Grief, Observed

Today, August 16, 2014, marks the twenty-eighth anniversary of the death of a woman I never met, my mother-in-law, Nina Barkus. That event, combined with the death of my father almost one year earlier, sparked the meeting, the love affair, and subsequent twenty-six years of marriage (so far) between my wife and I.

This is for her and her mother (mam), Nina Barkus.

 

Rae and her mom, Nina
Rae and her mom, Nina

Grief changes a person. Grief, along with it’s drinking buddies: pain, shame, anger, betrayal – they have a way of reducing a person to his most elemental place, her lowest common denominator. A human being stripped to that bare minimum of barely surviving/survivable raw material. It can push us to become someone we don’t even recognize.

Like a persistent toothache on steroids comes grief; some unimaginable carnivore of light, a predator of hope. It is no respecter of persons. It makes its entrance like a bull in a china shop, impolitely and destructively unexpected. All one can do is stand by, hide somewhere they think to be safe from the onslaught, and observe the damage unfolding before them.

Grief is shameless. It cares not how it comes, undressed and brazenly free of restraint. Like being forced to watch one’s own daughter perform a pole dance, grief strips itself and its participants to places well beyond their own humanity, well below self-defined limits of propriety. It can haunt our conscience as much as our consciousness.

Grief is the chameleon of human experience. It lays in the center of our lives, taking the shape of its container, the color of its environment, so that it becomes maddeningly insouciant, invisible to either scrutiny or even identification. Once identified it shape-shifts again, leaving us now both to grieve and shrink from the exhausting process it is in the first place. It is the never-ending injury to its own insult.

Unlike hope, which, like water, undergirds our elusive oil refusing to mix with the more delicate undergrowth, grief kneads itself into the dough of our lives, leaving us to bloat and swell but with no vision of what might arise in its place. It is a ruthless bully, intent on bruising the softest places where lasting scars are most likely.

Grief most often accompanies a death: of a loved one, a lover, friendships, self-confidence – the list is long. It offers little other than the ominous sense that someone is watching from the shadows, leaving us unnerved as we fumble for the car keys. Just when it seems we’re safely inside, a hand grabs us from behind, refusing us the safety of ‘elsewhere.’ We do not run from it. It runs to us. We do not hide from grief because we end up hiding right behind it. Grief hears our labored breathing every time and quickly finds us out.

Grief is the Goliath of our inner experience. It stands, boasting and blethering on impudently as we soil ourselves before its not inconsiderable size and bully demeanor. “It has killed others greater than I”, we say, as we look way up to find the faceless monster bearing down in full strength upon our pitiable frame.

One could speak as well of the pitiful awakening to one’s own flawed behaviors; ways of seeing things that hurt others and oneself. Poured on top of this kind of grief is the scalding gravy of shame. It is perhaps the worst grief of all since it is often accompanied by a raking internal self-awareness of the negative kind that is seldom polite and never constructive. In fact, it generally becomes the self-fulfilling prophecy.

Nothing shapes our grief quite like the knowledge that we may have been the cause of it in another. It has a baldness about it, a merciless fait accompli that, if not well discerned and graciously attended to, becomes our very demise. It flattens the soul, kicking the air out of our spiritual gut in ways we never thought possible.

Having lost my father and both in-laws to cancer (among any number of friends and colleagues) I can confidently attest to the groaning maw of emptiness that accompanies such an ignominious demise. ‘Tis true faith indeed to smile into the great oblivion, unfairly bestowed, and sing.

Well, that was dark, one might fairly say. And they’d be correct. Is there any corrective?

Indeed there is. Having one’s heaviest grief tossed into the lap of another, whose measure of personal pain could never be fully known, but whose faith, unflinching; whose love, unwavering, produces the only known antidote: hope. Grief, be gone, for (s)he who has hope, has everything.

And that hope has a name…

The bricks in our walls – chapter 2

brickwall1

Her name was Susan. She was my first “official” girl friend. I was 13. She was tall and shapely and smart with the sexiest braces I’d ever seen. Her reddish brown hair careened off her shoulders like a gentle waterfall. She, like me, was caught in that strange vortex of too-smart-to-be-cool-but-too-cool-to-be-a-nerd. It made her good company. Besides, she was as awkward as I at this whole “going steady” thing. Our conversations were peppered by silences and repeated questions, more silence, then making out. I mean, what better to fill a gaping Junior High School silence? Our romance lasted an epic five weeks.

His name was Rob. That’s where the commonalities ended. He and his family had moved from somewhere in South Dakota to Calgary, into a house a couple blocks from us. He was a rough and tumble kinda guy. I hated how he could always get me to do stuff I wouldn’t normally do. Egg houses. Give wedgies. Terrorize neighborhood pets. Pull out plants and bushes. All manner of man-boy evil. He holds the record for most days missed from any school year at our Junior High. In twelve years of public education, I skipped school, on purpose, twice. I was caught both times. Both times were with Rob. I kind of miss the silly bastard.

It was my first practice with the Beaumont Pipe Band in Calgary. I saw her from across the gymnasium among a crowd of her peers. Her blue-green eyes could have split atoms and her gentle curves, spiky blond hair, and pointy, Joe Jackson shoes (it was 1982) settled that this was a girl to know. I guess I had been staring a little too long and she looked up and saw me. A gleaming smile framed in blood red lipstick against her pale, white skin sealed the deal. I was smitten. We knew then we’d be close. Close enough that, four years later, we were engaged and poised to send out our wedding invitations.

We didn’t. Her name was Vanessa. She died of bone cancer in 1992.

I always thought he had the coolest name. Lazarus Cornelius was East Indian. He was a dapper ladies man and an amazing guitarist. We were friends at College where we sought to study both of the former along with regular classes we stuffed in the cracks of our busy social calendars. He came from numerous generations of pastors from Mussoorie in the northern Indian province of Uttarakhand. Even though he was thoroughly Canadianized (meaning primarily he was a hockey fan, knew the lingo, cared little for politics and bitched about Americans) I thought it cool to have an Indian friend. It made me feel…cosmopolitan and a little chic.

And when you lived in a cow town like Calgary, that was saying something.

 

 

Picture found here

Maybe

Bleeding music

Stop. I hear the running colors,

bleeding their way into staves of

yesterday’s piecemeal hide and seek.

They have a way about them, stoic and

unyielding in their passion.

 

Maybe it’s the seagull songs,

where nobody knows the words?

But the shear intensity of

competing voices marks territory

for newcomers and ne’er do wells.

 

Maybe it’s the ease with which

lyrics come back from high school sweet

heart songs? Backseat strolls, stretching

out winding fingers, unseen aches;

the Marco Polo jaunts of un-easy un-initiates.

 

Maybe there’s blood in the notes

that tease from privileged places,

hung high upon their low lying lines,

the wide open spaces where old things ease

and new things grow? The music of veins.

 

Maybe clapping these rhythms merely

confuses our steps to a dance, unfrozen,

that teams with uncertainty, like deer on the highway?

This dance, best left alone, makes off

with all remaining reticence, leaving behind

only tired partners.

 

Maybe, like the salmon choir, we submerge in

subversive harmonies, fit only to glide

through effortless musings on riddles of

the underworld? Faint words and muffled sounds

force us to listen more closely.

 

Maybe, instead of the insistence of virtuosity,

primping and perfectly postur’d, we should let

our barstool voices take us where

only friends can go. Sometimes,

there are better tales told under tables,

than solos sung from spotlights.

 

Maybe, the worried demeanor of

our shaky performances stalls itself,

out among the cocain’d critics and shadow-puppet

friends? Would that we only pursued

what’s dangerous, dying in the process, than

soil ourselves waiting for graceless applause.

 

Stop. I hear the running colors,

taking up their places, im-prism’d.

Reinstituted truths of tales best left

un-sung, songs best left un-painted,

casting long shadows on the longer land.

 

Image found here

 

 

Where the real things are

There is wonder in the weeds,

stallions in chicken coops where

the tame things are –

waiting, transfixed beyond the scale of our

misconceptions. Only the breathing green-

sleeves of jacketed noon ever make it

past the sifting of a targeted light.

 

Not everyone fears what everyone fears.

Sometimes all the berries congregate at the

bottom of the bowl, past the necessary stuff.

Sometimes we self-gift with what matters least,

except for whomever owns the mirror.

 

Could it be that someone pushed too

hard and a cart pulled a horse? Would that

be so bad, given the size of a cart,

the nature of a horse? Down-trodden

are the nightmares of the demure ones.

Instead, let the hunger feed its own will.

We’ll take our tea in bed.

 

It gets into you, like blood on cotton,

thorns in feet. They only pull when we’re not

watching. Waiting their turn to

preen the pastiche until

its awake enough to turn and

face another cautious page, inked and

waiting – where the real things are.

One Stop Shop Blog Hop

If you’d like, come join me on my other blog for a fun game of global “blog hop.”

robertalanrife's avatarRob's Lit-Bits

So, this is part of a fun blogger’s initiative called a “Blog Hop.” Here’s how it works. I was invited by writer/poet friend, Lesley-Anne Evans, to join what amounts to a writer’s pyramid scheme. The rules of the game? Tag three other bloggers, all of whom will answer four questions about writing and the writing process. We post two weeks after the previous crew. Therefore, every two weeks, the number of bloggers posting grows exponentially!

The goal is simple – to connect writers who blog in a tighter community and hopefully, enrich others looking for answers to their own writing questions.   Lesley-Anne is a gifted writer and poet who spends much of her time beautifying neighborhoods, cafes, street corners…wherever really, with poetry “installations.” She also does a fun thing called “Pop-up Poetry.” To see her contribution, click here.  

We begin:

1) What am I working on? 

Light Write, June 26/14 Light…

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One Stop Shop Blog Hop

So, this is part of a fun blogger’s initiative called a “Blog Hop.” Here’s how it works. I was invited by writer/poet friend, Lesley-Anne Evans, to join what amounts to a writer’s pyramid scheme. The rules of the game? Tag three other bloggers, all of whom will answer four questions about writing and the writing process. We post two weeks after the previous crew. Therefore, every two weeks, the number of bloggers posting grows exponentially!

The goal is simple – to connect writers who blog in a tighter community and hopefully, enrich others looking for answers to their own writing questions.   Lesley-Anne is a gifted writer and poet who spends much of her time beautifying neighborhoods, cafes, street corners…wherever really, with poetry “installations.” She also does a fun thing called “Pop-up Poetry.” To see her contribution, click here.  

We begin:

1) What am I working on? 

Light Write, June 26/14
Light Write poetry/photography exhibition, June 26/14

These days, apparently, poetry is the language I speak. I’m learning to speak this language with more weight (as Lesley-Anne would say!), clarity, and authenticity. But also, simplicity. The degree to which my language learning translates into quality production remains to be seen. But, like my poetry, I’m a work in progress.  

I’m pleased and proud to be an active participant in the process of broadening the literary/artistic voice in the Yakima Valley. This is a valley of varied, often harsh, beauty. Many poets, writers, artists, and musicians have stepped up to sing her praises. Recently I was chosen as one of thirty-four poets to contribute poetry for a mixed media art show featuring the work of local photographers. The event? Light Write. Read more about it here.

A snapshot of my work and process will soon be available on an exciting new Facebook chat room, Altarwork.  Alongside finishing a new EP with my son, Calum as producer, I’m working on a book of sacred prayers, poetry and liturgy, listening for a book of poetry to emerge with the working title, The Beauty of Wasted Space and helping my wife in her own process of writing a novel.

2) How does my work differ from others of its genre?

Piper Renee-Richmond and I at Light Write
Performing at Light Write with Piper Renee-Richmond

On one level, I’m not so sure it does. However, as a poet, I am deeply influenced by old school poets. But, I seek to bring their influence to my own emerging voice, all the while writing in more contemporary genres. It gives a certain “traditional non-conventionality” to it.

I am an advocate of language for its own sake. The beauty of the words themselves brings a joy that predates the images and meanings derived from those meanings. But I also love the challenges offered poets from adapting ideas and thoughts to preexisting forms. It’s my tip of the hat to iambic pentameter, triangle poetry, Haiku or sonnets!

3) Why do I write what I do?

My words here will echo every other writer I’ve ever heard who’ve answered this question. I write because it is a compulsion. That compulsion might be out of anger or frustration surrounding some issue about which I need to weigh in, usually for my own conscience! More often than not I write because I’m inspired to ‘word up’ what I see in the world around me. My experience of that world yields a seemingly endless supply of emotional detritus needing to find its way out. When it does, I’m either writing and/or composing.

For me, poetry is contemplative prayer. It is as much a spiritual exercise as it is literary, and one of the primary ways by which I connect to my center and to the Sacred Center of all things. What is most freeing about this arrangement is how seriously and, at the same time, laissez faire, I can take my approach to the art. At least right now, it grows from much that is yet un-mined in my spirit. If you’re okay with it, I am too.

4) How does my writing process work?

Assuming the process actually does “work”, it differs depending upon what I write. It has also changed. In terms of poetry, it is becoming more about less. It was at one time a game of output. Now, it’s more about input. I read much more poetry than I ever write.

Composing prose is more an act of ‘pin the tail on the donkey.’ I chase around an elusive gem that needs to be caught, tamed just enough to stay on the page, and released back into the world for the consumption of other hungry readers. I have discovered that writing works best for me when I simply barf up whatever is bubbling in my literary stomach and then ‘read the leavings’ for anything substantial, worthy of further consideration. I’m not generally an outline kinda guy!

Well, that’s it for now. Thanks for listening! For the next stop on the blog hop, I’ve tagged the following stellar individuals.

Seymour Jacklin is one of those delightful serendipities. A fellow ex-pat, he is becoming my friend alongside his considerable skill as a poet, blogger, editor, educator, and story-teller. We’re also mutual fans and players of Celtic music! Hear him play right…here.

Kelly Belmonte is a recent friend, having met online as mutual admirer’s of one another’s work. She’s a wonderful writer and a deep soul. But, rather than just tell you, you need to go and discover more about her right…here.

Paul Bowman and I began a friendship journey in 2008 when sharing a cohort in an MA in Spiritual Formation and Leadership from Spring Arbor University. We’ve since graduated from that program and are supportive of each other’s quest to spread salt and light through words to a thirsty world. Find out more about him, his writer-wife and gorgeous kids right…here.  

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If the next blog hop posts aren’t up by July 14, please check again in a few days.  Thanks for playing along and your support of online writing!

Listen for what finds you

Listen loudly for the stirring glass

of day, unknowing. Her constancy

rewards your swelling incontinence

of spirit, grey and unraveled. She lowers

her eyes in hithering glance.

 

Listen for stolen subterfuge and

let your wings unstretch and prepare for flight

to the forgotten address, that place without

doors. Only windows looking out like

grassland sonnets, playing their words

for rusty ears, still ringing.

 

Listen for the ache, for those moments

when the pregnancy of pause reminded you

of anxiety gone bad, replaced by the

hearing of silent songs, brightly sonorous.

Even in your absence,

they sang for you.

 

Listen for the memory of color,

the liquidity of mind, dressed in its own

repast. This is the ocean floor, unmitigated

and confident in its vast demeanor. In these

hands, you are again – and playfully small.

 

Listen, unexpecting and directionless, for

Heaven’s mapping of your vine-choaked heart.

Something strangely reminiscent of good, acceptable,

perfect tunnels down to brooklets of diamond

water, tickling your subterranean way.

 

Listen for the intuited climax of

nothing special, wrapped in candy of evermore.

Blatent in repose, the jacketed wonder of a

good day, surprising you in presence. Listen here.

You have found the nothing

you didn’t know you were looking for.

Your valley-scented breath

Last evening I had the honor of participating in a local effort, here in Yakima, featuring the work of 30 poets of which I was one. We each were assigned a photograph, also by local artists, and tasked to produce a piece that was representative of that photo. It was a fun affair and drew many poetry/photography/art enthusiasts who drank local wine and beer and otherwise supported a great cause: The Yakima Light Gallery. The name of the event was Light Write

The event

The following was my offering (image not included for copyright reasons, and so as not to infringe upon the Gallery’s intention to gain physical viewers…at least until after September!).

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Your valley-scented breath

Your valley-scented breath, raspy, wind-dried and whiskered,

blusters loudly, secrets untethered from your mountain mistress,

 

haughty and aloof. Your nose, veiled and distant,

thrust shamelessly into the virgin air,

 

undrapes an impish, powdered face,

intruding on the lesser ones.

 

Lacking restraint, you choose to hold back nothing.

Instead, winking impudently, you shrug in brazen withdrawal

 

and tilt the globe to burnish your burnt, brown breast –

glacial bosom, alive, rising above the depths

 

of the hot belching earth, quivering in silence but

creased with ten thousand yesterdays. Dug deep

 

into your dark maw, full of old light and new promises,

there boasts a hardscrabble domain. You wear pitted patterns

 

like a tiara, dousing noon-day heat in cowboy spittle.

There’s a mischievous glint in eyes drawn tight against

 

a yawning sky where your introspections crouch,

petitioning their release from dusty shelves.

 

As the choir of stones sings the well-worn songs,

a valley coos, relaxing on your grizzled lap.

 

An untidy blouse of wayward blue

billows out willing, mottled, stretched across

 

the scarred loom of your ancient back.

There, there it is we shall walk.

 

There, where sallow cheeks of star-burnt faces

hide themselves behind the paint of the green years.

 

Silly fool! What lips have you to kiss these wandering feet,

still too soft, that bleed at your touch?

 

So, cough up your tumbleweed tales of

desperado dances and roughneck rambles.

 

Let your thin, dry tongue trace lightly in meandering lines,

the long-forgotten stories of mound-bellied earth,

 

unaccustomed to such attention. Only then would you

blush and turn the other cheek.

©Robert Alan Rife, May, 2014

The event 2

 The Poets 

The poets

 

 

What happens after,

What happens after,

There is a laziness in the light

while evening shadows crouch in fear

behind too much sun, still breathing heavily,

pushing their way, like pain.

________

Windows marble and cut the

dusk, more raw for her energy.

She pants, lurching over a tired prow,

pinching the hours before a Marco Polo

entrance. An ache of greying green sprawls

out on the dirty floor, like boredom.

________

What dalliances lay their grievous joie de misère

under tables of discontent? What mis-

matched lyrics to over-sung songs

ever find their way back to tired voices?

They strain through candied throats the coughed up

suggestions of music more real for its yearning, like lust.

________

Perhaps if Hemingway’s whiskey’d voice, husky

in remonstrance, bellowed his last lines

first of the last first tale?

Told last, would it matter less?

Through Tequilla’d sight, he climbed to heights sufficient to

claim a boastful repast and only good came.

Let’s invoke a simpler meaning to all that hides. Conveying

messages in the unbidden shivers of quilted days, like drunk.

________

“Steady on,” the curtains answer, chilled in

the gossip of an impatient midnight. “Nothing is

yet. Just memorize what couldn’t be found

among the bones.” There will be

another branch to add to another tree,

that only cares to know

what happens afterward, like now.

________

Picture found here

 

 

 

 

The bricks in our walls

brickwall1

1974. I remember Burkandt, my Turkish friend with legs that barely worked. His eyebrows, far too bushy for a kid of ten, swept upward in a wave, not unlike his thick, brown, curly hair. It was as though his facial hair just wanted to point us to God. The accent was only an obstacle if someone wasn’t really interested in talking to him. Despite his physical handicap, he was remarkably fast and shockingly strong. I laugh to myself as I recall the piss poor way he’d stumble through telling jokes. He never did understand that a joke is best told with the punch line at the end. At least he tried. He was fascinating. He was my friend.

Jamie-Lee Andrews (pseudonym) cowered in a smelly corner of the schoolyard. She thought herself safer there from the abuse she suffered at the hands of my schoolmates. An only child, she lived with her parents in a house even tinier than the 900 square foot bungalow we called home. Whenever an unholy hoard would surround her with arrowed words and painful jabs, I’d hide away like a coward so as to protect my “conscience” from involvement. If I hadn’t been so horrified of the potential social fallout, she too could have been my friend. Not a soul seemed to like, let alone befriend, her. I ached for her.

My sister’s First Nations friend, Olive Redfoot (also a pseudonym) lived between worlds, caught on an unenviable tightrope of a predominantly white professional community in which her father was a lawyer, and no life at all on the reservation where the other unmentionables were stowed. It was not uncommon for either natives or non-natives to egg their house, showering them in sticky disapproval. She was a beautiful girl with long double-braided hair that flowed, wild but disciplined, past her derrière. My sister loved her. I kind of did, too.

Saturday mornings were best. It was a time I looked forward to with stomach-rumbling anticipation every week. My parents would drive me the fifteen miles from our home for bagpipe lessons. At the time it was in the town of Midnapore, well beyond the extreme south end of my home town of Calgary, where we lived. Nowadays, the entire journey is one elongated shopping extravaganza with hardly a green space to be found. We would pass at least half a dozen grain elevators, innumerable cattle, and a train station (it used to run within a stone’s throw of our home). From 9:00 a.m. until noon, the smell of elk-hide pipe bags, cobbler’s wax, cane reeds, Mr. Reed’s coffee, and a room full of young boys would map themselves into my nasal memory.

Dana was my best friend. He lived four houses down from me. We used to pretend we were WWF wrestlers, dinosaurs or superheroes, and trade NHL hockey cards. Fights were inevitable given his insistence upon championing the Black Hawks when the Montreal Canadiens were the betting man’s choice. We’d walk to school with my other friend, Darrell, who lived across the street from us, and just be troublesome, generally speaking. One day we were lighting farts behind his house and a flame came out of Dana’s flaming air-trap that burned the paint off the side of his parent’s trailer. We were a classy lot.

I wish these were more than just a random collection of disparate memories in a middle-aged guy’s sketchy recall. Sometimes, they push their way to the front of a crowded reminiscence and I can still touch their faces, like bricks in my wall; walls not meant to guard, but to support and frame.

 

Picture found here