Monthly Archives: September 2011

Trees, Changing Seasons & Writing

looking down at leaves of red, yellow, and green, through a white-framed window

the view from my front room

I’ve already hung jack-o’-lantern lights, and the first good autumn rain is using my walls and roof as its own soft percussion section. Yet from my top-floor flat, I can still see plenty of green leaves. One of these trees, now still mostly green, gave me the first hints that fall was coming back in August when a few of its leaves turned yellow.

In a city that’s home to deciduous trees, it’s the trees that tell you first when the seasons are changing.

Those yellow leaves have since turned gold and then brown and fallen down. Other parts of town have more leaves on the walkways (they don’t survive long on the roads); all month, I’ve taken time, on those rare dry days, to crunch through drifts of leaves on my way to the office or the library. A few times I’ve jumped from pile to pile instead of just stomping through.

Already I’m thinking about how I won’t accept that it’s winter until the last leaves have fallen, leaving behind branches and trunks that grow dark and slick in the rain—no matter how many layers I’m wearing before that happens. Given how slick last year’s snow made the sidewalks, I try not to think about the dark wood taking on a white outline.

None of these changes happen all at once. We choose dates and times to say when one season ends and another begins, when we change our clocks, when we pull out our boxes of scarves and thick sweaters. The trees warn us when these days approach but, more importantly, they show how arbitrary these moments are. Seasonal change, and the turning of the leaves, is a process, not a moment.

And my writing process is a bit like that process. I don’t write in discrete first, second, and third drafts: some paragraphs may have been written and rewritten multiple times before other are made more than an outline. Trees don’t make sure that all their leaves have turned red or yellow before they begin to lose them. Some leaves are still producing plenty of chlorophyll while others have already curled, dried, and fallen.

trees on a lawn with sunlight streaming through gold and yellow leaves, some leaves have fallen onto the grass

Queen's University Belfast Quad, September 2009

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Sunday Small Stone

golden hour, golden leaves
golden window that divides
golden wall from outside

until the clouds turn blue
there is no institution
-al white

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Prezi Poem 2

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A Decade

Ten years ago I still got carded every time I went into a bar. I had a state ID but not a passport (I still don’t have a driver’s license). I had never even imagined that I would or could end up living in Japan, China, and (now) Northern Ireland. And I had rarely flown. So it was quite a coincidence that I had landed in Oakland just a little more than a week before 9/11.

It was a terrible coincidence: I was flying home from my father’s memorial service. My father, though you never would have known it from his accent, grew up in Jersey City, New Jersey. He cheered for the Yankees. He was twelve years old when they broke ground for the construction of the World Trade Center.

It was a terrible coincidence. He died the day before the orientation for my Poetics MFA program; I had only moved to the Bay Area a few months earlier. I attended my first class the day after the memorial service. Not many people in the program ever knew that. How could they? It wasn’t as if I could introduce myself by saying “Hi, I’m Elizabeth. My daddy just died.” His death came up in a few poems, but workshops run smoother if you never ask each other what is or isn’t fictional. Start asking that question and suddenly certain kinds of writing become unsafe to bring in—it’s easier to confess to a faceless reading audience than to flesh faces you see every week at the very least.

Of course, we also spent a lot of time in workshop—in all our courses—talking about how poetics could and should respond to 9/11 and the wars that followed. My life and my poetics would have been in turmoil regardless of 9/11. But when something so dramatic happens so soon after you lose someone, it draws a line between your life and theirs. And that line turns out to be a chasm.

Someone who had been alive less than a month earlier never saw the towers fall. (I heard they had fallen before I saw it since I didn’t check the news before heading off to my job selling opera season subscriptions.) My father never knew about the wars in Afghanistan and Iraq which I spent so much of my time in San Francisco protesting. (I doubt he would have been impressed at my getting arrested for the cause, but who really knows?) He never knew that I finished my MFA or moved overseas or started working on a PhD.

It’s normal to be able to create that kind of list after a decade, but when something like 9/11 happens so soon after you lose someone, the gap opens up too fast. It complicates grief. You get that sense of distance, as if you’ve moved on to the point where missing that person has become just another part of you—except not enough time has passed, so the loss is still raw. You’re never sure how much you need to grieve. Or how to grieve in a world so different from the one in which you knew them.

But eventually your grief ends up where all grief ends up: a small sense of loss, neatly bound by rituals and monuments which are, for the most part, enough to keep you from remembering that the loss is always with you.

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Magdalene & the Mermaids

Magdalene & the Mermaids

Magdalene & the Mermaids

Elizabeth Kate Switaj's First Collection of Poetry

Available From Reviewed at Sample poems at
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  • @KristenSahara
    Agreed. I try to write poems with interesting imperfections instead.
    2012/05/18 01:15
  • @nomopoetry
    @dagny Then like I said you'll love Lindley Murray.
    2012/05/17 22:46
  • @nomopoetry
    @dagny OK, if you want to cling to Strunk and White, that's your business.
    2012/05/17 22:18
  • @nomopoetry
    @dagny That would mean striking most of the book. It's not just dated; it was wrong to begin with.
    2012/05/17 22:15
  • @nomopoetry
    @dagny But surely that can be taught without the baseless prescriptivism wrapping?
    2012/05/17 22:13
  • @nomopoetry
    @dagny Formative of what exactly? Linguistic prejudices unrelated to real usage? Why not go all the way & read Lindley Murray?
    2012/05/17 22:51
  • @dagny
    @nomopoetry Argh, please, no. Strunk & White is terrible. See, for instance, and
    http://t.co/GLQYqo3N
    2012/05/17 22:10
  • "Go inside a stone / That would be my way." #poem #poetry
    http://t.co/NNbXR1N3
    2012/05/17 20:25
  • "Writing while facing a wall, incidentally, seems to me the perfect metaphor for being a writer." - Francine Prose
    http://t.co/N42f866H
    2012/05/17 19:18
  • Read an old post: Poem: A Popular Website Puts up a Poll Asking if a Journalist is Responsible for Her Rape
    http://t.co/ogNVIbGz
    2012/05/17 14:12