In the Library of Dreams a Poet stood at the front of a room lit only by amber candles dressed in velvet robes and a crown of laurel befitting the most seasoned bards, a hint of a smile lifted on his face familiar as he pulled from his pocket a round red ruby and a sparkling white crystal explained to all of us about life and death the immortality of words tells us we are given crystals two apiece at birth red like an apple for life and living white for the wisdom of sages like himself a wizard of words enchanter of stories sorcerer of time.
The warmed blanket offers as much comfort as the ghost who held me in dreams said all the right things too late to even consider a new lease fucking cliché at this age find myself wishing I were the type to waste away in bed where dreams at least offer promise.
As one ghost lies dying from heart ache, another suffers tragic loss, and a third fades quietly into the ether, she is reminded that always, in the epic final battle, everything resurfaces: there are fires burning, smoldering moments of despair, a defeated arch nemesis, a warrior waning and
AND
a heroine — walking wounded — considering the sunrise its event horizon the point of no return from all of this and all of them these lost souls her poetic impetus
By the time I can walk freely to the backyard again, my summer friends have flown, their brightness replaced by soft subtle grays, and I can’t help but wonder about the cardinal, her wing askew, who spent the season managing her brokeness as deftly as I navigated my own; she moved about as best as she could, stayed strong; found her stride and her song. I miss her now, these cold mornings more quiet without our shared infirmary, and I imagine her somewhere safe, like myself, moving without limit.
*As if on cue, I saw my cardinal friend in the backyard just this morning, the first time in a month!
Do the birds know I am not myself moving gently towards them seeds in one pocket water in the other barefoot in the cool, damp grass tticking to call the cardinals tticking to say I have not forgotten you I have been here all along just moving more slowly finding my way to solid ground done with the flitterings of grief and old limitations — so what of loss? these leaves had to fall it is the natural order churning and churning everything changing the leaves, the river, and time tticking too
The 8″ battle scar explains the retreat in glorious, punctuated detail so no apologies or all apologies for having been absent from duty absent from craft absent from self our tactical strategy required split-second timing a vanguard deployment of the strongest self armed and ready for the battle of chemical warfare and severed skin, of breaking bones and hammered metals; while the correspondent self held the flank, taking cryptic notes to send by wire later, when the haze cleared.
a poem inspired by Stranger Things, post-op drugs, and him again
The meditation takes me to the Upside Down — a crossover of dreams and Spielberg memories, where muses suddenly appear with the Next Great Idea! on a dark plane of black water, the beaming light of What Comes After This; but he is there, too, and I say the goodbye I never get to say except in dreams and poems I want to fold up and leave in secret places, like the Upside Down, where maybe he travels sometimes, this kindred spirit who is so familiar I am always certain we have crossed paths in some other life… or is that just this rich, deep darkness of conjuring? the magic of a poet turning things over to see what might be, maybe, substance for another poem?
A bird in the privet suddenly sings and without evidence of prey I can only surmise that she is dreaming. It’s a morning for dreaming, crisp-cold and clear, the moon and Jupiter still dance while constellations shimmer to the rhythm and she is singing in her sleep, a sweet but startled sound as if she feels our spinning, senses the sun’s fast approach wishes for one more hour of peace before the day begins.
It’s 9 o’clock my time barely three for you but it’s no matter we’re decades apart — not hours — only ghosts here in the library where I race to find the book I need you to read before the alarm goes off and I wake to the day where it’s just a fine gold thread that connects us now.
I pass long tall stacks of coffee table books and the bust of Blackstone in the halls of recorded memory — yours and mine — and you seem not to notice the immediacy of the moment when I approach with insistence, your retired posture almost welcome were it not for the clock ticking next to me in the bed we used to share,
but by then the words have disappeared from the pages in your lap and in exchange, a collage of nonsensical images fall to the ground at your feet rendering me speechless in that dreamworld way, paralyzed by all I have left to say, gasping for moonlit breaths.
In the dark you whisper your worst fears made manifest by explosive lights and sounds you conjure in the woods outside our room, specters stretched tall along walls the shadow of what comes, but I am not afraid of your ghosts nor you of mine — we’ve never been — it is why we find ourselves here again partners in crimes of comfort and concoctions; I leave my dreams to curl into yours, stroke the broad arm of your embrace, lie in the darkness of silent understanding, this midnight love come round, the long wide bed, moonlight and stars our afterlife dreams.
Resisting the urge (for the seventh or eighth time in two days) to hoist the parking lot flag back up to full mast in some alter-ego Fuck Donald Trump ninja subterfuge, I remind myself to breathe in the gorgeous late summer afternoon there in the shadow of Ikea — monument of consumerism — gorgeous, except for the Spotted Lanternfly that crosses my path begging me to squash its red polka-dotted guts out; more death on these days of infinite death I cannot bear; it might be feast for the songbird trapped in the cafeteria throwing itself again and again and again against the ceiling-high windows, their pretense of sky; it does not stop seeking what it remembers, the poor thing, but is that Futility or Hope I wonder as I read signs about food waste and recycling, the 3,920 solar panels on the roof above my head, feast on Swedish meatballs covered in slick red jam.
You are legend suddenly made flesh but no comparison to the mythology I have constructed for you. its scaffolding felled akimbo by your presence, poetry strewn in incomplete sentences across the timeline; mere mortals are not made for this; we fail by our very nature, destroy the sacred altars of memory, light fires to its sweetness, and burn down walls of forgetfulness; best put you back in the box, close the lid tightly before even Hope escapes the happy ending I wrote on our behalf
Maybe it was the full moon or just the occurrence of these days of ending things crashing around us the long slow molting I want you to know I tell him in case I die… but I am no longer sure if that was real or something I said to a ghost
They all come to visit lately by happenstance or dream by the cosmic dust that connects all of us or through airwaves as cluttered as our atmosphere
Last night I walked with one — a ghost — along a woods road up into a wide field of apple trees and goldenrod laughing like old friends
And it was so good to see him again that I burrowed back into sleep in case he was still there waiting
Sometimes when they hover like this converge in dream spaces whisper in dark corners I think I must be dying And this is our mea culpa our chance to set things right finally or again
I never could see it in myself, that origami fold of accommodation, beautiful in its grace and considerations, but the creases wear thin after a while;
I see it in her, this kindred spirit across from me; offer silent permission with a glance and watch as she unfolds just a little, reconfigures her angles to her own liking, sets things right, sets things free.
I stayed too long in dreams so much the day seems flat and one dimension; in my mind, the sander still polishes the leg of the man who said “the body always feels pain” as sawdust coats my throat too much for words; a crystal-blue rain falls with wicked gold lightening against the wide horizon somewhere along I-90 in South Dakota, an angel floating in the back seat laughs at what we forgot to say, urges me to Drive! Drive! Drive! as if I am escaping something; all the while my mind ticks, like a clock pacing time, thinking how to slip you a note handwritten that says 808.81 and nothing more, you’re the Sherlock Holmes, you figure it out; all these years, the conversations in my head and you, deaf and blind or just resigned to dreams like me, this morning, wasting days away before the knives cut out pieces of me again, remember? Like the last time you were here, the both of us relieved to hear “she made it.”
The friend who found me after I lost you died and so I lost her, too
there’s a long list of others lost for various reasons since then
by default by accident by misfortune or miscalculation or by the eventuality that all things change and nothing is certain
certainly not love I’ve lost that, too, too many times
so many times I’ve stopped counting one, two, three… out loud anyway
do you ever wonder why we find them again? in hallways of dreams, in lobbies of random buildings doors opening and closing and time passing on all sides everywhere except where you stand momentarily lost and found and lost again
there will always be more to say a one thing I didn’t mention a question I needed to ask a reassurance or gratitude or words I never, ever spoke out loud a messy, beautiful bouquet things I’ve gathered for the next time we meet by chance or happenstance petals dropping even as I walk away a meadow of words at my feet forget-me-not nor I you, ever
His smile was Errol Flynn from the get-go, and he made no apologies for the affect — the tight jeans and cowboy boots, the crisp white t-shirt sleeves rolled, suntanned arms, the hair done up and over, the cologne as alluring as the charm he used to catch your attention. And once he had it, he’d reel you in slow and steady, until you would agree to anything everything and never look back, not even now, all these years later, where he remains as legendary as he was those first early days when you rode the high seas together, stared up at the wild stars and knew you would never ever forget.
WHAT ARE YOU SEEING? In today’s world, this question takes on a whole new meaning, doesn’t it? What are we seeing? What is real and what is imagined? How is my subjective response relevant to the collective real and important conversations?
It’s critical, now more than ever, to validate what is real and to identify our selective responses. In this issue of Manifest (zine), you’ll find several images of artwork, each followed by an ekphrastic poem that responds to the art.
The zine is arranged in such a way that you are asked to see the REAL artwork, and then turn the page to read a SUBJECTIVE response. In doing so, hopefully, you’ll come to understand that for every YOU looking at the world one way, there is a ME seeing it completely differently.
Featuring writings by Jen Payne, and artwork reprinted with permission by Jennifer Flint, Lisa Wolkow, Susan Doolittle, Linda Edwards, LeBrie Rich, Collier and Kim Hahn, and Frank X. Tolbert 2; as well as older works by C. Allen Gilbert, Joseph Beuys, and W. E. Hill.
24-page, Full Color 4.75″ square booklet and a curated Spotify playlist. Cost: $8.00.
This issue has been printed and mailed thanks to the generous support of readers. I’m hoping to continue publishing MANIFEST (zine) through 2026, but could use your help. Please click here for more information.
You can pay through PayPal using a PayPal account or any standard credit card. If you prefer the old school approach, please send your check, made payable to Jen Payne, P.O. Box 453, Branford, CT 06405.
Last week, in one of those wonderful moments of happenstance, I met a local woman who — we discovered while discussing her photography work — was raised in the same town as my mom and dad. We got to talking about what it was like growing up there, how you really are made up of where you come from, and how the language of the place filters into conversations like ours and defines things without elaboration.
I wasn’t born in Bethlehem, Pennsylvania — but my entire family was — my mom’s family and all of Dad’s, uncles and aunts, cousins. My parents, decades after moving to Connecticut, still called it Home, and for me, sometimes, it feels that way, too. As a child, we spent holidays and summers in Bethlehem, attended family weddings and funerals. Still, today, I can drive around the city without getting lost, find my way back to my grandparents’ houses, the cemeteries, the church where I was baptized and my parents were married.
So I knew, immediately, the location of the photographs in this local woman’s portfolio. The view from the Southside that Walker Evans immortalized (above), the Kraken-like spires of the steel mill rising from the shore of the Lehigh River, the stories-high windows through which I used to watch molten steel flicker and pour as we drove through town.
Like my client, I have always been fascinated by the steel mill. It holds its place in my mind as the beating heart of the city, with its pulsing engines and machines. It was the center through which everything moved: the trains that woke me up at night, my grandfathers working night shifts, my grandmothers keeping house in the shadows of industry, the smell of iron ore on their skin.
If you have been there or lived there, you know that smell. You know the feel of Steel City, its rough-around-the-edges energy and patchwork culture of blue collar workers, religious sects, and immigrants. You know the hills of Southside, the porch-lit Moravian Stars, and you can see the famous steel stacks along the skyline. You see them, even now, as ghosts keeping watch over the casinos and concert venues, the museum dedicated to the long-gone industry that made its city famous.
The woman I met, Linda Cummings, is an artist-photographer with an incredible catalog of work. You can see her collection of Bethlehem, PA images on her website. They’re part of a larger collection of work called Slippages that will be featured in her new book of the same name.
how the ants know it’s coming before the rest of us realize, how they announce its arrival in a parade across my kitchen counter, their appreciation of the small morsels of sugar I’ve misplaced, the renegade crumbs
how the mosquitos are consistent in the hum-hum-sting of their assault at the backs of my arms, my legs, my scalp and at the sweet tender skin of my ankles, how assertively their bites manifest as persistently-itchy welts long after the union of proboscis and skin
I love the sharp pungent aroma of bug spray its perfumed plumes of offense that linger on clothing and linens, its placebo effect that lulls one into thinking a stroll in the grass or evening walk is not the suicidal effort it inevitably becomes how calamine, all these years later, still has little effect
I love how the sun is brighter and hotter now, how it sizzles in the sky and scares off cloud cover, how sun begets sweat that trickles down my neck and back and armpits and the crooks of my knees so that everything is damp and humid and sticky including my sheets at night, and the pillows, too no matter how often I wake and flip them to the cool side, no matter the window unit chugging along the fan blowing luke-warm air and irony
how humidity hangs in the air, keeps everything summer moist swells up my fingers, makes mock raisins of my toes in their constricting summer sandals that bind and dig-in, leave criss-cross marks like tattoos that say Summer Was Here
I love the incessant noise of lawn mowers the ARRRRRR ARRRRR ARRRRR beat of blades the tease as they fade around the corner but return for another stanza often accompanied by the RRRRRRA-ZZZ-ZZZ RRRRRRA-ZZZ-ZZZ of the weed whacker
Oh…all of those summer noises! the startling shock of motorcycle manhood as it revs its engine just as it passes my open window, the cigarette boat in the harbor insisting no it is bigger and better than any motorbike the backing-up beep of the landscape van, the beat box boom box bass of radios blasting music nobody likes, the violent scream of the chain saw against even more trees, the fireworks erupting to celebrate their own percussive noises in an ongoing summer competition of what the fuck can be louder than this?
I love the busy-ness of summer: the ants and mosquitos mere poster children for the weeds, the outside chores, and the inside chores, the long and sprawling list of Things to Do and Places to Be and just how many carnivals, fairs, markets, and outdoor sweaty buggy get togethers can one fit into a two-day weekend that requires hours of slogging through touristy traffic crawling along at 20 sweaty, noisy miles an hour
Perhaps, though, what I love most about summer is that tortuous steamy day in August, as heat forms in waves off the macadam and gossip spreads of eggs frying and Lucifer rising, when the air conditioner coughs its last breaths of what passes at that point for “Cool” when you look, then, to the heavens to beseech god up above to make it stop and you see what appears to be trees aflame… and know, intuitively, that soon it will end graciously and gloriously end.
I am back on terra firma, sound rushing through my feet and up in a cacophony of thought, worry, consternation that somehow fades on the coast, transitions into whitecaps and whale song, a quiet not to be found among these common conflicts at home, the roar of traffic, the flight plan overhead, the bells and buzzes of business.
How is the sound of the ocean and all its occupants some two miles deep meager competition to the loudness of this day today? The ever present noise of them and us and this…even here in my beloved woods.
I awoke this morning feeling rudderless alone and adrift so I partnered myself with sheets and pillows in a meager attempt to stop the sway to right myself between swells of defeat and despair but finding no equilibrium I moored myself to the day and got on with it albeit without commitment or fortitude floated aimless past noon and afternoon grateful for the sun’s setting the welcome drift of deep deep dreams.
It is often effortless this charge a light somewhere a word a phrase a road highlighted on an internal GPS how to get from here [ thought ] to there [ something written ] with little but an invisible arrow a compelling a compulsion an understanding that it’s fleeting unforgiving fickle if not me and mine then someone else somewhere else will get it catch it in whatever way they have learned to catch mitt, net, rain barrel
I prefer mine organic open a door a window my arms let the words come right in no ceremony or formality no place settings and certainly no roughhousing (live and let live, I always say)
you wanna be a good poem or a bad poem, one anointed with laurels or just doddering in the margins? come on out with all your slick juices scream and wail and take that first breath, baby!
and then there it is whatever it is good, bad, mediocre
I don’t mind them any of them, really they’re warm-ups stretches practice runs compost
take a deep breath
because the good ones? Mmm, yeah, the good ones, they glow! preternaturally hum and buzz and vibrate a little so you have to keep reading them over and over pinching a dream is this real?
You just birthed an angel, mama — a wild wondrous angel — watch her fly!
Hindsight is 20/20 except when what you’d been seeing then, back then, was larger than life, grander than anything you could imagine and so enormously out of proportion that… now, hindsight is microscopic requiring broken circles of glass — that you try not to bite down on too hard or else you might bleed even more than you already have — to see what was right in front of your eyes all along how minuscule you had to make yourself to fit into that space that small mindedness that box with clearly defined edges (and no imagination) but these are things you don’t see through rose colored glasses their purpose only to color inside the lines with one conforming color the vision of what you were programmed to think you wanted that small sweet girl and her dolls playing make believe building castles out of miss-matched pieces instead of telescopes with which to see the much bigger picture.
Radar shows the storm purple and red and gold but all I see for miles are shades of Cape Cod gray pale where the sky should be a graphite-thin horizon line its boats like ghosts and a graduated green-gray ocean punctuated by the occasional wild white cap making its way to shore even the trees are gray this morning their late spring effort almost forgot inside this passing storm whose endings promise blue.
Bring me here, darling, the day I die. Let’s hope the seals bob curiously at our folly and the black cap gulls make us laugh along with them.
Let’s manifest giant waves — the kind little boys scream into — and a full moon that plays hide and seek with the setting sun behind billowed clouds and tall green grasses.
We can celebrate whale spouts and whale tails and the fine thin lines of birds come back — that life goes on and a moment of joy can last forever, here, a laugh, a dance, and love worn smooth with time.
We’ll hope for a cold spring day you and me alone on the dunes and that one final breathtaking breeze to push me forward into oblivion.
Her Algorithm has teeth fangs, really like the kind you see in nightmares, and its fur is black and sharp like a worn carpet tread in worry and fear, with small fibers that pierce the skin and stick like burrs.
Her Algorithm has firm, strong legs and claws that dig in and hold fast to a path she didn’t even realize she was walking down, until she’s so far deep and running at such a clip all she can see is the hot steamy breath of her Algorithm, the gates of hell like a flaming blur.
and there’s nothing a cute purring kitten or craft project can do but watch from the sidebar and wait their turn until the Algorithm catches sight of something more interesting and follows its scent down a rabbit hole of obscure poetry, trendy dance moves, and weird fashion from a 1970s JCPenney catalog that turns her Algorithm a shaggy, avocado green.
Heart-shaped rocks underfoot all around on the grassy path and sand dune from here to the shore and at the water’s edge
(dare I say even in the palm of the Garçon at the pâtisserie whose smile needed no translation)
Hearts!
There was a time I would have come home with enough heart-shaped rocks to border a banister, fill a bowl and basket, lined them up to show the Garçon in the morning with coffee and croissants
but I am content now to find moon stones instead translucent round and easy love in the stars, the sky, the universe enough
In a persistent effort to weave a web the spider imperceptible casts her silver filaments from the uppermost spire of a wintered beach plum one thin budded branch from which a hundred casts arc and fall arc and fall her small labors shimmering in afternoon light prayers of possibility glittering
There is a slice of ocean outside my window and in it the world from a view just above a confluence of birdsong and whalesong the mechanics of the day juxtaposed to sweet, sweet silence.
There’s this photo in which he stares at the camera and I remember we’d already begun by then; made plans, talked for hours, fallen in love, even by the look on his face; I remember that day, our chairs pushed together, sharing our lunches, scribbling notes to each other like school kids; but we were hardly that, hardly so fresh to all of it; I wish my camera had focused more, had adjusted its exposure to show the shadows, the rough edges and hidden details, to find the nuances in the full picture I see so clearly, now.
This is Reverend Scott on the valve in the belly of Poseidon. Quint in the jaws of his worst nightmare. Jack and Rose at the Titanic’s stern. Eowyn and the Nazgûl. Harry and Voldemort. Bruce Willis on the asteroid careening through space.
This is the battle scene. The climactic moment. The death scene.
This is before the denouement. Before the resolution. Before the credits roll.
This is the moment that needs you. That demands faith. That requires courage. And sacrifices.
So hang on tight, baby, because it’s going to be a bumpy ride…
Grizzly Bear and Goldilocks (that’s not my name, she says) are discussing the merits of cinnamon applesauce and whether or not I would eat her, instead, barbequed with ranch dressing but before I can answer in my gruffy harumphing voice we’re off to gather sticks for our make-believe fire pit and the s’mores we’ll eat later because right now she’s making breakfast pancakes with maple syrup? bacon and strawberries I love bacon! which we eat while she laughs that the syrupmakes my fur sticky so she cleans it off my hands thank you then we pretend-read a book before going to bed and I snore as loud as I can until she wakes me up ten seconds later to sit by the fire (just one more round, she asks) so I can’t possibly leave and why would I ever want to? there are s’mores, after all, and a backyard afternoon that is just right.
I have seen her one hundred times since she died in crowds and corners when I least expect and last night in a dream again looking fabulous and forgiving all my tears waited until I was done so we could step into the space of time allotted that glorious dreamspace where everything is as it was and we do as we used to do for hours unending until I wake no longer feeling quite as alone.
If these walls could talk these shelves and set-aside spaces you might think I love her and I do one hundred times I do and have for so long I no longer remember first glance, first conversation first spark of friendship but this and this and this tell our story — part of it most of it the sum of it — easy to turn pages in this space and remember the miles we traveled, the endless stories, the memories gathered in pockets to take home for safe keeping.
The morning thick with sound spring sound a humid hovering of birdsong and flowersong buds on trees whispering and soft soil separated by anxious green almost ready for the ministry of bees and butterflies soon to be tending and tittering a symphony of what is this moment and what will be at any moment soon.
Sleep has been merciful these past three months, arriving early from exhaustion staying late in fellowship with the dreams that wax nostalgic for simpler nightmares and harmless ghosts.
But this morning, I’m awake at 3, my familiar and I like old friends sharing space beneath the spring moon, waning in its sixth phase, while one lone peeper keeps time as sharp as the second hand on a clock.
We have not been together in this way — the moon and morning and me — since the monsters took over, since their cacophony of destruction, the sinister palpitation of days, and all of us wondering what or who will be next.
This morning is a gift of quiet comfort, the marsh frog a beacon which seems to say Here! Here! Here! over and over and over, it reminds that even in the age of monsters, once can find solace in the soft, dark edges, calm in the promise of cycles and phases, of spring and worlds ever spinning.
sit up straight the napkin goes on your lap elbows off the table tines down tines up left hand, right hand, tip the spoon away don’t slurp don’t shovel don’t talk with your mouth full
To the Starlings who have moved into the Privet Hedge on Short Beach Road,
Welcome.
Please stay as long as you like.
Help yourself to the bugs and slugs in the front garden. Enjoy the spread of sweet clover and violets in the lawn, but watch for the mower who arrives every two weeks on Friday.
There’s always shade under the boxwoods, if you need, and rain water in small pools along the mossy brick path.
In the back, you’ll find a bird feeder loosely tended, but often full of seeds, and an endless dance of bees among the honeysuckle by the old dogwood.
We have resident squirrels, a family of five jays, and a chipmunk who resides just south of the bird bath which we keep filled all summer long.
The pond out back offers the companion of frogs and turtles, crows and owls, a flock of your brothers and sisters, and at least one hawk for balance.
Pay no mind to the cat. She never goes outside, but does love her spot on the screen porch. Feel free to watch her watching you, that could go on for hours!
Now mind you, I do have one request.
What I ask only in return is this: please do not cross the wide wild way, west of the hedge. It’s fast and merciless. If you, out of instinct, fly that way ever, please stay high and alert.
It occurred to me this morning, while I held tight to old dreams, that someone, somewhere was also waking to this day, but opening eyes to a present they recognized: the familiar sun though curtains and the routine of Sunday laid out in front of them with no need to pretend otherwise; the photos on the shelf of old friends smiling, the bucket list taped to the refrigerator door, the piggy bank promise of new adventures somewhere and someday still shimmer in the early light of their morning, there; should I tell them? remind them to hold fast live in the moment for god’s sake everything is fleeting, tomorrow might already be a memory.
Thoreau, she tells me, was tended to by women. Meals and laundry — a side of the story I’d missed, hadn’t even thought to think about; his cabin in the woods? his solitude and simplicity? my dream! my escape! my alternate ending! and who considers practicalities when we’re having a transcendental crisis? I am disheartened and disappointed and then…delighted! The solitude of the woods? The simplicity of sojourn? And a community of women to soothe and support? Life Goals times one hundred!
It’s the robin’s trill that most often calls him to mind deep from the arbor of spring azalea and its cotton candy blooms, the privet hedge shoulder high then two stories up in an instant of memory, a wooden screen door slam bees and clover and Pappy lifting me to the sky whiskey on a breeze, the rough chafe of whiskers, “chirp chirp” he says as a kiss against my cheek then sets me on the ground to tangle in the blossoms one more time before we leave for home.
There’s a ghost standing on Mountain Park Road I spy her from the highway as I scream past at seventy She might have waved but had no need to I saw her knew her remembered all of the layers of time, there on the overpass at Mountain Park Road and I wondered briefly if she knew me here now this apparition this shadow of who she used to be in a blur of recognition a moment frozen in time the all of us in overlap here, there, then, now on Mountain Park Road
This morning I stayed in bed squeezed my eyes shut and begged for more more sleep more dreams more anything than what waits: that 21st century disappointment and the cold blank stare of what comes next
It was already hard enough to live with the stark comparison of hopes and dreams versus real world, the daily effort of just keep swimming just keep swimming
Now there is just this THIS every day THIS good lord THIS
Once, I told a therapist that I was considering a long slow drift in ice floe silence, and she sat aghast asked if she should be concerned so I dialed it back and laughed like I was joking
Concerned is such a funny word — To Whom It May Concern we have concerns but it is of little concern
Yesterday, at a protest, I danced with strangers and felt free in a way I haven’t since my best friend died seven years ago and I thought: she is better for it dead before THIS all of this with no concerns no need for persistence or resistance or a clever exit strategy disguised in a poem.
All along the highway a brutal massacre agony and destruction jagged edges claw the sky not even the grace of a clean cut no time to spare for the scream of chain saws the equal labor-to-labor dignity of tree felling the man-versus-nature earth shaking victory (the silent apologies) we are now machine-efficient cost-effective and ruthless with stands of trees laid bare twisted to their breaking point ripped and torn delimbed, stripped, shredded sun burning shaded places raw spaces for the taking
Somewhere in the ebb (of the work day) and flow (of the springtime woods) a page turned and laid itself gently across the path like a vignette filter on this enchanting afternoon and there beneath my feet…
A single spotted wintergreen rises up from the ground…Spotted wintergreens are the flowers that grow from longing.
The sun has warmed the alcove of cedar, so I sit for a while to consider the flowers, the swan, the osprey, the character who calls to me from across the pond who? who?
He turns and stops, his head tilted towards the ground. He stands there for several seconds, staring at the spotted wintergreen…
Am I dreaming? Then he carefully pushes his hands into the soil next to it and a cardinal flower punches through the surface…Cardinal flowers grow from frustration.
Perhaps dreaming or remembering? Surely there is magic about, even the Owl agrees watching now from above, as I sigh and adjust and…
Kneel beside the cardinal flower and touch the Earth, a purple cone flower rises to greet me.…the perfect flower for apologies.
We add to our conversation, wildflowers taking over the dirt…and so much spotted wintergreen, longing everywhere…
We see each other. I think we always have.
How long did I sleep? I don’t recall. Time stood still there by the pond beneath the trees that whispered and sang and soothed us — the Owl and I — for a moment or hours or maybe perhaps a lifetime.
A new flower punctuates the end of our conversation – a single iris to say he loves me.
A shadow crosses my path and I am at once only that over which the heron has flown — of no other consequence — with only a regiment of lilies to bear witness how small am I to his eye? I wonder as I step across a stream apologizing to the startled swans and bowing to the osprey watching warily; there’s a blush in the tree tops and across my humbled face the all of us in awe of this magnificent spring day.
the Mystic says to reenvision my life story to purge the inessential elements and exorcise old ghosts this, just days before the Healer reminds me that old stories are just old stories are just old stories
old stories that say “we don’t have room for you” right now, anymore, again “for reasons of space and other limitations that have nothing to do with your merits” nothing to do with you right now, anymore, again “but thank you for your interest”
so when a friend says she is taking the YES steps all I can see is the surgically precise removal of my bloodied ego, its clots and cartilage forming bitter words on a page that I’ll turn into kindling soon, remind myself that forgiveness and an open heart (healing and self-love) sometimes mean putting down those old stories and walking away leaving them to fend for themselves deep in the dark woods of the past
their smoldering incense wrapping around my wicked incantations while I dance in the freedom of letting go…YES!
“Launched by the Academy of American Poets in April 1996, National Poetry Month is a special occasion that celebrates poets’ integral role in our culture and that poetry matters. Over the years, it has become the largest literary celebration in the world, with tens of millions of readers, students, K–12 teachers, librarians, booksellers, literary events curators, publishers, families, and — of course — poets, marking poetry’s important place in our lives.”
My favorite way to celebrate is to join with the thousands of poets participating in NaPoWriMo — NATIONAL POETRY WRITING MONTH —in which we write a poem a day for the month of April.
While NaPoWriMo is celebrating 22 years this year, I’m happy to say this will be my 11th year attempting to write 30 poems in 30 days! Here we go!
twice today we passed each other and twice today that friction of energy and chemistry and memory tugged at the the solid yellow line like the force between silver magnets so we each turned bullet-time freeze frame slow motion twice today a sideswipe glance the closest we’ve been in years
I whisper, in hushed tones, that she is safe, stroke her soft furred body as she lies in my lap, promise the wolves won’t get her, hope she was sleeping when they came last night and ripped fur and flesh from our friend the rabbit who visited the yard all winter, but I know she heard the screams, I can see it in her eyes when I make my false promises I make a lot of them these days — to this cat who needs to be close more often now and to myself that everything will be OK.
“You Are Here” is the reassuring little icon on a trail map that gives you your bearings, lets you know, in the grand scheme of things Where. You. Are. It’s often the first thing you see when you start out on an adventure somewhere. These days, with things so frighteningly askew, it’s good to have a sense of where you are in that grand scheme. And there is nothing better to make you feel a little more grounded, a little more connected to the bigger picture, than a walk in the woods!
Join me for a walk at one of my favorite places to unwind, regroup, and find inspiration.
INGREDIENTS: collage, color scans, digital art, ephemera, essays, original photographs, poetry, quotes, vintage artwork. With thanks to GIS Specialist Nicole Castro, Erwin Raisz, Ted Andrews, Hans Christian Anderson; Joseph Smith, William Curtis and the Royal Botanic Gardens, Jamie Sams and David Carson, Henry David Thoreau.
Full Color 11×17 folded map with way too many inserts and a curated video playlist. Cost: $8.00.
You can pay through PayPal using a PayPal account or any standard credit card. If you prefer the old school approach, please send your check, made payable to Jen Payne, P.O. Box 453, Branford, CT 06405.
As part of its ongoing Fireside Chats program, the Blackstone Memorial Library welcomes Branford author Jen Payne for a poetry reading on Saturday, March 8, 1:00 – 3:00 p.m.
In honor of International Women’s Day, Jen will be reading from her new book, Sleeping with Ghosts, focusing on some of the women she’s written about — mentors and muses and friends. After the reading, Jen will be joined by Laura Noe for a conversation about how our relationships with women influence and inspire us. Laura, a local author as well, holds a master’s degree in Women’s and Gender Studies, and is currently teaching the Psychology of Women at SCSU. Attendees are welcome to bring a short (100 words or so) introduction about one important woman in your life to share with the group.
Copies of Sleeping with Ghosts will be available for sale during the event. Refreshments will be served.
This event is free and open to the public. No registration is required. The Blackstone Memorial Library is located at 758 Main Street, Branford. For more information, visit http://www.blackstonelibrary.org.
Jen Payne is a poet, author, photographer, and artist. She is inspired by those life moments that move us most — love and loss, joy and disappointment, milestones and turning points. Her writing serves as witness to these in the form of poetry, creative non-fiction, flash fiction and essay. When she is not exploring our connections with one another, she enjoys contemplating our relationships with nature, creativity, spirituality and our inner lives. Ultimately, she believes it is the alchemy of those things that helps us find balance in this frenetic, spinning world.
Her work has appeared in numerous publications including Sunspot Literary Journal, The Perch, and the 2024 Connecticut Literary Anthology. She has written five books: Look Up!, Evidence of Flossing, Waiting Out the Storm, Water Under the Bridge, and Sleeping with Ghosts, all of which are available to borrow from the Blackstone Library. They can also be purchased online at 3chairspublishing.com.
Today, I talk with Kaecey McCormick at Some Thoughts: Everything Creativity, who writes: “I’m thrilled to bring author Jen Payne to the blog today in an interview to discuss life, writing, and her new book, Sleeping with Ghosts. Earlier this month, I hosted a Community Poetry & Prose Night with the theme “The Ghosts We Carry,” and Jen’s book is a wonderful example of how we can be “haunted” by so much and how these “ghosts” show up in our writing.
Kaecey: Jen, welcome! I’m thrilled to chat about your new book, SleepingwithGhosts. The way you blend genres in this collection is fascinating. Sleeping with Ghosts is described as a ‘time-traveling memoir’ into the heart and mind of a poet. What inspired you to choose this format, and what challenges did you face in crafting such a unique narrative?
Jen: Hi Kaecey. Thanks for being part of the Sleeping with Ghosts blog tour!
Like you, I’m not only a writer and poet, I’m also a blogger. I’ve been writing and creating at Random Acts of Writing (randomactsofwriting.net) since 2010. That name, it turns out, was spot-on! My creative work shifts from poetry and flash nonfiction, to essay and photo essay.
As readers will find in Sleeping with Ghosts, I also write a lot of memoir pieces.
The poems in the book have been written over the past 10-15 years, but they cover a time span of 40! From that perspective, time traveling becomes a natural consequence! (It helps that I’m also a closet Trekkie and a bit of a sci-fi nerd.)
I find I have an acute memory for what I call “defining moments” — those places in time when something shifts or changes, times that you bookmark to remember. I am easily able to slip back into those moments and recall the feelings, the conversations, my surroundings. And then I write!
As happened in my previous books of poetry, Evidence of Flossing and Waiting Out the Storm, the poems in Sleeping with Ghosts gathered themselves quite naturally. As soon as I set the intention to create this book, the poems and chapters, and their organization was very clear. The biggest challenge, I suppose, was making sure that the ghosts each got their own say, and that their stories were told to completion.
Kaecey: I can imagine that covering a time span of 40 years meant some “ghostly” challenges! You did a wonderful job making sure each voice was heard. Much of your writing in this collection reflects on past relationships or experiences. I’m wondering, was there a defining memory or experience that sparked the creation of Sleeping with Ghosts? How did it start and how did the concept evolve from that initial inspiration?
Jen: Indirectly, yes.
I’ve been a writer all my life: journalist, copy editor, freelance writer, marketing wordsmith. I started my own graphic design and marketing business, Words by Jen, when I was 27, and spent a great deal of time writing for other people.
But the year I turned 40, I reconnected with someone I had been deeply, crazy in love with. We hadn’t spoken in 15 years, and our reconnection felt monumental and…karmic.
When it didn’t work out (again), everything broke wide open for me. I had to find a way to write from that place, from that broken-hearted, emotional, vulnerable place. That’s really when I began writing the good stuff!
(Actually, you can read about the whole experience in my book Water Under the Bridge: A Sort-of Love Story.)
Kaecey: It’s amazing how those difficult experiences can spark our creativity. And speaking of difficult, your work often explores themes of memory, creativity, and loss. How do you navigate writing about such personal experiences while still making them resonate universally? What advice do you have for poets and other writers who are tackling big themes like grief?
Jen: I think I write about my own experiences because I have to — it’s how I process things, how I connect with the world. Not to be cliche, but writing is my love language.
I’m a bit of an introvert, so writing and storytelling are my way of sharing, of having a conversation, of participating.
I’m not sure I intentionally try to make my work resonate universally, so much as the stories are universal. We all experience these moments —right? The broken heart, the unrequited love, the death of a friend, the relationship we need to leave.
But not everyone has the courage to talk about their experiences. It’s hard work talking about disappointment, broken hearts, loss, and grief.
What inspired me most to write from the heart, to be brave about it, was Brené Brown’s book Rising Strong. In it, she writes, “When we deny our stories, they define us. When we own our stories, we get to write the ending.”
So my advice to writers tackling the big life themes would be a) read Brené’sbook, and then b) be brave and write!
Kaecey: Love that. I’m a Brené Brown fan! So yes! And I appreciate what you just said about our stories as universal human experiences. You’ve also written about our connection to the natural world, and in previous interviews, you mentioned the “alchemy” of emotions, nature, and creativity. I’m hoping you can elaborate on how this idea informs your writing, whether that’s in the language and imagery itself or as part of your process, particularly in this new book, Sleeping with Ghosts?
Jen: There is a certain kind of magic that happens when we can step out of our day-to-day and let new information come in. For me, that very often happens when I walk in the woods or on the beach. For others, the magic happens in meditation or after physical activity.
We’re all so busy these days. And when we’re not busy with actual work — job, house, family, life — we’re regularly seduced by technology and our scrolling, binging culture. Creativity requires us to get away from all of that. How can we hear our Muses when everything else is demanding our attention?
I think it’s important for writers and artists to find those things that let them reconnect with their creative voice. One poet I know recently went on a week-long silent mediation, and when I marveled at that to his wife, she said “That’s him. I prefer moving meditation, like tai chi or yoga.”
For me, being in nature is a critical component of my writing. Whether it’s a regular walk at my favorite nature preserve or a week-long writing retreat by the water — I need that time away to process through the stories and the things I want to say.
And yes, very often there is an overlap of my connection with nature and the imagery and language in my writing, including Sleeping with Ghosts. Of course!
My book Waiting Out the Storm was a very personal tribute to a dear friend who died suddenly. I found the most comfort being in nature, and witnessing how life and death and rebirth play out all around us. Nature was my solace.
That’s what I mean by alchemy — we are part of a much larger universe than our day-to-day. If we can be open to that, give ourselves time and space to come back to our awareness of that, it can infuse our writing and our sense of self in pretty amazing ways!
Kaecey: Beautifully put, Jen. And so helpful for other writers to read about that part of the process. Speaking of process, I feel like, as writers, we’re often surprised by something in our work or in the process itself. Maybe you start a poem about the lipstick case you lost and end up writing about the death of your cat. Maybe you want to write about the sunlight and you end up writing about your toddler’s whining. (Or maybe that’s just me!) In looking back at your journey with Sleeping with Ghosts, what has been the most surprising or rewarding aspect of creating this collection and sharing it with others?
Jen: This is a great question. Our writing can come as a surprise sometimes, can’t it?
One of the most surprising things about Sleeping with Ghosts for me has been how these poems assume their own personality, and almost innately tell the story of each particular ghost…despite the fact that they were written at different times over the past 15 years.
The ghost in I Am a Rock/I Am an Island is unrequited loved no matter when I write about it — in the moment or 10 years later. The ghost in Seeing Red is angry all the time — then and even now.
The other surprising thing — and probably my favorite part about writing this book — is that the ghosts found ways to speak to me. They often showed up to remind me about a moment or a conversation that should be included. Sometimes they needed a final say — and they would chime in while I was on a walk or they’d show up in a dream. “Sleeping in Truro” was one ghost’s final say-so, and “Dear Jenny” was a ghost who appeared just months before the book went to press. When I asked the ghosts to give me a final poem for the book, they sent my Dad who asked, “Did you love?”
I did, I have…and now I get to share that with my readers!
Kaecey: “Did you love?” What a beautiful question and how wonderful to be able to answer in the way that you did! Jen, thank you so much for being here with me today. It’s be a joy to talk to you about writing, life, and your inspiration!
Jen: Kaecey, thank you for these thoughtful questions and the chance to dig a little deeper into the inspiration and ghosts in Sleeping with Ghosts! I appreciate it!
I started my business, Words by Jen, in 1993. It was a part-time effort at first, offering writing and “desktop publishing” services to a small-but-growing list of local businesses, artists, and non-profits. By 1996, I had moved my office from the second bedroom of an apartment to commercial office space and was ready to leave my job at a local print shop to dedicate my time to my own work.
Back then — pre-Google and social media— one of the best ways to market a business was to have a listing in the phone book. Phone books, for those of you who might not know, were kept in every household and included all of the landline phone numbers in your town. There was a white pages section for home phone numbers and a yellow pages section for business phone numbers and advertising.
In the fall of 1995, I placed a yellow page ad in a phone book that would be in every home within 20 miles of my office.
The very first phone call I received was from a woman named Dale Carlson. Dale was a well-known New York City author who had moved to a shoreline town here in Connecticut and started her own, small publishing company, Bick Publishing House.
We met over coffee at a local breakfast spot, and had a very long conversation about how we might work together. She was as curious about me and Words by Jen as I was about the strong force of a woman sitting across the table from me.
Dale was 60 years old when we met, with an impressive resume of writing and publishing experience. She’d written more than two dozen books at the time, had been published by Atheneum Books, Doubleday, and Simon & Schuster, and was the winner of both an ALA Notable Book Award and the Christopher Award.
She had traveled all over the world, practiced yoga and meditation, was an advocate for folks with mental illness and addiction, read voraciously, and had recently become a licensed wildlife rehabilitator.
I, on the other hand, was barely 30 and just starting out in my career…and my life. I must have seemed so young and naïve to her. Still, something clicked for both of us and we agreed to draw up a contract for “book design and marketing services.”
From that first meeting, Dale and I went on to create more than 30 books, from her first series of wildlife rehabilitation manuals in the late 1990s to her final book OUT OF ORDER: Young Adult Manual of Mental Illness and Recovery. We started on that journey together before independent publishing was a thing, before print-on-demand and Amazon and self-publishing. Dale had taken us out to the leading edge of this new industry, and it was an amazing ride!
She knew, for example, Jan Nathan — the founder of Publishers Marketing Association (PMA) which became the Independent Book Publishers Association (IBPA). Her books were edited by Ann Maurer, who had a long history of editing for well-known publishers, and our team included Jean Karl from Atheneum and award-winning artists like cover designer Greg Sammons and illustrator Carol Nicklaus.
During our time together, I gathered a set of design and publishing tools that still serve me well today, including a well-worn copy of The Chicago Manual of Style that Dale gave me all those years ago. From her, I learned about book industry standards for design,how to edit and organize content professionally, what makes for a good cover design and effective back cover content, how to position a book properly for booksellers and libraries, and so much more.
Ask me what inspired me to write books and how I came to start my own publishing company — Three Chairs Publishing — and I will tell you about the 25+ years that Dale and I worked together: the long hours of editing around her kitchen table, selecting art and cover designs, developing a house style, and promoting her books.
The skills I learned from her then I apply now to my own books, and to the growing list of self-published authors I get to work with as Words by Jen. All total, I have had the privilege of shepherding well over 150 books out into the world, from Dale’s books and my own, to a long list of poetry, art, history, fiction, and non-fiction titles.
And to think it all started with that yellow page ad, all so many years ago!
Photo: Jen and her mentor, Dale Carlson, at the launch of Jen’s first book, Look Up! Musings on the Nature of Mindfulness, in 2014. Sleeping with Ghosts is her fifth book under the imprint of Three Chairs Publishing.
FEBRUARY 13 Valentine’s Book Signing & Spontaneous Poetry Reading Thursday, February 13, 4:00 p.m. – 6:00 p.m. at Guilford Art Center (411 Church Street, Guilford)
The Shop at Guilford Art Center is hosting a Valentine’s Day Shopping Event, all day on Thursday, February 13. Come see the treasury of beautiful objects made by hand with lots of love…it’s the perfect place to find gifts for the loves in your life. As a special treat, I’ll be signing copies of my book Sleeping with Ghosts, handing out homemade cookies, and doing spontaneous poetry readings from 4:00 p.m. – 6:00 p.m. Please stop by!
FEBRUARY 15 Center Cemetery Book Launch with Jane Bouley Saturday, February 15, 12:30 – 3:30 p.m. at the Blackstone Memorial Library (758 Main Street, Branford)
Join local author and Branford Town Historian Jane Bouley for an Open House and Book Launch highlighting her most recent work Center Cemetery: Church Yard Section. The two-volume work includes the record and photographs of 470 gravestones in the oldest section of Branford Center Cemetery on Montowese Street. Jane will show photographs, describe the book, and answer questions. Refreshments will be served.
This is the third book that Words by Jen has helped Jane publish, and I am honored to have been invited to be part of this event to answer questions about book publishing. Please stop by to say hello!
MARCH 8 Fireside Chat & Poetry Reading with Jen Payne Honoring International Women’s Day Saturday, March 8, 1:00 – 3:00 p.m. at the Blackstone Memorial Library (758 Main Street, Branford)
Please join me for a special poetry reading to honor International Women’s Day. I’ll be reading from my new book, Sleeping with Ghosts, focusing on some of the astounding women I’ve known — mentors and muses and dear friends. Together, we’ll talk about how our relationships with women influence and inspire us. If you’d like, please bring a short (100 words or so) introduction about one important woman in your life to share with the group.
APRIL 27 Book Signing & Spontaneous Poetry Reading at Breakwater Books Sunday, April 27, 1:00 – 3:00 p.m. at Breakwater Books (81 Whitfield Street, Guilford)
I’ll see you on the CT Book Trail at Breakwater Books in Guilford, where I’ll be signing copies of my book Sleeping with Ghosts, handing out some sweet treats, and doing spontaneous poetry readings from 1:00 – 3:00 p.m. Plus, get your CT Book Trail Passport stamped for a chance to win over $4,000 in prizes as part of the 2-day CT Book Trail Passport Challenge!
For the poet is a light and winged and holy thing, and there is no invention in him until he has been inspired and is out of his senses, and the mind is no longer in him… — Plato
Ghosts, Muses, Inspiration, Universe, God. Call it what you will — there is another layer of this world that we live in, and if you can quiet your mind, sometimes, you can hear it and be inspired by it!
As I was finishing up the manuscript for Sleeping with Ghosts, my editor and I both agreed something was missing. While I loved the final poem “Missing Banksy,” its alluded message about impermanence wasn’t quite strong enough to hold up the end of the book. But what would? I had no idea!
When I get stuck like that and can’t find answers — about my writing or about life in general — I like to walk in the woods. It’s where I can settle my mind, slow down the busy-ness, and sometimes…sometimes…hear ghosts.
On this particular walk, I started out at the trailhead by asking the Universe to help me find a final poem, a final message for the book. Often, I can entice Inspiration with a request like that, and this time, it responded in the voice of my Dad.
It’s not the first time my Dad’s ghost has spoken to me. He told me to PAY ATTENTION on I-95 once and saved me from a pretty awful accident; he often shows up unexpectedly as a hawk with a call of I AM HERE; and he responded to my poem query with a series of questions that became the poem “The Final Ghost.”
But connecting with our ghosts can be challenging! There is so much noise in the world today — we’re busier than ever, more distracted by things, more seduced by technologies. There are so many things demanding our attention, how can we possibly hear Ghosts, listen to Muses, or tune into our Inspiration?
One of my all-time favorite movies is Contact with Jodi Foster. The scene I think about often is when she is in the portal pod that’s been reconfigured with an anchored chair and seat belt — things to keep her rooted in place as she travels across space through wormholes. But as she starts her journey, the chair and seat belt cause more harm than good. She may be OK to Go, but they keep her too firmly in place. It’s only when she releases what holds her down that she projects openly forward.
In the same way, listening to your Ghosts requires that you release what’s holding you back.
For Jodi Foster’s character Ellie Arroway, what was holding her back was physically obvious. For me, I know that my biggest obstacle is technology and how it eats up my time and siphons my attention span.
So, what gets in the way of listening to your Ghosts?
Just this weekend, I talked with a woman who told me in a whispered voice how she stopped listening to her Ghosts because it seemed a little scary. And I have a friend who is a phenomenal painter, but she often ignores her Inspiration because it feels too powerful, almost possibly un-godlike.
But the idea of listening to Ghosts or Inspiration or Muses reaches far back into human history.
Did you know that “the word inspiration ultimately derives from the Greek for ‘God-breathed’ or ‘divinely breathed into.’ In Greek myth, inspiration is a gift of the muses, the nine daughters of Zeus and Mnemosyne (Memory).”
Similarly, “the Oxford English Dictionary defines inspiration as “a breathing in or infusion of some idea, purpose, etc. into the mind; the suggestion, awakening, or creation of some feeling or impulse, especially of an exalted kind.”
In his article “How to Find Inspiration, the Psychology and Philosophy of Inspiration,” writer and philosopher Neel Burton offers seven 7 simple strategies to encourage inspiration:
1. Wake up when your body tells you to. 2. Complete your dreams. 3. Eliminate distractions, especially the tedious ones. 4. Don’t try to rush or force things. 5. Be curious. 6. Break the routine. 7. Make a start.
Because I know too much you look like her, so instead of blaring my horn I stop and smile and let you pull out into the crowded lot in front of me
You’re sweet and apologetic in gestures, so I smile even more and nod because I know too much, and I owe you — or her — a thousand kindnesses in place of apologies that have long since gathered dust in the corner of both our stories
Because I know too much about your suspicions and my jealousies, your patience and mine, I think this gesture now in this parking lot with this stranger might be atonement, might be appreciation — or love — a precious light in the shadows of our shared secret
randomactsofwriting.net 