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Belief and Philosophy Break Divorce Educators Health Self-help Teachers Woman. Warrior. Writer.

BREAK: Marriage and Divorce and How to View a Sculpture

How to View a Sculpture

I would like to explain a few ways that we can think about the practice of observation that might help us come to terms with the way we see ourselves within the construct of marriage and divorce.

Here’s the famous Venus de Milo (photo by tabitha turner) an ancient Greek sculpture displayed in the Louvre. She is a symbol of Western beauty. There are many tales surrounding her beauty and interpretations of her appearance. I am unaware of an Asian equivalent image of a woman that is as significant on a global scale. There’s a meta element to her existence as a sculpture that also interests me: the physical element that socially distinguishes an individual and determines personal navigation is the face, the next are one’s hands. What we move, carry, sculpt, shape, stroke, create, carve and more, determines what we do in the world. She has no arms, no hands, so we look at her body and face…but let me continue.

When I was sixteen my parents sent me to France for the summer to learn French. I stayed with an acquaintance of my father’s, a medical doctor’s family, which I did for a few weeks in their summer home in the south of France. It was eye opening for me: large meals of rabbit stew at noon, a Pink Floyd blasting grandmother, a tennis playing aunt with a deep tan wearing a bikini that displayed tufts of her pubic hair, and a bucolic estate replete with a vineyard and peacocks pecking about the front lawn. There were other teenagers, but I was an admittedly difficult teen, bookish, and easily bored and not the best social companion, and so, within a short period of time found myself alone on a train to Paris where I spent the remaining part of the summer attending classes at Alliance Francais. I was terribly lonely and wanted to return to the US, but refused to do so out of pride. Determined to stay on, I decided to be purposeful, and so I set myself the task of going to every single museum in the city. 

As anyone knows, there are countless museums in Paris, but I covered many of them, an admirable ambition and a reflection of what I recognize now, as a sometime dutiful and obedient nature. I wandered about with my guidebook and recorded my observations in French in my journal as I downed cups of hot chocolate and cut my way through pastry after pastry. One day I met an older man—I no longer remember his name or even what he really looked like, although I seem to recall dark framed glasses and hair, and a leather briefcase. He saw me wandering around outside the Louvre, introduced himself, and then kindly proceeded to take me on a tour of the museum, pointing out significant art, and commenting in a way, I realize now that suggested someone with an abiding passion for art. After we drank coffee in a nearby cafe and chatted about what we saw, although I politely declined an invitation to meet him again. There are all kinds of ways we can read this encounter, but suffice to say the lesson he imparted to me that day about how to look at sculpture was probably one of the most significant I learned in terms of observation, one that I have carried with me and added to, and have passed on to students throughout my life.

When we look at a sculpture face-to-face or face-to-shape a single look from one angle does not suffice. Modern life is hurried, but when we slow down and look carefully, we experience art in new ways. To take in a sculpture in a way that evokes a relational response to the art and artist, we observe the piece from multiple vantage points, address the three dimensional material object at various angles. We might walk around it, do a 360 degree stroll. We squat down and look up, as if to be a small child beholding the world above. We reach out and touch it. Lean against it, if we can, press our own body against it, feel its surface. We stand up on our tiptoes and then look down upon the object. We tilt our head sideways and maybe even upside down. Most significantly, we look at the piece of art at different times of the day to observe how the shadows change, how the light and dark are cast across the shape, and note what this does to the object. The shadows tell a story. A sculpture does not look the same at dawn as it does mid-day. We must interact with it at different times, note the miracle of how it changes, to really see what the sculptor might have been communicating.

We too must allow ourselves to understand that the way we observe, define, any object, idea, institution, state of being, or whatever we encounter as humans, depends on our vantage point and may dramatically shift throughout the course of a day, over a number of years, as we weave our way through a lifetime. This perspective is derived from where we are physically, emotionally, or in time. How we see and why we see is fluid. It changes depending on the light or dark, on our moods and priorities, on what came prior or after.

Our responsibility then is always to understand, and if writing, to record and detail what we know when we know it, forgiving ourselves for what we cannot possibly see at the time we are observing, or if we dare say, participating, responding, or dancing with the art or idea. We might be generous to ourselves, allow ourselves flexibility as we move to a new insight closer into the seeing and knowing of how and why, nurturing or answering our questions as we linger and skip. It is impossible to take in all angles at once. Maybe there is a spot where we gaze beyond the sculpture, and so the object becomes framed within the background, or the object comes forward, the background receding. We touch the shape, feel its ease, roughness, and smoothness, its temperature and crevices. This moment is all that we take from the experience of looking at the sculpture as we remember it later, trying to recall and feel again what we felt. Somehow, removed from that moment, we feel a bit differently, and we say in our hearts that the art was more expansive at that time, at that place. Maybe it was. Or not. We have to have a little faith in ourselves, that where and how we are seeing at the moment is one perspective and it is fine, we are doing our best, we are seeing what it is we are supposed to see. When we look back at the moment, we are also doing our best, recalling what we can with all that we can muster. 

Truly seeing art, understanding an idea, feeling, person, place, concept, requires us to be compassionate with ourselves. Seeing involves being seen–specifically, we must see who we were and are, and this will allow us to envision who we can be. Slow down. Take in the sculpture. Allow yourself to see. This practice of seeing will help you to see others and yourself.

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Belief and Philosophy Divorce Reading & Writing Self-help Woman. Warrior. Writer.

BREAK: Reasons for Women to Write Their Divorce Story

Women are storytellers and consciously or unconsciously constantly use stories to communicate. We navigate life telling, remembering, and listening to stories. The key is to be conscious and to honor this powerful ability within ourselves. For how many thousands of years have women told stories to children before they sleep, or used stories to explain a moral rule or household habit? We know the stories of our community, and we are often entrusted, whether we like it or not, to be the holder of family secrets. We find it easy to contain and hold and tell the stories of those we know and love. More complicated, for reasons that I will explore in the coming pages, is putting ourselves both literally and metaphorically as the central protagonist in our own grand story called Life. When we center ourselves as characters in our story, the one that we live and write, we validate ourselves. Writing our story, what happened and what we felt about what happened, is one of the most powerful ways that women can define, heal, and reckon with ourselves.

A divorce story forces us to center ourselves within the context of our own life. Willingly or unwillingly, we as women have frequently been assigned roles that have translated into prioritizing others needs before our own. By default and extension, we become reluctant to claim a space for ourselves, and in turn, the best we can often muster up, is to claim a segment of others’ stories for our own. While any story has many characters, we can do this to the point where we forget our story, downplay our role in others’ stories, deprive another of their own story to live to satisfy the absence of our own story, and most tragically, and all too common, think that we never had a story, or that our story was secondary to another’s because such a person received more external validation in terms of money or status.

Women are almost always rewarded for compliance, for putting others first every step of their lives and are bestowed praise for living the accepted narrative of a helpmate to everyone within a world governed by men. Our names change upon marriage. We are not on stage; we are Stage Mothers. Our salaries our lower. Our hours are longer. We are the stop gap go-to person for when all systems fail, when a family’s in crisis, a car malfunctions, a child is sick, or when someone is laid off. Everyone turns to us for caregiving. The status quo rewards us for making our story shorter, for functioning solely as a prelude to the stories labeled more significant, even if they are the stories of our loved ones. We almost always define ourselves in relation to another person and if we fail to do this according to an imagined bar of sacrifice and service, we feel poorly about ourselves or others judge as inferior or lesser. There is a huge difference between living a story that exemplifies love, loyalty, and kindness, and being measured as worthy because of what compromises one has made to exist in a relationship with another. 

Divorce is often the first time we may consider the real depth of our individuality. We may have always told the story of our marriages, relationships, romance, and families with the royal plural “We” as opposed to the humble first person “I”. This is how writing a divorce story can empower: if we were firmly entrenched in the “we” of being a couple, becoming the main character of the story is a shock to the system! There are a minimum of three stories in every marriage. The “I” story of each individual and the the “We” story they mutually narrate about their coupledom. It is vitally important to state that our lives do not exist in a vacuum, and that we are deeply affected and directed by the culture of our time. 

Once we recount the story of what happened in our marriage and what we felt about what happened, we can boldly claim space in a new arena. The story of a public life almost always sets the man’s story as first, the woman’s story as secondary. As women, the divorce story we share with honesty, is the story of the marriage wholly from our personal perspective. Know that writing this personal story solely from our own hearts is not an act of selfishness, but an act of personal volition. It is saying to the world: My story is worth telling because I have value. 

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Belief and Philosophy Break Divorce Reading & Writing Self-help Woman. Warrior. Writer.

BREAK: Divorce and Voice

When writers, readers, and critics speak of a writer’s voice they are referencing the writer’s chosen words that reveal the writer’s self, how she perceives and moves in the world. Voice is the writer’s soul and spirit, and how the writer brings this to the page is the writer’s voice. Being honest to our voice, to who we are, is the key task in the writing of a story, and our life’s most significant mission. If we cannot be who we are, then who shall we be?

When we refer to a writer’s voice, most telling and daunting is that there exists a distinctly proscribed way of conveying written text codified by primarily male writers. It has been this way for centuries. It will continue to be this way. In the process of trying to convey our story, we quiet or even lose our voice because we are fearful. We strive to appease or appeal to people who judge us according to an unknown or mysterious standard that often, we can never achieve as it is rather subjective. And yet, it is imperative that we persevere and risk writing who we are as otherwise, our voice is silent, and if ours, then many other women who are out there too. When we are courageous about our voice, we pave the way for dozens of others to follow suit.

We must have faith in the story. Believe in our right to write. While writing is a learned skill, the ability to reveal who we are is directly correlated to our willingness to be vulnerable on the page. Our words are meaningful because our story matters. The voice that we summon is one that acknowledges our full self. This voice is the beautiful, courageous, resilient, complete self who has declared her right to live as a one who wants to set the terms of her own life.

Whoever controls the text controls the story. A delivery through the medium of writing often prompts a different reaction because texts impart a permanence. Words on a page compel an undeniable respect. Every major cultural, religious, legal, and creative institution’s laws and customs are upheld, reinforced, and codified by text. Someone writes the text; another person interprets this text; yet another person writes a story based on this interpretation. We are readers of a story several layers away from the primary text. Imagine what remains and what changes. Given this truth, it’s important to throw your own voice into this layered chorus and write with everything you are. You are your voice. Write your truth to power.

 We may feel inhibited about the physical act of putting words down on a page. An easy solution is to simply pretend that we are speaking to someone: talk to the page! For accuracy, we record our voice with a phone or device, and transcribe the spoken words. Edit for clarity. Speaking and writing use different parts of our brain, but know that communication is linked, writing inhibition is real, and however we get our words onto the page will be fine. The vast majority of the globe’s illiterate are women, but our wisdom transcends what is written; this is how we have survived through the millennia. Know that through the power of our oral storytelling we write a story on the page—for those of us who cannot write we put our words down on paper. We do this by recording our story.

A woman’s voice is often considered dangerous. How often are women accused of being shrill? The numerous complaints about a woman’s voice—her accent, her tone, her articulation are familiar to anyone follows the commentary about women in the public spotlight. There are no end of complaints about the actual pitch of a woman’s voice, but what most dig at is a particular woman’s willingness to use her voice in an arena that women rarely participate in.

Breaking silence is looked upon as disruptive and to break the silence about our marriage, enshrined across the globe as an institution to maintain stability within a system of patriarchy, is considered at best poor taste, and at worst, a display worthy of public condemnation. Marriage is considered private. Personal. And it is. But to dismantle a marriage through divorce requires outside documentation (just as marriage did), and to write the details of this break-up potentially place women in the position of being seen as dangerous. We may or may not be the very first woman in our family to divorce, but it is highly likely that we are the first woman who records the reasons for the divorce. It is inconvenient, if not unpleasant for most people to be presented with anything that disrupts the norm. The truth is the details that prompted your divorce are unimportant to most, but they are important to you, and therefore worth writing.

You may be quiet, someone who is reluctant to expose your private happenings to anyone, but you have a right to exercise the use of your voice. There is no reason for your silence.

Write your divorce story. Discuss the inclusion of your divorce story in your legal file.

Write your story. Change your mind. Author your life.

 

 

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Belief and Philosophy Blog Break Divorce Health Self-help Woman. Warrior. Writer.

BREAK: Choosing Your Divorce Lawyer

A word to those embarking on their divorce journey: a key player on your divorce team is your lawyer. Divorce is the disruption of a business agreement. A break. It is not a time to say “Oh, I don’t really care. I feel too tired to make any decisions.” Think about it: No matter how tired you got of organizing your wedding, you were able to find the energy to figure out the logistics or style of your cake or dress. Muster the energy to get legal support. The only divorce that goes away is the completed one.

Get referrals to lawyers from friends. I interviewed a dozen lawyers both overseas and in the US. You need to be willing to give the facts. Be prepared to discuss the details and personal information. Divorce varies from state to state, nation to nation. Know some basics—google.

Your lawyer must be on your team. This is more important than any other quality or characteristic. Will the lawyer understand you more due to your gender? Ethnicity? Background? Frankly, that’s hard to say. The lawyer must understand your perspective. I had one lawyer (woman) tell me she didn’t like representing women as they were “too emotional”.

I didn’t hire her—and I would go so far as any woman would be absolutely bonkers to hire someone who is uttering such sexist statements. This woman is rooting for the patriarchy. I will bluntly state something here. You may be too (with or without knowing it), but get this women, if someone is rooting for the patriarchy, where does that leave you? In. The. Dust. Or if you prefer a metaphor from this image: smashing your head on a coral reef.

If you are in a precarious psychological state or are not versed in the financial or business implications of your split, you need to know your lawyer will look out for you. You must be able to speak truthfully to this person. If you get a bad vibe, if you can’t trust this person, do not ignore your instincts—find someone else.

One of the best pieces of advice I got from a friend was this: “Do not use your lawyer as a therapist.” Lawyers figure out your legal and financial interests. Therapists fix your emotional issues. Using your lawyer as a therapist is very costly.

Ask the following:

  • Experience with your type of case (be prepared to state in a few sentences what you have going on—kids, money, property etc…).
  • Retainer and hourly rates/estimate
  • Advice about mediation, collaborative, or standard divorce
  • Time framework and availability

Start writing your divorce story. How do you do this? You have to start changing your mind about who you are and who you were. Examine the Master Narratives that governed your life. Look at yourself with new eyes. Writing your story and sharing it with your lawyer will help move you forward, as well as center your thoughts and ideas as you head into the next chapter of your brave and beautiful life.

 

 

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Belief and Philosophy Divorce Passing in the Middle Kingdom Poetry Reading & Writing Self-help

Passing in the Middle Kingdom: When I Sleep

This poem When I Sleep was first published in an anthology released by the Asian American Women’s Artists Association Cheers to Muses. I believe there are still hard copies of this book available through the organization. Work exhibited or featured ranged from sculpture to prints to writing. We do not create in a vacuum; at any time there are others who are creating, making, and expressing, and it’s important to note that we are not alone in this way. Women who have chosen a path predicated on expression and creativity often find themselves on the fringes of a society, and so it is important to know that you are not alone in this endeavor, that is often looked upon by outsiders as rather peculiar. It’s important to note that there are avenues of art that are always accepted by society should they fall into the matrix of womanly arts–these are not to be dismissed. But when you begin to question existing narrative frameworks art becomes dangerous.

Always remember that writing is a radical act. And as anyone who writes will tell you: writing is not a choice; it’s a compulsion.

I was remembering what a Korean American friend of my sister’s once told her: “Why can’t you just conform?” LOL. This is such a terrifying statement on so many levels. What was it about how this young woman was raised that she would level this type of criticism? Rather terrifying. The world finds so many ways to keep women compliant.

The poem below was a real dream I had many years before I divorced. I was extremely unsettled, filled with anxiety, but it was difficult for me to discern why or how as seemingly, everything on on the surface seemed to be as it should. Child. Spouse. House. Work. Check. Check. Check. It’s the potential hell of surface oriented idea of a heteronormative nuclear family that is a disguise for unrest and discontent. I found out years later, unsurprisingly that many people I knew were more or less drug-filled, bodies numbed from what modern capital declares is contentment. Purpose and happiness are complicated when it comes to obligations and definitions of women and place. Our bodies know what our minds fail to grasp. There is no peace without sleep, lack of sleep is a form of madness, and this absurd modern condition is the killing of what it means to be who are meant to be. What does one do if the dreams offer no release from the day? If the day is a continuation of what is reflected in a dream?

This poem underwent quite a few drafts. It is much shorter than the original, but I tried to keep the idea of the upset of the ordinary: How we squelch the true ideas we must confront in the daily habits of washing our face, walking across the floor, going to sleep. At this point too, I began to see how the power of beauty, youth stands with age.

There is too a refusal to awaken, because to truly rise means to live seamlessly between what is honest and to acknowledge what most deny. We live this way to shore up some idea of what should be– that is rooted in concepts of scarcity and fear.

The ideal state is to live without denial of who and what you are, to peel off the layers of sleep that seep into our waking hours, to boldly move your body, all of who you are, into a state of consciousness rooted in an awareness of mortality. Calm. Acceptance. Peace. Joy.

And now I head to the water. Have a great day. Aloha.

 

 

When I Sleep

 

Memory drowns in dreams—

monsters of the deep bare incisors,

scrape with scales.

Incandescent. Ravenous.

Earth’s belly spits a picture:

you run on a meadow to muses,

blossoms of poetry.

I lift my hands in a corner of disbelief.

 

Trapped by morning.

Eyes raise to the sun.

Escape vanquished by daylight’s rip.

Night’s pictures, a pornographic loop.

 

I am sorry, but I too

have impossible songs that swell.

We bend, but the nightly reprieve will not halt.

 

I splash water onto my face,

note lines on my neck,

imagine words murmured in your sleep

did not leak into my own.

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Belief and Philosophy Divorce Health Passing in the Middle Kingdom Poetry Reading & Writing Self-help

Passing in the Middle Kingdom: Genus Mui Wo

This is Mui Wo at night. The path up to my former home. It’s wonderfully quiet and there’s a calm truth to being outside with the frogs and the darkness in utter safety. Forgotten. Lost. Present.

I always felt very out of place in Hong Kong, but I have concluded that this is the nature of the city, both historically and currently, as it is a population that has been shaped by the confluence of trade, politics, and capital. It’s about movement and rather abrupt in that if you are not from the city, it’s where you come to make a deal. I always found it rather humorous that expatriates would jabber on about how HK people were unmerciful and solely concerned with finance. But uh…everyone who was there, the expatriate community–they were there to make money. Very very few expatriates are there to immerse themselves in Cantonese culture or are interested in the native population other than the ways that they provide an avenue for the accumulation of their own personal wealth or well-being. Arguably, there are many cities like this, but the racial and social hierarchies are complex in this city. Not always, but it can be very “us and them.”

There’s the indigenous population,  those that migrated from other parts of China, and those who were part and of the former British Empire–government officials, bankers, carpetbaggers, military, and explorers. Finally, there were those like me, a Korean American who ended up in Hong Kong purely by random chance, a default of a marriage to a Brit.

I was an expatriate, but not of Chinese descent, and not from the UK, nor the Commonwealth, so this made the dynamic quite different for me culturally.

A Commonwealth friend once excitedly exclaimed that there was an English speaking woman on the ferry, and in celebration of a new woman in town, there would be a get together welcoming her! There was even a gathering to greet the arrival of a Western white woman. This is when I realized the depth of the difference in the way I negotiated my existence as an expatriate of Asian descent. When you look like the majority of the population, even if you speak English, there are no Welcome Wagons for you. I thought that this must have been what life was like on the prairie in the 19th century. Like, oh the wagon is bringing out a woman from back Home etc… I know there are Korean Welcome Wagons, but personally, I have never experienced this type of thing because my identity has been so fluid. I hadn’t expected any Welcome Wagon, but I realized that life as an expatriate was different if you were not Asian and spoke English.

I remember my mom got a Welcome Wagon basket from a neighbor when we moved to Memphis. This was decades ago so my parents were integrating the white neighborhood and there was a lot of curiosity about them. I would be mortified because right when the conservative white Southern Baptist woman swung by, my mom would be there with the cleaver whacking on the cutting board with garlic rising and I could see the expression of the person’s face: “Oh my, what interesting new people…” Yes, they were different creatures in that space.

There’s a very old comedy Eddie Murphy Saturday Nite Live skit where he gets on the bus as a black/white person and the differing reactions. So often I’d hear the rantings of people’s derisive anti-Chinese comments and simply act like I didn’t understand English. I passed–hence what came to be the title of my poetry manuscript. In Asia, you have access to spaces if you are English speaking. The caste and color line become very nuanced and complicated. I had some tremendous opportunities that would not have been given to me had I been in the US. As an Asian face with lousy Asian language skills, my value was measured. If you don’t have Mandarin, given the politics of the place, it’s tough now for many, but some of the ways you move through society are personality-based.

I thought about being a different kind of species–Genus Mui Wo…I believe I was evolving into something else too, something I could not recognize. There are many ways that being out of your cultural milieu can challenge your value system, what you know about yourself, how you see the world. I was better and worse, potentially more extreme versions of who I am. This is a physical visceral sensation. My parasympathetic system was entirely out of whack. I was not feeling who I was within my former partnership, and also within my own relationship to myself. Who is the self? What is my species? How pedestrian am I? I move from being a creature of the sea to one of the sky. In a sense, this is also the story of earthly evolution. We are all from the sea and before that, the stars, and to this end we will return. Stardust.

And let’s face it, while I didn’t intend it deliberately as I wrote this piece, it touches on this idea: did you ever notice how the future is depicted in media? There are outer space creatures that have vaguely Asiatic features often featured in spandex LOL. The idea is HEY those people are MIGHTY WEIRD. Let’s uh, make them sci fi characters LOL. Because we can’t imagine them. They are perpetually Other and Foreign. As Takaki wrote, we are Strangers From a Different Shore.  I think this has long been part of my awareness of difference–being treated like a different species…so there’s that.

The reference to Korea: I almost drowned in the mountains of Korea, outside of Seoul, when I was six. We were crossing a stream, my uncle who carried me slipped. A cousin grabbed me as I went under. I pulled my uncle’s hair. It took years of swimming lessons for me to learn how to swim, although once I did, I swam quite well. After the near drowning, I would sit on the shallow end of the pool on the stairs. I hated washing my face. I terrified of the water. My mother was from Hawai’i, and while she wasn’t a particularly good swimmer, (the Mom Swim: sunglasses on, face always above water lol) I was expected to swim.

After I could finally swim, she insisted I dive. I refused. I would jump over the swimming instructor’s arm, do anything to avoid being upside down. Undaunted, my mother hired the university diving coach. He took me by my feet, hung me upside down like a fish, and said on the count of three I would be dropped in. Splash! He did this several times, and again the next day, and after that–I could dive! I was 10 or 11. Thanks, Mom! Someday I’ll write about the rip tide which still leaves me with some anxiety, but that’s for later…

Reading this poem again, I recognize that I was fatigued, bored, frustrated, and exhausted by the marriage, but yes, I had the minnow, my small child, and so I stayed, as many do. I felt more dead than alive, but my child kept me going. I poured everything onto the page as there was nowhere else to leave it. You start to collapse into yourself. As a child I escaped by reading and writing. During the course of my marriage I read and write to escape amassing pages and degrees and doing whatever I could to avoid my physical reality.

All the while in Hong Kong, I could easily deconstruct how race and nation played out, but patriarchy was more difficult. I should say this was in specific to my own situation. When you are isolated emotionally you become inured to carelessness and cruelty and in the end, this is how and why you can become subject and vulnerable to abuse. In another cultural context too, one can become uncertain of the parameters and structures. Is this the story I know? Is this story playing out because I am in a different space? Where is the beginning and where is the ending? Existentialist type of questions.

I have a different kind of empathy now watching mothers with their small children if they are raising their children outside of their home culture. I can see all the anxiety, the concerns about doing what people are saying is best, but what, within your own culture doesn’t make sense.When you are not in your own milieu, your cultural values become uncertain and questioned. You must adapt–the question becomes what do you change, shift, and why?

I rewrote the ending of this piece many many times. But yes, I did grab that small hand and we ended up in Hawai’i–the ancestral home. Me and The Kid. Right across the street from where my family is buried.

 

 

 

Genus Mui Wo

 

Kick. Glide. An ageless alien floats.

Close eyes. Close eyes.

No tentacles, only gills, tales of tails.

To elude conscription

I snap skin from honey to olive,

declare citizenship,

nurse milk from stone,

scuttle over shallow water,

dodge mops. Hide. Seek.

Miscalculations of the moon stranded me.

Risks are for the hunt.

On and off the endangered species list,

experts argue: A bony beak.

Jelly lips. Feet trained to point.

I’m pedestrian,

a nylon-clad refugee,

swimming lap after lap.

Please, do not filet.

A diligent learner, I open jars, play puzzles.

Hostile conditions rendered me mute.

Survival, a testament to tenacity,

obedience, fear.

Plastic goggles squeeze eye sockets,

reveal loops ad infinitum.

***

I Almost Drown

DAY— KOREA — A MOUNTAIN CREEK.

We drive from the City. Two urban pale uncles hoist children on their shoulders, water skims chins. The sun flicks its light. Footholds missed! Kicks. Sputter. A strong arm. Saved by Cousin Ki-dong op-ah’s red and white inner tube. I am six. Shattered on the sandy river bank, twisted in bladderwrack, fish cheeks like pebbles, glassy eyes rimmed pink.

Years of failure, but Mother persists. This is not tennis! I butterfly, backstroke, breaststroke, freestyle, dive, hobble ashore with webbed feet. Beached, I weep for the sea.

fin

 FADE TO BLACK

***

My nocturnal mate provides shelter,

hunts with a weapon to his ear.

A stomach x-ray reveals a corroded past.

A beast-baring teeth, he attacks seaweed strands,

black painted lines.

I watch the show in silence.

Dolphin hooped: I applaud on demand.

I long to disappear,

but a tiny one swims by my side.

I stay.

Open a book. Tumble into words.

When the minnow pedals the prehistoric cycle,

I’ll shrink to a cloud bite in the blackest tea.

Before my organs drown and stop,

I dream the sea parts my heart,

walk the collapse of blueberry night,

and lick death’s sweet.

I note my eye’s lemon light,

marvel at my downy skin,

flex my talons.

Ready for flight!

I leap to private myths—

cloud wrap a phoenix belief

from shredded wings,

grab a small hand,

clutch my heart,

instinct pressing me home.