So fun! Here's what we did:
We actually all wrote to the same prompt. We had several rounds and each time had volunteers read their writing to everyone, with the mic. The we switched partners. So we got to know different writers, too!
Here are some of the prompts:
- calculated perforated holes
- blue glow
- riveted soaking trousers
- overlooked misgivings
As always, we were struck each time by how differently each writer responded to the same prompt!
Stay tuned for more FLASH workshops!
I love working with teenagers because I learn from them. And it's fun!
I started working with teens in 1995, with the ATD Fourth World Movement in a vacation house for poor families outside of London. Teens said, "No one is working with us. Will you work with us?" I said, "Sure!" having no idea that I was making a career choice. One of those teens, Bea, and I continued to work together for several years within the youth branch of ATD Fourth World and she continued to work with teenagers well after she no longer was a teen herself. Bea and her mother, Moraene, both work as anti-poverty activists, as experts with first-hand experience of poverty. When I recently saw Moraene, at a conference in France, she introduced me to one of her colleagues: "Bea might have gone down a dangerous path if she hadn't met Peggy when she did." Youth workers often don't know the effect we really have, so that was wonderful to hear. But what was remarkable for me is that it's thanks to Bea that I've been working with teenagers, and loving it, for 24 years. Bea and I changed each other's lives, and those are my favorite stories.
Teenaged Bea showed me around her Hackney neighborhood, told me stories about her life, introduced me to her friends, answered my questions and helped me figure out how to work with teens. She began my understanding of the struggles many teens face that I never had to face, but also of the strength, creativity and profound sense of justice that teens can bring to that struggle.
After London, I spent four years working at the international center of the ATD Fourth World Youth Movement, outside of Paris. The Youth Movement brings young people from very different backgrounds together, as equals, in social justice, anti-poverty projects. I was working with young people from different countries, with different first languages, with widely varying formal education and literacy levels and facing very different kinds of challenges. There was Richard who lived with his Roma ("gypsy" or "traveller") community in a camp with no running water outside of Paris; Luke, who was going to University in Berlin who had had family on both sides of the wall; Marie who was learning circus arts to entertain children in hospitals in Brussels; and so many more. We brought them together very carefully and intentionally with a methodology that has been developed over decades and is now called Merging Knowledge. But even with this methodology and other techniques such as Theater of the Oppressed, and our purposeful facilitation, much of which I recognized later in "Restorative Justice" practices, I was consistently impressed with the capacity of these very, very different young people to overcome the barriers between them to fight for justice for all youth. That capacity gets dimmed as we grow older and I knew I had a lot to learn from it. This knowledge, of how much there is to learn from bringing very different youth together, was solidified after a group of Slovakian, French and Belgian youth I was leading on study trip in Bratislava was attacked by skinheads on a public bus. This is a story for another time, and one I have written over and over without ever being satisfied [we all have those stories]. But the most important part of the story, for me, was the incredible way the young people, who had not had an easy week, came together and supported each other in the days after the attack.
In 2002, I moved back to the States, very much motivated by the desire to learn from young people in my own country like I had been learning from youth in Europe. While waiting in France for visas to come through for my French husband whom I had met in the Youth Movement, I put together a data base of youth-serving organizations in the San Francisco Bay Area. When we finally settled in San Francisco, we both found very interesting jobs in youth organizations and we were both shocked by how youth from "disadvantaged" backgrounds were being treated. The bar was consistently being lowered for them. Staff were condescending and preachy. And no one seemed interested in learning from the youth themselves. We had been trained to keep the bar high for all youth, knowing every youth would need different kinds of support to get there. We'd learned to be patient and persistent, creative and team-focused. Most importantly, we'd learned to listen to the youth themselves, as the experts on their own lives. My (now-ex) husband (and still best friend) eventually gave up on American non-profits which are overly guided by grant cycles and which put so much financial investment into executives who, especially at that time, seemed so far away from the lives of the youth they were meant to be serving.
Eventually I found two organizations and one new methodology that would allow me to work with youth in a way I believed in outside ATD Fourth World: The Beat Within, The Oakland Public Library, and the Amherst Writers and Artists (AWA) writing workshop method. I've been volunteering with The Beat for eleven years in the local juvenile hall, and for the last year in San Quentin State Prison. The purpose of The Beat is to get the experience, thoughts and creativity of youth, especially incarcerated youth, out into the world through writing workshops and a magazine. The public library, for which I've worked, mostly part-time, for over ten years, is all about seeing the full complete person in front of you, finding answers to their questions, and being a gateway to knowledge sources and community they might not find elsewhere. The AWA method sees every person as a creative person and sees brilliance as being rooted in one being true to oneself. I've been using AWA in Green Windows workshops since 2008.
Through all these jobs, bits and pieces of work cobbled together to almost make a living in the Bay Area, I have learned a lot from young people in my community. The boys killed on the street in the "bad" parts of my town (parts I live and work in, happily) aren't just boys, they are our boys. I know the shooters and the shot and know choices they face and choices they do not have. Thanks to The Beat, I know a lot of their hopes and loves and dreams and I've seen those turn to despair when their future is no longer imaginable. I bring these hopes and these despairs into everything I do and they make up one basis of my understanding of my community. I am not the same person when, for example, on the same day, I hear news that a 24 year old I've known since he was 15 got his sentenced reduced from 84-years-to-life to 2 more years in the state juvenile facility and news that another, age 19, a youth worker himself, was shot and killed sitting in his car with his girlfriend. I don't want to not know this. I want to know these young people and I want all my decisions to be affected by these events, these youth, these victories and these losses.
Thanks to working with the Oakland Youth Poet Laureate program for the library, I get to listen to youth speak out on race, gender and justice in ways that my generation cannot manage with such articulation and honesty and respect. And being able to witness teen writers support each other in Green Windows workshops has taught me about listening, about imagination, and about what being true to oneself means today in ways that deepen my trust in the future of our society, if these youth can continue to be themselves and be safe.
Today's youth give me hope. Not because they are simply the future, nor because of their own hope. Youth give me hope because they are brilliant, because I can see social progress made within them, because I have so much to learn from them, which means my own life is still evolving. We need to support them, trust them, believe in them, but not step back, not give over. As an adult, I want to continue to listen, to learn and to then see how I, with the wisdom and skills I've gained over fifty years, can help. Let me know if you, too, want to help.
And I truly do simply enjoy the company of teenagers. And I am deeply grateful to be doing work I love.
- Peggy Simmons
PS -if the skills and experience I've gained working with teens over the years could be of use to your group - of adult or youth - please let me know!
Catherine Mencher, Administrative and Operations Consultant, has been writing in Green Windows workshops for years. She has recently begun using her admin and operations skills a few hours per week to help Green Windows through this period of transition and growth. She's immediately become indispensable. Thank you, Cat! We asked her to share a little about her relationship with Green Windows as well as the powerful piece she wrote in the June Uniquely Yours workshop.
Why do I support Green Windows: Art of Interchange?
I hope to provide the Green Windows: Art of Interchange community with a drop of what it has given me – deep connections to folks with whom the daily rhythms of my life would not otherwise come into unison, a reconnection to how I cast myself as a child (as a writer) and a model for how to comprehend the world. Spaces like Green Windows are elusive in our face-in-screen society. How we participants write in Green Windows reveals and validates how we live. Some follow prompts with extreme fidelity, some throw them aside. By accepting the diversity in writing approach that others take, we see and honor their uniqueness, and in turn our own innate uniqueness. Green Windows inspires an authentic day-to-day curiosity, a wondering what each person we come into contact with would say if given a pen and paper and brought to our circle.
In my new role, what will I do for Green Windows: Art of Interchange?
I hope to increase the chances that someone comes into contact with the various offerings of Green Windows. The social media world can be a scary one, but I want to ensure Green Windows has a presence that increases the connections and long-term viability for its important work. I want to push the wheels on the grinding details, like data-keeping and grant-satisfying, so that Peggy can move the integral product, authentic connection and community-building, forward.
by Catherine Mencher
I didn’t like the aftermath. Jaw like sandpaper had scratched the bones and bases of the teeth. Memory of the lack of control, the learning that one tab of one finely hewed chemical could drop my inhibitions so totally.
I didn’t like looking back at standing jittery in the line at Walgreens buying bottles of lotion. I kept that knock off lotion for almost a decade. Finally throwing it away before I finished it. One bottle of aloe still haunts my toiletry drawer. Knowing how thin our line of control is.
I didn’t like what the chemicals in my mind had gotten me into the night before.
I do love hearing you in the morning. I so never want it to end. As I sit today I want to keep making babies so I can always hear MOM in the morning. I’m grateful I don’t have a six am shift. How easy it would be for our disconnect to build if I couldn’t hold you every morning, couldn’t be in a privileged group who know what you look like when you fall back to sleep: the adorably adult way you reach your arms up to yawn, trying to push yourself back under that cloak of sleep when the light’s teasing the outside.
I learned that I love strawberry cake when Jacob and Newton married. At some point the cake splat onto the grill at the wedding park. Erich, I love that you and a couple named Elizabeth and Maegan ate grill cake together and that we bonded about it in the bathroom line later.
I don’t like the word usurp. It seems like a word describing something that I tend to support happening, but it has a sneaky, gnarly feel to it, like something done the less ingenuous way.
I don’t like a lot of things anymore. I don’t like what it feels like when a baby throws rice all over the floor, which sticks flatly to your feet, requiring a peel off. I don’t like that caring for my child has made me bad at modeling austerity. How do I keep him hungry enough so he doesn’t waste food is not a question I ask myself much.
I do like the concept of personal change. I’m frustrated by the litmus test put on people in power. Why are they held accountable to not changing? Isn’t changing what makes a human?
How can I combine my passion for the issues of education equity, prison abolition and youth solidarity in one poem written in one thirteen-minute sitting? If you had asked me before 7pm Sunday night I wouldn’t have been able to tell you, but as the sky changed hues we all straggled into a warehouse in North Oakland and sat down in semi-comfortable chairs for the Uniquely Yours workshop. We opened our notebooks and Peggy started feeding us prompts. A few new folks but most of us veterans of this workshop, coming almost every month and forming close-knit bonds around shared expression. I had something on the tip of my tongue but I couldn’t taste it, couldn’t form it into the words that I wanted. My muse felt like an astronaut suspended in deep space with nothing to hold on to.
Then Peggy read the poem “Purple” by Alex Rotella and gave us the prompt, “Write about a moment when you were discouraged, or encouraged, or when you discouraged or encouraged somebody.” In this workshop it is assumed that everything we’re writing is fiction, even if it’s not. This gives us the freedom to write the truth while maintaining anonymity in our own experience. In other writing workshops I will write a piece and people will ask me about it as if the narrator is really me, Alec West, in real life, and the story I wrote was something that happened to me. Outside of Green Windows, I have to stop people and say, “This story is not about me.”
I don’t want what I say in a story or a poem to affect the relationships I have with my friends, my family, my readers, or the community at large. Outside of Green Windows, this happens whether I like it or not, but within the safe space that we all create together, I can write whatever I want, plumbing the pits of my soul for something I would never admit to my closest friend. When I share those secrets with the people around me through my writing, they nod and listen and tell me what they liked about it, then we move on. It never has to enter the relationships I form with those people outside of the workshop and it never leaves the room. With the safety afforded by Green Windows I can write freely and do the kind of self-exploratory work I need to do among others in my community who are doing the same thing.
I wrote this piece that night, based on that prompt. I thought about how discouraging it is for a teacher to have one of your students, someone much younger than you, die. I’m not revealing whether I’ve had that experience or not, but you can judge whether my writing resonates with you, and you can feel it if it is authentic.
To Be Judged
by Alec West
At twenty-four I was young to be a teacher whose student had died. Ricardo had what you would call a magnetic personality. He was tall and solid with long hair that descended to his shoulders like the coned branches of a pine tree. He wore the jail uniform like any piece of clothing you would wear. He seemed to have an air of acceptance of where he was and hope for where he was going. Both of these combined with patience, faith that he would get there, that took confidence. I only remember him really writing one piece in all of the writing workshops we had. He attended a lot of them, as he was in jail for six months after I got there and I don’t know how long he was in before.
Press play. Three months after he got out, a car crash. Ricardo was a passenger and he was dead. I’m not sure if he was 18 yet or not. I wrote in his obituary: “Almost as sad as his young death was how long he had to spend in jail.” Overall, Ricardo spent two and a half years in jail after he skipped out on probation to get a job so that he could support his family. A vast number of the people you will meet in jail are not there for their original crime, but for a violation such as staying out too late, or not checking in with their PO, things that are not illegal but could wind them back up in the system. Often these people are leading positive, productive lives and trying their best, but one misstep led them off track.
How many people are lost to parole violations, not even real crimes? How many are trapped behind walls when they could be connecting or creating with us? What if you were judged and your whole life was determined by what you did or what happened on your worst day?
There is a scene in the movie, “The Mustang” when a therapist asks a group of prisoners incarcerated for violent crimes,
“How long from the idea of the crime to the committing of the crime?”
30 seconds. Fifteen seconds. Ten seconds. Less than half a second. The men answer with certainty as though a game show is asking them what they had for breakfast.
Can you judge the entire character of a person for an action committed without making a decision?
Do you feel safe?
I’m young in my teaching and I’ve only had one student die. I’ve known teachers who have lived through the deaths of several of their students. The loss we feel is mixed with blinding injustice as the world becomes a little less colorful, a little less vibrant, and we all become a little less powerful, despite the efforts we as teachers put out every day to keep the fire burning in our students’ hearts. Our students get snuffed out. We put our dreams into these children, and these children give hope back to us. Then, the system takes these children, takes them away from the rest of us. I am a teacher and I am in my twenties and I’ve had a student die. You can judge whether I am too young or whether this is too much, but this is the world we live in. I’m not ready to make a judgment about the world, and Ricardo will always remain perfect in my memory.
Do you feel safe?
Alec West is a teacher, activist, and author of What Happened When I Stopped Watching TV, his first book, available on Amazon. He lives in Oakland, but is moving to Richmond, and was born and raised in the East Bay. You can find him on Facebook: on instagram @alecwestwriter510, or writing in a local cafe.
Our blogger this month, Roxanne Rocksteady Jones, first attended a Green Windows writing workshop in 2010 and has consistently written with us at every opportunity since. We asked her why she keeps coming back.
I keep coming back to Green Windows because I really got motivated when Peggy first invited me to the class to get over past things and express myself more.
While I was taking the class, I went to a women's group and we had incense and candles and meditated and were asked to take whatever was on our mind and bothering us, from childhood to early age to teen to young adult to adult, and write it on a piece of paper, then read it to ourselves, then ball it up. It made me get rid of what was bothering me. I had been feeling like I had been tortured since a little girl. But as I wrote, I released things through the tears in my eyes, from my stomach, my belly, to my lungs to my throat, releasing it, throwing it up, freeing myself. So my writing is more like a journal: Instead of using my voice, I'm using my writing, screaming so the world can hear me. Instead of marching in the streets with the 99 women's march, I'm the 100th woman, marching with words.
Young women, girls and teens are speaking up with their voices. You know, some people can't speak. Some people can't hear or talk. But they can read with their eyes. Reading, and other people reading your poetry or stories, is inspiring in either a happy way or sad way. They can learn to relieve what is bothering them, too.
Now I'll hand a person a pencil, ink pen, or crayon and say, "I would like to hear your story. Would you like to write it down?" People think homeless people want money or food. Some people just want people to hear their story, to sit and listen, or release something, or just be quiet together. So asking them to tell their story, what's bothering them, they are like. “Oh, I just wanted you to hear this." Sometimes it doesn't make sense, but I don't care. They just want someone to listen. Most people don’t have time.
For 2019 I would like for the city of Oakland or Green Windows to have an open mic where women, men too, but women, can say what's on their mind or what they went through, or what they want to release. Then we can give each other hugs after and let each other know we are loved no matter what gender, race, color or nationality.
When I think about the violence done to people of color and queer people, I want say, “No matter your gender, we are praying for you, be strong, keep your heads up, know that you are loved. I hope they catch the racist haters out there who try to torture you. We are going to kill them with love because love is what makes the world go around.”
Below is a piece of writing that I wrote in a Green Windows workshop. It was published in the 10-year anthology, Writing from Green Windows.
Who’s Your Daddy?
By Sister Roxanne Rocksteady Jones
Trick or Treats
Who’s your daddy?
Ok! Soul Sisters
Girls, here we go
Dancin’ to the beat of Aretha Franklin
and Lady of Soul, Diana Ross
and Lady Sings the Blues
Here near downtown Oakland
the block of 22nd, Telegraph and West Grand Ave
which is now called Uptown
Here on the sparklin’ psychedelic rainbow dance floor
in this ol’ ol’ ol’ red brick building
used to be the Pancake House
which is now called Disco City
Shakin’ our money maker
as the mens would say
Shakin’ what your Mama gave you
Shakin’ our bootays
Droppin’ it like it’s hot
Girls just wanna have fun
Actin’ like our Mamas’ drinkin’ brandy
Vodka with pineapple juice
Laughin’ havin’ fun
Cryin’ talkin’ about the good good ol’ days
about the no good men who almost stole our hearts
Rememberin’ the good good good ol’ ol’ ol’ days
When our Mamas was also on the dance floor
Partyin’ and shakin’ their old money makers
Their groove things
Their asses, as the ol’ men would say
Drinkin’ brandy with milk
7 Up with Courvoisier
Vodka with orange juice
Gin with apple juice
Dancin’ to the Temptations
Gladys Knight and the Pimps
Dancin’ til’ the funkadelics the freaks
Come out at night
Droppin’ it like it’s hot
and our Moms cryin’ about our no good daddies
on the dance floor
as the Godfather of Soul, James Brown
Sings the number one song
I like the girl with the hot pants on
She can do the boogie woogie all night long
Oh my God, he’s singin’ about my Mama
who’s your daddy?
James Brown, Father of Soul
Goin’ back to the good good good ol’ days
Trick or Treat
Who’s your daddy?
When I was a teenager, I was very ambitious. I was convinced that the stories coalescing in my head were so vivid and important that I would make a great working writer, sell enough copies to support myself, maybe have my works taught in English classes, and follow in three of my relatives’ footsteps. What I didn’t fully understand, however, is that being a working writer requires a day job—or in my case two—especially if you’re publishing books by yourself. The major traditional publishing companies were, and sadly still are, the gatekeepers of literature, and generally wary of investing too heavily in unproven writers, which is why I was so determined to do it myself.
In college, I intended to collect my rejection letters to remind myself not to give up. Unfortunately, some time after my sixth rejection, I had a serious health emergency, then life caught up with me, and I misplaced my collection. But at least I never stopped reading, or watching movies, or listening to music, and finding things in life that inspired me, because those experiences help maintain the vibrancy of my stories, and even to help ground them in reality, to make more sense of them. Even generative writing programs like Green Windows have been invaluable. As Kurt Vonnegut Jr. once wrote, “The arts are not a way to make a living. They are a very human way of making life more bearable.”
Nobody can really tell you how to write (no matter how much they might want to), because the creative process is an extension of your unique, individual thoughts, feelings and ideal method of expression. When we write, that process is the crystallization of concepts that we wish to transmit, however raw they might be at first. Editing is the process of cutting, refining and burnishing those ideas like gemstones. When we read, watch or experience other things, we are mining … looking for the things that resonate with our own experience.
In summation, we need to look for the things that inspire us, and we will know that they’ve inspired us when, all of a sudden, in spite of whatever obstacles that external forces throw in our way, our world-views and the stories connected to them begin to make sense again.
Below is a piece from a previous Green Windows workshop. Enjoy!
“THE HEARTSCAPE FACTS” THREADS ON WWW.MAPPINGTHEHEARTSCAPE.COM, DATED 07/29/2011
by Rachel Golden
It has long been believed that Atlas Galt, the keytarist for Heartscape, was named after the Greco-Roman god who supposedly held up the Earth on his shoulders. Whoever first started that bull-crap was clearly an Objectivist twat, because any fourth-grade textbook will tell you that Atlas was the Greco-Roman god who held up the SKY on his shoulders, which was no doubt an easier job because the sky is way lighter!
PantherHands: OMG LOL!
RocketSauce: FUCK OBJECTIVISM UP ITS FAT WRINKLY ASS!!!!!
Diogenes: LOL nice one, Rocket!
RighteousPath: Damn, that got political pretty fucking quick.
BigNo: Not even the internet is totally free of politics, sadly. Up north, we have a contemptuous asshat named Stephen Harper to thank for that. Part of me is tempted to go scale Mount Everest for that very reason.
Howitzer: Fuck Stephen Harper!
LunarRover: Wait a goddamn minute… I think I know the smart-ass piece of shit who wrote this post in the first place.
BigNo: Do you, now?
LunarRover: I’d accuse Biggie, but that’d be too easy, and frankly he’s not one with an affinity for Greco-Roman gods. Diogenes the dog, I accuse you! Do you hear me? J’accuse!
Diogenes: Ruh-roh! Guilty as charged.
LunarRover: More like “guilty as fuck”!
VMyson: Bad dog. No biscuit. LOL.
Howitzer: Holy shit, I love this fucking forum so much!
LunarRover: And the forum loves you, too, Howie.
SidPernicious: I don’t love Howie, gaymo.
VMyson: That’s because you’re an asshole, Sid.
Howitzer: LOL TRUE DAT!
SidPernicious: I’d rather be an asshole than a gaymo, like you gaymos!
Diogenes: Aw, sorry to hear you’re not comfortable with your sexuality, Sid. You might want to get in touch with someone at PFLAG, and maybe get some shit off of your chest.
SidPernicious: Why the fuck would I do that, when I have you chodes to get into bitch-fights with?
BigNo: I think what my associate meant is that you should do yourself a favor and “get some santorum off your chest,” Sid, because I’m pretty sure I can smell it from here.
RocketSauce: Yeah, Sid, it’s not our fault you’re so deep in the closet, you’re finding Christmas presents!
RighteousPath: Embrace your queerness, Sid! We believe in you!
VMyson: OMG I’M DYING!
SidPernicious: FUCK YOU PUSSIES!
SidPernicious has logged out.
VMyson: LOL what a dumb-ass!
Howitzer: Some motherfuckers just don’t have the introspection to be able to laugh at themselves.
LunarRover: Wait a sec, do kids these days still say “gaymo” when they want to insult people on the internet? Seriously?
Diogenes: I know, right? It’s so last decade…
BigNo: Kids are so unfashionable.
Green Windows has recast how I see myself. Yes, I am a writer. Yes, I have a community to draw from. Yes, my words have a place. - Catherine
You like me best when it's cold out. Something sexy about more clothes over less. That gray shirt with your coiled strength below it: that thin barrier smooth against my pushing shoulder blades.
You like me best, but you love him most. "He's my best friend, mama."
He likes me best when he's giggly. It turns out that the most base human state is polarity. Within ten minutes, gleeful hee hees and ha has, wailful mourns and utter ambivalence.
I’ve been writing with Green Windows for about 4 years now. I met two of the regular attendees at a coloring club meetup. I was feeling brave enough that day to venture out of my normal routine to do something like that, and holy hell am I glad I did. My first night there I heard writing like I’ve never heard before. Not like the crap they made me read in school, not the forced-to-sound-like-this writing from my creative writing class in college, not what I always thought poetry “should” sound like. I heard real, raw, authentic voices from real, raw, authentic people. We were writing at Chapter 510 then, and being in a space that could hold the creative energy for youth helped me work through some shit. It also inspired me to start a group at the elementary school where I worked using the same method that we use at Green Windows after reading Pat Schneider's book about the AWA method. Listen to some writing by an inspired 10-year-old sometime. It changed my world.
This group of people has become more than just a creative outlet for me. It’s where I sort out all the things inside and around me and find a way to feel all the feelings and have other people witness me doing it. It’s become a group of fellow soul travelers, friends, mentors, and family. I honestly cannot imagine my life without it.
When Peggy offered to take me on as her apprentice, I was beyond honored. I told her that no matter how busy my life can get, I’m learning how to make time for the things, the spaces, and the people that feed my life. What would be my life be without them anyway? Green Windows and the community of people that are part of it fit all those categories. As a therapist and someone who’s participated in and facilitated healing spaces for years, I can confidently say there’s something really special going on at Rock Paper Scissors every 4th Sunday of the month.
Writing a blog post means I’m sharing my work, too. I thought about adding a fun poem, one that invokes a laugh or at least a chuckle. Maybe one of my short pieces about my mom’s tomatoes or my brothers’ paper towel karate belts or how my dog looks at me when she pees or the time I met a human bunny rabbit on the Lost Coast. But the bravery of folks to speak truth inspires me everyday to speak mine more, and lately I’ve been encountering too much of that bravery to keep crawling back into my cave where it all feels easy and protected. I shied away from true tales of horror inflicted on women and children for many years, because it reminded me too much of mine. Maybe that’s where you, reader, need to be right now, and so I’ll give the disclaimer that this is not a fun piece. It’s a part of a journey, the part where it’s all super thick forest with no map, no machete, no rope. Hopefully, hearing a piece of my story will give you strength to write yours.
(more about Lena)
men teach me to like rape
by Lena Nicodemus
ferns & nitrous ice fog on the cold sand
a fallen tree trunk
lifting up on hips & lifting up of t-shirt
a stupid fucking visor hat
and when you look at me you look nervous
but I don’t say no
your hands are cold up my shirt & you
push your tongue too much into mine
but I don’t say no
you stick your hand down my pants
root around for whatever loose change
you’re looking for
and I remember we’re at where people who
go off trails can find us,
not far from the shit food of the national parks lodge
and I still don’t say no
later I say no and I laugh but I’m not sure I’m joking
and you hardly stop to check
I’ve been taught for my whole life to say
yes yes yes
I don’t imagine myself saying no or
why I would
the stories I hear from the couch are
always the same
men getting robbed at gunpoint and women getting raped
and then there are the stories where it’s little boys and girls
and the guns are your cousins
and I guess both guns could be your cousins
and I used to be scared of the word
and have to spell it out when asking friends
if movies had
I could watch them and
I don’t watch anything other than
the office it feels like anymore
because getting surprised by a rape scene in a movie
I thought was rated PG-13
and really 13-year-olds can watch this?
it’ll knock me out and before long
i’m scared to go out or even ride my bike anymore because
all the hey baby’s and looks feel like rape
because when i feel triggered it’s like
I’m being raped
but since I was young,
men teach me to like rape
men teach me to call nonconsensual sex “kinks”
and “it got a little rough”
and stopping to ask me once for a safe word neither of us use isn’t consent
and anyway girls can’t consent to sex only women can
and you didn’t invite a woman back to this apartment, did you?
I heard about Green Windows on an aimless walk through downtown Oakland at dusk one Spring. I remember the sky was pink and I was climbing my way up from rock bottom and pure Hell. I think I was only a few months sober. Back then, Green Windows was hosted at the original Rock Paper Scissors Collective art workshop on Telegraph Ave. I opened my mouth for what seemed like the first time since I was a kid and spoke about what was really important to me. We sat on unassuming chairs in a paint-splattered room and people listened to me. I never did AA or any kind of structured help program. Green Windows was it for me. Every month I would join a friendly assortment of colorful people, I would write, I would share and I would listen. In this way, I built myself up from broken, devastated pieces into a positive member of a tangible community for the first time in my life.
In Green Windows, you always have the option to pass on sharing a piece of writing. I have never done this. I have written pieces of writing that scared me into shaking, pale-skinned jello in these workshops. Sharing them in a safe, confidential space with warm, loving people who all share their stories in turn has brought me healing that feels divine. Again, you don’t have to share if you don’t want to, and plenty of people choose not to, but I have made serious progress emotionally and spiritually just by saying what I need to say, even if I’m terrified.
After a while of coming to these workshops, you start to see the same people. You admire their writing and then get to admire them as people. None of us are big-shot prestigious writers (at least not yet). Almost everyone is available to talk or share a ride home or a slice of pizza after the workshop. The community of people I’ve met coming to Green Windows over the years is what keeps me rooted in the Bay Area. It brings me pride in my home and I feel like I’m releasing stagnant energy and rejuvenating by writing, reading and listening.
As long as I live in the Bay Area, I’m going to keep coming to Green Windows workshops. This community has played no small part in making me the person I am today. Peggy, her helpers, and all of us do a lot of work to keep the space open to truly anyone who wants to come through these doors and write. The participants in these workshops feel like a cross-section of Oakland and the greater Bay Area and I haven’t seen this diversity in one space anywhere else. Green Windows writers have the privilege of coming to awareness of what life is like for people different from us. This work is important for keeping myself humble and keeping myself engaged in the struggle for justice and in building community. Here, I have the space to dig into myself and find veins of painful, traumatized gold to bring into the light and inspire others. I am grateful to live in a time and place where this is possible.
Below is a piece of fiction I wrote in a Green Windows workshop. I hope you enjoy it.
Different Kitchens, Different Friends
by Alec West
The refrigerator makes a sound that most people don’t hear. My friend Charles grew up on a boat and said that when he had to live in a house he hated the refrigerator. It was so loud, it kept him up at night. He wasn’t used to it.
My friend J used to come over and raid my fridge. He showed me how to cook tortillas on the stovetop. Years later, he admitted that he’d had a gun on him in our house. Old friends were trying to kill him, and he had to protect himself.
My friend Basil also used my kitchen. He is dead now. I remember him standing in my kitchen, having a conversation with my Mom about yogurt-coated granola bars.
“These are actually sweeping the nation as one of the best new things!” he said. His wide eyes were shifty and unfocused, his blond, box-springed hair was like a brillo pad under a wool cap or a hoodie. We went on that afternoon to get drunk in an alleyway with fresh green grass growing. It was springtime, and we were enjoying being young and the bold, deep flavor of loneliness when you have someone to share it with. Then Basil bought a bottle of vodka from a homeless man with my money, and we blacked out in the bathroom of a drug store.
This kitchen, on Lake in Piedmont, by Beach Elementary, was the first place I discovered alcohol. I remember coming home in a nice button-down shirt from the freshman dance and finding the liquor cabinet open.
Vodka and Gin. I filled up two plastic water bottles full, one red and one blue. My friend Red covered the stairs at the Morcom Rose garden with orange, green, white, and yellow puddles from the paints in his stomach. They were inkblots spilled over a page. Somebody was holding their pen up too long thinking about what to write and splotches ran through. Back then there was less loneliness than hope and excitement. I felt like I could still be part of something here if I tried. Red was my first drinking buddy.
Years later, I find myself in my brother Gabre’s kitchen in Eugene, Oregon. He has liquor bottles displayed above the cabinets where he keeps plates and dishes. He was a teetotaller all through high school, and now that he is in college, he is drinking. He felt that he had earned the privilege with his success. My friends and I taught him all about top shelf bourbon and scotch. Now he is a connoisseur and a snob, and at six pm on a weeknight he is shaking the cocktail mixer, fixing a drink.
My friend Hombre’s Dad’s kitchen looks out over the whole of San Francisco. You can see the city shimmering with light and heat and fog and silver and gold during the day and shining with purple and orange at night. It was the perfect place to enjoy a blunt with some close friends. My friend Hombre had sixteen pot plants growing on that back deck in high school. At first, his Dad didn’t notice, then he didn’t care.
Tall, fragrant bushes, sticky flowers and phosphorescent leaves. Orange hairs, white hairs, purple hairs. Acid and mushrooms and looking at the clouds. Hardcore music. Drum and bass music. Dubstep. A State of Trance.
We found a vast, dark basement full of all flavors of people who did drugs in San Francisco, from hardened criminals to kids like us. Hombre wanted to wear sweat pants and a Nine Inch Nails T-shirt. We told him to go for it, but he didn’t do it. We were too young for ecstasy, we felt, so we took trucker speed, those pills you buy over the counter at the gas station for like five bucks. That and a lot of marijuana, and we didn’t sit down for six hours.
All this is what I remember of my childhood in the East Bay. What were we gonna do? We were making the best out of a teenage situation in suburban California. No, you’re too young to get into the club, but there’s this alleyway and this bag and this homeless guy who agrees to buy you alcohol. I’m not joking when I say that homeless guy became my best friend. His name was J, he was only a few years older than me, and he taught me a lot.
Alec West is a Bay Area native and has been writing and publishing since he was twelve, when a fierce middle-school teacher taught him that he was worth something. He has been published in Slingshot Magazine, The Anthology of Poetry By Young Americans, The Moon, and The Highlander. His first book, “What Happened When I Stopped Watching TV” will be available in print and e-book in December 2018. Follow Alec on Instagram.
A friend told me about Green Windows. I had been in writing classes before but not done writing to prompts. I loved it. I like not knowing what will happen--either what kind of prompts we will get or what my pen will do when it gets one. Mostly it pours out some familiar story from my life but sometimes, and I am grateful for those times, the prompt sets me off on something I would never have thought to write. Even when I write a story I’ve told before, there may be a new insight or I will like the way a group of words sit together.
I’ve been in other prompt-writing groups since, but Green Windows stands out for the variety of writers and writing in it: people of many races and classes and several genders, immigrants and native-born, drop-outs and people with post-graduate degrees. It’s in Oakland, it’s sliding scale, and Peggy so completely welcomes everybody to bring their whole selves in.
I’ve met such good people at Green Windows, and heard such amazing writing, poignant, playful, profound. I met Renee Garcia at Green Windows, and joined her on-line prompt-writing group. Late one night, one October thirty-first, Renee challenged us to start writing a novel at the stroke of midnight, the moment when National Novel Writing Month would start. I wrote for twenty or thirty minutes about why I couldn’t write a novel. The next morning I started writing a novel--a fantasy for older children--which I am still rewriting over three years later. I love working on it.
Peggy encourages us to write either as ourselves or as a character, and I sometimes respond to prompts as some character in the novel. This has either given me material I can use in the novel or insights into my characters that will inform my further writing about them. One prompt was to write about a familiar or habitual walk. So I had a character, Margaret, talk about hers, and it’s in the manuscript now, and here, below:
Excerpt of novel-in-progress
by Nancy Schimmel:
On the evening before landfall in England, Annika said, “I’ve never been in a castle, much less lived in one.”
“The trick is not to stay in the castle much if you can help it,” said Margaret. “You leave the castle early in the morning before somebody thinks up something for you to do. First you go down—down the path to the beach and along the beach to the trail, then up the face of the heugh, back and forth like lacing on a bodice, to the grassy top where the sheep are. Or where they are supposed to be if they haven’t done something stupid like one wander over the edge and another one go to see what happened to the first one and go over the edge but not on purpose and therefore badly, and you may have to stop and do something about it.
“If all is well with the sheep, you go through the meadow. By and by you will come to a hut with smoke coming out of the chimney. However early you have left, Tom will be up and dressed and making tea before you get there. Bring him some honey, he likes that. Sit with him and sip the hot strong sweet tea and listen. Tom will tell you a story about himself and the sheep or his brother and the sea or his grandfather and the Norse raiders. He tells true stories, or truly as he heard them, but he doesn’t dither about exactly what happened or who was there or what day of the week it was, he keeps the story going.”
“I know what you mean,” said Annika. “We had one of those ditherers in the village.”
“Janet’s father is like that,” Margaret replied. “Maybe that’s why Janet likes ballads. No room to argue with yourself about what happened. Anyway, then you tell Tom your story, like you told it to me. I tell him stories I read in a book or heard from the cook or from some traveler.”
“But now you are the traveler,” said Annika.
“That is so,” said Margaret. “I’m a princess, but I’m a traveler, too. I used to hear travelers say things that either made me want to jump on the next ship leaving or be glad I stayed home where there’s hot tea and honey every morning.”
“Are you sorry you are a traveler?” asked Annika.
“Not at all. But I will be glad to get home again.”
Please submit a post about your experience in a Green Windows workshop or about social justice and artistic expression.