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Apr 2020 · 22
Without Time
Tom Atkins Apr 2020
This is what you do.
You mourn.
And mourn more.
For as long as you need to be lost in it.
There is no timetable to mourning.

You do not.
Can not.
Will not
lose the loss.
That is not how it works.

You live it
and in time,
when you are ready,
and not one minute earlier,
you find room for something else.

Something small.
But something nonetheless.
And you let it in.
And then something else.
and yet another.

You decide.
When.

You learn. That’s the thing in it all.
you learn that it never fades, the mourning.
It will always be there, just behind the eyes.
Always.

But you learn there is more to you.
Room for more.
That hearts are far larger than the cavity that holds them.
Hearts are where eternity lives.
They are infinite.
But only
when we are ready;
for mourning has no time.
Apr 2020 · 66
Winter in April
Tom Atkins Apr 2020
Here in Vermont, the winters are cold,
sometimes brutal, never gentle,
a teasing sort of punishment for those of us who stay.

And so it is at the end of April, snow is blowing
and there is a sheen of ice across the quarry
and you find yourself indoors in what should be a season of sun.

There is no normal here. That is what you discovered.
Behind the bucolic scenery and towns postcarded
like 1955, every ill lives here that lives in the cities you left behind,

hidden behind prettier backdrops perhaps,
but we are excused nothing for the privilege of living
in a land without billboards.

That is not a complaint. I love it here,
and since we all suffer in this life. (It is sure as seasons.)
better to choose your place of pain.

The snow falls. The sun shines. It is cold again.
No matter. You have fresh flowers on the window.
Coffee brews. You are in a good place in a bad time.

Who could wish for more?

This too shall pass. So says the bible.
Only it never did. We did, and we believe it so fervently
we gave it biblical status,

proving at that at times we can uncover
wisdom on our own, and so, give our suffering
meaning.
I had to wrench this one out this morning.

I do love Vermont. It is not what I thought it when I first came here, but I love it still. But then, one of the lessons I learned moving here from Virginia, is that I think I could live anywhere, and be pretty happy with it.

It was snowing this morning, on the 22nd of April. Eleven years ago when I first came here that would have surprised me. Now? Not at all.

Somehow, from that, this poem.
Apr 2020 · 57
First Flowers
Tom Atkins Apr 2020
The first flowers begin at the bottom,
New shoots of forsythia,
almost out of sight unless you look close.

The promise of spring
lies always near the roots.
Apr 2020 · 73
Small Adventures
Tom Atkins Apr 2020
Small Adventures

The bridge is rickey, a floating bridge
over a woodland pond. Rarely traveled,
it floods in the spring,
making the passage if not dangerous,
at least a little messy, a place avoided by most.

There is no obvious view, no reason
to cross the bridge in the wet season.
Nothing draws you except curiosity.

For you, that is enough,
rarely content to wonder,
you have a desire to see,
no matter how messy,
where the journey takes you.

This tendency has not always served you well.
At times, there is nothing worth the journey
on the other side
and you are left wet and worn with nothing to show
but the adventure and stories to tell your children,
reminding them you too still have
some of the wildness of youth buried in your old bones.

You are a collector of mistakes,
some of them unavoidable, some of them not your own,
some of them spectacular.
Most barely noticed. Part of the journey,
to collect them like brim on a line,
then let them go at the end of the day.

You cross the shakey bridge. Your feet grow wet.
On the other side is a clearing of rocks and boulders.
You clamber up in the April sun
and take off your shoes and socks
and lie on the sun while they dry.
You will take a new path home, a dry one,
a safe, if somewhat longer one.

But this small adventure has been a success.
For all its mess, there is healing in the sun
that bakes you and the rocks you lie on,
and if the wet path was a mistake,
it is one you would gladly make again.
We all make mistakes. That’s part of what makes us interesting. And at times, they lead to surprisingly wonderful things. Trust me on this one.

If you don’t know what Brim are, they are small fish found mostly in ponds. Takes a couple of them to make a meal. I used to fish for them with my Grandfather in Surry County, Va.
Apr 2020 · 161
Time to See
Tom Atkins Apr 2020
Sunlight comes through the window.
The wooden bowl casts a shadow,
beautiful, simple.

This morning, again, you are in no hurry.
Your life has slowed down and there is time
to see.
In the last week or two, I have been seeing differently. Seeing more. In the snippet of the world I am living in, and in myself. Not everything about this time of quarantine has been negative.
Apr 2020 · 47
A Loss of Horizons
Tom Atkins Apr 2020
Life has become closer, more precious,
bound by walls and doors and masks
and an unfamiliar fear.

This is not who you are.
But it is, right now.
Something weaker than you want to admit,
far more vulnerable,
your breathing labored and wheezy,
unsure. Each moment, each breath
both work and a celebration.

You remember your father like this,
his smoke ravaged lungs straining each breath
for the last years of his life,
no medicine,
no mechanics able to do more than making the next possible.
I watched the wearing away,
of body and mind, and will.

This will pass. Already the medicines are at work.
Already your wheeze has died down to a whisper.
You will heal. Doors will open.
Horizons will return,
and you will walk them, staring into the dusky sky
unafraid of death,
thankful you have been spared for a time,
the gratitude itself a kind of horizon,
a way of seeing past your vulnerability,
finding again the horizons once lost,
and finally, reclaiming each and every one.
My father had COPD the last many years of his life. It was terrible for him in the last years.

I’ve been battling a lung issue for the past few weeks. At this point, I am on steroids to beat back the resultant inflammation in my lungs. It’s been a slow journey, but I am on the upswing finally. Not contagious at all, but very tiring. Not being able to breathe well leaves you with a sense of vulnerability.

I was supposed to be at Cape Cod this month for just a few days. I miss the ocean and the emptiness of the offseason there. Nothing brings me back to myself like hours on an empty beach.

I am actually doing fine during this quarantine. But I an as tired of it as anyone.
Tom Atkins Apr 2020
It is a strange kind of spring,
autumn leaves, the stragglers and survivors
that clung to the white-clad birches all winter,
have let loose, their yellow leaves a carpet
covering the April grass and its greening.

Typical of New England, there is no continuity of weather.
One day the sun warms your skin like a lover’s touch,
and next day is cold and snowy, cutting like betrayal.

It is a season of plague and quarantine,
a cruel joke, making us all prisoners of fear,
like birch leaves, hanging on, clinging
until the season changes.

I am not a worrier.
I was cured of worry, I believed, a decade and a half ago,
surviving more than I believed I could then,
nothing now seems as consequential.
but I worry now.

I worry for the children,
mine and the ones that surround me.
I worry for the doctors and nurses,
for the people who stock my stores at night,
for the myriad of people I know
who have built their livelihoods,
suddenly fragile, unexpected deaths to the plague.
I worry for the poor. I know too many of them
for them to be an abstraction. No care, no money,
what little life they have crumbles.
I worry about the loud ones, the deniers
and all they touch, proud carriers of disease.
What will become of them?
I worry for the elderly, huddled, too often
already victims of loneliness,
a new vulnerability suddenly added to the frailness of age.
I worry about…. the list is too long.
I pray, but the list is too long, too easy
to leave someone loved out,
until at last I cry out to God in a great groan
that says more than my words,
and I lean into him, knowing he knows,
more than I, the loss and fear and need
for comfort and strength beyond what I have.

I walk across the yellow leaves of spring.
Freshly stripped off the trees in yesterday’s rain,
they are supple and a thing of beauty.
But this will not last. In a few days they will dry
and turn brown, and fall to dust beneath my feet,
no longer survivors, but victims and all that is left to me
is prayer and the power to remember their beauty
and share it, long after they are gone
Apr 2020 · 43
Nature Abhors a Vacum
Tom Atkins Apr 2020
This is the view from where I sit.

Just to the right of me is the work table,
covered in brushes and paint
and half-finished paintings.
There are things that need to be framed,
and a plethora of pens.

There is no glamour to it.
A working space with good light
and more importantly, time,
set apart, for just this thing,
to get the rest of the world out of my way
and make room for the stuff that comes slowly,

the inspiration, the god-breath
that pulls things out of me no one knew
were there, much less me.

Some artist, me.
I spend far more time staring into space
than applying paint. Thinking you might call it
if you were generous and kind.
It is far less than that,
I am waiting with expectation,
trusting the universe will not leave me empty
for too long.
During this time of Coronavirus, I spend a chunk of each day in my art studio in nearby Granville, NY.  I don’t paint the whole time. No. I do my morning devotions here, write a time, talk to clients on Zoom and Skype, and then later, paint.

I am a “manna” kind of artist. I rarely have something in mind when I start. Instead, I empty myself, (I do this with poetry as well.), and then wait for the emotions to leak out. In general, the better I do at emptying myself, the better the art.

Inspiration, the word, originates from a phrase that means “God-Breathed”. The ancients used to believe that God filled artists with their art, whatever form it came in. And perhaps he does. But with me, he has to work with an empty canvas, because the only way I can create honestly, is to be empty, and wait for what leaks out.  Because, as we all learned in high school physics, Nature abhors a vacuum,
Apr 2020 · 45
Preparation
Tom Atkins Apr 2020
The boat is tied neatly against the pier.
The teak gleams but you can see the wear,
the marks of decades of use.

The things that make it able
have been maintained. You can see that.
The hull lacks barnacles. The ropes are fresh

and if the cleats show pits of oxidation,
they are small. Nothing has been allowed
to weather far. It is a craft ready,

made for travel, to ride wind and wave
using no more than its own strength
and the wisdom of its sailor

to trim the sails just so, always adjusting
to the fickle shifts of the ocean.
A survivor, never allowing neglect

to stand in the way of journey.
Even now, in this strange season,
docked too long to the wooden pier,

its whole purpose, whole meaning,
put on hold by fate and laws,
there is work to be done.

For the West wind always returns. Always.
There will be new horizons and the secret
to meeting the new necessities the West wind brings

is to do the work, not of maintenance,
but preparation.
About wooden sailboats of course. That is obvious. My father  and I restored an old wooden sailboat when I was a young man and it was a constant battery of work to be done to keep her ready to sail.

About our time right now. Quarantined, I am trying to spend much of my time learning, preparing, doing the work to launch, even if I know not when.

The picture was taken in Mystic Harbor, CT.  I loved its name and swore I would write a poem around it someday. Four years later, I finally got around to it.

Be well. Travel wisely, even if it is in your own head and heart.

Especially if it is in your own head and heart.
Apr 2020 · 401
The Effort
Tom Atkins Apr 2020
At some point, you realize
it is more than wanton destruction
or the need for an outlet.

There is art in it, purpose,
and messages as bold and secret
as those of the grandmasters

and you stop shaking your head
and you stop in the open-air museum
and try to understand

what lied beneath the visual rant,
People passing wonder at you standing there,
head cocked in thought,

“Silly man!”, they whisper between themselves,
“May as well understand God as this drivel.”
But they would be wrong.

God is easy. He leaves his messages in the open,
allowing us to complicated them
with prejudice and a need to control.

Art though, is hard. We lack the code
that lives inside the head of the artist
with the spray paint,

but the prejudices are just as strong.
Still, you try and in the trying,
the loud graffiti on the wall becomes yours,

at least a little bit.
And you become just a little more human
in the effort to understand.
Inspired by a wall of graffiti in Asbury Park, NJ. In my old age, I have become a fan of the stuff.
Tom Atkins Apr 2020
“You should write about the fear,” she said.
“It’s six months out, and perhaps less raw.
People are fearful now, and it might help.”

My hand drifts absently down to my belly
and the collection of six scars.
I barely remember the fear of the time.
Shock is like that.
It was one day at a time, at times
just one hour at a time
for months before, and even here, now
months after.

Not so much the fear of dying.
I have danced close to that drear druid
before. He is no stranger to me
and I lost my fear of him when I was but eighteen.

It is the manner. The pain, the possibility
of months and years of being so unable,
of the loss I might leave behind, those ripples
of how much less I might become, and have,

and never knowing that in that less,
there might be more, something different emerges.
It was only being able to feel the moment
and the moment being this terrible thing
that could **** me in little descendant notes,

the possibility that I would be robbed of the joy
in a woman newly discovered, children newly launched,
in a lack of possibility stolen by mere survival.

That was the fear. And part of it still lurks.
The recovery so strong, so good, and yet still,
so incomplete and you wonder, despite the progress,
despite the rehab,
despite the still day to day work of it all,
how much of you will return
and how much will not,
and more importantly,
what you will replace the missing parts with,
how you can calm the ripples of loss
and replace them with something more,
waves of power and joy.
This morning early, as we were cuddled up in bed, the cats just beginning to get restless, the woman I love suggested I write of the fear I felt during my battle with cancer this year.

It is a hard thing for me to write about because I have not still processed it. It was not a crippling thing, this fear. Not at all. I got through it all with better than average spirits, and mostly on a positive note. I was fortunate, as cancer goes.

But there was fear, and all these months later, it is due some thought and reflection. It’s no good in stuffing emotion too long. It has a tendency to fester. So here is a start.
Tom Atkins Apr 2020
There is perhaps,
a little guilt,
that in the midst of the plague year,
my heart still beats fastest
when you are near.
True story.
Mar 2020 · 53
False Spring
Tom Atkins Mar 2020
Early March in Vermont, and for a week now
the snow has slowly melted into the landscape.
The sap runs from the maples to the sugar houses.

It is easy to believe winter is done,
releasing its grip, softening the earth
with its promise of greening.

But I lived long enough to know winter
does not surrender so easily. It will come again
and hold the season hostage with ice and new snow.

And we will complain. We will whine.
Somehow forgetting this happens each year
and that spring comes in fits and starts

and false springs may bring more grey weather
and white, icy landscapes, but they too will pass,
for each false spring is a harbinger of the inevitable.
False Spring actually is an accepted season here in Vermont. A teaser. Sometimes, our progress in life is the same way, healing done in fits and starts. The poem is about both.
Mar 2020 · 60
Four Strings
Tom Atkins Mar 2020
He sits on the small stage,
Long hair and mustaches,
costumed and dressed in his Renaissance finery.

Three women sit off to one side.
Madrigal singers, waiting
for his perfect rhythm, his perfect low notes
to begin.

Four strings.
Nothing more.
Four strings
and infinite possibilities.
I am sitting at a McDonalds in Rutland, Vermont. Down the street a block my old Isuzu Trooper is getting new tires while I sip bad coffee and eat my breakfast and write.

I have been reviewing my poems and reviewing my journal entries for the last decade and a half, trying to get a realistic sense of my journey during this time. How did I completely change my whole life around in that time? Why? What parts were ****** on me and what parts did I choose? Which of those choices were good ones and which were, shall we say, less than optimal?

It’s been a fascinating read. Fascinating to be reminded of how simple I actually am and how simple my needs are. How so many of my best changes resulted from being true to that simplicity and how those less than great ones were generally caused by drift.

When I began therapy way back when, one of the things that struck me is how, despite the complicated emotional mess I was in, nothing was really new. I was not nearly as unique as I thought I was. People had been going through the same things, in variations, forever.

And so too, the answers were simple. I was the one making it complicated. by not understanding that I and my situations and emotions were not nearly as unique as I believed. Once I grasped that concept, I could trust the therapist to guide me along proven paths. No need to reinvent anything special for me. The paths were already there. That concept has largely guided me ever since. In life, love, family, work, and faith.

Yes, we are complex, but not in the way we think. There are a few things we all need and want. Care for those things and there are infinite possibilities of what we can make of ourselves. Don’t care for those things and there are infinite ways we can muck our lives up.

But always, there are those basics. A feeling of safety and security. (Physical and emotional) Acceptance. Being nourished. Purpose.

Just like the young man playing the bass in the picture I used to illustrate the poem on my blog. Four strings. Infinite possibilities.

A long explanation for a simple poem.
Feb 2020 · 163
Lenten Colors
Tom Atkins Feb 2020
You have used the same palette for years,
mixing watercolors until they are indistinguishable,
one from the other, then washing it clean to begin again,

The plastic washes white each time, perfect and new,
bright and ready to start again, a new mix
of colors and texture, so easy

to save yourself
from yourself.
I have Lent on the mind this week.

I am also an artist and I really have been using the same plastic palette for watercolors for years. Six of them, I think.

I believe in the power of forgiveness and grace to make us new. I have been blessed to experience them both.

From all that, today’s poem.
Feb 2020 · 142
Dancing at Lent
Tom Atkins Feb 2020
Ash Wednesday, and then it is Lent,
a season of sacrifice,
a reminder of Christ's own sacrifice 40 days hence.

The ashes have been wiped away
and the season begun,
barely noticed by some, for others,
it is at the heart of faith itself.

Your forehead is fresh and clean,
and your decisions made.
It is time to release the darkness,
to dance in the night,

and let your demons dance with you
before tossing them to the sky like dark balloons
for someone else to discover
after they are deflated.

Howl with the coyotes. Sing with the just arrived robins.
Wallow in the almost warm sun with the cats.
They know. Lent, for all its dour reputation,
is the almost spring, and worth celebrating.
I've always seen Lent differently. And since Lent is a church-made thing, not a biblical thing, I feel comfortable with my choice.
Feb 2020 · 124
Made Things
Tom Atkins Feb 2020
It sits at the foot of the leather chair in your living room.
A car, carved from a single piece of wood
when your father was just a boy.
Nothing recognizable, simply a design
in the mind of a child too sensitive for his time and place.

There is a ribbon taped to the bottom with old cellophane tape.
Third place. A national award from General Motors,
a contest created to awaken young designers,
and set them on a path of creativity and industrial design.
It took. You have the drawings your father made,
all swooping fenders and steel lines.

They beat much of his heart out of him in that time and place.
They made him tough and hard, his brokenness disguised
as strength and rough corners. He tended his wounds
with alcohol and anger.

But his desire to create never left him. Sober, he was brilliant,
an innate understanding of things and possibilities
punctuated his life and through him, mine.
He died just a few short years ago.

We have choices of what to remember. What to keep.
I choose things like this car that sits unobtrusively
at the foot of the leather chair. I choose made things
and they surround me like an aura, even
when they go unnoticed by those who merely come and go.
Pretty autobiographical, both for my father and myself. The car and the prize and the bullying and the tender heart scarred, alcohol, and my memories are all real things.
Feb 2020 · 57
A Vocabulary of Joy.
Tom Atkins Feb 2020
Words matter.
Your mother taught you this
when you were a boy.

She lived it, taught it. It sank in,
a vital part of who and what
you would become.

Words create feelings.
They heal. They wound.
They inspire, inform, sell,

They should be
things of truth.

You think on this on the long drive home.
The GPS has changed its mind once again
and you are on a new road with new thoughts.

It is dark, late at night. Here and there,
lights twinkle. Cabins and houses in the forests.
You can smell the wood smoke.

Yes, it is February. And there is snow
and ice on the road.
You drive, as you generally do, too fast.

But it is warm outside. Over 40.
and the ice melts. You feel it give way
as you press the accelerator around the curve.

It is nearly spring. Oh yes, there will be more snow,
but you are aware of the change.
There is something new in the wind.

You sense, more than see, the bulbs stir.
It is time to change colors,
to let go of the greys and ***** whites

that are so familiar, but not quite true any longer.
You need a new vocabulary, a thing of color and sun,
the truth of you.

You have become too familiar with dark words.
They filled so much of your past
that they had become your mother tongue.

But you do not live there any longer.
To speak the truth, you must learn new words
to tell it.

You have always been bad at languages.
Words came hard. They still do.
You barely passed French in high school, college, grad school.

It is your nemesis.

But when you live in a place, you must learn
the new land’s words. To speak them
as if they were your own.

And so you struggle with this vocabulary of joy,
to tell your truth in words that feel odd
spilling out of your mouth and pen.

You must let go
your mother tongue.
The truth insists on it.

There are new paintings to create,
bright things, the colors of childhood,
a reclaiming of innocence,

and it awaits you at the end of the road,
in the place where your love lives.
You press the pedal.

The car moves faster through the night.
My life is good right now. I don’t reflect that enough in my poetry. Part of that, I think is that I tend to write in the morning when my depression is at its strongest, and I have used my poetry to expunge that demon. Part of it too, is that I have become familiar with the vocabulary of pain. I’ve used it a long time. The words come easily.

But it is not really my truth. My truth is that life is good. I am as happy as I have been in many, many, many years.

It is time to find my own vocabulary of joy. It will take a while. But, as the poem said, as my mother taught me, words matter. It’s time to find some new ones. It may not come easily, but it will come. Because I am a persistent kind of guy, not because of innate skill.
Tom Atkins Feb 2020
Light. Space.
Line. Interruptions.
Triggers and memory.
A gallery with art on one wall,
a mix of truth and pain.
compelling whispers shout.
A place to learn what you say,
what you create,
matters less
than what is seen and heard.
Light. Space.
Line. Interruptions.
Triggers and memory.
A poem for all creators. We think we are creating X. But as soon as our creation is read, seen, heard by others, it becomes something entirely new.
Feb 2020 · 61
Closer Still
Tom Atkins Feb 2020
You shift in the bed. Light comes through the windows.
There are birds singing outside,
too early for spring, but singing nonetheless.

A full night’s sleep and you are still tired.
Your bones and soul both resist inertia.
The warmth, yours and hers, comingle.

Nearly three years since you exchanged vows.
None of them easy. None of them the stuff of fairy tales.
Times of death and loss and struggle,

Constant chaos.

You prefer peace. That is the truth of it.
it has been a long journey to capture it.
an old man’s journey to rebuild himself from the rubble.

She shifts slightly and settles back into her deep sleep.
You would prefer the fairy tale, but you have lived too long
to believe in them.

In its place is what you have, a different kind of love,
soft as flesh, strong as steel, A thing you wish
you had found as a young man.

But age has its value. Age is a treasure,
Wisdom, however it comes, is treasure. You smile, fully awake,
reaching your arm over the covers

and drawing her closer still.
The woman I love and I have a third anniversary coming up in a couple of months. I still live in amazement in us.
Feb 2020 · 48
Roulette
Tom Atkins Feb 2020
The ball rolls, bounces and spins.
The crowd holds its breath,
anticipating, against the odds,
their magic number.

It stops. Money, in small plastic chits,
designed to lessen the loss,
changes hands.
And it begins again.

The wild card. The odd number,
the stacked odds when you play with fate,
all for the thrill, your mind lost
to passion and hope and the excitement

of beating the odds.

I do not gamble. I have lost enough
to set myself up for loss yet again.
There is no thrill in the game.
I have been drained of hope and pretense

that the fates favor me.
Better to run under their radar,
to deprive them of the chance to crush my hopes
and leave me broken.

I have become a student of the old ways.
Simple. True. Faithful.
I need less now than then, and with that less,
I have more to lose.

Leave others to play. They believe
in their place in the pantheon of gods and fates.
You watch, wondering how long they can lose
and still believe.
One of the eye openers when I entered therapy after my divorce is that I was nothing special, that all the mistakes I had made, all the struggles I fought have been fought by countless others before me.

The good news about that is that I did not have to create a whole new way of healing and growing. Others before me had already forged the path. I only had to take it. And so it was that I learned I can do anything, without gambling on new ways. The path is already there.
Feb 2020 · 16
Sunlight in the Mill Town
Tom Atkins Feb 2020
No one in town can tell you
exactly when they closed the plant,
but it was a generation ago.

Young generations, with children of their own
cannot recall it anything but what it is today:
an empty ghost of a building,

a place their parents speak of,
once bustling, now habited
by the occasional homeless soul

until they too, are chased away.
The canal runs past,
shallow water running fast

for no purpose.
An indelible, empty landmark.
It draws you, a grim reminder

of your own empty past,
of dark windows and broken things
and memories of purpose lost.

You go in.
It is dark and dusty inside. Cobwebs abound.
Most everything salvageable has been pillaged

or spray-painted with graffiti,
messages from the lost boys who never knew
this place as it was.

There is a strange art to it.
Half history, half a storage hall
for ancient dreams and promises.

You linger in wonderment,
that such enterprise could be made worthless
by the scratch of an accountant’s pen,

and just like that, becomes a mausoleum.
A holder of dead hopes.
It is at times, too close to the bone. Except

for this one thing:
Yours is a tale of resurrection,
and when you are done with your explorations.

you will walk again
in the sun.
Hopes intact and shining.
One thing we have here in New England that we did not have in my native Virginia are mill towns. The region is punctuated with these towns that once had big factories. Powered by steam and the rivers they were the drivers of the industrial age.

And now, most of them are empty. The work all moved to places far away, leaving behind these huge old factories and entire towns drained and empty. They fascinate me, these places, and when I can find a way to get it one and photograph, I will always take it. At times, it’s even done legally.

I see these factories as an object lesson of my own life, except for one thing – I have been brought back to life by time, faith and love. And so it is that I leave these places, not sad, but grateful, wallowing in the sun as I leave.
Feb 2020 · 144
A Room Full of Chairs
Tom Atkins Feb 2020
It is a room of chairs.
Their thin spindles let the light through,
visually almost invisible,
easy to move about the room,
to reconfigure as people come and go,
with no sense of mass or weight,
always room for one more, one less,
a different sort of life,
one that allows for constant change,
ebb and flow,
never too much,
never too little,
a shape-shifting goldilocks kind of room.

You feel strangely at home here,
an older version of Alice in Wonderland,
never quite yourself,
never quite what others expect,
never quite fitting in,
at least not in the way you expected.
The world has not made room for you.
You are tolerated
as long as you re-arrange your furniture
in the proper way
in the proper time.

Your eyes soak in the room,
so airy and bright,
and settle into a chair.
There is no one here but you
and the woman you love,
and it matters not where the chairs are
as long as there are two together.
On my poetry blog, this poem is illustrated by a photograph taken at the Thomas Nelson House in Yorktown, Virginia, I love the colonial simplicity of the room, the lightness, and easy reconfiguration a room full of chairs offers. The fact that they are Windsor chairs, one of my passions, makes it even more wonderful.

My wife and I were talking this morning. We had company last night and ended up going to bed without the broad stretch of time talking that is part of our day to day life. We both felt the loss of that time, a disconnectedness that is uncommon to us and to our relationship.

From those two things, this poem.
Feb 2020 · 191
Carsley, Virginia
Tom Atkins Feb 2020
You cannot find it
on the most recent maps.
Once you could.
A tiny dot in small print.
But not any longer.
It is too small.
In the middle of nowhere,
a confluence of four farms,
two roads,
an ancient Methodist church
and a country store turned museum.
If you happen to be there,
there is a sign.
Just one,
To announce your arrival and departure,
all in a blink. The sort of place
we make fun of,
or worse,
miss altogether.

And yet, people live here.
No fewer than they did in the day
when they rated a dot on the map in four-point type.
They are born here,
Grow up and age here.
Die here.
There is drama. Love is discovered
and lost.
Faith is found and lost.
They suffer, no fewer and no more
than a generation ago.

Your grandfather lived
on one of the four corner farms.
Your father was born here
and lay in the small oak crib
that now lives in your upstairs bedroom.
Your house, in fact, is a museum of sorts,
artifacts of generations scattered about,
proof that this place exists
not just in geography
but in soul.
About this poem.

I live in a little village called West Pawlet, Vermont. When I first moved here. It’s small. Including the farmers on the fringes, maybe 300 people according to the last census. When I first moved here, I used to think of it lovingly as “Nowhere, Vermont.” I often thought you could write a series of sketches, Lake Woebegon-like, about the area and the people.

Even though I worked most of my career in big cities, places like this have alway sung to me. I suspect it is because of the time I spent on my grandfather’s farm in Carsley, Virginia. I loved that time. I love that place. My great aunt, my father’s sister, still lives in my Grandfather’s house.

We forget such places. They get lost in headlines and the business of life. But they too are part of life. A place like Carsley, or here in West Pawlet, only looks bucolic. In reality, every challenge and vice and struggle of the big cities lives here as well, just without the resources to help them, because they are, after all, invisible.

Except to those of us who live here.
Tom Atkins Jan 2020
Spanish moss hangs from the Live Oak,
a slow, beautiful murderer in the big city,
redolent of memories, blue music and smokey rooms,
drag queens crooning, a fight or two
late in the night while you sipped bourbon,
content in the corner,
listening less to the music than an internal dialogue,
devils and angels in your head
dancing a tattoo, making sultry peace with each other
as you scanned the crowd, seeking a distraction
as you courted oblivion at the stroke of midnight.

You sigh,
there is no glory in the memories. Life lived
and long ago discarded, without regrets
and without longing, happier to be in the light,
but parts of you were shaped by dark nights,
bluesy music and the grind of tinder before tinder,
a fire that never took in you,
a dead man in a plaid shirt in the corner of the bar
who somehow left more alive than he arrived.
There’s old times blues playing at my favorite diner. That’s what inspired this poem that is only partially autobiographical.

I do love old smoky blues bars. There are fewer of them here in Vermont than in the south where I lived most of my life. I lose myself in the music and atmosphere.

I am rarely happy with my poems. This one, I am happy with.
Jan 2020 · 99
Salacious
Tom Atkins Jan 2020
At the midday tide, the boats are tied and secure,
survivors of another night gathering fish.
The small village has gone quiet,
save for a few tourists.

You are one of those tourists,
happier off the beaten path and familiar photo ops,
content to sit at the tiny coffee house for hours
and simply watch the ebb and flow of the town,

to hear strange language all around you,
to sit still enough, long enough
that you fit in, and disappear in the landscape.

You once wanted to be famous,
before you were broken, shard by shard, eroded
until only the shining shell, that brittle shell
was left, and easy target, easily shattered.

Easily shattered and painstakingly put back together.
Forget fame. Forget the stars, you are content now
just to be alive, a man with roots who travels,
more content to listen than talk, finally aware

other people’s stories matter more than your own,
a container for others’ pain and sadness and salacious tales.
You have become the keeper of secrets,

sipping coffee here at the edge of the Northern Sea,
happiest when alone with the woman you love,
sipping coffee and holding her hand across the table,
watching, always watching, for the next story.
On my poetry blog, I illustrate my poems with my photographs. Today's
picture was taken in the Netherlands. I spent a day there once, doing just what the poem says, sitting at a small cafe, sipping some amazing cappuccino and watching the flow of the village all day long. Days like that are the best.

I picked the title simply because that word, salacious, has a “made you look” quality, that is in contrast to the simplicity of the moment in the poem. I like that kind of wordplay.
Jan 2020 · 98
What is Left
Tom Atkins Jan 2020
A duck cuts the water, leaving a thin wake in the quarry.
It is silent. No wind.

You have sat here for a pair of hours, emptying yourself
of questions, of vitriol and doubt, waiting patiently

to see what is left.
Alone time is when I purge myself of the clutter of life, and other people’s lives,
and reclaim myself.
Jan 2020 · 115
Evidence
Tom Atkins Jan 2020
The house sits at the edge of the woods.
Long abandoned the forest has taken over.
Vines tendril through nooks and crannies.
The door hangs on one hinge.
In the center of it all, a tree has grown,
pushing its way through the roof,
The ironwork has rusted.
The floor has collapsed.
And the mortar between the bricks has fallen out.
Bricks litter the floor,

Evidence
of what happens, slowly,
from the first moment of surrender
to the last.
About buildings. About our own lives, on so many fronts.
Jan 2020 · 137
Still Standing
Tom Atkins Jan 2020
No longer the guardian.
No longer the hero.
Simply a soldier, a pawn in the battle,
unnoticed, fighting your own small battles,
your shield and skin and soul marked,
somehow still standing,
somehow able to wake in the new morning,
stand, and prepare for battle one more time.

There are no victories,
only the tide of war, the ebb and flow.
and a determination not to drown
in your own blood,
sure now, after a decade and more,
that you will not die of your wounds.

Even the broken
have power.
It is all a matter of how, or if
you choose to wield it.
One of my strongest beliefs is that even broken, we have power to help and heal the world around us.
Jan 2020 · 62
Full Moon Madness
Tom Atkins Jan 2020
Dreams.
Never ordinary.
Surreal landscapes.
Unrecognizable creatures.
Dead people dancing.

Voices.
Always voices.
Voices of the dead.
Of betrayers and lost loves.
Voices of strangers in the night.

Colors.
Impossibly vivid.
Bursts of light in the darkness.
often with music.
Full moon madness every night.

as if your mind rebels in the dark,
unwilling to allow you the peace you dream of
in the day.
I dream a lot. In color. Often with a soundtrack. So vividly that at times I wake up and it takes a moment to determine which is real and which is a dream.

I am sure a dream reader would have a field day with me. Mostly, I am glad they fade quickly.

Tom
Dec 2019 · 268
Ice Floes
Tom Atkins Dec 2019
You sip your coffee in a nearby diner.
The place is empty.
It is too cold outside for wandering,
even to familiar places.

Part of you is still numb,
Historic wounds still holding sway.
You sip your coffee in a strange kind of meditation,
waiting for the feelings to break like river ice.
I am a slow processor of emotions.

I was first exposed to winter rivers clogged with massive blocks of ice piled one on the other until the surface resemble building blocks thrown in a two-year-old’s temper tantrum, when I moved here to New England. Ten years later I love seeing it.

I really am at my favorite diner. It really is empty. Even the cook is downstairs doing some kitchen prep. I use my time in the diner to write, which involved working on breaking my emotions loose.

From those three things, this poem.

But lest you think it was that easy and clear, this began as a long, long rambling sort of poem.  It is a bad writing habit of mine to write around the main thing. I once had a writing teacher, Richard Dillard, who said my life would be spent finding the poem in my poem. He was right. More than he knew.
Dec 2019 · 259
Invincible
Tom Atkins Dec 2019
There are flowers on the window sill.
Wildflowers in a blue vase.
A small oasis
in a life that is anything but.

You release a sigh,
and with it, tension.
You focus, completely on the still life

and feel your own heart still,
your breath slow.
You fall into yourself,

You sip your coffee,
your morning slowed to the point
you control it. Not the other way around.

There is a small smile on your face.
Today will be a day of victories.
You know it, not even knowing the battles that await you.

Still. Slow. Aware,
you are invincible.
How we start our day can color the entire day. The days I manage to keep to my routine of prayer, meditation, and writing, I can handle anything.

I have a lot of little places of peace around my house. Still life vignettes. They do my soul good. Not quite temples, but soul stilling none the less.

Today is a good day.

From those things, this poem.

Tom
Dec 2019 · 219
One Mess at a Time
Tom Atkins Dec 2019
Yours is the art of the broken.
Always patching. Always aware
that nothing and no one is perfect,
least of all you, that all things
are in a state of constant repair
and readjustment, never quite
and likely to never be quite, and so
you paint, you write, you stumble
in public, one of the broken masses
only louder than most,
less willing to hide the cracks,
or perhaps only, less able.

You have no plan.
An age of plans have blown up in your face
time and time again, mocking
your presumption, finally able
to simply be, simply do,
less a creature of inspiration
than a plugger, stuck with
your inability to surrender,
a construction worker building happiness
one mess at a time.
I have been in my art studio for just at a year now. The picture shows what I started with. It’s actually my favorite picture of the studio, mess and all, complete with the presumption, in the form of the sign on the table, that it would become more.

Now it is a working place, with tables and easels and a whole slew of half-finished work and paintings on the wall, always in a state of flux as my thoughts and work changes and grows, as I get things right and get things wrong.

It’s not a perfect studio. Not particularly photogenic. You’ll probably never see it in an issue of better homes and studios. But it’s mine. It’s me. Gloriously, loudly, imperfect.

This morning, I read an article about how the search for perfection kills the good. I’ve lived that one. Never again. Now, it’s just about progress. Growth. One step at a time. One day at a time. How did I grow today? What did I try? What did I risk? What can I learn from it all?

It’s a different life. At times harder and at times easier. But I am so much happier with it. At 64, I cannot recall being this close to happiness. And for a depressed guy, that’s a big statement.

A lot of that has to do with the woman I love. She is so honest, so real, so loving. Able to let me struggle and she shares her own, leaving me with no doubt, none at all, of the depth of her love.

And if we are mostly adult children (And I believe we are), that kind of total love is life-saving. Stumbling is never fatal. Grace lives.

Be well. Travel wisely,

Tom
Dec 2019 · 154
Return
Tom Atkins Dec 2019
The studio has been closed for nearly two months.
It is cold there, and the paints are stiff and thick.
You turn on the heater, but it will take time
before your breath ceases to create clouds with each breath.

There are two half-finished paintings, so old
you have lost the inspiration that started them.
They look flat and lifeless and you cannot choose
between finishing, or whitewashing to start again.

There is a large frame on the floor awaiting new canvas.
but you are feeling small, diminished, not ready for boldness,
growing back into yourself one step at a time.
Forward. Back. Forward again.

You are uncertain. Your feelings have been overwhelmed
by your brush with death and you cannot even name the demons, if demons they are, that haunt you.
They are like ghosts, disappearing each time you draw near.

There is a chair in the middle of the floor. A garish thing,
full of bright magic. Half-finished, the color fighting
the original dark stain, the carvings crying for color.
A color you cannot feel.

But feelings are fleeting. As desirable as they are,
you learned long ago you can function without them,
and that it is the work that brings them back,
that allows you to overcome the things that overcome you.

And so you pick up a brush. With effort, you squeeze
the first bright color onto the palette. Red.
The color of passion reclaimed. The color of blood.
The color you lack.

And you paint.
I have been out of my studio for about six or seven weeks, unable to stand long enough to do any good work. With luck, I go back for a few hours tomorrow.

Recovery is more than physical. There’s a mental/emotional/spiritual element as well, and often that takes longer than mere ****** healing. But there is rehab for that too.  I’ve lived in a place of numbness since that first announcement of cancer a few months ago. And even now, after all the tests and surgery and more tests, after beating it back to zero, that invisible part is just now starting to heal.

It’s all work. It’s all worth it.

And tomorrow? I’ll probably start with the chair.

Tom
Jun 2019 · 427
Transparent and Dark
Tom Atkins Jun 2019
Transparent and Dark

The old venue reaches across the boardwalk,
its magic long evaporated,
a victim of neglect and storms in equal measure.

There are windows. high and void of glass,
the sashes lacking paint.
Rot is plentiful.

There are windows, high and dark,
perfectly clear, with nothing to see
save the perpetual night inside.

You stand below, knowing this is what others see
when they look at you,
transparent and dark,

overwhelmed by neglect and storms,
strangely unwilling
to succumb.
For the last decade, I have posted poems on my blog along with photographs I have taken.  This one, for instance, has a photograph of an abandoned hall in Asbury Park, NJ.  Posting poems here has made me look at the verse harder to make sure it can be "seen" without the photographs.
Jun 2019 · 76
Waiting for a Train
Tom Atkins Jun 2019
As a boy, you waited by the tracks,
often for hours in a hot summer’s day.
Sweat bees hovered around you,
their tiny stings keeping you awake as you waited.

Hours sometimes. Half a day.
You waited, never knowing the schedule, but sure
the train would come, eventually.

You heard it before you saw it.
A low rumbling in the ground beneath you,
until finally, it came,
the blunt engines, dark and menacing
and then the long chain of cars.

Coal cars, each one piled high with black stone,
shining in the sun, fresh hewn from the West Virginia mines.
Here and there, a few chunks fall,
enough to build a fire in the night.

But not now. For now, you sit,
the earth rumbling beneath you,
the steady click-clack of the wheels,
watching the occasional spark of steel against steel,
waiting, waiting for that last car,

the caboose, red with its windows dark.
No evidence of life, but you knew; you always knew
someone was there,
someone, not you, not yet, but someone,
was traveling around the bend,
far from your little boy’s world,
and part of you traveled with him,

A yearning that has never left you.
Wanderlust, that bit of a boy that still lives
in this gray-haired shell, waiting at the crossing
as the train passes by,
more than patient,
you smile, remembering not who you were,
but who you are.
May 2019 · 226
Living in the Half Light
Tom Atkins May 2019
Another cup of coffee.
Please.
I need to wake up.
The night’s dreaming has left me
disjointed.

surprised

to be alive.

It’s not the first time.
Not at all.
I’ve lived in the nightmarish dark
far too long,
far too often.
I am experienced in blindness,
swinging my sword at ghosts,
shieldless save for God.
Each day new wounds bleed.
Each day new wounds heal.

And so here I am.
A decade and more later,
a collector of scars,
a strange sort of warrior,
living in the half light.
I am in a good place in my life. That amazes me more than you can know.

Tom
May 2019 · 177
Life In the Grotto
Tom Atkins May 2019
Dark, dank, it holds history.
It has risen, fallen, fallen into disrepair.
Stones have been carted off to build their frankenhouses.
Bandits have hovered in the night
waiting to separate their Victorian adventurers from their purses.
The homeless have huddled here,
tiny fires smudging the walls in the Roman night.
Today tourists come
to gape at the circus home of the famous and fallen.

You come too
and the grotto feels all too familiar.
The dampness seeps into your bones.
The broken statue feels eerily familiar,
eerily like yourself, not quite whole.

You wait for the demons.
They live here. They always have,
even the great Augustus had them,
creatures of the night, gentle and brutal,
capable of murdering marble,
the leavers of wounds.

There is an altar in the grotto.
You are tempted to pray,
to sprinkle the holy water that seeps down the wall
into the air like some pagan baptism.

But you do not.
This is what you have learned.
The demons live within
and that is where the battle is fought,
with or without tourists,
so you can see this grotto for what it is,
a thing of history,
incapable of holding you.

About this poem
On my blog, the poem is posted with a photo (mine) of the Emperor Augustus’ home in Rome on Palatine Hill overlooking the forum. Augustus was the first emperor of Rome.

I began writing the blog eleven or twelve years ago as therapy, literally. My therapist wanted me to begin writing again, believing righty that I needed to write to find my way through my darkest times. She also, again rightly, understood that I would probably not do it if I had to do it for myself. But if I put it “out there”, I would feel responsible to continue, even if I only had a couple of regular readers.  In the beginning, that’s all I had.

Those of you who have read me for a while have been my tourists, sharing my staggering journey with me. Thank you for not being scared away. The demons are a smaller lot, knowing you are looking.

I believe that.

Tom

— The End —