A year from now, here are five things from this week that I'd like to remember:

MONDAY 

After F goes down for her first nap, I sit at my desk to write. Since November 7th, I’ve been in the business of writing poetry, a fact that continues to startle and amaze me. This practice happened into my life because of Margaux Kent, an old friend who has been writing and sharing poetry with two friends since April of this past year. The practice is simple. Each day, I write a poem, put it inside an envelope, and post it to Margaux. Each day she does the same, which means the amount of actual mail (ie: not a bill) that I receive has gone up exponentially. The amount of poetry I read has increased. My joy? It’s skyrocketed. 

I love poetry. I’ve always wanted to write poems. When I was younger and more daring, I actually did. As the years rolled on, the desire of being good—of being a “real” poet— became more important than the practice of writing poetry itself. This desire, which was actually a fear of failure, kept me from poetry. It placed a dividing line between me and the craft. It said: you are a reader, not a writer. In this way, this fear also kept me from myself. 

Creative life can be lonely; young-child life can be, too. I spend 90% of my time with my 7-month old, inside our home. It’s rare that I venture outside of our neighborhood. I haven’t been to a happy hour in years, and since F was born, I’ve taken a step back from my work and creative practice as well. My children are small and they require so much of me. I know the cliches are true: these years will evaporate much more quickly than each day feels. Also true: In this period of my life, there is less of me for myself. 

In November, I read about Margaux’s poetry project in her newsletter. Her dedication to this practice inspired me. To me, this practice isn’t a commitment to writing good poetry or becoming a good poet, but is, instead, a commitment to the oneself. It’s a commitment to internal listening, to writing for the sake of writing, to being in community with others. 

With hesitation, I comment on the post asking to join. A few minutes later, Margaux replies yes. With excitement. With open arms. Since early November, I’ve been writing a poem most every day. I write each by hand and place it inside a painted envelope. I walk to the blue post office box a couple of blocks away, usually with F in tow, and drop each one in. 

It’s December now. I’ve been writing daily poems for over a month. Here I am: a person who writes poetry. Like me, my poems are not good or bad; they just are. I am. A person. A poet. 

It’s difficult for me to put into words just how precious this practice is because it fulfills so many present needs: the need to write; the need for creative discipline; the need to capture small moments that otherwise go unnoticed or misremembered, swept into the wayside of magnificent-yet-ordinary detritus, like an orange peel or the sunlight’s hourly change. 

It fulfills a commitment to friendship; a need for knowing another more deeply; a need for vulnerability through craft. Each day, when I sit down to write, I think about how this creative practice gives me more than I thought it would: a change of intellectual scenery, a deeper affection for syllable-parsing and line breaks, the opportunity to rekindle a fractured creativity. Respite from a lonely few years. A coming up for air. Revival.

I write today’s poem and then place it in an envelope. I write Margaux’s name on the front and my own on the back. I don’t tell her this but I think about it now: that the beautiful part of this story isn’t in the poetry or the letters or the creative practice at all. It’s much more simple. It’s that when I saw a door and knocked, someone let me in. 

TUESDAY

“I can’t think of an act more generous than an atheist at prayer, who temporarily puts aside their disbelief in a god in order to bring comfort to a friend. Loosening your position for a moment, and doing something difficult because it has been asked of you by someone you care for, demonstrates a confidence in your beliefs, and shows that they are not so prideful or absolutist that they manifest into a smallness of being. 

Of course, to some this act will seem intellectually dishonest, a sham and a lie, but to others it will appear as the purest kindness, where heart eclipses mind, a true and complex gesture of what it means to love somebody. We show that in times of need we can do whatever is required of us, with a magnanimous heart, bending to the will of those we love. Understandably, it will be difficult for you to pray, but that is the very reason to do it. What is true friendship if we are not tested at times, if we are not prepared to soften our cherished ideals as an act of fidelity and commitment to those we love. In the end, this act of friendship may be the most eloquent prayer of all.”

—Nick Cave on praying as an atheist, which I interpreted as practical advice on being a human, a civilian, a friend. 

WEDNESDAY

John Hendrix, the chair of my MFA program in Illustration & Visual Culture, writes to ask if I’d consider sharing what I loved about our program. I’m nearly 8 months postpartum, which means it’s also been 8 months since I graduated from Washington University here in St. Louis. I live a stone’s throw from campus, so I think about school quite often. I miss being a student terribly; I knew that I would. 

Attending this program unlocked a lot for me, the most important being that it forced me to get out of my own way. I’ve always believed that if I could pick a vocation—either writing or drawing—I’d excel at one instead of chugging away, moderately, at both. This program gave me permission to not choose sides. It showed me the unique potential of being an artist who can share multiple perspectives of a story, through written and visual language. It gave me the strength—and the time—to begin working towards a new chapter of my career in children’s literature. 

I learned a lot about storytelling, developing a reliable creative practice, and creative discipline, but mostly, I learned more about myself: Who I am, what my values are, and the philosophy that will guide my work. I discovered what I want to make, why it matters, and who it is for. 

What you’ll get out of a graduate program is likely dependent on what you’re willing to put in. This program didn’t tell me what to think or believe or do—it didn’t give me a road map to follow, though I often wanted one. Instead, I was taught how to think: about storytelling, myself, and the impact this combination can have on the world. 

*If you have questions about this program or my experience at WashU, feel free to comment or email me.

THURSDAY

We watched Minari, finally, after the kids were asleep and the house was quiet and it was every bit as beautiful as we’d heard it was. An immigrant story can never not be beautiful, I think, because it always contains the full breadth of human experience: perspiration and heartbreak, incalculable risk; a heart now split in two, half of which can never be recovered from the country it was left in.

I watched most of Minari with my hands covering my eyes, which is how I watch any film worth watching these days. When it was over, I felt emptied, disappointed that life is so arduous for so many. T was mystified by my reaction. He beamed as the credits rolled, exhilarated by watching a family nearly broken by life’s difficult choices sew themselves back together. 

Willingly, I changed my perspective. 

FRIDAY

Suppose I say summer,
write the word “hummingbird,”
put it in an envelope,
take it down the hill
to the box. When you open
my letter you will recall
those days and how much,
just how much, I love you.

—Hummingbird by Raymond Carver

xx,

M

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