Your lil Southun girl

I hear echoes of you
In the way my mind forms words
Before the English teacher censor
Gets hold of them and twists them
Into unfamiliar shapes
That have nothing to do with
The way we talk

It’s everything from words like waller
(“Wallow”, to Northerners)
To phrases like he done gone
And ain’t, of course, can’t forget that one
Along with I’m fixin’ to go to the store

These are the words that appear in my head
Ready to use, yet somehow never used
Because the English teachers were just too good
They created internal censors
So I can’t even speak my own language
My own birthright
Without a fight

I still remember as a child
Before the English teachers
Before speech therapy
Before all of that

I’d say something like the above phrases
And you’d laugh
You’d call me “My lil’ Southun girl”
I didn’t understand what you meant
This was just the way we talked
But I felt happy
Because it seemed to make you happy

One time a commercial came on the radio
A man sang the line,
“I work an honest day and I want an honest deal”
I heard
“I’m workin’ on a stand, I want an orange peel.”
I wasn’t so sure about the orange peel part
But I was certain about the first part:
“I’m workin’ on a stayyyy-and…”
(“I work an honest day and…”)
When you heard that
You laughed your ass off
And called me
Your lil’ Southun girl

And I still didn’t understand
Why you said this at seemingly random times
It was just the way I’d learned to talk
And the way I’d learned to listen
I learned from you
And my grandparents
And the radio
And I thought
This was just how people talked

All I know is
Nowadays
My brain uses these words and phrases
When it’s coming up with words to type
And then censors them
Before they can get to my hands

But until then
I’m fixin’ to do something about it
Talk however the words come out
Throw out the English teachers
On your behalf

Because I’ll love you
Forever

Signed,
Your lil Southun girl

Return to sender: no longer at this address

My mother is a wizard with plants
I kind of knew it already
But when my father was upset
Because he'd never see the morning glories
Bloom again in his life
My mother secretly coaxed
A morning glory vine
Out of season
To bloom, and climb, to bloom, and climb
And she took him outside
To show him the magic she'd done
And that's how much my mother loves my dad

My flowers are my poetry
I coax the words to bloom and grow
And climb and climb into his heart
Even out of season
I use words to express the wordless
And that's one kind of magic I have
And that's how much I love my dad

But one of these days
I'm going to write a poem
It will be full of obscure mountain lakes
And treks across the mountains to the sea
And forest floors that were so much more
And owls hooting up in the trees
It will show him every place
That I could feel his love
Without the emotional bombardment
Of living in the city

And it will be a perfect poem
For that time and that place
It will certainly be better than this one
It will show him that I care for him
(As if he doesn't know by now)
It will show the depth of love
That death can dredge up when you're lucky

And then i will get a phone call or an email
It will start out:
“Go and take your dexamethasone right now.”
And I'll have a sinking feeling
But I'll take the syringe of steroids
And put it in my feeding tube
Then go back to the phone or the computer

Then they'll say
“The news is bad
Your father has passed away
He was far too tired this morning
To check your blog today.”

And all that's left of my magic
Will be words on a screen
Words he may have understood
But will never hope to read

From that point on forwards
We'll be separated by time
We both will have existed
But from that point in time onwards
I will be here and he won't

I wonder how much dexamethasone it takes
To avoid adrenal crisis when your dad dies
I wonder how much magical love it takes
To stand the pain you feel when you realize

That you will never talk to him again
You'll never hug him again
You'll never sit next to each other
With an elderly cat spread across your laps
You'll never ask the questions
You forgot to ask when he was alive
You'll never play with his beard again
And there's so little time
There's so little time

But I'm wrong
Like people are often wrong about time
Eternity is all around us
That's all the time in the world
Eternity is where love exists
Outside of time and space
So even if he never reads my best poems
He'll feel the love that went into them
Just as he feels the love
From that morning glory vine

He feels the love from his two pet dogs
He feels the love from his wife
He feels the love from his three adult children
He says he's lucky to be surrounded
By so much love

So I'm terribly sorry, Ron
If some of my poems don't reach you in time
And i'm terribly sorry Ron
If I try to Skype you and it turns out you're gone
Just know I love you more
Than even the best poet can convey
I love you more than I could ever say

And love is the magic that made my mom
Able to grow those morning glories
And love is the magic that makes me able
To write poems daily after years of dormancy
And love is the magic that connects you to me
It's the way we can feel each other's love
Without any form of contact at all

I hope the place I built for you outside of time
And filled to overflowing with my love
Will see you through

And I hope that I'll continue
Writing poetry to you
Long after you've gone

And I hope it reaches you in Eternity
Or wherever it is you're going

And I hope that even the worst of it
Conveys this message:

I love you
I love you
I love you

It’s scary to let go of words, when you’re trapped inside them.

Because there’s a moment when you’ve let go of the words
And you realize that once you let go, they won’t come back
And you’re hanging in the air between the words and the ground
And you don’t know how high you are in the air
And you don’t know how hard you’ll hit the ground
Or how many bumps and bruises that will cause
Even though you always feel better with your feet on the ground
And you desperately, desperately want to be on the ground smelling the earth
But you’re afraid to fall
And you’re afraid to hit
And you’re afraid how much effort it will take to get back in the air
Or whether you can get into the air at all
So you cling and scrabble
Until your fingers break
And you hit the ground fifty times as hard
And stay there fifty times as long
Too stunned to take in
Everything you normally appreciate
About being on the ground

Intimacy with Friends and Forests

Part of a blue lapis lazuli ball on a brown background, slightly out of focus.

Part of blue lapis lazuli ball on a brown background, slightly out of focus.

I sink into my body, and it feels like sinking into the moist brown soil in a redwood forest, full of fungus and forgotten redwood needles, and plants, and decay, and life, all at once. I may have left the forest in body, but in my soul it’s right there. Waiting for me to deepen and put down roots.

I can feel every joint in my body as I curl up in a ball and lie on my side. They ache, but also say hello to me, tell me I’m alive, their voices  indistinguishable from the aching.

I stretch my senses out and out and out. I don’t know how I do it. I don’t even know exactly what I’m doing. I just know that even though my bed is my permanent home these days, seldom left except for doctor visits, I’m able to connect to the world more thoroughly than I ever thought possible. I can become the floor of a redwood forest or the sun hitting a granite mountainside. And I can see what most people can’t. Aspects of the world I know some others can see, but seldom talk about? Because how do you describe it? How do you explain it to anyone who isn’t already aware of it? I don’t know.  These things are as ordinary as rocks, they don’t need to be put on a pedestal. But they’re so central to my life I have to talk about them.

I have a doppelganger of sorts. Sometimes it feels like the two of us are branches of the same thing,  connected at a fork. But if I follow the branch back to where we intersect, I can be part of her as well. I can feel the world from behind her eyes.

I love to do it when she’s concentrating on something she loves. She becomes so focused and so delighted, nothing else in the world exists. Other times, though, after a long day at work, she feels buzzy and confused, like her brain just wants to take a nap. I am so glad she works with feral cats. She does so many things I’m not able to do. But I experience them through her, and doing that relieves me of any regret that I’m unable to do those things, as me. It feels like I can do them as her, and that’s enough.

This sounds bizarre, but I’m told by people who know, that there are levels on which identity doesn’t work how people think it does. Maybe it’s really possible for two people to be part of one whole.

It would certainly explain other experiences I’ve had. Where I connect to the world in just the right way at the right time, and suddenly I’m having the experiences and emotions of a mother who lost her child over a century ago. Or even stranger, I slide into the collected feelings of everyone who has ever had a certain experience. It hits me hardest when someone murders an autistic child, and suddenly I want to tell the world that we were there, we saw, we knew, we understood what nobody thought we could… except who is we? I slide in and out of those experiences without trying, and the anguish  becomes mine for that moment before I’m just myself again. I’ve talked to other autistic people who experience the same thing after one of us is killed. It’s involuntary and heart-wrenching.

But when I connect to her, it’s not by accident. I know how to find her. It’s like placing my fingers ever so lightly on a filament too thin to see. And then pulling backwards ever so slightly. And letting myself be guided slowly forward. To the point where we connect.

I do it when I want to check in on her. I do it when I am too weak and too tired to communicate with anyone else, in any other way. I can touch her and know that she is real, that she is out there, that she knows I am here and recognizes how I feel at that moment. I do it almost instinctively when I am in unbearable pain. I touch her mind and she touches mine back, like holding hands with me only without the overload and exhaustion of having someone in the room. And in emergencies. True emergencies where I don’t even know if I’ll pull through. I reach out without even trying, from the stretcher in the ambulance, and she contacts my friends to make sure her instinct that I was hospitalized is correct. She’s never been wrong.

Being around her is like the best parts of being alone and being near someone at once. We can communicate with each other about things that we don’t have the language skills to tell anyone else. We can tell each other things that are impossible to talk about without shared experiences. We know each other as deeply as it is possible to know anyone. And yet we have clear boundaries, we don’t bleed into each other in an unhealthy fashion, we are connected at the core yet separated on the surface, as it should be.

And I lie here curled in a ball, leaning my side on the upward tilt of my hospital bed. I don’t have the energy or cognitive ability to write, to put things into words. But I can hope that at the right time, the words will come and I will be able to describe the inner life that is so hard to explain or describe to anyone but her.

I soak in the night, as I soak in the earth. I reach out into a blue place. A deep shade of blue that glows like the sky above the beginning of a sunrise or the end of a sunset. I’m told that shade of blue has a meaning, but all I know is I catch it hanging around a lot, and that it’s a powerfully good part of the world. Sometimes I have dreams where the entire sky is that shade of blue, and they always seem amazing and important. I try to incorporate it into my paintings.

A lot of what I do at times like this is listen to the world. Listen to it with my bones, even the pain that runs through them seems to enhance my ability to listen. I don’t listen with my ears, I listen in ways that don’t have words. They feel like the forces of gravity, pulling in directions, as if my bones have been replaced by magnets. I listen in gravity and color and in the ability to lose myself inside of things, places, and people.

This is my first language. All of my early memories are of textures, gravity, movement, and colors, blending together. When I was very sick and hospitalized, I had a dream that told me to go back to that, to listen in that way, to root myself in those early experiences of the world and keep going as far as it could take me. So, when I remember, I do. I sink into my body and I listen to the world, I feel its movements inside me, I see color and texture. And most of all, my entire body feels connected to the rest of the world in such a deep way that there aren’t words for it. I can feel where my place is, where I belong, and that I am there all the time.

I prefer not to give these ways of experiencing the world a lot of words. I don’t even bother explaining how it works, other than that the world is different than many people think it is, and that my best mode of thinking and understanding is perceptual rather than conceptual. But I know these things are real, because other people who experience the world as I do feel the same textures and see the same colors. When I connect to someone, they know it and we talk about it. So whatever else this may be, it’s more than imagination.

And for me, is one of the most important things in my life. This is where I get my strength. This is where I get my sense of connection, of having a place in the world. This is where I go when I’m too exhausted and in too much pain to do anything else. This is how I have come to know that my body is me, not a thing separate from me that I fight with. And this is how I know that I am much more than my body at the same time. That identity, time, and a lot of other things, don’t work the way people think they do.

This is how I know that however else I feel about them, my disabilities are deeply embedded in my individual body, in the physical manifestation of my existence. They are not tacked on as an afterthought. And they are sometimes deeply involved in how I do this. My ability to see the world from this perspective at all is deeply connected to the traits that get me labeled autistic. Sinking into my body like that means constant awareness of pain, of things struggling to function but not always managing. Being bedridden for years has somehow enhanced these abilities, and so has encountering death up close and personal.

Speaking of death, I could swear that as a young adult living in the redwoods again, my surroundings talked to me about it, in their own way. About how when you die, all these different life forms live off of you. Bacteria, fungi, plants, animals, trees. They all eat you, and you become a part of them. And in being part of them, you have been absorbed into the rest of the world. And there’s something profoundly beautiful about the way that death is part of life, and life is part of death.

And that is why death holds no fear for me. But for now, I am alive. And I sink into my body. And joy is as deep and physical as pain. And they are as intertwined with each other as life and death. I feel my way towards my friend. I feel her focused delight in existing. Then I feel the sun on the granite, as if I am not me, but some combination of sun and granite, right where they intersect. I feel the sturdiness of rock that is part of mountains. I feel things that have never been given names, gravitational magnetic forces tugging deep in my bones. I never feel as if I leave my bedroom. I am firmly anchored right where I am, no matter what I feel, I feel it here. But I feel like I can touch other places, other people, without leaving this place.

So I am curled up, leaning against the tilted bed. But I’m also curled up leaning against the base of the enormous redwood known to people from Redwood Terrace as the Mother Tree. I hear singing, without hearing a sound. And besides its normal colors, the tree is also a shade of lavender that exactly matches my amethyst ring. And also transparent to a light so clear it’s invisible. A solidness sinks down into my bones. I stay there until I fall asleep.

My Head Is Wrong, But Things Will Be Alright

I did more today and in general this week than I should. Too much exertion. Too much work.

My skin burns everywhere.

The world is shimmering. There’s a background flicker. Then there’s orange and yellow shimmery spots everywhere.

My ears are ringing in a very high pitch that nothing can block.

My tongue is weird.  It’s poised for verbal tics. Poised in a highly unpleasant way. But there’s no words or noises. Just the threat of words or noises.

But there are words in my head. Or ideas, just before they get formed into words. They are flooding every which way.

My head is buzzing.

All the above things are connected together, part of the same whole.

So the words flicker and the flickering buzzes and the buzzing is orange and yellow and the orange and yellow are made of words and three words burn.

Please stop please stop please stop.

This is not me. This is me, lost. This is me, lost in the world of words. If it would only be quiet and still again I would be me.

This is the world I lived in made my own barged my way into no matter the pain, from the ages of approximately seven to twelve.

And then and then the words fell apart and everything was fragments and I was picking up the pieces.

But I was just that much closer to me?

At least now it is only minutes hours days instead of weeks months years.

I finally find it. .

I tell my mind to be silent, to stop telling itself stories, the lies we all tell ourselves about the world.

Silence.

Silence.

Silence.

These things are not me.

They are outside me. Bombarding me. But the prickly burning ringing orange words are not me.

I tell them to leave.

They have no place in my mind. My home.  My life.

My brain does not need to accept this world of words, let it worm its way into my head, tell me how to feel, how to live, how to be.

It’s an intrusion into my life. Not a thing to aspire to or identify with.

But I have deep roots in places no words can go. And those give me an immunity to the kind of words that exist only to delude and invade.

Those words can’t touch me.  They can’t even see me.

If I reach down far enough I am made of clarity. I am made of joy.  I am made of strength. I am made of love. I am made of silence.

Silence.

That’s what matters.

Silence.

Inside the Pauses of Ordinary Conversations

When ordinary people talk
We talk in poetry
With long pauses between the lines

Long pauses
Pauses long, and longer
So that all the other information
Has a chance to sink in

When ordinary people talk
We talk in stories
Not in academic analysis

“This is what happened the other day
To my wife’s sister Molly
At the Walmart —
You know Molly
She can’t do the sound of the cash register
.
.
And every register going off at once!
And she was plugging her ears
And crouching low to the ground
And people were staring
You know how it goes”

And another long pause
.
.
.
.
.
Filled by rolled eyes
And barely controlled anger

But mostly
Just a pause
.
.
.
.
Where everybody speaks their piece
Without saying a word

And only after that long pause
This long pause
Here
.
.
.
Only then can the conversation move on

Most of the conversation takes place
Inside the pauses
Where people have time
To think and feel

It’s not a wall of words
Nobody has to say out loud
What we know everyone is thinking

Nobody has to explain
How mortified Molly was
To have a meltdown in the Walmart

Nobody has to analyze
The ableism in people’s stares

Nobody has to explain
Why they are so angry
That this one part of the world
Has to be so hard

“Molly went home and
She couldn’t stop throwing up
She stayed in her room all day
And came out pale, sweaty, and shaking.
At least she had her cat
That cat never left her side.”

Another long pause:
Nods of sympathy
Head shakes of disgust
Eyes rolling at the world at large
Grunts like “uh-huuuuuh”
More tone than verbalization

Like Molly, I am autistic
I have learned the rules of conversation
Only with the greatest effort
That people don’t always like when you
Act like a bulldozer full of words

But it has been worth the learning
Because the bulldozer full of words
Split my brain at the seams
And wore me out before it wore anyone else out

The pauses give my brain room to breathe
Being quiet lets me listen
To the music of their speech
The pauses let me watch
The dance of their bodies
Not one by one
But as a group
Each movement
Reflecting off the movements of another

The music and dance
Are my private view on the world
They let me see things
Others don’t see
Understand things
I could never explain
But the music in their speech
And the dance that hangs in the air
Between their bodies
Tell me everything I need to know
And more

So I have learned that
When ordinary people talk
They talk in poetry and stories
And their hands and eyes dance
To a song of emotion that can only be heard
In the pauses

I may be autistic
I may hear the pauses differently
But I still hear the music
I still see the dance
Even if it’s not quite the same
Music and dance
Everyone else sees

Either way, I know
The rhythms and the tones
The movements and the stillness
That only show up in the silence
I may miss the words entirely
But I don’t miss the music or the dance

And those silent pauses
.
.
Filled with music filled with dance
.
.
.
Are the most important
.
.
.
.
.
Part

.

.

.

.

.

.

For My Nonverbal Verbal Friend

[I have a friend who is partially verbal.  She can speak at certain times, on certain occasions, on certain topics, to certain people.  The rest of the time she types, or does other things.  But she is so much like me, and her speech strikes me as so disconnected from who she is, that her voice startles me every time I hear it.  I wrote this poem about my confusion, about how my instincts tell me she’s fully nonverbal and my brain goes WTF if I hear her voice.  As with other poems, even if it’s about one person, I’m sure there’s lots of others who can relate to it.]

When I hear your voice
It startles me
It’s a voice coming out of someone
Who was never meant
To communicate by speech

It’s a voice that sounds so distant
That I know you are at the back
Of a long tunnel

The machine that makes your words
Doesn’t always bother
To connect them to your thoughts

And I hear the distance
I hear the echoes made by the cave walls
At the end of the tunnel
I hear the echoes in your mind
I hear the echoes of books
The echoes of people
The echoes of echoes of echoes
That have formed the falsehood
That is your speech

Your speech is an elaborate lie
It’s a con job your brain pulled on you
When you were too young to resist
Your speech tells others,
“I am one of the worthy ones.”
Your speech rips your brain apart
But nobody notices but me

Mary Margaret would call you
One of the silent ones, now given a voice
And you are one of the silent ones, like me
It’s just nobody can see it
Because nobody understands what it means
When they hear words come out
Of a mouth that should never have been used

But I know what it means
Oh I know what it means
And my heart aches

I know it means endless hours of repetition
I know it means chewing up books
And vomiting them up
While nobody realizes
You’re not talking, you’re being sick!
The bile hurts your throat
But you do it anyway
You have no choice

I know it means a feeling in your brain
As if your brain is about to shatter
I know it means losing everything meaningful
About the way you perceive the world
As every ounce of energy
Is diverted to making mouth sounds

I know it means terrible pain
And never enough payback
To make it worth your while

I know it means fear — sometimes terror
Of what would happen to you
If you stopped talking
The way your brain aches to do
Every time you open your mouth

I know it means that you don’t type
As often as you should
For fear of social consequences
For fear of being accused of faking
For fear of being taken advantage of
For fear of getting hurt in a million ways

When I talk to you
We communicate as naturally as we can
As much like we were born to

We type, but we use the words
Like a carrier wave for something deeper
We never speak except to make emotion sounds
Our fingers flicker at each other
In our own private language
That our bodies made up between each other
On the spot
Every time

I sometimes get inside your head
See the world through your eyes
As you look out at me
And I see myself through your eyes
Looking back at me
With your eyes behind mine
And my eyes behind yours
That is how intimate we are

You can’t be verbal
It doesn’t make sense
Even when you speak
You don’t sound verbal

And you know all the secrets
That nonverbal people learn
To communicate
When we can’t speak

There’s more than one way
To be nonverbal

You strike me as nonverbal
Because your problems with speech
Prevented you from communicating well
Even when you can talk

And to me, what matters is not
What sounds you can make
Coming out of your mouth
Like a dog-and-pony show
For everyone to see

What matters is:
Can you communicate your thoughts?
Can you do so with any consistency?
Can you communicate about things
Beyond superficial descriptions of events?

If you can’t do those things
I have a hard time calling you verbal
I know I’m supposed to
I know it’s supposed to just be a word count
But a word count is just quantity
Whether you’re verbal or not
That’s quality

And
Your
Speech
Lacks
Quality

In too many ways to count:

Your voice is so distant
It sounds like you’re in a cave
Your words only attach to your thoughts
By random chance
And by three decades of nonstop effort
To mold your brain into shapes
It was never meant to take
One minor setback
Can make the whole thing collapse

And people would be so surprised
Because they don’t see
That you were never meant to be verbal
Which means they are surprised
When you don’t speak
And I am surprised — so surprised! —
When you do

You have pieces of fabric
That have been stitched together
The wrong way around
And people only see
That the fabric exists
They don’t see it going
Against the grain

But you know the things
That only nonverbal people know
You know how to communicate
Without the use of words or gestures
You know how to tell
When someone else is doing the same
Your tongue may sometimes be verbal
But your brain is not

So every time you utter words from your mouth
I am shocked and surprised
Every time
Without fail

Because everything else about you
Says this shouldn’t be possible
Everything else about you
Says your speech is a mirage
Water painted on the road
That disappears
When you get close
Or try to touch it

But you can communicate
From the depths of your soul
Without making a sound
And that is where
The real water
Can be found
Clear and deep

So I will stare into the depths
Of that clear and deep water
And I will refuse to countenance
Any mirages that come by
Claiming you are verbal —
I know you better than that

On Writing (circa 2005)

I am weak
I cannot hold up my head
Nor type without my arms supported
The effort of movement
Clashes with the effort of words
Clashing again with the effort of thought

When I move
Thought comes in formless swirls
No longer the crystalline clarity
That comes with stillness
I grasp at the remaining fragments
Struggling to piece them together
And turn them into words

I cannot predict my body
As it shifts from stiff to limp
From rhythmic movement
To rigid stillness
And staccato jerks
It gives little warning
And no apology

Luminous clarity changes suddenly
To searing pain
Detail beautiful enough for tears
Passing an invisible threshold
Soundlessly shatters
Laser-sharp focus
Giving way to electric fog

I am a collector of fragments
That sit within my mind
Weeks, months, years
Before settling into their places
In the patterns of my thoughts

I write as a historian
Not a reporter or newscaster
My specialty is remembrance
Not narration

My mind can burn
With the desire to tell it as it is now
The drives of a writer and a poet
Clash with the mind of an observer

I pound my head and wordlessly yell
As if this will hasten the process
That changes experience to thought
Thought into words
Words into movement
Intricate lines that branch
On the shell of a tortoise
Marching in a straight line to the sea

But my body does burn
With the effort of this chronicle
Eyes flash on and off
And words recede
Head rocking from side to side
Legs undulate unbidden
Fingers flick rather than type
Fragments collect again
The poet flees

I struggle now
As words dissolve on all sides
To adequately display
The meaning of fluctuation

Easy would be
To call this hell
Torture, imprisonment
To evoke the overlay
Of several shifting principles
Unsynchronized with each other
With their abhorrence of change
A body here, a mind there
Each sense broken into pieces
Jagged electricity interrupting
As I burn in unceasing pain

Too easy it would be
To acquiesce
To end with this description
As the inevitable flood
Of my internal rhythms
Drowns me out
As I try to shout over the waves
That shift through my mind

That I see waves and the poet
The rhythm and the cry
The weakness and the beauty
The struggle and the change
The fluctuating movement
The lines on the shell
Unpredictability and pain

I see them
They drown me out
They propel me
I shout over them
That I can’t see the tortoise
Without all of this
And as such
This must all be my home

Peas in a Pod

They flitted around the room
Like moths
Each one’s hands dancing
In rhythm with the other
Though never once
Did the mother look upon her daughter
Nor the daughter look upon her mother

They danced, weaving in and out of the crowd
Their arms made the same motions
Their hands twisted in unison
Their bodies danced as if
They’d been dancing all their lives

They looked more like a mother and daughter
Than any mother and daughter I’ve ever seen
No man was evident
And no man should have been
Given how the pregnancy happened
They looked alike
So alike they could have been
Twin sisters with a 19-year age difference

Their love was so palpable
That everyone I knew
Looked their way
There was no way to avoid it
They bled love into the air
The way some people bleed anger or fear
And everyone in the room
Was better for their presence

I think about them now
I worry
Is the daughter still alive?
Is the mother coping with what life throws her way?
But they have resilience enough
To meet most situations head-on

I will always remember
When the mother circled around my table
To acknowledge my presence
Without saying a word
And without saying a word
My pattern of rocking altered
All on its own
To acknowledge her presence
And that was enough
For both of us
Without a verbal ‘hello’
That neither of us could muster

The mother is one of those people I love
Whose functioning is cobbled together by pieces
Who always surprises people
Either with what she is capable of
Or what she is incapable of

The reason I love people like this
Is I am one of them
And it takes one to know one
It takes one to see the giant gaps
Between what is expected and what is there

They would call us low-functioning
And they would say it was amazing
That we could do the things we do
Just because we climb the cliffs every day
And cobble together functioning
From the wreckage of the previous day
Our fingers bleed
But we do it because we have
No other choice

I love people like us because
This is my people
This is the people who understand
When I collapse in the middle of a presentation
This is the people who understand
When I can’t say hello
When I can’t type at all
This is the people who understand
That sometimes not typing is not a malfunction
Sometimes it’s a return to our roots
Where words never grew on their own
And thoughts were mere shadows in the distance