Once I burned every story I had ever written. Literally. Then deleted the files. Or, I suppose I should begin in another place: I used to write stories. Then I burned them all. The act was at least partially inspired by G.M. Hopkins, who had burned his early poems on entering the Jesuit novitiate, and that was probably the only thing I liked about Hopkins at the time. What Hopkins and I shared – and I was much angrier about it than he – was a keen sense of beauty’s power to deceive. I had become aware, painfully aware, that my stories had become crutches, escapes – illusions. So I burned them away.
I also really enjoyed burning things and I was twenty-one or something, so I don’t put that past me as additional motivation. I wouldn’t even put that past me now.
Not a single copy of any of my stories exists. I think. Maybe a cousin has a copy of one, I don’t know. I like to think in epic terms, so I imagine that they’re all entirely lost and this delights me simply because it’s severe. Though I hated, hated the arts and literature – and took none of them seriously – I had a fondness for writing. As a very sickly adolescent, I had but few things to keep me occupied: reading, make-up homework, video games, writing. I retreated often to my intellect, which was the safest place I knew how to be. Writing became a way to play for once, to simply see what I could do, and it became a way to work through emotions that felt largely unavailable to me. Which was any emotion. At all. I had a strong affection for Spock.
The irony is that my career today is built on my knowledge of and sensitivity to the arts, especially poetry. The truth is that I love poetry, literature, the arts. But I didn’t know that. I was young and an idiot and really hurting.
I hated beauty because I perceived its strong relation to feeling. To desire, to willing. The Ancient Greeks and Medievals thought that beauty was simply an aspect of what they called the Good, which was the “highest” goodness, or goodness “itself.” For them, the Good was especially associated with the will. In other words, we want good things. Want and will match together. Beauty was woven with wanting. I knew something of this, though I knew nothing of philosophy. Feeling and desiring flared unstable and horrific in my young mind, twisted all together on tenterhooks. I could not bear to want or to feel. My secret life of trauma and abuse – I told no one, after all – left me wracked by profound distrust and confusion over nearly any feeling at all, especially desire. Especially that.
Once I failed a moral theology test because I couldn’t make myself read any of the questions on sex. I circled whatever. I literally couldn’t read the words. I never failed anything in theology. I have a fucking doctorate in theology. It’s funny. Kind of.
So by the time I reached college, there was a way in which storytelling – especially writing – remained with me as this single, unanticipated avenue to yearn and to feel. And that I did. I wasn’t all that great at it, the feeling or the writing, but I worked hard at both – and only together.
One central character was a young woman with four vicious scars across half her face. She herself was vicious, angry and half-feral. Dangerous with knives. Always taciturn, never cautious, never soft. She was an unsubtle figure of my own inexplicable feelings, the ones so haunted by violence and that singular rage that comes from violence. May no one ever have to know it. That peculiar, suffocating self-hating fire.
It would have fit nicely with one of those young adult series about horrible worlds that are so popular these days, the ones starring young women who are heroic and beautiful. Only my creation was much, much more brutal and physically marred. She grew up among demons. (So had I.) And it could’ve fit for a movie so long as I was never in charge of it. All of my stories ended with everyone dying.
I can see it so clearly, looking back. The young mind struggling so hard to understand violence.
I wasn’t that great at writing stories. My temperament left me far too impatient for a story arc, and I hated dialogue with absurd passion (so no one freaking talked). For reasons entirely lost on me, I had a strange talent for writing romances (and battles). More than one friend told me so. I’d blush and write more battles. (Desire was not okay. It wasn’t. Not when it hurt so much. When others made it hurt.) I much preferred building to some kind of harrowing image played out in intense engagement with my reader. My imaginary reader. The one I was trying so very hard to convince something was wrong, very wrong. Imaginary, since I didn’t think I lived in a world that could be convinced by anything I said.
Why would I let myself feel, really feel, in a world like that?
Still, I became aware of just how imaginary the infinite display of personalities, places, and scenes could be. They increasingly drew me away from the world, the real one, and I felt breathlessly afraid of the feelings I could not escape – and felt suffocated by a weakness for illusion that seemed especially serious in me. It’s not real, you know. The stories. They’re not real like that. They’re just stories. And no one turns out okay, and isn’t so wrong to think that anyway? I shouldn’t even symbolize it.
A lot of Celtic and Anglo-Saxon folktales involve fairies, often women, and many of them reside around water. (Thus King Arthur’s “Lady of the Lake.”) They weren’t always nice, either. These fairies. This definitely isn’t Disney, though there might be singing. These creatures were rather dangerous. Like those sirens that had Odysseus going mad, the fairies would lure men away with their beauty and lead them to their death. It’s a fairytale-truth about something we all know: beauty tells the best lies. Why else are perfect people in advertisements telling me to buy things I don’t need?
Beauty unhinged of truth isn’t good anymore.
So I burned all my lies and with them the truths I otherwise desperately hid. I gave up on the last bit of art in me. Still, I fiddled with words. Couldn’t seem to help it. I met a friend who saw in me a certain talent, and he carefully tricked me into reading poems. At first only the very Catholic ones. The Catholic poems about Catholic things. Anything Catholic meant I’d read it for sure. Then my friend offered me Catholic poets who stretched up and away from explicitly religious topics. Then non-Catholics, atheists, anyone. By then he had worn me away into the sincerity of my love for real beauty. I started learning foreign languages and he started handing me poems in those languages. God, I loved beauty. And yearned for it.
Like some immense experiment, I absorbed everything I read. I mean the technique of it, often quite unconscious. In stories I had started to mess with the rhythms of words, and now I accidentally wrote in meter with no story at all. I made games of collapsing images together. Playing. Imitating clever little things on purpose, and many others with no awareness at all. So eventually I began writing poetry. And, to be honest, I was far better at it than I ever had been at anything else with words.
And Hopkins is the best.
My mentors in graduate school knew. I’d reference poems in class – if I spoke at all. They knew I had a certain talent, and that I tried at poetry, though I wouldn’t show anyone my poems save my friend. Maybe two other souls. With immense fear and conviction, I protected my small corner of art. Of feelings and desire. I didn’t want poetry taken from me, as if that old fire sought to consume my work again. Besides, I didn’t want to be considered strange or insane. I could do theology, dammit, and I was very logical and compelling. I wasn’t a sentimental idiot. I just wrote poems sometimes, is all, and fuck you for asking.
I loved Hans Urs von Balthasar endlessly. That unusual and brilliant theologian of beauty. I was such a hopeless contradiction, stubbornly against even a hug but enamored of theological aesthetics. What can I say? Scars do strange things to people.
My mentors eventually wanted me to combine the poetry and the theology, since Balthasar did something like this and since my double talent allowed me to understand it. I fought them the whole way. Partly I’m just crazy stubborn. Partly I resisted out of extreme (and misplaced) anxiety over whether doing this would make me “weird” to other scholars. D. Stephen Long said, “You know, it’s good to be different.” And finally, out of a very real awareness that this effort, this theological poetic, would force me to unite intellect and will – knowing and desiring – and these two I had fought very hard not to unite for most of my life. I knew, keenly, that this union would hurt.
It was agony. The words emerged elegant and calm, but the struggle to unite what even the Academy refuses to unite (intellect and emotion) left me ragged. I was fiercely determined to be clear, logical. Almost cold. Carefully, deliberately, cooly – I tried. And then I’d break in with yearning, bittersweet pain, beautiful hope. It was a kind of cunning, the writing. Ever so clear and aching. My every power bent to keep them – clarity, aching – close.
And through it I reached those things in me that hurt the most. The terrible, breathless losses. Everything true and real in me broke open and broke apart. That’s what it felt like, anyway. Honestly, I was also exhausted by far too many years of silence. Trauma doesn’t exactly go away. It hides right in your skin, lights up nerves. Still, I’m not sure I’d have really seen that in myself so vividly if I hadn’t been encouraged to draw together the two things I loved. Beauty and truth.
And finally, finally I could learn to stop lying. It has been a long road since, but good.