Showing posts with label the power of words to heal. Show all posts
Showing posts with label the power of words to heal. Show all posts

Monday, February 18, 2019

Chicken Soup for Grief



All she could imagine cooking was chicken soup. She wasn’t even sure she could eat the soup but at least she could nourish someone else. She had made matzoh ball soup every winter for years, she used noodles to make a more traditional chicken soup, she taught herself to make mole from chicken stock adding the mole paste from the jar of Maria’s. (Why roast chilis and mash up sesame seeds when Maria’s was good enough? she reasoned.) These days she mostly ate pudding and cookies and yogurt, soft sweet foods, erasing years of determination to serve healthy choices: fresh sautéed vegetables and salads, lamb or fish, only olive oil, nothing with sugar. How he craved sugar! She remembered how he would add sugar to a raw beaten egg and pretend it was dessert. He loved her cooking, said he could tell she cooked with love. It was love: she put up with the cigarettes, the excursions to other states without notifying her first, the flat tires because he insisted in driving over the cactus-laded hillsides instead of the main road, the strangers brought home from the bar at 3 am, the frantic calls to her during work. (The questionnaire at the doctor’s office:  Are you able to take vacations without him? and how when she answered yes, the assistant was surprised, raised his eyebrows. As if she had done something wrong. Gave the wrong answer.  That was when she knew, that was the moment. It wasn’t just moods, it wasn’t just something to be cured with hot soup and salads or even acupuncture and therapy. It was terrible. Those lines of neurons laid down in childhood, those genetic misfirings, those attempts at self-medication, it was all part of a pattern no one seemed able to break.)   She had gone to retreat, recuperate, take a breath, because of his insane hours, because of his insistence that he didn’t want to live, because of the gun he had hidden from her, because of the suicide notes he read to her to ask her opinion, (how do you write the right thing when you are going to break someone’s heart into pieces and what right did he had to do that to us? she fumed) because their couple counseling broke down the day he drank too much and she was too angry to stay. That morning when his soul had left his body, there had been a black crow feather on the doorstep. She picked it up. She knew it was a sign but she didn’t—couldn’t—she was on her way to therapy, to the rest of her life, to her life savers of groups and activities. His body was already cold but she wouldn’t find out until that evening. And now she came to visit carrying a whole chicken, carrots, celery, an onion, a box of noodles. She would make soup. Nothing would stop her. Not the fact that the temperature was in the 90’s and soup was comfort for a winter’s day. Notice the way she carried all the ingredients in a bag she could hardly lift, more than enough to make two pots of soup. She brought her grief and her release, her freedom, her love unstitched from the place where she had been woven into a tapestry of despair and fear, of hopelessness. He told her I don’t want to be here and he meant it. But she wanted to. She wanted to soar, to sing, to commune, to praise, to bless, to be blessed, to love, to be connected, to be whole.



Monday, June 18, 2012

The Lord Have Mercy Show


A Mother's Grief.
A Mother's Love.
The healing power of words. 

After performing poems for 10 years in places as spread apart as Berkeley and Puerto Vallarta, Mexico, and in venues as varied as Banfill-Locke Center for the Arts in Fridley, Chicago's Green Mill Jazz Club, Borders Bookstores and BarB hiphop club  in Santa Fe,  I felt that it was time to take an artistic risk. I perform my poems by asking myself how the poem wants to be performed. I memorize it while considering the character I am portraying: is she feisty and bold, subdued with grief, bowed or uplifted by fate, moving and transformed, sensual and yearning, questioning, questing, affirming, contemplative, remembering? I accentuate the rhythm of the lines and language with movement, ritual, shawls, long skirts, aprons, and jewelry to bring attention to my hands as they gesture. There are the times when my ideas didn't work: the time the shawl wrapped around me and the mic, incapacitating my movements; the time I totally went blank even though I had performed the same poem to the previous English class; the awkwardness of my steps and my balance after hip surgery that was very different for me after being accustomed to heels, a passion for dance that led to late nights at the disco in my youth, and even rooftop bars in Puerto Vallarta in 2006.

But the nervous sensation of my stomach doing flips with worry that I will get it right, that I will connect with my audience, are no longer noticeable. Of course I still feel nervous, especially in a new venue and I still wonder if I will grab their attention but I know where the poems will take me. To the magic and the joy of communication. I will survive any mistakes, I do know how to create intimacy. I do land in my own skin.

I want to try something I have never done before and I want to finally transmute my deepest grief, my long journey to the underworld of despair and back. The Lord Have Mercy Show arose from a simple litany I find on my lips often: "Lord, have mercy!" This simple phrase had been a mantra as I moved four times in the past 6 years, from Santa Fe to Puerto Vallarta, from PV to Fridley, from Fridley to North Minneapolis to live with a dear friend, then when her job ended and she moved to Madeline Island, to Saint Louis Park with a housemate whom I didn't know. From the healing after my partner's death through the shattering of my son's, then the deaths of my Mexican husband and my sister, grown children of friends, my son's fiancee, dear friends and poetry peers. "Lord, have mercy" is simply a natural cry of anguish and a cry for help, while at the same time, a cry of fatalism mixed with irony. Life and death are part of the cycles of life and we can't avoid them. I want to allude to the contradictions, the mosaic, the understanding coupled with emotional incomprehensibility. I believe that Death comes to all of us and the anguish of losing someone is a measure of our love and their meaning in our life, that life is eternal and love never ends, yet healing is sometimes only "scotch-taped" over the "fissures of the heart" and the heart is permanently scarred. We never emerge unscathed. We can't stop the desire to keep our loved ones alive and near. We have to let them go and we have to face our own mortality.

There is also the irony or the black humor: What, again? Another time you are calling out to the Lord?
And what is His answer this time?

The Lord Have Mercy Show is a multi-media monologue, with poetry, story telling, dance, music, visuals, video, shadow play and audience interaction which I hope to develop as time goes on with grant funding. (I am thinking of several grants and will also post a kickstarter or USAprojects campaign later this year.) But why wait, why not begin with an excerpt? This is a work in progress and I will present an excerpt as a way to judge audience interest and get moving. 

I am not trained as an actress but I have acted as I performed poetry. I am not a playwright but I have interconnecting poems and a story to tell. Soloist Rachealann Haasken and dancer Linda Lundquist will accompany me at Patricks' Cabaret next month to present a 15 minute excerpt of poetry with music and dance. If you live in the Twin Cities, I hope you will come and ask questions after the show. Let me know what you think and if you believe in the power of words to heal and transform our stories of painful memories into stories of courage, hope, resiliency and love.