Two Grandmothers, One disease, Three Stories

Two Grandmothers

I’ve begun to ask myself why I feel more inclined to tell the story of one grandmother versus the other. Where emotion and humor are concerned, I probably have more in common with the one I’m less inclined to story about.

So why does one story draw me more than the other?

They competed for our affections. Not openly, but every now and then it would slip out.

You like her chicken-n-dumplings better than mine.
Y’all spend more time at her house.
You always go there first.

Both were Mama grandmas, but pronounced differently: Mama Nick (MAH-mah Nick) and Mama Wilson (MAW-Maw Wilson). Mama Wilson was average height —maybe a little tall for her generation— and stout; Mama Nick was short and, by her 60s, hunched.

Both were excellent cooks. One favored gardening. The other sewing and crafts.

Mom learned her domestic skills (cooking and gardening) from her mother-in-law. Arguably, this is because mom was the red-headed middle child and neither parents’ favorite, and she married fresh out of high school, living the first few months of marriage in a trailer next to her in-laws’ house. Whatever the reasons, mom’s chicken-n-dumplings are more like her mother-in-law’s than her own mom’s, and, while mom can sew if she puts her mind to it, she prefers the dirt, like her mother-in-law.

Why her?

I prefer the dirt, too. So, why do I feel more inclined to write about my maternal grandmother?

Mama Wilson wasn’t the “sweet” grandmother. She was wonderful, we loved her; but she was strung between sweet and stern, between doting and “don’t-do-that!” She had a bush just outside her back door that we, the grandchildren, called the stick bush. If she became cross with one of us, in an instant, she had reached through the back door without looking, snap!, and was swishing the switch that would blister our bottoms.

I remember hiding under one of the cupboards she used for storing cloth, needles, patterns, and thread. From there she might just scold us, the switch becoming more of an exclamation point on the reprimands.

Thankfully, those switch moments didn’t define our relationships with her. Even as children, we joked about the switch bush.

Skills

August 20, 1956, my four grandparents and my parents, at their nuptials. Mom is wearing the wedding gown Mama Wilson made for her.

What I remember more about mawmaw are her amazing skills. For fun, she made wall-hangings and things like mantel clocks, using molds, plaster, and paint. To supplement their income, she sewed dresses, vests, pants, pajamas, and wedding gowns for friends and neighbors. Of course, on-the-house garments for family.

She probably didn’t realize she had extraordinary skills and creativity. I remember the year we were in town, and she found out we would be shopping for clothing. I was at the grow-an-inch-each-month age. She looked at me, head to toe, toe to head, pulled out a bolt of cloth and a pattern from the cupboard. After spreading the cloth on the floor, she opened the pattern.

In my mind, she tossed the light tissue pattern in the air and let it fall perfectly on the cloth, but that would be an exaggeration. She smoothed the used pattern on the material, then went to the kitchen and came out with a fist full of butter knives and threw them (not exaggerating here) along the edges of the pattern before cutting the material. That afternoon, I had a McCall’s skirt, knickers, and vest that would fit me for more than a mere month.

My mom and I can sew okay, but we didn’t inherit those skills. Maybe that’s one reason I’m drawn to her story.

The oak tree roots

I think mostly, though, it’s the tree incident. I wasn’t witness but heard more than one first-hand account about her fall on the roots of the oak tree. That year, I began writing about her: a short story “Divinity” and a novel. The oak-tree story inspired the opening scene of the novel, and later, of my first screenplay. The oak tree probably marks when I first really started paying attention to what was happening to my grandmothers.

One disease

Did I mention that both of my grandmothers had Alzheimer’s?

The first signs of it began in their mid to late 60s. By 80, the disease had ravaged their minds. I would come to Louisiana for disheartening holidays, stories about the meek, sweet grandmother, now in a nursing home because she was too difficult to care for, swearing like a sailor, starting two kitchen fires, and running off two caretakers; the stern grandmother, now meek, fumbling with safety pins on her sweater where she’d lost buttons she could no longer sew back on, clinging to my grandfather’s every move, and painfully pleasant to everyone around her.

The stern-to-meek grandmother had developed a tendency to wander at night. On one of her wee-hour excursions, the roots of the old oak tree tripped her up, an incident that prompted the installation of door alarms.

That oak tree and the timing draw me to Mama Wilson’s story. Mama Nick died before I moved back to Louisiana. My visits with her were brief and heart-breaking, often spent trying to figure out where her dentures were and what happened to that new slip mom had brought her last time. I knew less about the day-to-day of her relationship with the disease. She had fallen while I was away.

The falls

I was around enough to watch some of Mama Wilson’s fall. Her fall wasn’t any less heart-breaking, but I was able to catch glimpses of the grandmother I remembered. We helped her with her safety pins, she fussed with my daughters’ hair, and we answered when she asked “Where’s Norman?” Before she slipped away, she held all three of my babies. She didn’t always realize they were her great-grandchildren, but that she held them was a blessing.

As Mama Wilson declined, mom wasn’t always patient. She watched her with dismay and started to say things like, “I hope you can be more patient than me . . . ” and “If I get like that . . . ” Then, mom got like that.

This time, I’m here for the whole fall. We’re blessed that mom’s fall started much later, in her late 70s, and that mom is an exemplary and compliant patient.

I started this essay years ago, before mom stumbled across the rough roots of Alzheimer’s. Some of the beginning of the essay is no longer accurate in the present tense. Mom cooked her last pot of chicken-n-dumplings on her own two or three years ago, she’s no longer able to put her mind to complex tasks like sewing, and her gardening is limited to weed-pulling now. She can’t hoe a row or organize the planting of it. This year, she wasn’t able to make any of the Christmas cookies on her own.

Three stories

I never finished writing about Mama Wilson’s fall before mom tripped on her own diseased roots. I haven’t even begun the forensic work to write about Mama Nick’s fall into the disease. I’m drawn to Mama Wilson’s story first because it was the first time I witnessed alertness spilling from the eyes, awareness and stories slowly draining until finally the gaze is vacant.

All three stories —Mama Wilson’s, Mama Nicks, and mom’s— inform my own as I stare down the triple-barreled Alzheimer’s rifle. All three stories challenge me. Like stubborn weeds, they break above the root and require more than the casual tug to be released.

My intention this year is to dig a bit deeper, to finish Mama Wilson’s story, explore Mama Nick’s, and continue to be part of mom’s. Turning over their stories with my words, my heart will break a little more, but I’ll learn more about these women I cherish, the disease I dread, and myself.

©Pennie Nichols. All Rights Reserved. 2020

Don’t give up

Don't give upI had a moment when I first saw her.

Don’t give up.

María ravaged her park. Fountains, benches, arbors, and trees were bent, broken, flattened. Trees more ancient than this tree succumbed to the winds, roots releasing their grip.

Her roots clutched the soil.

Don’t give up.

She broke. She lost limbs, thick trunk limbs. But she clung to her place in the Bosquesito of the Parque Luis Muñoz Rivera.Don't give up

In María’s aftermath, crews carried away broken benches, dead limbs, and tree debris. Chainsaws finished what winds could not, cutting through thick five-foot trunks in anticipation of removing the roots.

But the crews and the saws let her be.

Don't give up
Don’t give up.

Crooked. Broken. Determined. She watched as they planted saplings in her shadow. Sometimes leaning against her as they took a break. Maybe they understood she wasn’t done. Shoots of green reaching through her weathered bark towards the sun. The promise of new limbs, new blooms, new seeds, new life.

Don’t give up.

Changes and loss are hard. It’s right that we make room for the new. New energy. New ideas. New vibes. New saplings. It’s also beautiful to stand strong, even if broken, and finish what you came to do.

Don’t give up.

I had a moment when I met this tree. Awe. Hope. Bliss. She’ll be my spirit plant as I wind through the remaining days of this year and make plans for 2020. I’m a little broken, perhaps bent and crooked. But I’m not done. And I won’t give up.

©Pennie Nichols All Rights Reserved 2019

What if in the end

What if we fall like leaves,
released,
sometimes pulled by a gust,
sometimes pushed by our tree because it’s time?
Slow somersaults through air
cushioned landing and a tumble across the brown grasses,
until, in stillness and decay, we break down,
sinking to the roots,
feeding the tree that held us for a season.
In the end,
would that not be beautiful?
Would that not be enough?

What if we shoot like stars,
sometimes dust, sometimes rock,
bursting through the atmosphere,
falling in streaks of wonder,
Wow, look!! Did you see that?
echoing in waves, cheering our final brilliance,
our trail of light,
as we burn away in the dark sky
or plummet heavily into the soft earth.
In the end,
would that not be beautiful?
Would that not be enough?

What if we’re more than we can understand,
more than words and creeds,
more than books can teach?
What if we’re both
ancient and young,
timeless and transient,
connected to the trees and earth,
the stars and the milky way?
What if in the end
we’re everything and everywhere?
Or maybe just this once, this place?
Would that not be beautiful?
Would that not be enough?

©Pennie Nichols. All Rights Reserved. 2019

Eulogies for living

I did a thing. I wrote five eulogies for living friends.

Why I speak

This eulogy thing started in 1994, the year my son was born and my grandmother died.

In April, my grandmother went down quickly and unexpectedly. For many in our family, the timing was awkward. Awkward for me because my parents were out of the country; my husband out of state; and I was alone with three young children. We were all caught off-guard. Unready.

Just like that, we were all gathered for my grandmother’s funeral. The minister, who had never met her, stumbled through some niceties (good Christian woman), maybe one other speaker read her very traditional obit: survived by all these people sitting here. I felt a strong desire to bolt to the podium : “I have a few things to say . . . ” but I sat, stewing between my daughters on the pew, holding my baby.

How did we let this happen? The service didn’t honor her memory. No one talked about her mad sewing skills. Not a peep about her chicken and dumplings or biscuits and gravy. No reference to her heart-warming smile. Not a single story about her terrifying switch bush. No one who spoke at her service knew her, ate her food, wore an outfit she had made, or lurched in a circle around her as she gripped an arm with one hand and swatted a switch with the other. I was furious, I was sad, and I walked out of that experience determined.

Feeling determined: Part 1

Less than a decade later, my grandfather died. I asked my family who would speak at his service and answered my own question: I will.

At his service, I shared tiny memories: the coins he rattled in his pockets, the rubber bands he kept handy to snap playfully at a grandchild, the VO5 hairstyle, and the long-sleeved shirts.

Nine months later, my cousin died. I spoke again, reading memories and messages from all the cousins. We remembered our youngest cousin well, with sad but warmed hearts.

Giving voice to the memories felt right, necessary, so I continued to speak at services of family, especially if no one else was delivering a personal message.

Almost nine years ago, I eulogized a friend. My friend Dela was dear, complicated, brave. She was a beautiful mess. Her brothers and some friends judged her for the mess: the piles of interests in her home, the messy relationship, the untidy career. But as I watched her battle leukemia for ten years, I grew to appreciate her messes and spoke about it at her service.

. . . there was beauty, openness, acceptance, and love in her chaos. The mess, really, was reverence for the moment. There was presence when she was present.

After the service, another friend approached me.

That was beautiful. I want you to write my eulogy when I die.

Feeling determined: Part 2

That request haunted me for several years. Losing friends is hard, sorting through who might go first is unpleasant, but the notion that haunted me most was why do we wait until the person is gone to find those beautiful memory crystals?

After gnawing on the question for a few years, I decided to write pre-eulogies (I call them preulogies) for a handful of friends and give them as birthday presents. These were unannounced and I asked each recipient not to say anything to future recipients until I made the cycle through the birthdays, closing the circle with the friend who initially requested: write my eulogy.

Writing a regular eulogy can be challenging, not only because the moment is packed with emotion and loss, but also, the eulogist struggles to capture a lifetime, a personality, the giant journey of a person in a few well-strung words. I discovered that preulogies are no less challenging.

Crystals remembered

To find the words, I dragged my mind into the grief of the friend’s absence, across the experiences we shared, and also through the myriad of ways she may have touched others as a parent, friend, child, or co-worker. I struggled to crystalize a friendship in three or four sentences.

Here are a few of the crystals I dug up in this process:

Kathy: I felt a peace wash over me every time I watched her draw in a deep breath after listening to me, lift her hands out and forward as if opening a giant instruction manual, “Here’s what you need to do . . . “

Patti: Sometimes it seemed she was drifting, but she always seemed anchored. [. . .] Wishy washy? An anchored drifter? Hardly. All along, she’s been the anchor. The glue. The strength of the bonds.

Mim: Mim is to blame for many joyful occasions. Girl Scout trips to transplant sea grasses and dance around in medieval attire. Krewe meetings, workdays, and parades. Excursions to hear live music, splash around in shallow streams, explore the flip side, dig our toes in the sand, and paddle across a lake. Latke parties, dinner parties, and girls’ gatherings . . . my house at 6!

Jackie: That act of friendship, that model of taking control of chaos, changed me. It wasn’t about the furniture. She also modeled this for me as an artist, as a scorned lover, and as an explorer. But moving the furniture drove it home for me: take what’s before you, make it yours, make your peace in it, make it work for you.

Betsy: I always felt small next to Betsy. Not in a bad way, in fact, I loved being next to her because I felt complicit, like maybe I could get a little cred when she made the room roar with laughter or when the audience joyfully rattled and shook along as she played her music.

The crystals that capture the friend as I know her are only half of the story with preulogies. I also needed to project: where would my friend go from today, how would she die, who would she be.

Crystals imagined

This might be the trickiest part for me. What if I imagine it wrong, that is, what if she has a totally different outlook for her future? Will this made-up death upset her? What if she hates me for this?

Thankfully, I’m still friends with all of them. Maybe their futures were full of the plausible joys and rewards. Kathy went up in flames in the elbow of the effigy at Burning Man. Patti passed at her beach home, draped across her favorite beach towel, head resting on a thick novel. Mim took her final slumber at a campsite by a lake, Scrappy nearby, a photo of Skip in her hand. Jackie took her last breath drifting through the bayou on her paddle board. And Betsy . . . I didn’t include the details of her death in the preulogy. Maybe because she’ll actually outlive me? Or maybe because we’re so focused on her three long overdue Grammies.

Find the words

Not everyone wants to stand in the absence of a friend to find the words. And not everyone needs to. I certainly couldn’t do this for everyone in my life because the process can be gut-wrenching. But I move forward from this experience mindful of what my family and friends mean to me and open to opportunities to share that with them.

Your friend should know why you’re drawn to her company, why you feel inclined to call and catch up, what memory of her makes you giggle. Maybe stand for a moment in these questions: What will I most miss about her? What well of sorrow will her absence leave?

Remembering Betsy, I wrote:

What I wouldn’t give to hear her tell one more Marie and Boudreaux joke. Right? I’m sure everyone has a favorite. Mine? Marie, the coffee, the oatmeal, and the hot flashes. Ha! You’ve all heard it. Your laughter, that joy that just rose up in you as you remembered her tell that joke, that’s the gift, that’s what we take with us today. That’s the joy in this well of tears.

Friendship is a gift. Take a moment while your friend is living and find that joy, share the words.

©Pennie Nichols All Rights Reserved 2019

Full Moon Goals

I should leave her alone.
I run out,
all go and gullible,
excited to capture that perfect shot.
I never do.
I should stop wasting her time,
requiring the poses.
The peak through the clouds.
The burst of light through haze.
She rises bright and full.
Snap snap snap.
Merely mediocre.
I didn’t take the lessons.
I didn’t read the manual.
Snap snap snap.
Why can’t I . . . ?
If only I could capture that mist over the water.
Snap snap snap.
And the bursts of firefly in the dark field.
Moon shadows ripple on the water.
Snap snap snap.

Enough.full moon goals

I can’t do her justice.
I trudge back through the field,
turning to see her
again and again.
Snap.
Through the dark fields
where the mist captures her light
and fireflies dance in the darkness.
Snap snap snap.
Dark sparkless frames.
I should stop wasting her time.
I shouldn’t come out here snap snap snap.
I should leave her be.
Bright. Full. Rising.
Graceful journey that eludes my lens.
I should stop wasting her time,
I mumble, as I rest my lens,
and drift into slumber,
my heart —bright, full, rising—
dreaming of chasing the perfect shot
of her next full journey.

©Pennie Nichols. All Rights Reserved. 2019

Life Lessons: Mom and a Song

There’s a song I’m not crazy about but I can’t get it out of my head.

I had mostly succeeded. Then Spotify played it again and now the ear bug.

Since I haven’t been writing about anything, I decided I’d write about this song and a lesson I learned from my mom.

The song starts:

Like the moon in the sky in the afternoon in July

From the get-go, anyone who knows me might ask: “What’s your problem? The moon? You love it more than ice cream. July? Your birthday month!”

But if you know me, you’re also asking: “Why haven’t you been writing?”

So many answers:

  • Something personal I can’t get my head around.
  • Don’t want to hurt people I love.
  • Travel.
  • Life’s complicated.
  • I’m busy.
  • I’m thinking.

But mostly,

  • I’m a coward.

The song goes on:

A little darkness hangs there above me.

We all have a little darkness. I’m not unique. But sometimes that darkness falls heavy, tangles up around our ankles making it hard to move forward.

Although my current circumstances are dreamy (hopping from island to farm), my ankles kick at the dark blanket, looking for release. Was it this song?

I don’t like it but I don’t hate it. It goes:

I know you hate to see me cry
Don’t wanna look you in the eye

There it is. Don’t wanna look you in the eye.

Writers often (if not always) feel undressed when we put our words out there, stumbling graceless through our darkness. Don’t wanna look you in the eye.

I set out to write vigorously about the journey my parents are on, the Alzheimer’s bullfight they’re in. From a distance that seemed easy. Just write about the changes and challenges.

I wasn’t prepared. That’s a legit excuse.

Closer to the truth? I’m a coward.

As you watch someone you love diminish, unexpected things go on inside yourself. Regrets. Lost chances. Helplessness.

It’s natural to want to do the big thing. If we can’t save the person, we want to do that thing that makes an emotional, qualitative, quantitative difference.

Failure? Not the most tasty writing topic for me. But who are we talking about?

  • Mom? The ideal ALZ patient, facing her bull knowingly and hopefully, compliant to treatments, aware even as she’s losing, some days more than others.
  • Me? Supposedly here to help, but what do I do? Feels like little. Am I cowering in the corner?

That was a trick question. This is about a lesson from mom and a song.

I’m not crazy about this song but I love it. Maybe it struck a chord because I first heard it one day when I took mom to visit her baby sister, who has lung cancer.

Mom and her two siblings (this is where I smother my coward and say some things) are independent, DO for themselves, workaholics. They are the best but sometimes the most challenging. Don’t expect to kick back and just relax on vacation with them! Gotta DO something! And they have hard edges. This quirk may be one reason mom has faced her bull with open eyes, because she is determined to DO things. Take medications and supplements, work puzzles, stay active, move.

My aunt too. She’s done all the things they’ve told her to fight her disease.

But it’s not working. That magic thing that they did all of their lives is not working. It’s not working for mom. It’s not working for her sister. There is nothing they can DO.

Earlier this summer, when my mom and I arrived to visit, my aunt wasn’t in a good way. She fussed about her frustrations. I could see mom becoming more and more agitated, wanting to DO something to soothe her. Thinking that wouldn’t be possible, I announced: “We should go so you can rest.” But mom ignored me. Instead, she asked her sister:

Do you want me to rub some lotion on your legs?

My aunt:

I don’t care!

I didn’t want to include the exclamation mark, but it’s more accurate than not including it. And she said it more than once.

I don’t care!

This was both true and untrue. As mom and I looked for the lotion, my aunt continued to protest:

Don’t worry about it. I don’t care. It doesn’t matter.

Mom didn’t relent. She found the lotion, sent me to fetch a towel, and began rubbing my aunt’s feet and legs. Mom, hardly able to remember what we discussed two minutes ago, was attentive, asking “is this good?”, arranging the towel under her sister’s legs.

I teared up as my aunt relaxed, sank deeper into the recliner, and sighed: “That feels so good.”

I learned.

On that same day, I heard this verse:

I don’t need you to solve any problem at all.
I just need you to sit here and love me.

My mom is diminishing. My aunt is diminishing. Nothing I can DO will change the enormity of their diminishing. I can’t fix it. I can’t solve that problem.

But I’ll sit.

And I’ll love.

I also have the DO gene, so this is challenging.

[deep breath]

I’ll honor the lesson I learned from my mom and a song.

I’ll be brave. I’ll just sit here and love them.

©Pennie Nichols All Rights Reserved 2019

The song is “Sit here and love me” by Caroline Spence. I say “I don’t like it” but, really, I love it. Thanks, Caroline.

The Longest Night

Tonight is the longest night of the year and the moon is just about full, almost super.

Professional photographers have been known to share and exchange stories of the extreme efforts they went through in order to get the shot. Awkward positions, uncomfortable weather or surroundings, painstakingly long waits. I’m not a professional photographer. In fact, I’m still a kindergartener photographer and will probably only graduate to 1st grade before I die. Still, I have some images to share, not because they’re great and not even because of the “extreme” measures I went through to take the shot(s). But to breathe out a little.Longest night

What’s my story on the longest night?

Barbed wire, ant beds, eye-high grasses, briar patches, highways, and muddy ditches. There was daylight when I climbed over the barbed wire fence, but I circled back and crossed the ditch towards home in darkness. I could have fallen face-first navigating those briar patches. Or slipped on the steep ditch into the mud. Or worse, tripped into the highway just as a giant diesel truck came barreling down the hill. I won’t take any photos of my ankles that bravely stripped through the briars, but suffice it to say, I survived my obstacles and came out on the other side with a couple of photos of the cold moon of the longest night.

I haven’t shared any thoughts on my blog lately, hence the need to exhale a bit. I process what I’m thinking and feeling through writing, but the emotional barometer has been high, so I’ve let the pen rest and allowed my thoughts to steep.

I will endure whatever awkward position, discomfort, or stay I must to wrap my head and words around the thoughts and emotions that have tied me up. But tonight, there are moon shadows and meteor showers. It’s cold out and hard to dance in the moonlight for long or sit and stare at the stars more than ten or fifteen minutes, but the chill on my cheeks feels fine.

My moon shadow casts long and clean, and I look forward to the arc of the sun climbing higher and longer through the days. I look forward to the light.Longest night

©Pennie Nichols. All Rights Reserved. 2018

Being the Change

The Hidden Brain podcast about being the change you want to see moved me.

The host Shankar Vedantam asks what would happen if we truly stood by our principles. He also points out how exhausting people who stick to their principles can be.

The podcast showcases the journey of one couple and their effort to raise their daughter free from gender stereotypes. This story is not only moving, but also enlightening. To shield their child from gender stereotypes these parents struggled against words, clothing, and colors. They struggled with family and friends. But they held true to their path and trusted their truth. And, importantly, they were patient.

Changes take time. Being the change takes patience.

This couple takes being the change to a fiercely high level. I feel privileged to know a few young souls who are as strong and brave as that couple. The bravery of people who fearlessly stand by their principles gives me hope. They also inspire me to be better and being the change.

©Copyright Pennie Nichols. All Rights Reserved, 2017.

Circles Are Better

Circles are better than echo chambers.

Yet we increasingly isolate ourselves in chambers where everyone nods at the words we utter. We nod at their ideas in return. Same. Yes. Same.

We poke our heads out just long enough to point an accusing finger across the increasingly deep and wide divide, screaming shame and blame at the other side. The other side shouts back, and we declare ourselves informed.

The algorithms of social media compound the isolationism. Our beliefs and ideas bounce around without scrutiny, and we dance around the chamber drinking our favorite flavor of Kool-Aid.

Circles are better.

More bridges. More conversations. Bigger circles.

At my church, the poem “Outwitted,” by Edward Markham, is often recited in services.

He drew a circle that shut me out —
Heretic, rebel, a thing to flout.
But Love and I had the wit to win:
We drew a circle that took him in!Circles art better

Why should we draw a circle to take in those who would shut us out, the ones who dance in the echo chamber on the other side?

The reasons are many, but dragging others into our own echo chamber is not one of them. The circle is for inclusion, not isolation. For conversation, not accusation. For listening, not pedantry.

The circle is not a ring for idealogical arm-wrestling, where the winner takes the converts. We don’t have to convert each other. The center of the circle is about empathy, not agreement.

Listening is hard, but worthy work. Empathy may take practice, but it is the path, the bridge.

Let’s sit in more circles. Let’s be better listeners.

©Copyright Pennie Nichols. All Rights Reserved. 2017

On finding my público

In spring of 1985, I was wrapping up my masters’ thesis on Federico García Lorca’s not-quite-finished play El público. Two moments between me and my thesis director struck me and have stuck with me to this day.

You’re the expert.

The first moment was when I asked him a question about my topic. I don’t remember the question. But I remember the answer: I don’t know, Pennie. You’re the expert on this now.

What?!

How did that happen? How did I suddenly go from student struggling to know enough —anything!— to support a thesis, to expert?

He was —alarmingly— correct. I had joined the ranks of a very few who had obsessed over this tiny little unfinished play. Hence: expert. I experienced a similar alarm after having my first child. Weeks after giving birth, questions and comments suggested that I had taken a mysterious leap from floundering finder-outer to expert. But I was nowhere near having faith in myself.

You can’t write.

The second thesis moment between me and my director stuck in my craw for years. It’s still jammed in there a bit, but I’m slowly pulling it out. I shared with him my dream of writing my own plays, even my own novels and poems. I imagined beautiful, engaging words. What he told me felt like one of those Oh, honey (bless your little heart) moments. Paraphrasing roughly from his Spanish: There are those who do, and those who teach. In other words, Pennie, you won’t write. You’ll teach about writers.

This was heartbreaking and maddening to hear.

Every writer lives with that doubter that nags: You can’t write. You’re not that. My director’s comment gave my writer-doubter a juicy dose of vitamin B and adrenaline, and I have spent half of my life (literally), smothering that you-can’t-do-that voice and building up enough faith in myself to complete my own sentences.

My público

This weekend I took time to touch up a screenplay I wrote last January and re-read the first thirty pages of a novel I started last November. I had enough distance from both to read them like they weren’t mine, and damn! I want to read more. I don’t care if I’m my one and only público. I’m glad I wrote these things.

As often happens with students and teachers, my director and I became friends. We’ve managed to stay in touch, so I plan to send him a copy of my screenplay. And maybe that snippet of the novel-in-the making. There’s a bit of a snarky hrrmph! in the gesture, but I suspect he’ll be happy to read it, and happy to be part of my writer journey.

So here’s to my fellow writers who contend with resident doubters: trust yourself. You can eat your cake and have it too (that’s the correct way to say that, by the way). You can be a teacher (or editor!) and writer too. Keep writing. Keep reaching for your público.

© Copyright Pennie Nichols. All Rights Reserved. 2017.