A Sister Lost: a Twin Remembered


In honor of Memorial Day, I’m remembering my identical twin sister Martha, who died several days after we were born. 

Twins born a month premature had little chance of survival in 1962, a time before medical science knew how to save the tiniest of infants.  I weighed just over 3 pounds, Marty just over 2.  The doctors promised my parents neither of us would survive, but it seems even then I was determined to beat the odds.

This poem is written in the voice of my sister, who describes our experience in the womb:  the veins lining the inside of the placenta we shared, her efforts to recite poetry about our time together , the fact that I was growing more quickly than she.

Hope you appreciate this poem about a primal kind of bonding and the profound sadness of losing someone whose DNA was identical to mine, someone who mirrored me even before the beginning, when “I” was “we” and “we” were wombed as one.

 

 To my twin sister who lived to tell about it

 

The room, which was poorly lit

     and warmer than we wanted,

     curved around us

               like planetarium

                    ceiling

               like the rind

                    of cantaloupe

                    as seen from the inside

 

I remember how you traced

     the networking of veins

     with the stub that became

                  the index finger

                  of your left hand

              

While I recited garbled

     poems about

           the splitting

                  of space

          the fact that you were

                 gathering more

                 matter

  

 

Forgetting the Seclusion Room (Another Chapter in the Chronicle of Crazy)


(To read the post that precedes this, click here.)

I don’t remember arriving at Parkside Hospital, a psychiatric facility in Tulsa, Oklahoma; neither do I recall anything about the admissions process.  I don’t remember how my Maltese Lizzy came to be kenneled at the vet’s office, who took me to the hospital or if it’s possible I even drove myself.

Indeed, it’s these gaps in memory that I remember most. And this fact of forgetting remains my ongoing issue with memoir.  How does one memoir without memory?  How does one write the empty space where the story should be?

These gaps complicate the writing process, and the effort to fill in the details, to flesh out the facts, force me to depend on journals I kept at the time.  For example, the night I so unceremoniously removed the carpet from my living room, the night before the hospital admission I allude to above, I described an intense sense of alienation and confusion:

I know that other people must not experience the world in the way I do, because if they did, the world would be a very different place and I wouldn’t feel so strange—so marginal—so near the edge and falling off.  I have a kind of hyper-consciousness that nearly drives me crazy.  I feel driven.  I feel haunted.  I feel so alone in my experience . . . . I feel out of control and at the mercy of my own mind . . . . I’m so alone and so afraid . . . . I feel like a bad human being—like I’m just not good at it.  I feel like a failure.

I can’t control my thoughts.  I think thoughts I don’t want to think.  I feel out of control.

I feel like I can’t be true to myself and live in this world, like I want to wear bones on my clothes—on the outside pinned to me.

I don’t remember anything about this bizarre urge to “wear bones,” but skeletal fashion statement aside, I also don’t recall the particulars of this admission to Parkside in March of 1990.  However, by the time I left Tulsa in 1995, I had been admitted to this same facility any number of times and do recall a few facts about the place.

The building had three floors, for example, and a basement—the first an intake unit and small lobby, the second a locked but moderately restricted unit, and the third a locked but highly restricted one.

I was admitted to the third floor.  I remember a day room at one end, 4 dormitory style rooms at the other, and a hallway connecting the two. The hall had a nurses’ station along one wall, an elevator on the other. 

With windows along two walls, the day room was large, filled with square wooden tables with white Formica tops, four chairs at each.  We patients spent most of our time in this open space: played games, watched television, ate meals. 

The patient rooms were bare and barrack-like.  With a partition down the middle, two beds on one side, two on the other, each room also contained two desks and four small wardrobes.  Bathrooms, one per room, boasted, a toilet and shower stall, not to mention a metal mirror above each sink—no glass allowed, lest patients break it and purposefully injure themselves.

Behind the nurse’s station was another hall that was locked and off-limits to patients.  Here were a number of seclusion rooms, each with a single bed bolted to the floor in the center of the space—each equipped with 4 point restraints—wide leather cuffs that strapped wrists and ankles to the bed.   I spent time alone in these rooms when I was particularly distressed, but only once in 4 point restraints. 

I walked the hall between these dorms and day room, repeatedly, regularly.  The antipsychotic medication made me restless, so I paced, feeling the walls with my palms, an effort to comfort myself, to calm the cacophony of crazy that worsened every evening. 

One nurse was kind and would sometimes walk with me, attempting to reassure me, to lessen the aloneness, to quiet the chatter in my head, the echo of children’s voices saying senseless, sing-song rhymes.

But mostly I walked that hall alone, alternately fighting and forgetting a psychosis that whiplashed between extremes of nothingness and nowhere.

(to be continued)

Ultrasound


(for Julie)

At sixteen weeks the baby’s head
     measures twelve centimeters
 
They can’t tell
     us what is
                           normal
 
     blade of grass
     ceramic plate
 
¿Qué es más probable?
 
I know this carpet
     is pink
 
                that we should notice
                        her rings
                        and wallpaper samples
                 that they are all torn
                         up
                                  omertà
 
And that for her there is no
                    such thing as
 
     fiction

A Prose Poem


Summer Circles Green

Summer circles green and my hair is growing another color, silver/white like tinsel or Christmas tree ornaments or snow on the slanted roof of the artist’s yellow house, who paints her daughter blonde, reclining as in a lawn chair, her oiled canvas stretching now in a museum down the road, where we, on Sunday mornings, relax like swans, drinking flavored coffee from blackened mugs so the darkened rims don’t show.  I despise the dirty rigs on my own blue mugs, like arctic circles, tea rings, skim milk spilling on the wooden floor beneath the picnic table benches.

Summer circles green and my hair is growing another color, preparing cob-webbed gowns we wear like gauze bandages, covering the cigarette burns on our wrists and upper arms, slices of roast beef for the noonday meal, when we should be eating turkey along with last year’s yellowed photographs, boxed memories of three years’ madness, the hospital gowns, green and open in the back, displaying what we’d prefer to hide behind some sturdier covering.

Summer circles green and my hair is growing another color, asking impossible questions about misplaced rooms and lilacs beside the brick house that stained my childhood brown, brown hair like dirty ponds in winter, though I pretended it was red, imagined I was burning, wondering—will I ever be consumed like bread crumbs scattered to the pigeons that roost on slate roofs, cooing, calling—

Moving as Meditation (and Other Pre-Lenten Events)


As Sara and I prepare to move back to the US next week,  leaving behind in Haiti a year’s worth of work, challenge, periodic victory and sometimes defeat, it’s a time for me to reflect, reminisce, think about where I’ve been over the past year, in an effort to figure out where I am going in the one to come.

In the reflective spirit of Lent* (which begins tomorrow), I thought that over the next week I’d revisit some of my earliest posts to the blog, remembering the lessons learned, even the questions left unanswered.

So–since I’m busy packing up one life and moving into another, and since, at the blog’s beginning, most of you weren’t reading yet, I’ll resurrect the first post below and give you a glimpse of how it all got started 4 months ago:

So–the old blog is reincarnated here under a new name!  It is, indeed, the Vietnam version “reinvented” from yet another edgy location–this time Haiti, where a cholera epidemic has spread to Port-au-Prince–my home for the next couple of years.

But before I address the big issues faced here on the western half of Hispaniola, I should clarify why I’ve chosen this new title.  For my less geeky readers, an “event horizon” is the edge of a black hole, a boundary in the space/time continuum beyond which no light can escape—in many ways, a point of no return.  You’ve taken physics; you know this; you’ve just forgotten.

Bottom line–it seems to me, that the far-away places Sara and I have been over the last couple of years have formed a kind of “event horizon” in my mind–taking me to the outer limits of my own comfort zone, shaping new perspectives in me about both the world around me and about this time in my life–a bending of my personal space/time continuum, if you will—–mind-bending for me, at the very least.

However, Haiti itself offers a kind of event horizon–a comparison I first found when reading Paul Farmer’s book “The Uses of Haiti.”  Farmer begins his chapter of the same name with the following epigraph by T. D. Allman:

Haiti is not simply one more of those tropical dictatorships where to rule is to steal, and headless bodies are found by the road.  Haiti contorts time:  It convolutes reason if you are lucky–and obliterates it if you are not.  Haiti is to this hemisphere what black holes are to outer space.  Venture there and you cross an event horizon. (After Baby Doc, 1989)

Wrap you brain around that statement and you may begin to see why I’ve renamed the blog–because this place, this  location has forced me to rethink my beliefs, not only about myself, but also about big issues such as poverty and hunger–and disease, for god sake!  We’re in the midst of a cholera epidemic!  

But even without cholera sickening folks by the thousands, we had an earthquake here last January, a hurricane last week, and a million and a half people homeless in Port-au-Prince today. 

Was the earthquake an event horizon for Port-au-Prince?  Will cholera bend time and space so there’s no escaping the dis-ease that’s plagued this place for centuries? 

Is there light for Haiti?

Now, fast-forward 4 months. 

Do you think the blog is fulfilling its mission so far?

And, even more importantly, if you have one, what task does your blog accomplish?  What is its purpose?  Tell us about it in the comments and leave a link.  You might attract some new readers!

And don’t forget that tomorrow we’ll have our “Mid-Week Mindy,” tomorrow a reflection on Lent*.  Mindy will be covering for me, answering questions, responding to comments.

* On the Christian calendar, tomrrow, Ash Wednesday, begins the season of Lent, 40 days of reflecting and fasting, leading up to Easter Sunday.  For a beautiful mediation on the meaning  of Lent, check out this post by my friend Jane over at PlaneJaner’s Journey.

Text, Texture, and the Nature of Memory


I’ve been thinking a lot about memory this week.  How we remember.  What we remember.  Why we remember some things but not others.

And in process, I remembered a poem I wrote some time back about my own expereince of memory, especially my experiencing the past as text. 

In it, I allude to Anna Ahkmatova, the celebrated Russian poet who was so highly censored under Stalin , she resorted to writing her poems on cigarette paper, memorizing them with a  friend (friend’s memory as carbon copy), and smoking the evidence of her crime against the Soviet State.

Here, I also allude to the texture of memory and the texture of texts themselves.  It’s interesting to me that in English the word “text” is inherent in our word for “texture”–a sematic given.

Censorship

The past comes

back in bits

colorless as glass

ground almost to dust

so that any sense of shape

seems irretrievable

 

The taste of it lingers

                in my mouth like

                                something burnt

                                                marshmallow

                                                toast

                                                skin

 

Dream of Ahkmatova

                stanzas scratched out

                                on cigarette paper

                                during Leningrad winters

memorized by a friend

burnt in ashtrays

saying what we don’t

                (hear)

                                only know

like skin

 

(Something to be touched)

 

Text (ure)

                is everything

(The formatting of the poem is not correct, but I could not get WordPress to recreate my Word document without changes in spacing.  I finally decided to pass the poem along regardlesss, hoping its message would speak to you despite the irregularities.)