/

    • An activity involving skill in making things, often by hand
    • A skill used in deceiving others
    • Any vehicle designed for travel across or through water bodies, air &/or space
    • Tools used by poets & other writers

    Used in a paragraph

    What’s in your toolbox? Scene, sentence, scansion? Rhythm, repetition, & slant or straight rhyme? The line, the list, & the lament? Are you equally careful of white space, image, & text, of font, format, & form? Do you play with brackets, braces, ellipses, & semicolons?

    PROCESS

    /ˈpräˌses/

    • A series of steps or actions taken to achieve a particular end
    • A summons or writ requiring a person to appear in court
    • Verb: To perform a series of mechanical or chemical operations on something to change or preserve it

    Used in four paragraphs

    1. Where do you sit when you open your toolbox? Home or coffee shop? Do silence & solitude feed you or stifle you? Pen or laptop or desktop with dual monitors? Scrivener or Word? Are you a lark or an owl? Coffee or tea?
    2. Where do you start? Image or prompt or experience, or language itself? Does a character arrive, speaking in your head? Does a line arrive whole, waiting for what comes before & then after? Does the form announce itself or do you impose it yourself? What have I forgotten to mention? What has never occurred to me?
    3. Drafts: How do you distinguish one from the next? Is it enough to move (or remove) a comma? Eliminate an entire stanza or chapter or character? How do you organize your drafts—on paper &/or electronically? Have you ever lost one forever? Do you revise as you write? & if you do, how many drafts dance on the head of your pen?
    4. Interruptions: What causes them, how do you deal with them . . .

      ~ ~ ~

      ~ ~ ~

      ~ ~ ~

    . . . wait, where was I?

    Ah, yes. I remember.

    Are you a poet, a painter, a writer of prose? Yes is a complete & acceptable answer.

    When & what do you think about genre—or do you? Is that question about craft or about process? Here, too, you may want to say yes.

    Is this post built of hermit crab essays or hermit crab poems? (Yes is my answer.)

    HERMIT CRAB

    /ˈhərmət/ /krab/

    • An anomuran (that is, irregular in the character of the tail or abdomen) decapod crustacean of the superfamily Paguroidea that has adapted to occupy empty scavenged mollusk shells to protect its fragile exoskeleton
    • A genre-bending tool
    • The result of a writer adopting an existing form to contain new writing