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.
Once again, I'm thankful for the opportunity Green Windows has afforded me to share a vital part of myself. A request was made for an upcoming post, and I jumped at the chance. The following is a story that I feel captures the elements of writing and inspiration that I enjoy. As always, a hearty thank you to those who choose to humor me in my strange, literary journey.
Pockets Picked Clean
by Philip Staley
4 pink, oblong capsules; a handful of .40 caliber bullets; a half-box of Sugar Smacks cereal and $32.
Jacques wondered how his life had taken this wrong turn and ended up here in this bad joke of a roadside motel. His brother, Anderson, lay sprawled on the sparse carpet like some hideous, squashed bug. Their new companion, Lacey, slept so angelically, curled up like a child in the cheap, poster bed.
Jacques looked over again at the rickety table and the articles resting on its surface. Why were the most dangerous objects in life always shaped like cylinders?
He had minutes before Lacey woke up, to consume her “morning cocktail” of several 500mg Depakote tablets and the most burnt convenience store coffee in the Tri-state area. After their desperate breakfast, the trio would have to move again. Anderson doing the breakneck driving, and their drug-fueled siren earning her keep by getting them into those unspeakable places sure to come up on the journey.
Jacques couldn’t help but muse over Lacey. Despite the deficiencies in her brain biochemistry, she was a knockout that “looked like California.” She was the perfect face of the operation, which included negotiations with hard men that had even harder problems.
This particular job was revenge, which coincidentally always tasted so viscous and metallic; similar to the tang of an empty shell casing or a stale mood stabilizer on the end of one’s tongue.
Lacey shot up from the bed as if she’d been touched by a faith healer. Her eyes were wild with the last traces of somnambulism and the myriad hells inflicted by her subconscious. Jacques hurried to the table to assemble her morning offering, fumbling and knocking several bullets to the floor. Anderson stirred on the thin carpet, his half-asleep face a twisted mask of post-indulgent contortions.
The dingy room itself was sweltering; a literal hotbox. Lacey appropriately was covered in a sheen of slick sweat, and not much else. Even the walls were scorching as Jacques moved to peer through the raggedy blinds, taking in the bleak, white-hot landscape of the desert ahead.
The real trick would be making the proverbial “dollar out of fifteen cents," as the trio sped through the blasted highways inching ever closer to their fractured goal.
Slumbering Anderson wasn’t without his problems either, not venturing too far from his dirty syringe and the trail of the dragon he was currently chasing. There was no one else, thought the reluctant ringleader. This is how it had to go down.
With nearly two score dollars and an ill-conceived plan, Jacques continued to appraise the scenery and the shopworn,’72 Fleetwood convertible that somehow got them this far.
He’d inherited it from his Uncle Ray; a flim-flam man who pretended to have so much soul, but was as alabaster as the rest. He too had a penchant for dangerous cylindrical therapy.
But this was it, the cost of freedom; Off the grid and out of consideration. 2 bit hustles being the order of the day when the ink on your ID was still wet.
Jolted from waxing philosophical, the happenstance shepherd recoiled slightly as Lacey slurped her foul, room temperature coffee. She eyed him and the cereal hungrily, making Jacques wonder how far her appetites truly extended…
Green Windows: Art of Interchange was founded, in part, with principles I learned in anti-poverty projects when I was a full-time volunteer with the International ATD Fourth World Movement in the U.S. and Europe in the nineties. For example, with ATD I learned techniques for bringing people from very different backgrounds together as equal actors in social justice projects. One of these techniques is the Merging Knowledge participatory research method.
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.”
Green Windows started partly at the Rock Paper Scissors Collective (RPSC), a grass-roots community arts organization. RPSC, with other galleries and arts organizations, turned "Uptown" Oakland into a vital, thriving, arts destination. And then they were priced out of the neighborhood they helped revitalize while remaining deeply rooted in the existing community.
Green Windows held monthly workshops in RPSC for seven years, When RPSC lost their space, our monthly workshops tried several different spaces, none of which felt like home. Green Windows and RPSC have overlapping missions supporting the creativity of Oaklanders while remaining affordable, accessible and deeply focused on the importance of creativity for those who are the least heard.
RPSC continued to do arts workshops in schools, libraries and various community spaces. And now they have found a new home at Warehouse 416. Which means Green Windows has found a new home, too. We had our first monthly workshop there on May 27th and it did, indeed, feel like coming home. We are so grateful for the ongoing partnership with RPSC. Come write with us next month!
I’ve been telling stories since I was three years old. The best years of my childhood were spent guiding my friends on narrated adventures in my backyard (which I would later learn is called “live-action role-playing”). Unfortunately, not all of the stories I told were, in truth, my stories, spun out of my own head, nor written by my own hand… The truth is I didn’t master handwriting until I was 12 (and before the widespread use of personal computers, this was a serious set-back), and a good majority of the stories I told were based on movies and TV shows I had watched, memorized, and faithfully replicated in my own little voice.
In retrospect, I suppose I had to start with the oral tradition before I could move into transcription. There was a good several years of my life where I was able to recite the entire poem, The Owl and the Pussycat, by heart and without prompting, not because I fancied myself a poet, but because my grandfather used to read it to me every night that I stayed over at his house, and it became stuck in my head. It took me a long time to figure out how to tell my own stories, or at least to perfect my own voice when I told them, but if I hadn’t practiced with the masters, I wouldn’t have learned that every idea comes from something before it, that “new” stories are essentially built upon pre-existing narrative structures, and that it is physically and metaphysically impossible for creative impulses to exist in a vacuum.
My father worked for IBM for 30 years, so we were among the first in our neighborhood to own personal computers in 1994, which served me well in my transcription practice. One of the first writing programs I used to transcribe my stories was appropriately called “Creative Writer,” which you could tell was purposefully designed for small children because it was full of colorful cartoon characters that cracked lame jokes and stale puns, as well as weird-shaped buttons that made squishy fart-noises when you clicked on them. Other than that shameless bit of pandering in the software’s design, “Creative Writer” basically functioned like Microsoft Word, with many spacing and font options for each project, plus much fancier-looking clip-art to use as needed.
Thankfully, I took to typing much faster than I took to handwriting. My middle-school teachers were disappointed that I continued “hunting and pecking” for the keys I needed, despite their pathetic attempts to cover my hands with a thin (but not thin enough) box over the keyboard. I’m pretty sure they only wanted me to master QWERTY-style so that I could become somebody’s secretary, and if I’d been allowed to curse, I would have gladly advised them to “fuck that noise,” but the truth is that I wasn’t allowed to curse until I got to high school and then all bets were off.
Instead of embracing social milestones for most teenage girls—like learning about makeup, armchair-studying fashion in magazines, and/or getting a boyfriend—I spent the vast majority of my high school and college years absorbed in story-driven computer games, like “StarCraft,” and writing fanfiction for multiple other writers’ stories. The important thing, again, was getting as much practice as possible; I wrote before classes, I wrote at lunch, I wrote at the library, I wrote after dinner, and I wrote well into the small hours of the night, and yet still managed to get up in time for school.
Jordan was one of my best friends since I was three, and she introduced me to Green Windows in 2015. These workshops have allowed me to challenge my time-use, to focus on staying positive, and to hone my narrative voice, as well as to listen for that which resonates with me, even if I don’t immediately understand why… It feels to me as if we are essentially building on pre-existing structures and adding our own flourishes in order to express the ideas we generate, with the goal of learning how to share them with others. While most of my computing experience is centered on word-processor use, I figure if the process of writing is at all like I hear coding can be, then Green Windows must be one hell of a hack-a-thon.
Below is a piece from a previous workshop. Enjoy!
EXCERPT FROM “THE HEARTSCAPE FACTS” THREADS ON WWW.MAPPING-THE-HEARTSCAPE.COM, DATED 02/02/1998
By Rachel Golden
Frank Riordan, the guitarist for Heartscape, is not just musically competent – he’s also an astrophysics prodigy. When he was 16, he was placed in an advanced mathematics course where he composed a 10-page essay on the practicality of faster-than-light travel as featured in the classic film, Barbarella. Within a year, this work earned him the attention of the Canadian Space Agency, which offered to pay for his university tuition if he helped them develop a perpetual motion machine. He even took time to help a fellow musician—Philip Taylor Kramer, the bassist from the band Iron Butterfly—on a Top Secret time-travel experiment in the U.S., but good luck getting him to break his non-disclosure agreement with the CSA and NASA.
HighPriest: OMG MIND BLOWN!
Diogenes: Holy shit. I don’t even.
LunarRover: Sounds plausible. I mean, the guy is a genius, after all.
Diogenes: Where to start? I mean, it’s total bullshit, but I have to say it’s the most entertaining bullshit I’ve read this week. Kudos to whoever posted this – you’re a funny bastard.
Howitzer: Dude, it’s not bullshit—don’t ever say Frank Riordan isn’t a goddamn genius, because he totally is. Anything else is fightin’ words!
LunarRover: Whoa, down boy!
Diogenes: Are you seriously polishing his balls right now, Howie?
Howitzer: They never found Kramer’s body! He fucking disappeared off the face of the earth! How the hell do you know Riordan didn’t help him with a time-travel experiment?
Diogenes: The same way I know that Riordan didn’t write a goddamn paper on FTL travel in Barbarella. The premise of undertaking such an endeavor is absolutely impractical, completely insane, and totally stupid!
LunarRover: Jane Fonda is a total fox, BTW.
Diogenes: Don’t get me wrong, I love the shit out of that movie and yes, Jane Fonda is a total fox, but good goddamn, it’s called SCIENCE FICTION for a reason!
RocketSauce: But at least the post is funny, right? You did say it was funny, and that whoever posted it was a “funny bastard,” right? Yes?
Diogenes: Thanks, Rocket. You actually made me smile today. Congratulations are in order, for that is no easy feat.
RocketSauce: Fuckin’ sweeeeeeeeeeeeeeeeeeet!
BigNo: Wow, and here I thought Diogenes might actually secretly be Frank Riordan, posing as an average poster and getting his jollies by trolling the crap out of everyone.
LunarRover: No, no, that’s me.
RocketSauce: HOLY SHIT LUNAR ARE YOU FRANK RIORDAN?!!!!!??!!
LunarRover: No, I’m the average poster that’s getting his jollies by trolling the crap out of everyone. I like to think it’s basically my job.
Howitzer: OMG, if Frank Riordan actually posts on this site, I’m going to freak the fuck out and literally shit myself.
RocketSauce: You and me both, man!
BigNo: Gotta say, Howie, you are a class act.
HighPriest: I think you mean, “clact ass.”
BigNo: No, I don’t, King Pothead. Get your eyes checked.
LunarRover: …the hell does that even mean?
BigNo: It means HighPriest has been hitting the bong too hard and needs to drink some coffee.
HighPriest: Fuck you too, Biggie.
InfinityPrincipal: All right, all right, enough of this. This all has gotten simply too silly. Thread is locked. Now for a complete change of mood…
On March 17 we commemorated our 10th Birthday and our 100th monthly Green Windows Uniquely Yours workshop by launching a collection of writing from the workshops. Writers, friends, and loved ones filled The Octopus Literary Salon to listen to 14 voices delivering a range of styles from poetry, to science fiction, to lyrical prose.
I recall being an unusually keen and observant child, and there seem to be a myriad of stories and memories confirming such. For instance, I was told that from birth until about the age of two, I seldom spoke beyond uttering the Korean words for mother and father, or other short, one-word phrases. Over time, my parents grew concerned and considered taking me to a pediatric developmental specialist, but one day, I requested a glass of water in a full, complete sentence. While I myself have no recollection of this happening, it also doesn't surprise me in the least. I like to collect and gather bits and pieces of things before deciding what to do with them. I especially love stories and storytelling---stories are how I understand myself, others, and the world around me.
I was also a child who experienced extremely intense emotions and did not know what to do with them. I had intrusive thoughts that I knew were troubling and abnormal. There was a lot of yelling in my household, both around me and directed at me. My mother in particular would fly into fits of unpredictable and unrelenting rage. One reason I really enjoyed school and learning was because I could see my friends, my teacher, and get away from my traumatic home environment.
And in my mind, school comprised of two distinct parts: writing, and everything else that wasn't writing. The act of writing itself brought me such great joy. As silly as the stories and poems were, sometimes unoriginal in their content, they were something I got to make myself. I never wanted to stop. Writing was a place where I could let my creativity and odd thoughts be, and sharing my work with others felt fulfilling. I was proficient in other subjects, sure; advanced, even, but I quickly grew impatient waiting to review yet another example for concepts I already understood. I did like reading to an extent but often felt dissatisfied and crushingly disappointed with most of the books I encountered. They simply couldn't hold my interest.
Life continued on and I found myself writing poetry on occasion. Different topics, but usually something abstract and vague. However, my reintroduction to poetry came during my sophomore year of high school. I had just left therapy and was still struggling with depression and thoughts of suicide. After talking to a friend about my feelings, he admitted that he didn't understand what I was going through but wanted to, so he suggested that I try writing a poem. I wrote this very personal poem on the topic and ended up competing in a youth slam where I received a perfect 30. Scores aside, what moved me most was the overwhelming support I received afterwards. People I didn't know showed me love, said they liked my poem. Some of them even thanked me, saying they were going through something similar or knew someone who was. It was the first time I felt heard and realized my voice was powerful. As a sad young person, it meant the world to me.
Thereafter, I became very involved in an organization called Youth Speaks, who also hosted the slam I first competed in. I attended countless writing workshops, open mics, slams, and shows, all free, and served on their youth advisory board for three years. I loved every moment of it and had the chance to apprentice under teaching artists who mentored me. From time-to-time, I performed poems, helped out at events, and sometimes facilitated a workshop here and there. In college, I found my place in CalSLAM, a student-led writing organization, and June Jordan's Poetry for the People program.
During this time, I was also named the first Oakland Youth Poet Laureate and received an award for my writing. Since then, I haven't really prioritized my own writing but I'm hoping to change that. My last year of college, I felt extremely burnt out and all I wanted to do was write again. I veered away from the career path I was set on and at this point in my life, I'm thinking of pursuing my writing professionally.
Where does Green Windows fit into all of this? Everywhere. I met the founder, Peggy, through the various organizations and spaces I've been involved in. She has been one of my fiercest proponents, one of my greatest mentors, and one of my most thoughtful friends and sources of overall support. We see each other in passing at the Oakland Public Library, an opportunity she encouraged me to apply for, and in our work with youth.
Peggy invited me to write with Green Windows sometime last year and it has been my most favorite writing group of any I've ever participated in. Peggy's passion and skill as a writer/facilitator are unrivaled, and I love Green Windows for the community it brings together. I've never written with such a dynamic, diverse group of writers not only from different walks of life but also across styles and genres. This alone has helped my writing grow. Every writer that graces the space is serious about their craft, and hearing others' work as well as receiving feedback on mine has allowed me to develop and challenge myself in invaluable ways. My writing is the best it's ever been and I know that this is in part due to the work at Green Windows.
So how might I describe my actual writing process? I find that I write in small bursts and need to have several projects going on at a time. I'm quite touch-and-go and my focus shifts quickly. Some ideas float around and some are forgotten but I try to capture those thoughts before they're beyond summoning. Sometimes I know exactly how to start, what to write, what I want to say, and other times I start with a freewrite, tapping into something my conscious mind is too busy to notice there. My style has been changing and that's exciting. I'm excited to try something new. I have a lot of stories, a lot of thoughts, a lot of feelings and curiosities, and my writing allows me to explore them all together.
this poem does not contain the word queer
by Steph Yun
i've always wanted to buy one of those flavored lubes;
greens & blues
little need for them, really;
i can lick
just fine, but
this pretty sex store
all recessed lighting &
gave out samples
when i was 17
oh what fun we could have
on skin &
sweat, a palette in
surrender of its usual
to feast on the body before me
but whose body
do i dream of
there is something curious about everyone saying that they
already knew. everyone, that is, but you. you once developed
a great interest in breasts and their form before you felt ready,
even before fully understanding that in time, you would grow
the lust dissipated somewhat, and for a short while, you disregarded
all the bodies and persons similar in some ways to you. you fell in
love with a nice boy, and all the nice 아줌마 that remind you of
your mother in a certain way said you were lucky to find a good man
you smiled, knowing they saw their daughters and nieces in you but never with you.
I thought it was time again to share some of the work I’m doing in the local juvenile hall (Alameda County Juvenile Justice Center). For the last nine years, I’ve volunteered with the magazine The Beat Within doing weekly writing workshops in the hall and editing the writing for publication. I also facilitate a 5-week poetry workshop once a year in an English class in the hall for the Oakland Public Library, leading up to the Oakland Youth Poet Laureate application deadline (February 5th this year!). With Green Windows, I’m now regularly facilitating a weekly writing workshop with youth in the hall who have graduated from high school. Traditionally, these youth do nothing while their peers are in class. Probation staff in the hall took it upon themselves to organize classes for them: Anger Management, Financial Literacy, Gardening, Sex Ed, Chorus, whatever a staff can offer. You can read more about this program in this blog post from last June.
These writing workshops, all of them, have gotten harder over time. I’m not sure why but I have two thoughts: 1) There seems to be more kids who have a really hard time maintaining focus. And the amount of time they can focus is less and less with more and more kids who seem to not ever focus at all. 2) The discipline in the hall has gotten more lenient, which in a big way is a good thing. But it means the kids can go through a whole program and/or a whole class talking to each other loudly, not working, without any consequence or reaction. I have no authority, so I try to convince, cajole, reward, adapt the work to the individual and sometimes guilt-trip by telling them why I am there.
I am there to get their own thoughts and imagination on paper. And I am disappointed when I don’t, because it's a loss for me and for the world that might read them. But just being there matters. Even the most recalcitrant writers ask me when I’m coming back. They thank me in the end for “helping me express myself.” They’ll chat with each other about their cases and gossip about their girlfriends through the whole workshop and then tell me that the workshop will help them be creative and control themselves in their future. All of this can happen and be true. I am always drawn back to the idea that just being there, regularly, even relentlessly, and determinedly demanding of them to be their true selves on paper counts. Who do they count on to show up? Who is asking them to be true to themselves?
I’d like to tell you about the young people I get to meet. Here, now, I’ll tell you about two very different people.
Kalani has focus and tries almost every time, almost every prompt I give him. He can write short, powerful pieces that make the reader understand a little better what it feels like to be an incarcerated young man facing an uncertain future. He also has a remarkable imagination, able to create both characters and settings that go well beyond his personal experiences. The themes in his fiction, though, are always about family bonds and trying to care for family amidst scarcity, violence and addiction. He has written about the challenges facing a boy simply coming home after school and about a man hunting in the wilderness to get food for his family. Strong bonds between brothers reoccur in his fiction. In all the years I’ve been doing writing workshops in the Alameda hall, I have met few young people with this versatility of talent or this willingness to do real, challenging work.
A judge (not a prosecutor, thanks to California Proposition 57), recently decided to put Kalani back in juvenile court, to not try him as an adult and send him to adult prison. This is a victory. I do not know why Kalani is locked-up, though I know it’s serious. I never ask. These young people are not their crimes. Kalani is intelligent, creative, thoughtful, and kind. He prioritizes his family and he tries new things to better himself and broaden his world. Why would I need to know more?
Nia is 18 and has been told for months that she’ll be sent to a group home soon. She wants to go home. Why any of that needs to happen when she’s a legal adult, I don’t know. Group homes lie about interviewing her when they haven’t. She is angry. I would be angry too. She is in a class full of young men who miss their girlfriends. She’s a young woman who is easily charming and easily charmed but clearly she draws bold lines around herself. Nia is quick and clever and wants books and poetry with language that doesn’t bore her. She is a clear and precise writer and writes quickly. Every day she’s not in the mood to write, and almost every day she does anyway. One day she said that she was too angry to write. I said, “Write out your anger, don’t hold back, don’t worry about being appropriate, you don’t have to show it to me or anyone.” She did and said she felt better afterwards. In her evaluation she wrote, “I learned that writing down my feelings really does help me cope with my time.”
Please feel free to reach out to me with any questions about this work, or if you'd like to volunteer with The Beat Within.
Below, you ‘ll find two pieces of writing from Kalani, one from Nia and a piece I wrote in one of these workshops last Fall.
- Peggy Simmons
I’m scared because I don’t know what to do
I’m scared because I only have 1 life not 2
I’m scared because they offered me more time than I lived
I’m scared because I have no control in life
I’m scared because I can’t trust no one
I’m scared because the ones you love will hurt you
I’m scared because no one looking out for lil’ bro
I’m scared because I’m not living at home
The room I was in was small
fit about 5 people at most
But the room had AC so it was never hot inside.
I remember this room because most of my teachers
wanted me in detention
instead of being in their class.
The room walls were all beige with desks all facing the wall.
So 2 days ago
I spent my 18th b-day
in a jail cell. Ever since I turned 13
I always dreamed
about my 18th B-Day
and how I would have
the sexiest dress on
with the baddest heels.
The longest red
hair and makeup
to die for.
My 18th b-day
was supposed to be
the happiest day
for me. Instead,
once I woke up
I had to
stand in a door
and wait for somebody
to pop my door.
I had to sweep,
down my cell.
I was being talked
rather than talked
I never imagined I would spend
the best day of
my life in a jail cell.
I Want Your Expressions
I want your words to come from your bellies
I want your words to come out colorful and complex
I want your words to shatter your shells
So we can really see you
We need to really see you
I want your words to hit us in the gut
I want your words to show us new lights
I want your words to shatter our blinders
So we can really see you
We want to really see you
We are stuck, each of us, between walls
Walls built between people, between neighborhoods
We can’t see each other
We pretend the world is the world within our walls
We live small. We live blind. We live selfish.
Tend our gardens and ignore the smoke on the other side.
I want your words, I want our words to explode
So we can see each other.
- Peggy Simmons, (Written in the last Fall 2017 workshop in the Alameda County Juvenile Justice Center SEEP workshop.)
I've always loved stories. I've always loved secrets. I literally sat at the feet of my elders while they cajoled, caroused and shared their stories as only they could. Bedtimes were tortuous, because I would strain to listen to the adults while they exchanged their lore in hushed tones at night.
I am fortunate to have a large, diverse, family with expressive, larger-than-life personalities. My father doubled down on his stories, my grandfather spoke piecemeal and cryptically, my mother weaves together tales of tenacity and enduring humor so effortlessly. I have a lot of cultural capital from which to draw my experiences, and for that I am truly blessed.
In my adolescence, I became enchanted with Dungeons and Dragons, along with art house cinema. I learned about the importance of compelling characters being presented in unconventional ways. Often as the Storyteller for our sessions, I had to captivate my audience quickly and unite the players with a common bond that was worth their time and imagination. I can't say that I was always successful, however my strongest friendships are with those that humored me and indulged my fantasy creations.
My writing became more refined throughout college, where I learned about structure and identifying theses. A wise professor advised me to “make your subjects personal.” Since I've received that guidance, I've been able to write passionately about most everything. To this day, I feel as if I write with an edge, or chip on my shoulder.
I feel fortunate to have been introduced to Green Windows by my wife. I didn't know what to expect or if I really wanted to expose my writing, but I took a chance anyways. I found the environment encouraging, welcoming, and I was blown away by the authenticity and vulnerability of the participants. While struggling to find my writing voice, I was encouraged by the growth of others and the creative ways they approached the writing prompts.
Through Green Windows, I've been able to find my unique voice and express myself with conviction. The writing prompts and welcoming atmosphere have inspired me to dig deep and get raw with my writing, drawing upon my unique experiences and perspectives. This process has made me realize that everyone is a vital repository of great stories and truths. I am humbled by the journey and am excited to see where it takes me each month.
Professionally, I've been a psychiatric nurse for about 3 years. I'm tasked with listening to my clientele and discerning truth from delusion or projection, for the purposes of positive health outcomes. I am fortunate to have the trust of my patients who have shared in varying degrees, heartbreaking, nihilistic, zany, grandiose, dangerous, and relatable stories. My role constantly reminds me of the power of trust, secrets, and having a secure place to tell your story. For a person like me, this feels perfect.
At any rate, I will share another piece of myself in the form of a Green Windows writing project. Thanks for listening. I hope you enjoy it.
by Philip Staley
“I'm a kung fu preacher from Wichita, don't fuck with me!” Silas McClellan teetered unsteadily as he always did, propped up at the figurative intersection of angst and bad choices. Kay noted that he had a much larger crowd today. Normally, she would dismiss his ramblings for scrimshaw, slipshod, nonsense, but these were different and hungrier times.
Old Silas had a penchant for pouring cheap alcohol in his myriad wounds and drinking the rest; and we're not talking about the kind they sell at liquor stores. His crazed eyes were red-rimmed and golden, a harsh indicator of his pock-marked liver. The combination of these things lent him a demonic, blood-orange visage.
Kay Kellen had to consider the changes in this part of town, long in shadows and hope. People were disappearing in such disturbing fashion, that even the city's undesirables complained. She had “the sight” or the “undervision”, as it was known in occult circles; to see and interact with the fearsome denizens of worlds best left unexplored.
Additionally, this sight was instrumental in piercing the veil of superstition in the cityscape and the isopropyl alcohol fueled ramblings of amateur and tormented, doomsday preachers. The gang members, ne'er do wells, and other ruffians who composed the Murderers' Row of Junktown approached too. They paid rapt attention to the nuggets of superstitious truth that now affected their collective interests.
Often ignored, Silas McClellan rumbled along in that deep speech, the hate and vitriol of his words punctuated by that horrible, phlegm-racked cough. Occasionally, he spit out blood and blamed the Devil; his captive audience hanging on his threadbare words.
Kay shifted uncomfortably, noticing the small apparitions now creeping amongst the assembled like pickpockets in a town square. Naught creatures who were here to lap up the conveniently assembled packets of fear. The psychic investigator liked the idea of these times, for once feeling useful. However, bathing in this apparent destitution made all previous instances shudder from the abrupt juxtaposition.
Aged in spirit well beyond her 29 years, Kay Kellen rolled up her sleeves and approached the doomsday prophet, eyes blazing with that otherworldly fire and the resolve of the forgotten.
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