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Posts Tagged ‘acceptance’

Why just ask the donkey in me
to speak to the donkey in you
when I have so many other beautiful animals
and brilliant colored birds inside
all longing to say something
exciting and wonderful to your heart?
—Hafiz, “Why Just Ask the Donkey”

Dear, though I have come to you
as many other beautiful animals—
long-necked swan and Persian cat—

though I have worn for you
my most vermillion feathers and
sung to you with the voice of the bird

that always disappears before it can be named,
though I have come to you as lamb, as heron,
please, do not refuse my donkey.

Clumsy and stubborn, all tug and bray,
gray and dull and smelling of dung,
of course you would want to turn away.

But please, if you can, meet me this way,
when I am awkward and stepping
on my own feet, yours, too. Meet me

when I am unlovable and love me then.
Though I stink. Though I am not graceful
nor lovely nor easy nor strong. But here

I am, nuzzling your hand as it opens, aspiring to
be nowhere but here. Dear, we are nothing
but flesh for life to push through. I am done

hiding inside the bright wings, or even,
for that matter, beneath the dun hide.
Only a heart touches another heart.

Here is mine.

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The patient says, “Doctor, it hurts when I do this.” “Then don’t do that!”
—Henny Youngman

All night I wait for the train whistle,
the way it calls out to the world,
You are here. It doesn’t mock, exactly,

but we all know that the train whistles
because it is leaving, heading somewhere else,
not here. It can be so hard to be here.

To be here and nowhere else. To not put ourselves
on the imaginary train, wherever it is going. To sit
with the sound of traffic, with the string of red lights

that eventually turn green. And red again.
To be here with our longing, here with our
shame, our loss, our hair turning gray.

The click of the sprinkler lays a rhythmic line,
and all the night’s whirs and whines and hums
scrape against its ticking. What is it about the gap

of the missing whistle that stirs me, so?
Oh expectation. One more layer to slough.
It is like the Henny Youngman line, in which we touch

what is sore, again and again, just to be sure it still hurts.
And the train does not come, and the train does not come.
The night air, warm enough to wear nothing,

carries the scent of something nearby, familiar,
floral and sweet. Part of me longs to slip into memory
to find the scent, know it and name it this,

and part of me notices the one
who would travel back in time to know the present.
It climbs into the fragrance, meets the night as it is.

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The only reason we don’t open our hearts and minds to other people is that they trigger confusion in us that we don’t feel brave enough or sane enough to deal with.
—Pema Chodron

The hands and tongue
would make quick work
of forgiveness, rushing

to shake hands, or to touch
the other’s feet, or to taste these words
I am sorry, please, forgive me,

but the body will not be hurried,
will grieve and shed and wander many
rooms of confusion and courage

before the real apology
rises in its own time
in its own way, perhaps doe-eyed

and unstartled, with such sweet
fragrance, with such compassion
you reach also for your own face

and say, I forgive you.

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Not the perfect ones
hanging from the bough,
red and hard in the hand,

but the fallen ones,
sun warmed, likely bruised,
often with earwigs

that squirm out the top,
oh these soft ones
nearly gone,

more nectar than flesh.
Do not be offended
when I offer you this peach.

I gaze into my heart.
It, too, is blemished,
scarred, bruised,

mottled,
fallen, ready
to be yours.

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Let her not like the apricots,
that’s one way to do it. Just say,

Oh. Or, Hmm. But no.
I question her dislike,

want to serve her apricots so ripe
they have fallen to the orchard floor,

sun warmed and red cheeked
and soft so soft.

I want to serve her the juiciest ones,
the apricots so ripe you have to hold your hand

far in front of your mouth and lean,
or better yet, the apricot you eat as you stand

beneath the tree and offer your mouth
to the branch and suckle the juice, let

it runnel down the chin, the cheeks, the neck,
I wanted to serve her apricots. It is like wanting

to convince someone who likes blue
that instead they should like red.

Why do I defend the apricot?
It occurs to me whole countries go to war

just this way … with one person who says
they know better. One person who knows

what God is like, or what is good, or what is right.
I’m sorry, I tell her, when I call her back. And she laughs.

And I laugh. How easy it is to get lost
on the way to something sweet.

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It never looks like we think it will.
I imagine flowers, of course,
or an open field, or a single plum
in the center of a bowl.
But today, forgiveness is a scrap of net,
mostly hole, with frayed ends
and matted with white paint.
It has no apparent use.
It holds nothing, it comes
with no instructions.

I had thought it would serve me.
I had thought it would make me
feel better or get me further along
than where I was. I thought
I could make it happen.

And here is forgiveness,
a featherweight shred,
something I might have overlooked
if it hadn’t been placed
in my hands.

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I bow to the ache of it,
the deep inner eating
away at itself, I bow
to the shivers, the gooseflesh,
the waves of nausea and pain.
I bow to the unnamed,
to question, to dark.
And I bow to the fear
that swells in small spaces
and the vast quiet
that dissipates the fear.
I bow to every other human
who hurts and I bow
to the yellow flowers tonight
blooming in the muck
where the river used to be.
I bow to the ache, goddammit,
I bow to it and I bow
to the reluctance to bow to it,
bow to the longing to shove
it all away, and I bow,
hush now, just bow.

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these big shoes
though they have long been mine
they still don’t fit

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Flipping through the magazine
I find an ad for my life. They are selling it
at a discount—20 percent off if you call
this month. The children are smiling.
Their clothes are clean, their hair
brushed, and in the picture they
are picking up their yard toys, laughing.
My husband, very handsome, smiles at me adoringly,
and I smile back. My teeth are perfect,
though a tad yellow, my smile real.
My Volvo, sea foam with tan seats,
must have just been through the car wash,
and it shines in the golden light beside the garden,
which is weeded and hoed. The lettuce,
already up, is thinned, and at least
from this distance there are no aphids
in the leaves. In the upper left,
the solar eclipse has just begun, and
there is a sense that the birdsong
in the picture has just quieted
so that one might better hear
the hushed rush of the river, not pictured.
In the lower right corner
an asterisk snuggles up against
some very fine print that mentions
how the picture is merely a suggestion.
I know that the next four pages
will be black and white text, 8 point,
with testimonies from my friends,
my parents, my therapists. They will
divulge all the secrets I tried for years
to hide under my skin. Six columns
of side effects: A predilection toward
weeping in public. Inability to remember
important dates. Addictions to Diet Pepsi, and
listening to a cappella versions of Lady Gaga.
Aversion to going to sleep. Perfectionism. Erroneous
belief in an ability to mind read. Decades
of low self esteem. It will go on and on,
getting more serious as it goes.
They will leave out the worst of it,
afraid to deter even the most
enthusiastic buyers. I will not read it,
knowing it well. I will just leap into the photo,
write SOLD across the top in big red letters
and point out to my husband that we almost
missed seeing the eclipse, but it’s not yet too late.
Then he’ll pull out of his new electric gator
four pairs of handy welder’s glasses—
I’ll offer two pair to my kids, but they
will be too busy arguing about whose
glasses are better to actually put them on,
but my husband and I will stand there together
in that warm bath of light,
marveling at how we almost
forgot to look up.

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There is the moment
just before you fall

when you know
there is nothing left

to do except
to fall, to fall,

to fall and say yes
to the falling, to fall

and feel yourself
as you fall, how the stomach

rises where the throat
has been, it’s silent,

then—and it’s fast,
you think, so fast,

you are falling and not
a damn thing to be done

except to fall, to notice
the air rush over the skin,

yes nothing to do but
to fall, to keep falling,

to fall.

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They are ladders,
I tell myself, the snowflakes,
and I could climb them

until the small white yard
disappears in the white, white land.
No, I tell myself,

they are kisses,
millions and millions
of small cold kisses.

No. They are voiceless bells
reminding us to come to pray.
Or lightness manifest. Or curtains

to hide our loss. Or perhaps,
I consider, they are
nothing more than snow,

just as a day is just a day,
and a woman is just a woman,
though sometimes she looks outside

of herself for a sign, looks for meaning
in the spaces between the flakes,
as if a drift or gust or squall might mean, well,

it all slips away.
One thing for certain, I am one
of many. One thing for certain.

I am not lost. I am here
leaning into the windswept snowflakes, falling,
and the field I’m in is a field, open and white.

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Tender Graffiti

In a dream,
the walls
of our one
giant heart
stretch beyond
the edges
of the dream
and in permanent marker
God has scrawled
all over them
with every color
i love you i love you i love you i love you i love you i love you i love you i love you i love you i love you i love you i love you i love you i love you i love you i love you i love you i love you

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when you rose
to leave, all the paths
went with you

*

Tied to your hand
by a string, the moon tugs on
a string held by mine

*

I’d like twelve arms
two to hold you while the other
ten let you go

*

I toss a coin up
to the sun, heads, tails, this coin
with your name on it

*

before I could ask if
you’d kiss even the blackest
part of me, you did

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Beside the frozen pond
there is not much to say.

The black willows coruscating
seem more satisfactory

than syllables. They do not try
to say, do not try to mean,

they simply catch the fleeting sun
and then lose it all—the ice,

the shine, the crystal gloss.
Though they do not think

of it as loss. You are the one
who decides what is lovelier.

You are the one who is moved
by light. Night, it comes so soon,

but it is nothing personal. Not
a symbol. It is night.

You are the one who longs
for sun. You are the one who

would rather be something gold
than the one shivering

beside the pond, the frozen pond,
where even now the wind

is shaking the willows,
it moves across the ice,

moves through the field
while you stand there, silent,

and it will keep moving
long after you have gone.

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