~*~Behind Windshields~*~

At the end of the driveway, we waited.  

I was still chasing after my father —

a man who never wanted to carry that label,

who wore his defiance like a well-tailored suit.

He was my town, adorned with a

shimmering crown made from

razorblades and lies.

Their brake lights shone like nebulae

frozen in a night sky — long forgotten,

yet so desperate to remain seen.

She told me not to come,

banned me from his home.

I shrunk from her emerald gaze,

turning a mirror in place of

the other cheek for ten years.

Never a word from them —

No calls —

No cards —

No contact —

as it had been my entire life.

I could not approach my dying father,

but he would wave to me.

Wave to his only daughter,

the only one who defended him —

Out of love —

Out of fear —

Out of shame —

to hide that she was undeserving of love.

With tears dripping off my cheeks, I waved —

each of us behind windshields.

A final wave through distorted panes.

A silent goodbye to years of pain.

A silent hello to years more.

All it Takes is One

Mmm…this term… I haven’t cried this much over school since I took Applied Statistics. I already disliked my intermediate poetry workshop (PW2) teacher because I felt she was rude and dismissive. Now, I dislike her even more. She finally graded my four poetry submissions, and again, she was rude, mouthy, dismissive, and not at all helpful. She gave no helpful feedback and merely complained. I am very fond of my PW1 professor and revised my poems incorporating her feedback. I can take constructive criticism and I find it helpful and useful.


Poems tell a story; of course, there is a narrative.

These comments are not helpful or useful. My poem is “too long,” but as I just told Adam, Whitman’s Song of Myself is over 52 pages. A certain part is confusing to her (which I was rudely reprimanded for saying the same thing about two poems) and therefore not needed, and one poem is nothing more than a journal entry. She didn’t say anything at all about one poem. Oh, and she said I “should be” writing in free verse. Um, why? Last I checked, poets could write in whatever form they wished. Louisa May Alcott rhymed. Dr. Seuss rhymed. Whitman, Dickinson, Frost, Pound, Thomas…all wrote poems that rhymed. Every poem I submitted was free verse, btw.

So, I shall present to you my terrible poems. It’s unfortunate because I was actually proud of these.

~*~Little One~*~

His eyes were clear, his smile was bright,

but he called me Little One.

He spoke of the days of World War II,

vivid stories punctuated by his laughter,

yet he called me Little One.

My brother became his son — my father.

My father’s latest mistake became my mom —

Oh, how that woman must have seethed!

My grandmother stayed his wife,

or perhaps his combat nurse —

after 40 years together, it’s hard to tell.

Still, I was Little One.

On the surface, a sweet endearment —

a generic term to bypass recognition

and leave room for plausible deniability.

He drove ‘round the yard from

dawn ‘til dusk, clinging to the last

vestiges of independence with each

calculated turn of the wheel.

The last time ever I saw his face,

he was lying in a hospital bed,

poisoned blood coursing through his veins.

He looked so peaceful.

He looked so small.

And I realized — our roles had reversed.

He had become the little one.

He was never dismissing.

He was never forgetting.

I remained close to his heart.

I was one worth protecting.

With his life's tales told, his energy depleted,

his canvas was blankened once more —

the lines and years melting away

with each increasingly shallow breath.

In that moment, our worlds aligned,

for I was his Little One, and he was mine.


~*~Behind Windshields~*~

It was raining. It was dark.

At the end of the driveway, we waited.

Once more, I was chasing after my father —

a man who never wanted to carry that label,

who wore his defiance like a well-tailored suit.

He was my town —

adorned with a shimmering crown

made from razor blades and lies.

The brake lights shone like nebulae

frozen in a night sky — long forgotten,

yet so desperate to remain seen.

She told me not to come.

She banned me from his funeral.

I shrunk from her emerald gaze,

turning a mirror in place of

the other cheek for ten years.

Never a word from my father.

No calls —
No cards —
No contact —

as it had been my entire life.

He poisoned my thoughts and mind

like the cancer that invaded his body.

Still, his pride stayed intact,

denying peace and closure for

his child who was still a child,

emotionally stunted and seeking

love from one who refused to give it.

I could not approach my dying father,

but he would wave to me.

Wave to his only daughter —

the one who relentlessly made excuses

and defended him — out of love,

out of fear that others would realize

she was undeserving of love.

With tears dripping off my cheeks, I waved —

each of us behind windshields.

A final wave through distorted panes.

A silent goodbye to years of pain.

A silent hello to years more.


~*~Diminished~*~

I rush to tell you about my day; tripping over words as you look away.

There’s so much I want to tell you; things I think of or that

Happened while you live your life in unconsciousness or another dimension, pointedly unaware.

You crave my presence only to satisfy yourself and not much else.

Your refusal of help tells me I mean little to you.

You choose to exist and drag me down as well.

Living in a way I swore I never would,

Exhausting myself and receiving no help, only platitudes.

Your words are written with chalk on

A rainy day, they mean less

Than nothing — placeholders and placaters,

Until I give up.

I fade away

Every day

Diminished.


~*~O Jester! My Jester!~*~

O, Jester! My Jester! Your tortured life is done.

The world has given you laughter; the love you sought is won.

The curtains are drawn, you have moved on, your mourners left behind.

Your pain was too great, you foresaw your fate of living with a diseased mind.

But, O, heart! Heart! Heart!

O, the tears of devastation we shed,

Where on the stage my jester lies,

Fallen silent and dead.

O, Jester! My Jester! Rise up and hear the cheers,

Rise up — for you, in high esteem — for you, the audience appears,

For you, accolades and honors — for you, the one so beguiling,

For you, they call, the mirthsome masses, their eager faces smiling.

Here, Jester! Dear paragon!

This lap beneath your head!

It is some dream that on the stage,

You've fallen silent and dead.

My jester does not answer; his lips are blue and still.

My paragon does not feel my hand; he has no pulse nor will.

The screen has dimmed, the credits roll, the final cut is done.

From a troubled life ladened with strife, the pain he knew is gone.

Exult, O, world! And sing, O, songs!

But I with mournful stead,

Stand on the stage where my jester lies,

Fallen silent and dead.

~*~AuDHD~*~

I learned a while back that people in other English-speaking countries pronounce Adidas much differently than people in America (the States). Here, it is pronounced Uh-dee-duss, while in other countries it is pronounced Oddy-doss. I found that interesting. Most of the time, when I see or hear Adidas, the only thing I think of is All Day I Dream About Sex 😂. Iykyk. Anywho, I am here with another poem 🙂.

~*~AuDHD~*~

Divisible by 5
Is how it should be
The volume for my music
And the TV

It doesn’t stop there
I have to confess
The passage of time
Is part of this mess

At 1, it’s all good
And I feel alive
Then, utter chaos
‘Til it’s 1:05

2 units of insulin?
That won’t work for me
I’ll skip it altogether
Or add another 3

But that’s not all
That goes on in my brain
The mental gymnastics
Could drive one insane

My ADHD
Pops up to say “Hi!”
There are too many rules
And it wants to know why

Dinner needs washing
The laundry needs cooking
A treat for the puppy
When no one is looking

Now nothing is finished
And it’s time for bed
But I must get some work done
I’ll sleep when I’m dead

I’m still not happy with either of my instructors 😒. Poetry lady says I have “a lot of lyricists” on my reading list. Well, duh. I told her in the first week that I do not read much poetry. My last instructor was just fine with that. Lyrics are poetic; poetry can certainly be put to music if one so desires. Many, many folk songs were poems before songs were even born. But I held my tongue.

Then…I emailed my Shakespeare instructor to ask about thesis statements (she wasn’t happy with mine) and she replied that I need to address her by name in emails and to mind my tone 😡😡😤. Mind. My. Tone. I am autistic, I literally cannot “mind my tone.” What you see is what you get. I would understand if I was rude or pissy but I write how I speak and that is how it has always been. I honestly do not know how to be otherwise.

Forgiveable, perhaps, if I had not disclosed being AuDHD in my first post as I do with every class. I do not have an intentional tone and since Mom’s gone, I don’t have a filter because I would speak through her, and now I do not have that option, which would not be an option in school, really, unless I asked her to read stuff before I submitted it and she suggested changes. So, I sat there and cried for an hour or so and kept myself from replying, which was a very hard thing to do.

She also gave me a low grade on my discussion post because my answer was “vague.” I need specifics if you do not want me to be “vague” (according to you). My husband knows this, so if I am vague when I ask him something or answer a question, he lets me know or asks me questions so I can elaborate and/or explain myself. At the very least, she could have responded to my post so I had an opportunity to appease her. I am a straight-A student and a junior; I know that all my other instructors were not just handing out A’s willy-nilly and letting me coast. I am literal. I can seem obtuse or sarcastic when I am not being either of those things. I spoke to my advisor about it so at least he is aware. Work with me and I will work with you.

~*~Pervasive Thoughts~*~

Five poems this week! I had to write five poems for class this week alone 😫😫. I know, I know, it’s a poetry workshop class, but last workshop was two a week and certain forms each week. I don’t know how poets who write poems every day do it, honestly. I don’t know if it is because there is too much going on in my head or what, but I do much better with prompts or photos or contests. I find writing very cathartic, so I usually write about painful things so I can get them out, which is exhausting.

For class, I wrote about my father refusing to see me before he died and about my grandfather having dementia and referring to me as Little One because he couldn’t remember my name. Considering he died from sepsis, I’m assuming his dementia was caused by an untreated UTI. He had not been to the doctor in over 40 years, so it took them a while to figure out why he collapsed (he never woke up). Those two poems were very draining.

On top of the four poems for the milestone, we had to write another one for the discussion post, which is a forum mainly for attendance, participation, and accreditation. We had to choose a poem from our reading list and write a poem in their “voice,” which I found weird because I don’t even know what my voice is. I did it, nonetheless, and came up with the following:

~*~Pervasive Thoughts~*~

But don’t you see?

Once it’s in your head,

it becomes a part of you —

it wraps around your brainstem

and creeps into your DNA.

Walking the tightrope becomes

less daunting when it’s over

a perverse safety net of pills,

razor blades, and ropes.

The passivity of it all creates

a sense of mundanity that leads

you to believe everyone possesses

these thoughts and feelings —

until you realize you’re the outlier and

most would exist in the extremist

of conditions and call it surviving.

I don’t know how that will go over in such a censored society (from how it used to be — not that we are as censored as other countries), but the professor was cool with including Wanting to Die by Anne Sexton in my reading list, so I am guessing the subject matter will not be a problem.

I doubt my PW2 professor will get back on my good side since I really liked my PW1 professor and PW2 laughed and said that PW1 was very wrong. I am not cool with people talking 💩 about people I like and/or respect. So, possibly a long eight weeks.

Poetically Pissed Off

Well, I figured my intermediate workshop was going to be a challenge, but I did not know my opinions would be invalidated and my styles and voices questioned. Firstly, I had to stop centering my poetry (which is certainly a style – my preferred style at that). Then, I had to include punctuation, a formatting choice that I used sparingly, which incidentally I am being told to reverse in the new class. Now, I am not supposed to initial capitalize the first word of each new line. Who said I wanted to be a contemporary poet? Oh, and I can’t be inspired by “pop” poets like Rupi Kaur, who is the only contemporary poet I like.

Needless to say, my workshop professor and I are clashing. And I was admonished for stating the poems we read this week made no sense. If something does not make sense to me, I am going to make that clear. Just because some stuffy editors felt otherwise does not mean other people’s opinions should conform. The Emperor’s New Clothes, anybody? Suggesting I am not reading correctly and not that the poet wrote incoherently is insulting. Yellow Submarine is catchy; it is not a top-rate, meaningful song.

Raiding people’s private journals after they die and publishing them is certainly no way to set a precedent on what is the standard and now accepted. That has happened to at least two poets that I know of, Emily Dickinson being one. (She had only 10 poems published with her consent and her catalog is over 1,000.) It’s actually extremely violating and self-serving. I am here to learn, not conform or lie. This week’s reading list included the following:

coping skills lost in the flood
By CA Conrad

make you aching upwards of a
teenage broken phone
come to hear underwater
libraries up the side of
the dinner plate a
little too fast
not ungrateful like
some of  these bastards around here
can’t tap out a tune with you looking away
genies of not enough sleep
a happier location for
the war not the
easiest thing you realize
beautiful architecture
refreshing beverages
our signs read hello love us for
the century of
progress we
gave you
bombers
arriving
early here
they are

From “Listen to the Golden Boomerang Return”

a potato
born by
shovel
I am a
bride of
poetry in
my orange
and purple
gown an
unequaled
extinction
machine
pushing
strollers through
ecosystems of
concrete and plastic
we camel through the journey
with our new playbook for
where plunging hands go
don’t be weird
about this
you can be a
bride of
poetry
too

As you can see, neither poem above is left-aligned, another “rule” we were given for this week’s work.

Third Poem for the Catastrophe
By Joyelle McSweeney

O
melting rainbow that embrace this roof
O
persistent covenant
hangs around
giving us nothing, leaves its muck in the water
expects us to be knocked out by its fine colors
weren’t you nothing too, weren’t you
sea bottom
crunched down into fuel
and when that eggshell roof busts through
mama’s gonna buy you
a rainbow ride for free
an illumination, an inflammation
hyperion flame headdress
dream pins in the fuel
balloons of Koolaid burst down to cool
the sticky baby’s head
plus a credit card a glock a new bible
a princess dress
a mermaid princess dress
so you’ll be twice submerged
or an erased Indian princess
pajama set now go to sleep

Bureau of

This is the body of,
waiting to turn on.

graced with a little tremor,
a little-known form, a fibrous hook,
a flimsy lever that makes the jar work

a lever and a clasp

:voila. The pathetic filofax
unfurls, the owl describes;
on air; makes an apse; lopes left

off the phonepole, woodenly.
we rise above the wind park,
commemorially.

our whorled fossil, pinned open.
our emergency kit
holds aspirin. digitalis. adrenalin-in-in.

So, yeah, I said they seemed drug-induced and made no sense. For one thing, the last poem starts a line with a colon 😒😒. Poetry is mainly for the poet, and I am all for that expression and them writing whatever they want, but I am certainly not required to like it or be encouraged to emulate it and “learn” from it. If I can say a movie makes no sense (and in a lot of instances, I am not the only one who feels that way), I can say a poem makes no sense, because, let’s face it; a lot of them do not. If they make sense to the one writing it, that is fine; great, even. Good for them. But do not belittle me or my intelligence and opinion solely because it does not align with yours. If this is “contemporary,” I will wholeheartedly pass.

Featured image: https://poemanalysis.com/poetry-explained/elements-of-poetry/

My Reflection is Turning Away From Me

My schedule is all out of whack. Do I have schedule? I don’t think so. Routine? Sleeping pattern? Whatever it is, it’s messed up, which really stinks because I start my additional duties at work tonight. In addition to my job as a medical language specialist editor, I am also performing quality assurance (QA) and something about document delivery such-and-such. 

Every hour, I tell everyone how many jobs there are, how many people are working, and the TAT (turnaround time) for those jobs. I have not done this job before and I am scared spitless. I’ve been QA’ing for a few years but not on my current platform and I think I oversee 58 or 59 accounts now on this platform, which isn’t as intuitive as the other one. Why did I say I would take this on? Companies usually love me because I’m strictly third shift, but I’ve been having trouble sleeping this week, and I got up at 8 a.m. yesterday and have training sometime after 8 a.m. today. 

My literary theory professor is a stickler for the rubric (he’s the one who gave me an initial F) and I am one who never looks at the rubrics because they confuse me so that’s been fun. I submitted this week’s assignment yesterday and had to add things to it and resubmit because I forgot something that was on the rubric 🙄😒. 

For my poetry workshop, we have weekly journals and I think I may have gotten too comfortable with this week’s journal. I didn’t mask at all while typing it up and I think it’s pretty obvious. But it’s a journal and that, to me, implies that it is more relaxed and casual than academic papers. We had to break up a poem that was in paragraph form without knowing how the author broke it up and explain our process/reasoning. I’ve not read that poem before and didn’t look it up since we were told not to so I don’t know how accurate I was. I will find out next week, I guess. I will paste my erratic “reflection” on breaking up said poem below. I’m not posting the poem because I don’t know who wrote it and can’t give credit. 

Reflection

Okay.  I don’t know what I am doing, which is why I am taking poetry classes.  I never really think about much when a poem comes to me; I just need to get it down as quickly as possible before it flies out of my head, which is a very real possibility for someone with AuDHD.  (I wrote a poem about that.)  I was taken aback when it was asked in The Poet’s Companion if I could write a poem in 20 minutes and the assumptive answer was, “probably not.”  Why not?  When I think of something, I sit down and write or Click Clack Moo it out.  I think I lost my point somewhere. 

Right – reflection.  I’m a rhymer, so I haven’t had to worry much about line breaks.  I started playing around with free verse during my Studies in Poetry class last year and I’ve discovered I don’t know squat about line breaks.  Like poems, they just come to me, but I don’t know if they are “right.”  Who decides that, anyway?  One would think the poet ought to know since it is their work but literaries can be rather pretentious about that kind of stuff. 

Lately, I’ve been experimenting with one-word lines for emphasis, which is why I chose to break up the names in the above poem –  “Kadesha./Shaniqua./This is the voice/Of Antoine./Darryl./Shaquille.”  I would have given LaTonya and Antoine their own lines, but I read that you’re not supposed to end a line with prepositions or articles (but you can start lines with them).  I would say that is an unwritten rule, but it was written somewhere by someone, obviously, because that is how I read it. 

I’ve been reading Rupi Kaur’s books, and that girl is crazy with her line breaks and indentations!  I really wanted to break up, “This is not a small voice you here.” but since this person started and ended the poem with that sentence, I figured they meant for it to be on one line.  I first thought of “This is not/A small voice you hear” or “This is/Not a small voice you hear.”  I do notice that I tended to start lines with verbs in the above poem.  “Running over waters/Navigating the hallways of our schools/Spilling out on the corners of our cities.”  Is that a thing?  Poetry readers love to come up with terms and forms; I’m guessing there is a name for that. 

I threw some dashes in there, too.  Emily Dickinson really liked using those and everyone seems to like her stuff for some reason.  Did you know she told her sister to burn all her notebooks and journals?  Can you imagine betraying your own sibling like that?  I find that appalling. Sadly, I am all over the place, and I don’t know what I am doing, so I hope what I learn sticks and can be applied to my writing going forward.  Did I even manage to answer what was asked of me?

So, there is an unmedicated ADHD answer to a simple question 😂😂. It seems I went off the deep end more than a few times there. Gah. 

~*~The Blue Elephant~*~ and ~*~Taily Pole~*~

I guess I should have looked ahead on my syllabus before my free writing 😂😂. My two prompts were to be made into formal or “traditional” poems, one being a sonnet (like Shakespeare) and the other being a villanelle, pantoum, or a third option that I don’t remember. A sonnet about a stuffed elephant or Taily Pole?? 

Since I’m currently obsessed with Dylan Thomas’ Do Not Go Gentle Into That Good Night, specifically listening to him reading it (which is awesome), and it is a villanelle, I chose to create a Taily Pole poem in that form. The elephant poem was to be a sonnet by default. I think one of the most known Shakespeare sonnets is the one that Roger Rabbit reads while jumping on the bed in Who Framed Roger Rabbit? about counting the ways he loves Jessica Rabbit. (The ADHD force is strong today 😒.) 

Now, I don’t like checking my grades because of severe anxiety, so I don’t know if these were graded yet. If I’m awaiting feedback, I keep my eyes averted and just read the feedback without looking at the grade. Unfortunately, my week 1 paper for literary theory received an F(!) since I missed some points on the rubric, but my awesome professor allowed me to redo and resubmit. The resubmission got an A. That was pretty devastating for me, but I am so glad he gave me a second chance and gave me the feedback I needed to fix it up. Anyway, on to my poems! Click/tap on the poetic form below for the definition of each. 

Sonnet

From Google AI: A 14-line poem with a fixed structure and rhyme scheme.  Sonnets are often written in iambic pentameter, which means each line has 10 syllables in five pairs.  The emphasis is on the second syllable in each pair.  Sonnets are usually divided into two parts – an eight-line section (the octet) and a six-line section (the sestet).  The Shakespearean sonnet rhyme scheme is ABAB CDCD EFEF GG.

~*~Ode to a Blue Elephant~*~

Oh, dear blue elephant of childhood days

A blind witness of our sibling fights

We marched you back and forth in moonlit haze

No words, no punches, just a game of spite



You had no name, no charm, no specialness

Your stuffing crinkled like a florist’s foam

But then bedtime came, and you were the best

And so through the darkness we each did roam



You came to us from fair or Father’s hand

We cared not for you but only the rise

It gave us when we snatched you from the land

Of dreams and sleep and made each other cry

But when my brother left, the game was done

The elephant was lost; so was the fun
Villanelle

From Google AI: A villanelle is a 19-line poem with a strict structure.  It has five three-line stanzas, called tercets, followed by one four-line stanza, called a quatrain.  Villanelles use a specific rhyme scheme, ABA for the tercets and ABAA for the quatrain.  They also have two repeating end rhymes and two refrains.  The first and third lines of the first tercet are repeated alternately at the end of each subsequent stanza.

~*~Taily Pole~*~



Please, tell us the tale of the Taily Pole

As we sit ‘round the fire to combat the breeze

Your soft, intense voice makes the story whole



We beg you for story time, and you play your role

Reluctant storyteller, yet you give in to our pleas

Please, tell us the tale of the Taily Pole



You’re covered in blankets draped like a stole

As the cool wind blows through the trees

Your soft, intense voice makes the story whole



We giggle and shiver, feeling both hot and cold

Waiting patiently with elbows on knees

Please, tell us the tale of the Taily Pole



You lean in and shout, we shriek and roll

Laughing at our temporary unease

Your soft, intense voice makes the story whole



Years later, your memory still warms my soul

As the great-grandkids gather at my uncle’s feet

Please, tell us the tale of the Taily Pole

Your soft, intense voice makes the story whole