Will I ever stop trying to be good?

Will I ever stop trying to be good? Why am I convinced that it is my responsibility to make sure that other people think that I am good?

Is my insistence on wielding ‘goodness’ in relationship with others really a method of manipulating the people around me? Is this really ‘goodness?’ Why do I attempt to control my relationships in this way? 

What led me to value goodness over autonomy? Being seen as good over self-actualizing? Have I earned anything with my goodness? 

Will I ever stop trying to be seen as good? Will I ever just be?

the mess that remains

We are racing through a living room, on the north side of the house, unsure if this is a game or a real life-or-death situation. My sister has a box in her hands, and she is running from me. The box is plastic, with tiny compartments, each filled with a different type of colorful bead, and her hands are small. My hands are clenched into fists.

Anger billows up out of my armpits, my shoulders, my knees. I sprint faster, finally gaining on my younger sister, Maya, who, in a flash of inspiration, runs up the stairs.

NO. The hot pressure sticks to my ribs, threatening to detonate. A word blooms in my stomach, burrows up through my esophagus, presses against my tongue, digs deep into the crevices of my jaw. I’ve said this word so many times before, in thousands of ways. Sometimes it comes out soft, gentle, imploring, but other times it comes out fighting, harsh, urgent.

I see what is happening in slow motion. That’s not even the right way to describe it. It’s not slow motion. It’s focus. Detached focus. I see what is happening with a focus so clear, it’s as if I am a monk meditating in a Himalayan temple. I know I am about to scream. I know that it is going to be so loud that it will hurt my throat to do it. I know my sister will not be happy about it. I know I will do it anyway.

“MAYAAAAAAAAAAAAA!” I bellow.

Everything stops. She comes to an abrupt halt and looks back at me, full of genuine innocence and hurt. I stand breathing heavily. The anger dissipates. She comes down the stairs. She is deflated, I am deflated, the whole expansive moment is forever deflated.

All I know now is that my sister is sad.

And then it happens. I don’t want her sadness to be my fault. The blame is too much, the guilt overwhelming. I make a pact with myself, then and there, in the pregnant pause between the yelling and her response. I will never scream at my sister again. No matter how angry I get, how much pressure builds up in my body, I won’t let it escape again. 


Ever.

I kept this pact for years, almost perfectly, not just with my sister, but with everyone else in my life.

Until the Ritz cracker incident. 

The next time I let the word “no” escape from the surface of my skin was in a middle school cafeteria. I sat with my stomach pressed up against a round, dark brown, plastic lunch table. My legs fidgeted under the seat as I manically devoured a bag of Ritz crackers, butter and crumbs spreading thick over my fingertips and tongue. We were debating over which deodorant worked best to keep our sixth-grade sweaty armpits dry. You interrupted our discussion with a question: can I have a cracker? you asked.

I froze. I looked at my crackers. I looked at you. 

I was still hungry, and realized suddenly that I didn’t want to give up a single one. Maybe I wanted to eat the rest after school, all by myself. Maybe I wanted to finish the entire roll, right now. I didn’t know exactly what I wanted to do with them, but it suddenly dawned on me that I could tell you no. That your request did not demand immediate obligation on my part. 

I said no. 

You were surprised, but surrendered. 

Truly, before this moment, I had not considered the possibility that I could refuse a request. In my reality, a request from someone was like water. It filled up the space between us, swiftly and completely, flooding everything in its path. The space was immediately full, heavy and real, belonging solely to the requester. There was no room left for me to add anything of mine. 

There was no room for my no. 

Somewhere along the way, I decided that feeling guilt was more unpleasant than being violated. Somewhere along the way, I decided it was far better to disappoint myself than to disappoint somebody else. I could stand to internalize my own pain. I just couldn’t stand internalizing theirs. 

Allowing myself to fade into the background felt easier than experiencing guilt, which inevitably led to Shame. The belief that I was bad and wrong permeated my body. It crushed me. By permitting the violation instead of the “no,” I successfully avoided Shame. 

In my mind, I was a tiny dot and the other, whoever the other happened to be, was a huge sun. My job, as the miniscule dot, was to relentlessly and passionately throw energy in the sun’s direction so they would not burn out. My job was to make sure they were always taken care of. In my mind, I had signed a contract at birth stipulating that, no matter what the cost, I existed to make sure their light never went out. 

I heeded that contract to the letter. I was a good rule follower. I was “good.” 

My fear of being seen as “bad” always trumped the fear of hurting, or even of dying. And it certainly outweighed the fear of feeling uncomfortable in my own body. I avoided guilt at all costs. If it meant wounding myself in the process, so be it. Whatever it took, I avoided guilt. 

In this way, I avoided shame. 

In this way, I avoided learning how to listen to myself. 

Until the Ritz cracker. This was a big deal. This was in direct violation of the contract I believed I was in with the Universe. 

After I said my no, you looked taken aback. You asked, why won’t you give me one? I want all of them, I mumbled. You leaned your head back and raised your eyebrows in performative incredulity, making sure all of our friends saw how shocked and offended you were. Then, as suddenly as it had started, the scene was over. I kept my Ritz crackers. We were still friends. Everything seemed to be okay. 

Except there, in the center of my chest, there was a sensation blooming. My chest was collapsing, as if a gigantic mudslide coursed down between my ribs, pulling bones, muscle, debris down into the abyss, threatening to take the rest of my body with it. My throat tightened into the size of a tiny coffee stirring straw, and my head felt thick with tension. 

There was a reason I religiously avoided disappointing people. Although I had just committed a revolution by saying no, I still had to deal with the mess of guilt and shame that remained in my body. 

There was no way to escape. My body would never let me.

the monsters aren’t what you think they are

I am terrified that nobody will see. 
I am terrified that someone will see. 
I am terrified that nobody will ask me if I’m okay.
I am terrified that someone will ask me if I’m okay. 
I long to stay hidden forever. 
I long to be seen.
I long to suddenly cease to exist. 
I long to live. 

These are all stories we tell ourselves. All of it. The heartbreak. The childhood. The loves. The things we’re good at, the people we want to be around, the places we find joy, all of it. Every last drop is a story we tell ourselves.

Except the body. The body speaks only in memory. In grief. In imprints. There are no tales to weave here. The body cannot lie. Here, there is only an unraveling of what is already whole and perfect and older than we can imagine. 

The monsters aren’t what you think they are.

This is our work, this task of ‘being human.’ None of us are prepared. We don’t know how to live. We try anyway. We want to allow our deepest desires to come up for air, but we are terrified of what they will do to our lives. We condemn our fears, even as we lean in closer to listen to their warnings. 

The monsters aren’t what you think they are. 

We long for a soft landing. We want beauty to be simple, joy to be pure, and growth to be painless. We are ashamed when our lives are complex and difficult. We condemn our darkness, even as it reaches up to us, a gentle suppliant. 

The monsters aren’t what you think they are. 

The body knows darkness. It knows the darkness that envelops the moon each month, the darkness of incubation, the bearer of life. Incapable of masking, paraphrasing, mitigating, or pretending to be something it’s not, the darkness simply is. 

This terrifies us. We have no control. We try, desperately, to maintain the illusion that we are separate from our darkness. We are determined to chase our myth of perfection. We are determined to deny the murk collecting in our torsos, in our jawbones, our hands. 

The monsters aren’t what you think they are. 

The body knows murk. 

The murk is the soft darkness after a parent says goodnight, when you can still hear voices murmuring on the other side of the door. The murk is the stillness of a summer evening, draping itself leisurely out over the white hay bales. The murk is not a sinister mystery. Instead, it is a circle of your younger selves. They are pulling memories out from the depths of their backpacks, showing you each precious piece, proud, triumphant, a little self-conscious. They are naming their grief. They are showing you their wounds. They are waiting for you to touch their shoulders, to smile at their tales, to come to know their desires. 

The monsters aren’t what you think they are. Most often, they are scared children, desperate to be heard. 

These are all stories we tell ourselves. The darkness teaches us how to notice our stories. How to ask questions. How to be quiet. How to listen. How to love. How to live.

Hi all. You can read one of the seeds for this piece here.
-Siena

the displacement of anger

We are running through a living room, on the north side of the house, unsure if this is a game or a real life-or-death situation. My sister has my bead container. It’s this plastic box with tiny compartments for each type of bead, and all of my treasures are inside it. THIS BOX CONTAINS EVERYTHING I VALUE IN THIS WORLD, AND I WAS ABOUT TO MAKE THE MOST EPIC NECKLACE EVER, AND THIS TINY 6-YEAR OLD IMP IS TRYING TO STEAL IT FOR HERSELF. The fucking nerve.

Anger billows up out of my armpits, my shoulders, my knees. I sprint faster, finally gaining on my younger sister, who, in a flash of inspiration, runs up the stairs.

NO. The hot pressure sticks to my ribs, threatening to detonate. A word blooms in my stomach, burrows up through my esophagus, gets under my tongue, digs deep into the crevices of my jaw. I’ve said this word so many times before, in thousands of ways. Sometimes it comes out soft, gentle, imploring, but other times it comes out fighting, harsh, terrifying.

I see what is happening in slow motion. That’s not even the right way to describe it. It’s not slow motion. It’s focus. Detached focus. I see what is happening with a focus so clear, it’s as if I am a monk meditating in a Himalayan temple. I know I am about to scream. I know that it is going to be so loud that it will hurt my throat to do it. I know my sister will not be happy about it. I know I will do it anyway.

“MAYAAAAAAAAAAAAA!” I bellow.

Everything stops. She stops running, I stand breathing heavily. The anger dissipates. She comes down the stairs, full of genuine innocence and hurt. She is deflated, I is deflated, the moment is forever deflated.

Now, the memory is blurry here. I’m not sure what happened to the bead container. Did she give it back to me? Did we string necklaces together? All I remember is that she was sad.

In that moment, I decided that I didn’t want to experience her sadness that way. I didn’t want it to be my fault. The blame was too much. So, I made a pact with myself. I would never scream at my sister again. No matter how angry I got, I wouldn’t let my anger escape from my body like that.

Ever.

I kept that pact for years, almost perfectly, not just with my sister, but with everyone else in my life.

Recently, I have been blaming young Siena. She was too weak for the world. She didn’t stand up for herself enough. She didn’t say no when she didn’t want something. She didn’t say, “give me that,” when she DID want something. She let people in. She exposed us to danger. She didn’t protect us. She was a coward, a phony, a pussy. My trauma was her fault. The abuse I experienced was her fault.

But, remembering this story made me realize something: the anger didn’t disappear. The “NO” never went away. It was simply displaced. I was always pushing back.

I wrote long journal entries about anger. I played angsty piano octaves on the piano as I performed Mozart, Chopin, and Debussy. I acted out angry characters in theater productions. I sang. I mimicked the faces of actors as I watched movies. I danced. I made myself heard. I made myself safe. I rejected the world in my own ways. My sensitivity gave me wings, won competitions, got me into small competitive circles. I was strong and took care of myself masterfully. I was a hero, a human, a warrior. 

In fact, I’m now realizing that I have been counteracting the dominant figures in my life the WHOLE TIME. Maybe I wasn’t screaming at them directly, but I was sure as hell screaming in other ways.

I have always said every single thing I needed to say. I said these things loud enough for people to hear. I was never weak. I was never defeated. I knew exactly how to take care of myself. I was Queen of Myself. I was a fearless leader, a wise nurture, a great intelligence.

There was not a lack, but rather a redirection of strength.

This was always the plan. I was meant to be right here, right now, right as I am. I have never been anything different. I was never feeble, although for a long time I thought I was. I am simply learning where to place my anger.

we are the subject, not the object

I was.
I wanted.
I came.
I remember.
I felt.
I wanted.
I needed.
I conducted.
I made.
I wanted.
I knew.
I lived.

I was afraid.
I was listening.
I wanted to be free.
I came across myself many times over.
I remembered.
I felt myself forgetting.
I wanted to be good.
I needed everything.
I conducted ceremonies.
I climbed up, even as I dreaded falling off.
I made myself jump.
I wanted wholeness.
I knew I would always be leaving a version of myself behind.
I lived anyway.

just got home

I just got home from performing on a radio show. My head hurts (for some reason I always get a splitting headache after performing), I’m craving chocolate cake, and I am so grateful for the cathartic experience performing offers me. Often, it’s the intimate shows that are the best: the ones with you and just a few other people in the room, people who really care about you and your music.

The studio was only a six minute drive from my house, located in an ancient, sprawling Rochester 1930s building, resplendent in old brick and numbered doors. Two women wearing eyeliner and jeans met us at Door 3. Their swaying hips sang of multicolored memories and Cleopatra-style voyages as they helped us haul our gear up to the second floor.

Once we arrived, we were welcomed with open arms by the outgoing female sound engineer, and given small bottles of water. We set up our instruments and amps while chatting with the three radio show producers. How many songs should we expect to play? Does this mic go into my amp, or directly into the board? How do you pronounce your last name?

Then, it was showtime. They asked us questions that I found challenging, but fun, to answer. Getting interviewed is such a skill, one I’m still honing.

Who would you collaborate with if you could?
-Brandi Carlille and Lianna La Havas.

Who has been an important teacher and mentor for you?
Mr. Baker, my 4th grade teacher.

How much do you practice, and what’s your practice routine?
-I try to practice 4-6 days a week for at least 10 minutes. Keeping it doable for myself.

What’s your creative process for writing songs?
-For me, it’s a meditative practice. I usually write songs at night, when I’m tired and feeling a lot of feelings. Then I’ll collapse at the piano and just start playing and recording song ideas.

Then, we played. My collaborator was Kelly Izzo Shapiro, a singer-songwriter who I deeply respect. She and I have been building up our sound over the past year, developing trust and a unique musical style. We played Carol King, a few of our original songs, Alicia Keys, and Jill Scott. I railed on the keyboard, and she played guitar. A few of the songs were the best we’ve ever played them. We listened to each other, got in the flow of it, and never once fell out of “character:” two artists who are very good at what they do.

I love how much I can trust Kelly, and visa versa, while we’re performing together. The radio show producers sat, mesmerized, while we played, and clapped after every song. They were noticing all these lovely, specific things in our music, including how complementary our voices were for each other and how Kelly’s guitar sounded cyclical in one of her original songs.

I’ve done radio shows before, and each one has its own voice. The smell of the studio might be musty or clean or flowery. The questions might be brief or deep. The offer to play might be eager or casual. But the one thing they all share is: genuine care from the producers/hosts. So far, all I know is that’s how it is everywhere.

There were more questions, more music, and then it was over. We unplugged all the quarter inch cables, folded up our mic stands, put our instruments safely in their cases, and dragged it all back down to our cars. We said goodbye about 10 times, and thank you about 100, and then drove off in the rain to our separate houses to do our separate nighttime things.

I feel wrung out, like I am a sopping wet towel, and someone has twisted and squeezed me until the stream of water becomes light drops, and eventually ceases altogether. I feel like this after every performance. It’s an empty feeling, like I have nothing left in my body. There’s no words left, no smiles, no movements. It’s all in the music.

Back when I was in the throes of my PTSD symptoms (they’re still here, but now I have lots of tools to manage them), the emptiness after performing felt infinitely terrifying. I was convinced that, once I emptied out, I would never replenish my resources. I felt that I would be stuck in the wrung-out state forever. Now, though, I recognize this feeling as the mark of a true performance, one that I can stand behind and be proud of. I know that my resources will replenish, and that I will survive the catharsis. All I have to do is take care of myself. The body is a miraculous thing.

So is music.

The radio show tonight was a pearl, a moment. One of many, but truly all its own.

breakfast

tiny hairs on the tomato stems are white in the morning light. basil leaves broad and satin, tilted towards the southern window. hot water poured over Earl Grey leaves, curled like seeds in a silver cradle. silky cow’s milk drops in, the whole fragrant mug waiting patiently on a table as the Bergamot and tannins infuse into the gently steaming mixture. peanut butter spread on store-bought english muffins (the homemade ones are long gone), melting into the doughy crags. tendrils of coffee-scented air waft across seedling tops, red armchair, rainbow beams of light from the crystal hanging in the window, laundry draped across the old metal rack, stacks of poetry books, cobwebs between the ceiling and the walls. breakfast has commenced.

absolute annihilation

I don’t want to write tonight – I am not inspired. I have gotten burnt out from trying to get better at too many different things at once. There’s music, writing, podcasting, teaching, gardening, making money, and building relationships. If I’m not the best at every one of them, somehow my body will implode in on itself while the ground turns into quicksand and I disappear in under a millisecond. Somehow I know this will happen, at a deep, reptilian level. So, to avoid absolute annihilation, I attempt to improve everything I do, at all times. That shit is not gonna work. Now I’m lying in bed, super sick, because my body couldn’t handle it all. I don’t know how to stop. I wish it didn’t take getting this sick to force myself to stop. What is this thing propelling me forward?