My first book releases March 31st. This isn’t the post I thought I’d write about such an occasion, but then– this isn’t the book I thought I’d write, either.
Here’s a confession. Publishing this book
is easily one of the most terrifying things I’ve ever done. Writing it involved excavating and articulating stories, fears, and beliefs that I’d never let anywhere near my songs
. Or even my own head. But over the course of a couple years, a poetic practice crept into dark corners and reported back what it found. Some of it is comprehensible. Some of it is recognizably nameless.
Some of it is photography. Michael Wilson
and I have talked for years about creating a book together, and when these poems began piling up, they seemed to beg for a Wilson-ian counterpart. Perhaps less for illustration than for a haunted (and haunting) camaraderie, for a shift in conceptions of violence, of peace. For a break in the patternless pattern.
When the manuscript was complete, I was thrilled (as any writer is) to have the book accepted by a press. I signed a contract and made preparations. Logistics, aesthetics, repeat. And then the press settled on a release date. I was excited. I posted on social media. I texted my family. And then I fell into the most severe depression I’ve experienced since the illness sent me out of full-time music and into another life.
There were other factors; book-publishing doesn’t happen in isolation. Still, these poems pull on lovely, bloody threads strung from real bodies that move and feel in a real and volatile world. This isn’t to say that the book is (entirely) autobiographical, but it does expose and implicate. I don’t know how it couldn’t.
Of course, as it turns out, we keep things silent for reasons. I’ve spent the last several months tripping on mine: I’ve thrown up, cowered in bed, stopped for deep breaths while teaching, cried weirdly (and not soundlessly) in public spaces. I’ve berated myself for being given a great opportunity, only to cringe whenever it’s mentioned. I’ve steeled myself for congratulations, and tried to feel them in my bones. Sometimes I do.
I’m fortunate to have found support, and I’m getting steadily better. I’m more and more proud of the person behind the words in this book. I’ve begun to feel empowered by her movement from silence to conversation, or at least to nice-sounding works of word. Music-less songs.
I’m telling you this both to confess a terror and to dispel my lingering (irritating) sense of the shame of depression. This illness is, of course, less a signifier of personal weakness (or strength) than of personal intersections with chemistry, biology, time, and perhaps an uncanny, relentless sense of the possible. Perhaps none of these. Ideally, one simply learns over time to better live with depression—to move her body through the thick space of it. She learns to feel the shape of it in her mouth, and say it.
I’m also telling you this because, for the past several years, I’ve made my life’s work about the movement of silenced stories into public discourse. I’ve spoken urgently about the negative health impacts of individual and collective repression, about the necessity of the arts in helping us tell our stories. But if I needed a reminder that silences are bulwarks, safehouses, that they often serve vital, bone-deep purposes, this book has been mine. I’m re-learning the sense of fragility that often precedes the powerful ownership of one’s history; the fluctuating, feverish means by which secrets become strengths. I’ve questioned again whether it’s worth it.
I believe that it is.
…The only recourse / is to name one’s self, and hold the margins / wide enough to walk in.