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Permission

“You have my permission,” he said, “to write about the thing that scares you most. Seven hundred fifty words.  Go.”

Yeah, right.  As if I need permission.  Ha.  I can write about anything.  Don’t need anyone to tell me what or when to write.  Anything I want.  Yup.  Even scary stuff.  Even the stuff that knots my stomach and makes my fingertips tingle.  The stuff that I would prefer to avoid— or at least lock up tight in a tiny box buried waaaay deep back in some cobwebbed and little used corner of my head.  I could write about that.  If I wanted.

Permission?  Ha!

And please– pay no attention to that sibilant whisper you might hear, skittering and wild between my ears, the one asking why I’m not writing about that scary stuff, why I’m wasting precious time and space typing all this introductory nonsense, instead of the important, vulnerable stuff that I am so cleverly avoiding.

And I would continue to avoid it, because, really— who wants to dredge up that mess, who wants to go slogging through that swamp, lifting up all those slimy rocks to find the things that go bump in my personal night?  Well, at least they go bump in my head, and maybe squeeze my heart in a slightly alarming way.  But the cost of avoidance, I’ve learned (the hard way, of course) is a helluva lot more painful, more breathtaking (and I don’t mean that in a good way), more constricting than the fear itself.

Trust me on this one.

I know all this— know it, and yet my first instinct, every time I come face to face with my personal demons, every time that fear begins to slither around my head and my heart — I want to run and hide and ignore it long enough until it just goes away, disappearing into the neverwhen where all my fears have migrated.   Trust me on this; I know the drill.  Except.

Except they don’t.  They don’t migrate.  They do not dissipate or fade or diminish, no matter how much I wish it to be so.  Far from scattering into the mist, my fears morph and shift and grow and grow and grow.  The more I run, the more they drive me.  In whatever boxes I’ve buried them, however deeply I’ve hidden them, they begin to fester and ooze and leak— never forthrightly, but sideways and slanted, and suddenly, my world becomes a funhouse mirror, distorted, disjointed, twisted.

For all that I know that the easier, softer way to exorcize my personal demons is to talk, to write, to claim them as my own, I cannot shake the conviction that were I to name them, were I to bring them into the light of day, far from banishing them to the neverwhen, I would, instead, be giving them power and making them real.  There is always the possibility (slight, I’m sure, but more than real nonetheless) that they are not, that the scary stuff is just a figment of my imagination.  Why give those fears form and substance?  Because if they’re real, if that scary stuff is as powerful as I imagine it, it will devour me, swallow me whole and I will disappear forever into that black hole of neverwhen.

So sometimes, I need permission.   I need to be reminded that I am tilting at windmills, solitary and resolute and fighting the good fight (even if I have imagined my foe so much more powerful than it really is).  I need to know that I am not lying, broken and bested, at the feet of the Knight of Mirrors, that the scary stuff is just that: scary stuff that only has the power over me that I give it.

And so, remembering, I will write the scary stuff.  I will delve into those hidden places.  And my fears, once magnified and threatening and insatiably hungry, will shrink and shrivel and be powerless before me.  For today, I have been given permission, have given myself permission, to brave the scary stuff and come out the other side, unscathed (mostly) and free.

To read more about my scary stuff and how I’ve learned to be fearless in the face of it (after many reminding and a score of permissions), take a look at my blog: http://staceyzrobinson.blogspot.com

Top Ten. More or Less

I think my body is on fire.  In fact, I am absolutely sure of this.

Who the hell turned the temperature up to, what?  Eighty?  Ninety?  It has to be at least 100 degrees in here.  I stomp over to the thermostat, self-righteous indignation ignited (along with my skin), pajamas clinging to my body in a damp and tangled mess.  If I’d wanted to live in the tropics, I grumble to myself, I’d bloody well move there.

Someone is going to die.  Someone is going t…

Sixty-eight.

Wait.  What?   Something has to be wrong.  Something has to be broken.

Then it hits me.   That is, this particular phenomenon is new enough that it takes a minute or three to hit me.  Hot Flashes.

Oh joy.  As if the cramps weren’t bad enough.  As if bloating and pretty red blemishes every month for the past few decades weren’t gift enough.  And let’s not forget the mood swings.  Intermittent crying jags and snarling rage, there and back again (and again and again and again); these have always been good for a few laughs.  Now I get to add hot flashes to the mix. Yay.

At the ripe old age of fifty— (Fifty?  Seriously?  How the hell did this happen?  Fifty is for old people and Republicans.  This can’t be happening.  Not to me at least.)— I find that I am falling apart.  I am squishy and lumpy, and not in a good way.  Things sag.  ) I have wrinkles.  I have indentations where once there were wrinkles.   I squint more.  Ok; I squint constantly, and now need special glasses to see down. Who knew down was such an important direction?  Music is too loud sometimes and those darned kids are ruining everything.  (And since when did these kids, professionals and experts and supposed adults become such babies?  I have socks older than some of them, some to whom I am supposed to trust my wealth (if I had any), my stuff (of which I have too much, being fifty and all), my very life!)

And now there are hot flashes.  Again: yay.

So, I curse my age, fume at my body’s betrayal, and think of Ann Margaret and Bye, Bye Birdie.  This is  yet another testament to my advancing age: a wandering mind.  Where once I could focus with laser-like precision for hours at a time, my thoughts now float aimlessly on a sea of constant distraction, coming to rest on the brightest and shiniest in no particular order.

There is a connection, however tenuous it might seem.

It started several decades ago, as a game.  I was in my strident I-am-woman-hear-me-roar phase, when the punchline to the knock-knock joke “How many feminists does it take to screw in a light bulb?” was “That’s not funny!” said without a smile or laugh.  And one day, lying on a heating pad and praying the Pamprin would kick in already, I was flipping through network channels, just in time to hear Ann Margaret whisper-sing that anthem to femininity, How Lovely to Be a Woman.

How lovely to be a woman, the wait was well worthwhile…

…Whenever you hear boys whistling, you’re what they’re whistling at!

It went on.  And on and on, ad nauseum.  It detailed all the dubious joys of womanhood— the marvels of make-up and high heels and being attractive to boys.  It said nothing of being smart or kind or strong or independent.  And while I was at it, while I was shuddering at the driveling sexism of this song, I began to think of other songs that could be included in that infamous category.

And what a category it is! When I began the game, my knowledge was mostly limited to songs from Broadway.  I devised a Top Ten list of the most sexist songs of all time.  This Bye, Bye Birdie number was always at the top.   Also on the list were “What’s the Use of Wonderin”’ (Carousel); “I’ll Be So Happy to Keep His Dinner Warm,” (How to Succeed); “Diamonds are a Girl’s Best Friend” (Gentlemen Prefer Blonds).

There were others.  Many others.  If I were younger, I could probably remember them.  At fifty, with a mind easily distracted, a body falling into disrepair, and menopause just around the corner, I continue to amass my list, hoping not that one day my Prince will come, but that, one day, I can stop adding to it.

Do you have a Top Ten?  I’d love to see your list.  And if you’d like to see more of my journey, check out my blog at http://staceyzrobinson.blogspot.com

At war with the art of Writing

Last year, I got a letter from my son, who was away at camp.

Let me amend that: Last year, I got an envelope from my son.  I was quite excited to receive the lett— the envelope.  He’d sent two letters within the first week.  The first was printed on a scrap of paper.  It began: “I’m not gonna make it.  Pick me up Sunday…”.  The second came two days later, written in code, with the key included on a separate piece of paper (possibly the remainder of the scrap of the original letter, folded  eleventy-seven times for security purposes, no doubt).  The crux of the coded letter was “having a wonderful time; send money…”

So, after another two weeks, with nothing further to grace my mailbox, I was eager to get something.  I ripped open the envelope, took out a piece of paper, and………………………………………………

Nothing.

He’d sent me BLANK paper.  As in: bright white with translucent blue stripes, college-ruled and fringed in all its perforated glory, unsullied by anything as mundane as pen or pencil.  Perhaps, as a follow up to the encoded letter, this one was written in invisible ink.  I stewed a bit, fretted less, and figured I would have heard, from one of his counselors at least, if he had been abducted by aliens, was suffering from amnesia or was dead— if, in short, there was some physical reason that prevented him from writing.

When I retrieved him a week or so later (after the requisite hugging (from me) and embarrassed shrugging (from him), and the commotion of goodbyes and hellos), I asked him about the Blank Letter.  As it had been less than an hour since I’d picked him up, I tried to keep the aggrieved-mom tone from my voice.  I mostly succeeded.  His reply?  “There were no working pencils, Mom.”

I stared at him as blankly as the “letter” in question.  Never mind the pack of 24 mechanical pencils that had accompanied his eight pre-addressed, pre-stamped envelopes.  Or the pen that I’d sent in his care package, along with a book of word-finds and sudoku.  No.  Working.  Pencils.  In the entire camp, a camp that housed a couple hundred kids and staff, not one writing instrument that worked.  For him.

Sigh.

Why, you might ask, do I bring this up?  Why use almost 500 of my allotted 750 words (when I can barely say “hello” in that amount of words, let alone write an essay that is somewhat cogent and literary and hangs together with some style)?

Why?  Because I stare at a blank screen, free-floating pixels at war with the delete key, and I think to myself “No working pencils.”

I seem to be stuck, at war with my art.  Or stymied by it.  Like that character in The World According to Garp, the woman who wrote brilliant first chapters and nothing more, I stop after the first few perfectly wordsmithed sentences, unable to continue, unsure where my writing wants to go, unclear what I’m trying to say.  And if I got quiet, and allowed myself to listen to the voices whispering in my head, I’d be afraid that I really have nothing to say at all.  Easier by far to have no working pencils than to face a blank screen.

So what to do?  Like a recalcitrant teenager, I ignore the computer sitting malevolent and silent on my desk.  Or at least, I ignore the document section; Facebook and youtube seem to work just fine.  At times, I will type at the screen, though I seem to delete way more than I type.  It is an odd little dance that I do, a two step of add and subtract: one sentence written, three thrown away.

I work myself into a frenzy of writer’s block— frustrated, distracted, mopey— and then, glory be!  A friend reminds me to breathe.  Breathe, he says, and take my pencil.

So I do; I grab onto his metaphysical pencil, and take a deep breath, plunging into the fray once more.  And as is my wont, I write about the thing that scares me the most.  I write about fear, and doubt, and tiny whispers that leave me breathless and drenched in flop sweat, convinced of my ineptitude.  I write, and I delete– but with precision and mindfulness.  I still feel a bit logy after so long an absence, but the pixels are starting to dance instead of stumble.

Breathe.  Find a pencil.  Write.  A writer writes, even through the fear.  How else do I get to hope?  How else do I get to dance?

Read more about fear and hope, dancing and doubt here: http://staceyzrobinson.blogspot.com

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