Not a love poem

And I know not to write a love poem about you

because that’s what you don’t expect me to do.

And this is not because we aren’t in love—we are—or

because you aren’t a boy and I’m not a girl—

because that’s true, too—but because

when the tender hush of our distance is far,

I go deaf, and I can’t see you. My senses are gone

in accordance to you. And you know how I’m bleeding

for you, open heart begging you, and eyes crying for you

to follow me down bleeding and begging and crying too.

On an October day, history repeats itself,

or I predict the repetition. Heartbreak then. Same girl.

Different boy.

Up, down, topsy-turvy, driving through town alone,

splashing in after-rain puddles and hearing

the steady boom da-boom of a bass but it’s not

just a sound anymore but a heartbeat that I can’t

understand because I’ve never lain at night in bed

for hours and listened to anyone’s heartbeat but yours.

So this isn’t a love poem. It’s a goodbye poem.

Farewell. Adios. Au revoir. Arrivederci.

There aren’t enough languages to know

how to say it right. Months that seem more like days.

The falsified shortness should help,

but it’s my own shortness of breath that is

stopping the flow of oxygen

to my brain that for so long has held images

of your face and outline.

10/27/14

"Into the station rolled a train full of hot, wet faces that would get off to walk on hot, dry sand. A lady in a pink petticoat struggled with a bag. The platform was suddenly amuck, blocking the view of the couple at the table waiting. For a train or drinks or maybe both. The lady with the bag got lost in the crowd. Everyone was covered in color—pink was no longer solely hers. The couple waiting had the color pink—the woman on her hat. The man on his necktie. This was visible when the crowd thinned. This was apparent when the woman blushed and waved a fan over her face. Obvious when the man’s face reddened in anger. Thinner people."

— Kelly W., Short-short based on Ernest Hemingway's Hills Like White Elephants

I believe two things filter my personal creativity: loneliness and stimulation. They must come together, although they may seem conflicting. If I’m lonely, wouldn’t I not be stimulated? And if I were stimulated, wouldn’t I not be lonely? To answer, loneliness has room for stimulation. Unloneliness is overflowing with too much stimulation. Loneliness and stimulation must work in a delicate balance. Too much loneliness and not enough stimulation results in depression. Too much stimulation and not enough loneliness results in distraction.

I think of the loneliness-stimulation equilibrium in these terms: if loneliness were an empty boxcar, then when something is in it the car has stimulation. But then the boxcar could be overflowing, and that is Unloneliness. Too much stimulation ends in the Distraction and no Creativity. And if the car is empty or has only one or two boxes in it, then there is not enough stimulation to make the loneliness happy and it results in the Depression. The way I see it, if my boxcar is halfway full with boxes, I’m ready to do something great.