Poetry by David Kherdian: “I didn’t want to protect myself”

Armenian-American poet David Kherdian has written over 70 books and edited three major anthologies of ethnic American literature. His most recent publications are the memoir Root River Return (Beech Hill Publishing, 2015) and Living in Quiet: New and Selected Poems (Deerbrook Editions, 2013). Reviewer Ricker Windsor said of Kherdian’s work: “He grasps and is able to express the most important feelings, those that constantly escape the net of expression…David Kherdian’s poetry is evocative of past time, of a simpler world, of memory we can taste”.

This poem speaks to me of how I would like to live, if I had the courage: with an open heart, gratitude, and faith. At a time when complex creeds leave me cold, these are words to refresh my soul. David has kindly given me permission to share it here.

I didn’t want to protect myself

I didn’t want to protect myself
by seeking perfection against the
accidental onslaughts of time–
but instead to move imperfectly
through it all, not to be the best
or the only, or the one to watch,
but rather the beggar of mercy
and grace, finding new hope
in each disappointment
believing against reason
(against what the senses
said could not be) that there
was an order beyond this
disorder, that there was
a truth beyond this lie:
and that I was included
in its design,
that could not be seen
or named
but could be believed in,
if one believed that one
was loved.

 

Reading “The Lorax” in Lent

To my relief, this month the Young Master has moved on from conformist 1940s Little Golden Books to another genre of indoctrination more congenial to his Gen-X progressive parents. I’m talking about Dr. Seuss. Shane’s current favorite is The Lorax, a still-timely 1971 environmentalist cautionary tale about a greedy manufacturer, the Once-ler, who destroys a pastoral paradise. (I hope our boy remembers this when he finds out that we spent his college fund on litigation to save our neighborhood’s wetlands…)

dr-seuss-lorax-thneeds_510On about the tenth re-read, Shane asked me why the Once-ler is only ever shown as a pair of green hands. This is actually pretty unusual for Dr. Seuss, who never seemed to run out of ideas for depicting unique creatures. Shane thought maybe the Once-ler had no head, but some of the other pictures show his eyes peeking out through the slats of his abandoned workshop. So I brainstormed other possibilities. A 4-year-old’s “Why?” will lead you somewhere deep if you let it!

I said maybe the Once-ler did not feel connected to anything around him. He just made things without listening to his head or his heart, or paying attention to his environment. He didn’t take responsibility for what his hands were doing. He let himself become part of the machine of consuming, producing, and selling.

But I sensed that the alienation of the worker under capitalism was still too abstract a concept for the Young Master. So I tried again. “Maybe he doesn’t show the Once-ler’s face because the Once-ler could be all of us. We all have to be careful not to do what he does, not to be greedy and chop down too many trees and make the animals sick.”

As I spoke, I heard the echoes of a troubling concept we’d discussed in our church small group. We’ve started a video series by an evangelical pastor on the last words of Christ from the cross. That first week, we talked about “Father, forgive them, for they know not what they do.” Explaining the traditional doctrine of the atonement, the pastor said that “We are the ‘them'”. Past, present, and future are all one to God. Each of us, because of our sinful nature, crucified Christ and is forgiven by him from the cross.

That formulation no longer sits well with me, for two reasons. One is that I don’t think guilt feelings are the most skillful motivator for turning our lives around. Hopefully we feel bad enough about our actual sins without adding a cosmic crime on top of them–and if we don’t, there’s a good chance that the extra load of guilt for Christ’s death will only harden our ego-defenses. The second reason is that I’m looking to move away from theologies that romanticize scapegoating, because on some level they validate an abuser’s belief that splitting off her shadow side onto a victim is effective. During the time when I most fervently defended this atonement theory, I couldn’t have conceived that the universe could operate any other way; I was just grateful for Christ to take the hit on my behalf, like Winston in Orwell’s 1984 begging the torturer to hurt his girlfriend instead of him. I don’t believe in a totalitarian cosmos anymore, because I have a different kind of family now.

Nonetheless, these two myths, the gospel and Seuss, converge in reminding us of our universal temptation to sin and our interdependent responsibility for the kind of world we make. When we see a tree cut down, or an innocent man hung on one, none of us can stand apart and say “That’s not my problem.”

Valentine’s Day “Special of the Day” Poetry by Donal Mahoney

I celebrated Shrove Tuesday, a/k/a Mardi Gras, in traditional Episcopalian fashion yesterday with amazing chocolate chip pancakes at Miss Florence Diner. The waitress in this Valentine’s Day poem from Donal Mahoney would be right at home there. And in case you’re wondering, I still observe Lent, and this year I’m giving up self-doubt about my writing and skepticism about my spiritual practices. Let the magic begin.

Special of the Day

It’s Rocky’s Diner
but it’s Brenda’s counter,
been that way for 10 years.
Brenda has her regulars
who want the Special of the Day.
They know the week is over

when it’s perch on Friday.
Her drifters don’t care about
the Special of the Day.
They want Brenda instead
but she’s made it clear
she’s not available.

Her regular customers tip well.
Long ago, they gave up
trying to see her after work.
After awhile her drifters go
to the diner down the street
to see if the waitress there

is any more hospitable.
Brenda’s regulars don’t know
she has three kids her mother
watched every day until Brenda
took a vacation out of town,
then came back and helped her

mother find a place of her own.
Now Brenda’s back at the diner,
serving her regulars and
discouraging her drifters,
while Marsha, her bride,
watches the kids.

My Debut Novel “Two Natures” Accepted by Saddle Road Press

Friends of Julian, rejoice! Two Natures, my debut novel, will be published this September by Saddle Road Press, an independent literary press in Hawaii. Stay tuned for cover reveal, reading dates, book excerpts, giveaways and more.

Set in New York City in the early 1990s, Two Natures is the coming-of-age story of Julian Selkirk, a fashion photographer who struggles to reconcile his Southern Baptist upbringing with his love for other men. Yearning for new ideals to anchor him after his loss of faith, Julian seeks his identity through love affairs with three very different men: tough but childish Phil Shanahan, a personal trainer who takes a dangerous shortcut to success; enigmatic, cosmopolitan Richard Molineux, the fashion magazine editor who gives him his first big break; and Peter Edelman, an earnest left-wing activist with a secret life. Amid the devastation of the AIDS epidemic and the racial tensions of New York politics, Julian learns to see beyond surface attractions and short-term desires, and to use his art to serve his community.

Please enjoy my interview about the novel at David Alan Binder’s blog, which features conversations with published authors. An excerpt:

Why did you start writing?

To cheat death and make something productive out of my incorrigible daydreaming habit.

What is the most important thing that you have learned in your writing experience, so far?

The only way to find the truth is to make my own mistakes.

What would you say is your most interesting writing quirk?

I talk to, and about, some of my fictional characters as though they were real people—to the point where my friends will ask me, quite seriously, “How are you? And how’s Julian?”…

…Where do you get your information or ideas for your books?

The spark for my novel came from these characters who appeared in my imagination and would not let me alone. Its theme arose from the ongoing conflict in contemporary Christianity over recognizing the equal dignity and sacredness of same-sex love relationships. I belong to the Episcopal Church, which has been at the forefront of this debate since we ordained an openly gay bishop, Gene Robinson, in 2004. As of this writing, the American church has been put on probation by the Worldwide Anglican Communion for authorizing same-sex marriage rites. I was raised by two moms, so I know where I stand, but the issue tore apart some of my Christian friendships and prayer circles.

For research into the fashions and politics of the 1990s, the time period of Two Natures, I consulted the Sexual Minorities Archives (formerly in Northampton, now in nearby Holyoke) and the Conde Nast Library in New York City, as well as many books on the art and business of fashion photography. My friend John Ollom of Ollom Movement Art read the manuscript for accuracy concerning the gay male culture of our generation. John does through dance what I hope to do with my writing: help people integrate their “shadow side” by overcoming shame-based divisions between sex and spirit.

February Links Roundup: I Am Whatever I Say I Am

Happy February, readers! It’s a leap year, so we get an “extra” day. For hard-headed moderns, it’s only a bureaucratic quirk of the calendar, a minor annoyance to remember to write February 29 instead of March 1 on our checks. For the magically minded, it could be an opportunity to step out of chronos into kairos, an auspicious day to envision goals and abilities beyond our here-and-now limitations, and maybe do a ritual to support that intention. For me, it’ll probably mean a day’s reprieve from the negative self-talk: “It’s already March and I haven’t [cleaned my office, finished my short story collection, won the Pulitzer Prize]!!”

In reality, we have as much time as we have, no matter how we divide up the calendar. Nowadays I’m constantly balancing how much time to give my own writing versus time to read and support other writers. Sometimes I’m fortunate to come across articles that not only educate and entertain me, but re-equip me to do my own work with more self-acceptance and insight. Let me share a couple of those with you.

Ozy’s blog Thing of Things offers a unique perspective on neurodiversity, sexuality and gender, and utilitarian ethics. With a fine-tuned analytical mind and humble self-aware humor, Ozy picks out the inconsistencies and complex side effects of our ideologies, yet adopts a “live and let live” attitude to everyone’s imperfect efforts to discover what happiness means to them.

One interesting fact I learned from Ozy is that there are people who identify as “otherkin”: they believe they are part animal, analogous to a genderqueer person believing they are partially male and partially female. In their January 25 post, “On Otherkin and Trans People”, Ozy disputes the argument that otherkin make transgender people seem less credible. I love this post because it basically sums up my philosophy of respecting people to be the authority on their own experience. Ozy’s logic also applies to those who disbelieve trauma survivors because their stories are not perfect in every factual detail, or because their reported experience sounds too grotesque and extreme to be true. (Boldface below is mine.)

As an advocate for the rights of trans people and neurodivergent people, I think the world would be a better place if we all collectively adopted this rule: if someone is being kinda weird, but they are not causing direct, measurable harm to anyone else, leave them alone and move on with your life.

Imagine if instead of harassing trans women on the street, people said, “well, that outfit’s rather odd, but it’s really none of my business.” Imagine if instead of discriminating against trans people in housing or the workplace, people said, “well, I can’t imagine why a man would want to be a woman, but she does good work and pays her rent on time and that’s what matters.” Imagine if no one ever wrote a long screed explaining why you are secretly a girl pretending to be a boy because of your traumatic past, your internalized homophobia, or your deep-seated desire to be Special.

Furthermore, I think we should all adopt the rule: if someone is describing an experience that is really fucking weird, your default assumption should be that they aren’t making it up.

Of course, that doesn’t mean they’re describing their experiences accurately, or their explanation of why they feel the way they do is worth a pound of dog shit, or that no one ever makes anything up. But start from the assumption that– however distorted– the person is doing their best to describe something that is actually happening in their lives, and that if you’re going to keep interacting with them, you should listen.

I mean, shit, if people responded to gender dysphoria with “I don’t get it, huh, brains are weird” rather than “I don’t get it, you must be faking and I am going to come up with all kinds of elaborate reasons to explain why”, transphobia would basically be solved.

Consider the costs and benefits of these rules. If otherkin is not a real thing and you leave them alone, then you weren’t a dick to someone who’s going to feel really silly in a couple of years. If otherkin is not a real thing and you listen, then you didn’t make them become defensive or feel like they couldn’t question their identity without being attacked, and maybe you helped them come to the realization that it isn’t real. If otherkin is a real thing and you don’t follow my rules, then you took someone going through a tremendously painful experience and made it worse for no reason.

Continuing on the theme of identity and inclusion, progressive theologian and seminary student Daniel José Camacho finds an ethic of radical welcome in the description of the Trinitarian Logos in the first chapter of the Gospel of John. In this January 5 article from The Christian Century, “John’s prologue and God’s rejected children”, Camacho finds it significant that “in the midst of rejection, the text also speaks about this rejected one giving power to people to become children of God on a basis that transcends biology and purity.”

The borderless nature of God’s manifestation in Jesus helped Camacho make sense of his hybrid identity as a second-generation Afro-Colombian immigrant, and become an ally to LGBTQ Christians whose families rejected them for so-called Biblical reasons. “While the text was saying that being a child of God was based on faith and not based on blood or procreation, I saw many churches basing faithful Christian identity precisely on biology, on heteronormativity, on the ability to procreate in a ‘heterosexual’ marriage.”

Later on in the essay, Camacho notes parallels between John’s Holy Spirit and the female-personified Sophia (Wisdom) of Jewish tradition, to suggest that the Logos is genderqueer:

Whether John intended it or not, I see the Logos as enacting a gender-bending performance. The man Jesus Christ who is the eternal Logos was/is also thewoman Sophia. This is a good reminder that God transcends the gender binaries and essentialisms that humans have sharply defined. John’s prologue depicts Jesus as transgressing not only what distinguishes the human and the divine, but transgressing gender norms. As such, I think it is right to see Jesus as a transgressive “border-crosser” in multiple ways. For some time now, feminist scholars such as Elizabeth A. Johnson have highlighted the importance of Sophia in Christological gender-dynamics. Is it a stretch to see the Logos as bending gender? I don’t think so. If we consider the rest of the prologue, the rest of John’s Gospel, and the rest of Jesus’ life, this is consistent. Jesus’ family is non-traditional; it is not based on simple “biology.” Jesus’ life is not necessarily emblematic of a “straight” lifestyle…

Logos Christology needs to be unhooked from the Eurocentric rationality of the West which has sexually, racially, and economically classified people so as to produce and reproduce rejection and inequality.

In the Incarnation, the Word experiences the “No’s” that some of us hear. No, you are not truly American enough. No, you are not Latin American enough. No, you are not sexually normal. No, your societies are not developed. No, your culture/civilization is not rational enough.  Entering into humanity’s rejection of itself, the Word then demolishes the harmful ways in which we have internalized purity, nationalistic and gendered essentialisms, and Eurocentric rationality to define what it means to be human. As such, the Logos is the disordering ordering principle who destabilizes the violent means by which we narrowly define humanity and carry out rejections of our own people and peoples around the world. The Wisdom of God is not the progression of rationality from the Greeks to the Romans to the Europeans to the United States. Sophia is the disordering ordering force of life who deconstructs what we deem “natural” in order to make room for a creation that is different and far richer than we imagined.

At the online magazine Mask, Johanna Hedva’s manifesto “Sick Woman Theory” is a long-read well worth your time. To a lesser degree than the author, I also struggle with chronic disability from endometriosis, compounded by the shame and silence that society wraps around “female troubles”. Hedva re-frames the conversation around disability and political resistance, arguing that the activism of personal survival is as valuable as anything that happens on the barricades. I like how she uses “woman” as a nonbinary symbol of solidarity with all marginalized bodies.

Sick Woman Theory is an insistence that most modes of political protest are internalized, lived, embodied, suffering, and no doubt invisible. Sick Woman Theory redefines existence in a body as something that is primarily and always vulnerable, following from Judith Butler’s work on precarity and resistance. Because the premise insists that a body is defined by its vulnerability, not temporarily affected by it, the implication is that it is continuously reliant on infrastructures of support in order to endure, and so we need to re-shape the world around this fact. Sick Woman Theory maintains that the body and mind are sensitive and reactive to regimes of oppression – particularly our current regime of neoliberal, white-supremacist, imperial-capitalist, cis-hetero-patriarchy. It is that all of our bodies and minds carry the historical trauma of this, that it is the world itself that is making and keeping us sick.

To take the term “woman” as the subject-position of this work is a strategic, all-encompassing embrace and dedication to the particular, rather than the universal. Though the identity of “woman” has erased and excluded many (especially women of color and trans and genderfluid people), I choose to use it because it still represents the un-cared for, the secondary, the oppressed, the non-, the un-, the less-than. The problematics of this term will always require critique, and I hope that Sick Woman Theory can help undo those in its own way. But more than anything, I’m inspired to use the word “woman” because I saw this year how it can still be radical to be a woman in the 21st century. I use it to honor a dear friend of mine who came out as genderfluid last year. For her, what mattered the most was to be able to call herself a “woman,” to use the pronouns “she/her.” She didn’t want surgery or hormones; she loved her body and her big dick and didn’t want to change it – she only wanted the word. That the word itself can be an empowerment is the spirit in which Sick Woman Theory is named.

The Sick Woman is an identity and body that can belong to anyone denied the privileged existence – or the cruelly optimistic promise of such an existence – of the white, straight, healthy, neurotypical, upper and middle-class, cis- and able-bodied man who makes his home in a wealthy country, has never not had health insurance, and whose importance to society is everywhere recognized and made explicit by that society; whose importance and care dominates that society, at the expense of everyone else.

The Sick Woman is anyone who does not have this guarantee of care.

The Sick Woman is told that, to this society, her care, even her survival, does not matter.

The Sick Woman is all of the “dysfunctional,” “dangerous” and “in danger,” “badly behaved,” “crazy,” “incurable,” “traumatized,” “disordered,” “diseased,” “chronic,” “uninsurable,” “wretched,” “undesirable” and altogether “dysfunctional” bodies belonging to women, people of color, poor, ill, neuro-atypical, differently abled, queer, trans, and genderfluid people, who have been historically pathologized, hospitalized, institutionalized, brutalized, rendered “unmanageable,” and therefore made culturally illegitimate and politically invisible.

The Sick Woman is a black trans woman having panic attacks while using a public restroom, in fear of the violence awaiting her.

The Sick Woman is the child of parents whose indigenous histories have been erased, who suffers from the trauma of generations of colonization and violence.

The Sick Woman is a homeless person, especially one with any kind of disease and no access to treatment, and whose only access to mental-health care is a 72-hour hold in the county hospital.

The Sick Woman is a mentally ill black woman whose family called the police for help because she was suffering an episode, and who was murdered in police custody, and whose story was denied by everyone operating under white supremacy. Her name is Tanesha Anderson.

The Sick Woman is a 50-year-old gay man who was raped as a teenager and has remained silent and shamed, believing that men can’t be raped.

The Sick Woman is a disabled person who couldn’t go to the lecture on disability rights because it was held in a venue without accessibility.

The Sick Woman is a white woman with chronic illness rooted in sexual trauma who must take painkillers in order to get out of bed.

The Sick Woman is a straight man with depression who’s been medicated (managed) since early adolescence and now struggles to work the 60 hours per week that his job demands.

The Sick Woman is someone diagnosed with a chronic illness, whose family and friends continually tell them they should exercise more.

The Sick Woman is a queer woman of color whose activism, intellect, rage, and depression are seen by white society as unlikeable attributes of her personality.

The Sick Woman is a black man killed in police custody, and officially said to have severed his own spine. His name is Freddie Gray.

The Sick Woman is a veteran suffering from PTSD on the months-long waiting list to see a doctor at the VA.

The Sick Woman is a single mother, illegally emigrated to the “land of the free,” shuffling between three jobs in order to feed her family, and finding it harder and harder to breathe.

The Sick Woman is the refugee.

The Sick Woman is the abused child.

The Sick Woman is the person with autism whom the world is trying to “cure.”

The Sick Woman is the starving.

The Sick Woman is the dying.

And, crucially: The Sick Woman is who capitalism needs to perpetuate itself.

Why?

Because to stay alive, capitalism cannot be responsible for our care – its logic of exploitation requires that some of us die.

“Sickness” as we speak of it today is a capitalist construct, as is its perceived binary opposite, “wellness.” The “well” person is the person well enough to go to work. The “sick” person is the one who can’t. What is so destructive about conceiving of wellness as the default, as the standard mode of existence, is that it invents illness as temporary. When being sick is an abhorrence to the norm, it allows us to conceive of care and support in the same way.

Care, in this configuration, is only required sometimes. When sickness is temporary, care is not normal.

Here’s an exercise: go to the mirror, look yourself in the face, and say out loud: “To take care of you is not normal. I can only do it temporarily.”

Saying this to yourself will merely be an echo of what the world repeats all the time…

…The most anti-capitalist protest is to care for another and to care for yourself. To take on the historically feminized and therefore invisible practice of nursing, nurturing, caring. To take seriously each other’s vulnerability and fragility and precarity, and to support it, honor it, empower it. To protect each other, to enact and practice community. A radical kinship, an interdependent sociality, a politics of care.