Essays and Notable Articles and On Poetry

So That If I Died It Mattered

By posted at 6:00 am on May 6, 2013 31

Jon-&-Mom-Young---1

1.
I went back to Ohio Friday night to see another friend from college get married. This was my fifth such wedding in three years. Surrounded by my Ohio friends and their spouses, I found myself having to consider, once again, what it means to be 29 and not in a meaningful relationship. My last long-term romance concluded in the wake of my graduation from Ohio University in 2006. I immediately migrated to the creative mecca of New York, a city that doesn’t pressure you to grow up in the same way the Midwest does. Professionally and creatively-speaking, it is a world class incubator, no doubt. But if you wish to remain a career bachelor, you receive a Big Apple cosign into your seventies. Every transplant I know has had to head home at some point to face the germinating evidence of their profound singleness.

I was in Ohio less than 24 hours, as I had to return to perform a poetry set on Sunday afternoon at the Charlie Parker Jazz Festival in Tompkins Square Park. I am a working poet. Over the past six years, I have led creative writing workshops and performed poetry in auditoriums, bars, syringe exchanges, universities, libraries, prisons, youth centers, bookstores, and theaters in Germany, England, Scotland, Ireland, Canada, and across the United States. The pay is modest but manageable, and every time I seriously consider a less freelance source of income, some new window of opportunity opens whispering, don’t be afraid, you are supposed to be here.

When asked to explain my choices, I’ve said, “Art is how you explain what it feels like to be alive in the 21st century. I am an emotional historian.” But that’s really my answer to, “Why should we all make art?” My why is more personal. When I hit a writing groove, or perform, all these divided parts focus into one story. In these small moments, I am not confused about what matters.

Looking out at the crowd in Tompkins Square Park, I realize that this is the largest audience I have ever performed for. Over 6,000 people spread across the grass and concrete to see jazz. I go to the bathroom five times in 45 minutes, and nearly throw up in front of the Summer Stage photo backdrop. Jeanne Kabenji once told me that, “Stage fright is your body informing you of a journey into the unknown.” I wish I had asked anyone I love to be here.

2.
Yesterday, my mother drove two hours from Cincinnati to take me to breakfast. While my hungover stomach caved in around itself in the Columbus Red Roof Inn, I prayed to the gods of clarity to make me a good son. I’ve spent too many years taking out my own emotional confusion on my mother because she never stops loving me. She would rather be with me than without me, even when I’m a dick, and I’ve spent years fashioning that into some sort of license.

I make it through a breakfast burrito, and keep the narratives about last night’s reception minimalist. We have two hours until she drives me to the airport, so we go to Goodale Park.

My mother is the kindest person a lot of people know. I often tell her this, and she consistently assures, “You haven’t always known me.”

She was the seventh of twelve children in an Irish-Catholic, anti-contraception household in Ft. Lee, New Jersey. In 1995, my grandmother was losing a battle with cancer, while single-handedly caring for my grandfather whose brain was succumbing more, each day, to Alzheimer’s. She allowed my mother to visit and stay until she passed; to change my grandfather’s diapers, take him on walks; to bring my grandmother water, and make her bed. My mother has a history of never asking more from those who are suffering, and she listens to people (not just loved ones) in a way that makes them feel heard. That scene in White Men Can’t Jump where Rosie Perez explains love to Woody Harrelson, something like, “I don’t want you to bring me water, I want you to sympathize. To say Gloria, I too know what it’s like to be thirsty.” My mother invented that shit, but she also brings water.

This spawned years of rebellion from me, her youngest son. I pursued independence by repeatedly rejecting, resenting, desperately succumbing to, and then ultimately depending on this profound well of empathy. By “repeatedly,” I mean over, and over, and over between the ages of 13 and 28. This didn’t prevent me from appreciating my mother, but it did prevent me from humanizing her kindness.

After my parents’ brief separation when I was 14, my body would not let my mother cry around me. I would, literally, fall asleep. My father, with a heavy heart, had left the home of his wife and four children in order to find out more about the love he had for another woman. It was impossible for my mother to talk about what was happening without crying, and my reaction was always swift. Eventually, she stopped telling me. For 14 years, we focused on a subject we both loved: Me.

This Saturday in Columbus is the longest time I’ve spent alone with my mother since I was a teenager. The overt parts of who I am, I immediately trace to my father. I was a chubby kid (as was my dad), and my three older brothers were not, which made everyone assume I was the primary recipient of his genetics. We are both viscerally stubborn, until quietly we are not. We don’t allow the ones we love to know we have heard them. We lash out defensively, then, over time, we let them watch us change.

Jon-at-Charlie-Parker-Jazz-Festival

3.
coverMy time slot at the Jazz Festival is just before the headliner: Gregory Porter is a legend, and the park quakes for him. The ten minutes it takes his band to set up is to be filled with poetry. The festival host from Jazz 88.3 says only, “Now welcome the author of The New Clean, Jon Sands.” Followed by 6,000 people who do not know I can see each of their faces, individually. I begin a poem called “When I See Andre 3000 Buying Bananas at Trader Joe’s.” The first line is, I say everything you’ve ever done/ has meant so much to me./ He says, I’ve done PCP. I say/ that meant so much to me. 

When I get to the part of the poem where Andre 3000 asks me about everything I’ve ever done, I have to admit, I masturbated this morning picturing/ a woman I made out with two years ago./ I am preachy and self-important/ when I talk about race with my family,/ sometimes when I’m not listening,/ I make my face look like it’s SUPER listening.

The crowd communicates two types of people: those who have no idea what is happening on stage at this jazz festival, and are entertained by that, and those who have no idea what is happening, and are decidedly not. I’m not sure which camp I fall in.

The poem ends to a confused smattering of applause, and I say, “The other poem I’d like to read you today is a love poem.” This is the first time I have ever been booed. It was only about 100 of 6,000, but 100 sounds like a shitload.

I say, “I know! I can’t wait to hear Gregory Porter either, but he needs to set up!” Then I introduce the poem I wrote for the wedding of my brother Ben in October of 2011 on the occasion of his marriage to a Texas transplant named Wendell. They had been engaged before same-sex marriage was legal in New York, and whenever fielding questions of whether they planned to go to Massachusetts to legitimize their nuptials, they’d reply that they wanted to get married in the city where they had fallen in love, where they go to work, pay taxes, argue, take walks, and drink coffee. If the civil rights didn’t exist yet— they would vote, and they would wait.

The first time I read the poem aloud was to my brother, sunk into his couch in Hell’s Kitchen. It documents the night Ben first knew he loved Wendell, four months into their relationship. Wendell leapt from the bed they shared, mid-credits of a James Bond movie, to execute an interpretive spy dance around Ben’s bedroom in his underwear. This man, possessed only by the desire to bring him joy, unlocked Ben. The poem says of my brother, You are traveling into your past where he is/ not, but now you see him everywhere./ In the moving van at nine years old. At thirteen,/ in the mirror and the bottle of pills, he was there./ In the arms of the first man to hold you/ and assure you were beautiful. 

Jon-&-Ben-Young

In my high school of 2,200 kids, Ben was the only student out-of-the-closet. He came out the summer before his junior year, but four years prior, after being bullied at choir practice by an eighth grader who called him a faggot (something that had happened to him since he was in second grade), he quietly admitted to himself that everyone was right. He was shameful, and it would be best for our family if he wasn’t here. He walked into our bathroom and swallowed a bottle of Advil. A half hour later he told my mother, and in three minutes he was riding shotgun in my father’s Ford Taurus doing 55 on the back roads to the hospital. The doctors induced vomiting, and he spent the next four hours in a hospital bed while my mother brushed the hair across his forehead and whispered over and over again that she loved him.

I read the poem I wrote for his wedding to this man who I need to never lose faith in me: my brother, who has played an unimaginable role in the person I am attempting to become. The poem had to claw from my mouth as we held each other sobbing on the couch.

The reading in Tompkins Square Park is less cathartic. I can see the individual faces, the ones that have no idea that I’m looking at them. Some are angry that I am still on stage. A few have tears in their eyes. Some are confused. Some not. As though nudged from a dream, my set is over, and I am free to consider what just happened. The stage manager says, “Tough crowd, huh?” I am 29 and single, walking backstage to mild applause.

4.
My mother’s younger sister Mary died at four years old. She drowned in a lake behind their house. My mom is 60 now, sitting with me in Goodale Park. She tells me that years after her death, the man who found Mary’s body would die as a drunk driver in a car accident. He had carried the body back to their house. Each brother and sister saw her laid out at 4:00 p.m. on the only free bed. A neighbor cooked them all hot dogs and heated up frozen corn, and by 5:00 p.m. all the younger children were put to bed. In the morning, they woke for the wake, and by 2:00 p.m. Mary was buried forever in Fort Lee, New Jersey.

She tells me that when the family got home from the funeral, her two eldest siblings, both in high school, were scheduled to attend a weekly sock-hop. My grandparents urged them to go, saying, “You have to move on with your life.” For years, her parents rarely spoke of Mary. My mother would learn in her adult life that they had spent three years of nights privately crying in the dark.

My mom was seven, learning that grief did not involve sadness. You die, then a hole closes around where you were, perhaps leaving a small scar, and then the survivors continue with the business of mortality. Her parents fought, perhaps, the most difficult battle of their lives in silence in order to not burden their children with even a small share of grief.

“Did you think that was a good thing?” I ask.

“Honestly, as a child, I never thought about that.”

It wasn’t until over a decade later, when my mother was at Creighton University in Omaha, that she slid into a profound depression. Her realization, thousands of miles from her gigantic family and past, was that if she died, it would be a small story on the Creighton Campus, a small story in New Jersey, and ultimately, no one depended on her survival.

Then she tells me, her youngest son, what I never thought to ask. “I really tried hard to be the best person I could be. So that if I died it mattered.”

She puts a hand on my forearm, and her face scrunches together like it might withhold what she just said. Tears begin to drop from her cheek and gather on the wood. I can see all that I have inherited in this life from work my mother did before she ever knew me; what it means that I am sitting across from her in an empty park watching her cry. I picture my mother again at the hospital with Ben in 1994. I can see how she must have wanted nothing more than to protect him at choir practice, to defend him in study hall, or anywhere else that adolescence proved itself relentless to her 13-year-old son; how all she had to give was the person she had become, how it placed her by his hospital bed: a steadfast witness, a position she would never abandon; how then when he came out of the closet four years later, she knew that he had saved his own life.

I can see how much it meant to me to be asked to document the love story of my older brother; to be held, weeping on his couch, in recognition of the life we’ve spent together. Since I was born, I have always assumed I was becoming only my father. I can see how the desire to matter is not a charge that began with my birth, or will culminate with my death. My eyes are open, and I can see, for a moment, who I have become.





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31 Responses to “So That If I Died It Mattered”

  1. Kyla
    at 9:26 am on May 6, 2013

    Amazing. Thank you.

  2. Stephanie Noel
    at 9:52 am on May 6, 2013

    Beautifully written. It really moved me. Thank you

  3. Joshua
    at 10:12 am on May 6, 2013

    Thank you Jon. Truly.

  4. Jeff Kass
    at 10:34 am on May 6, 2013

    Terrific essay, Jon. I love how much ground it covers and as a tribute to your mom, it really brings her to life vibrantly -

  5. Sadie
    at 11:25 am on May 6, 2013

    Thank you for writing this and continuing to unravel who you are so that others may have a glimpse into the quiet unraveling of themselves.

  6. Lauren Magee
    at 11:32 am on May 6, 2013

    This was so truly beautiful. Thank you, Jon.

  7. Amy Zillner
    at 11:41 am on May 6, 2013

    I wish that I were in that crowd of 6,000 to cheer you on. I’ve read your work The New Clean, and I remember the first time I heard your poetry, a video on You Tube as a poet in unexpected places. I felt such amazement at your courage and wished that I had the courage to speak the words that I’ve written to bring poetry to those who aren’t expecting it. And even though I don’t know you I admire you. It’s a shame that those people who were waiting for legend Gregory Porter didn’t even know that greatness stood before them giving them a piece of his heart.

  8. Erin S.
    at 11:55 am on May 6, 2013

    Absolutely beautiful. Thank you.

  9. Mike Magee
    at 12:04 pm on May 6, 2013

    Bravo!!!….and love, Uncle Mike

  10. matt
    at 12:25 pm on May 6, 2013

    Beautifully written, thanks for this.

    I haven’t read my poetry to an audience of 6,000 or anywhere near it but I definitely know what you mean when you say you can see every single face in the crowd in front of you….not to mention every last pair of hands that clap.

    That’s courage, I think, to feel that kind of monolithic indifference and keept going in spite of it. I hope you are proud of yourself- you should be!

  11. Carolyn Ross
    at 12:34 pm on May 6, 2013

    This is beautiful. This line: “The doctors induced vomiting, and he spent the next four hours in a hospital bed while my mother brushed the hair across his forehead and whispered over and over again that she loved him.” brought me instantly to tears.

  12. Ryan
    at 2:54 pm on May 6, 2013

    Thanks so much for sharing! Good thoughts.

  13. JR Schubert
    at 2:54 pm on May 6, 2013

    A very nice piece of writing, sincere and from the heart, thank you for shariing.

  14. Richard Grayson
    at 3:58 pm on May 6, 2013

    Thanks for sharing this.

  15. Pat Magee Jaksha
    at 5:33 pm on May 6, 2013

    Well done Jon! Thank you so much for telling Mary’s story as well as your Mom’s and Ben’s. Your beautiful words set us all free!!! Aunt Pat

  16. ~***mugggsss
    at 8:26 pm on May 6, 2013

    this was .one.of.those.magik.reading.moments~
    thank you.

  17. JulIe MacNaughton
    at 9:16 pm on May 6, 2013

    I enjoyed reading your story….very moving.

  18. Virginia
    at 1:17 am on May 7, 2013

    That was really lovely. Thank you.

  19. Al Foote
    at 3:50 am on May 7, 2013

    @~***mugggsss

    seriously

  20. Edith
    at 4:55 am on May 7, 2013

    The mother is the builder of a daughter’s life and art.

  21. Mary Magee
    at 11:29 am on May 7, 2013

    Jon, It was so nice to see a picture of you and to see how you have grown! There is no question that you have the Magee passion for the arts and your dad’s wonderful wit! I had the opportunity to watch and play with your brothers when your Mother had you and saw the pride and joy in her face when she brought you home from the hospital. Your Mother, as her Mother before, loved each and everyone of her children unconditionally… a true Mother’s love and you captured it perfectly. Please send my love to all of your family and continued success with your special talent. Love, Aunt Mary

  22. Nick
    at 1:21 pm on May 7, 2013

    I don’t doubt the profundity of your emotions, but I do doubt your ability to convey them in a well-structured and aesthetically pleasing manner.

    I am dissatisfied with this essay, to say the least.

  23. CJ
    at 6:31 pm on May 7, 2013

    I have to agree with Nick, above. The recounting of your brother’s attempted suicide and its aftermath was indeed moving (almost teared up), but the rest of the article felt like all the right pieces were put in the wrong places.

  24. Nick Moran
    at 8:59 pm on May 7, 2013

    Great piece, Jon! One of the best we’ve published on The Millions this year, if I do say so myself.

  25. j9
    at 8:44 pm on May 8, 2013

    thanks jon, this one inspired me to sit down and write.

  26. Natalie
    at 11:26 pm on May 8, 2013

    This was really great. The internet is strange though…I prefer to read an essay and have a personal relationship with it. As sweet as the comments by relatives may be, it takes a reader/stranger out of their own experience with the essay. Can’t they just contact the person via email? Anyway, good job with the essay itself.

  27. Lucky
    at 9:34 am on May 9, 2013

    Beautiful.

    and

    @Nick @CJ @Natalie: Really? Good lord.

  28. Shelley
    at 11:24 am on May 9, 2013

    How mean that people booed you.

    That’s mean. Just mean.

  29. Gary Lovely
    at 1:33 pm on May 13, 2013

    So incredibly moving.

    “You die, then a hole closes around where you were, perhaps leaving a small scar, and then the survivors continue with the business of mortality.”

    Bravo.

  30. Take Two | Left of Center
    at 3:02 am on June 18, 2013

    [...] in HuffPost. Still an enlightening read. -Falling in love is a little like reading a new book. – Living so that if you died your life mattered. -I’ve been binging on web-series and I recently re-watched the much [...]

  31. A Conversation with Jon Sands | A.Bezozo
    at 4:06 pm on April 17, 2014

    […] 1.) Tell me about your first successful poem… first of all, which poem of yours was this? And how did it make you feel knowing you had written something that contained power? At what age did you write this poem? This is such a tricky question, because it calls into question what is a successful poem? There are many poems that I look back on now and can easily find their flaws, their weaknesses, the cliches that I did not know were cliches. But the satisfaction from writing them at the time was immeasurable, and I truly believe that the healthy artist (and maybe person) is one who learns but does not regret. It is impossible to find your successes without your lessons, so forward is the only way to move. My first poem that I felt proud of was all simple rhyming couplets and I wrote it in a small leather journal while traveling with my older brother Jacob. I was 21 at the time. It was a metaphor comparing a relationship to a garden and how there is no way for the flowers to bloom if you don’t plant and care for them. Objectively, not the sharpest poem, but I nervously and excitedly read it to Jacob, and he really got it. It was the first time I had intentionally attempted to make sense of something that had only been characterized by emotion, and someone I loved understood. I don’t know that I ever came down from that high. It also teaches me to never rule out that each moment or poem can be a starting point. So it doesn’t bare the responsibility of success, only motion. That’s one I have to learn over and over again. 2.) What did you want to be when you were growing up? I don’t usually hear little children say, I want to a be an awesome poet. How did you transition from ___ to poet? I was afraid of change, and “graceful transition” is a skill that I am slowly learning to acquire as I age. I always wanted to be a teacher, but when I was in first grade I was sure I would be a first grade teacher, and the same for second grade, and so on, so it wasn’t a surprise that I went to college and majored in education, but gradually felt that I’d rather teach at the university level. I never in earnest pursued a full-time high school teaching position. By the time I graduated I had fully caught the creative writing bug (which is maybe in some ways an adult teacher) and moved to New York City, where I took a job as a paralegal, and sought out all poetry venues I could find. That was in 2006, and by the end of 2007 after a packed year of ups and downs, and the firm realization that what I was actually seeking was a creative community that I could have pride and residency in, I left my paralegal job to tour the country, and I’ve been a working poet and educator ever since. That was where I was at, but that paralegal job was excellent, and I could definitely still see a future for me that merges the writing and the political/legal world. 3.) Currently, I am in a creative writing class, and we are writing our own poetry. Personally, I love to write poetry, but I have trouble really locating the words that best suit the poem. What piece of advice would you give to a group of struggling poets? In my class at Georgia Tech., we are all either engineering or science majors, and we are all in our early twenties. What piece of advice would be most advantageous to us? Poetry is there to serve you, not the other way around. I would say two great pieces of advice I’ve received from many different mediums are to pursue knowledge (and this includes creative influences, as well as information about the world around you), and then to sound like yourself. You need not adjust your basic voice or individuality for your art. Or simplify your complicated heart. It can feel like you’re doing it wrong, because you don’t see anyone else writing like you are. But in actuality that is the root of your strength. 4.) Tell me about one of your role models in life… a friend, a parent, a sibling. I find it interesting to see where someone finds inspiration, and since your poems are so straightforward and real, I am very curious to see who has been one of your greatest fans, assuming, your role model is also a fan of yours.  I am blessed to have a mother and father that together have modeled a dynamic love of people, communication, and the world. I am also truly grateful that they are fans of mine. My poems often have a tendency to unpack stories that are rooted in the complicated dynamics of family, and I don’t know whether it would be possible for me to write those poems without a base knowledge of their support, and it is truly a privilege to not have to find out. There’s way more unpacking of the answer to this question in this essay. […]

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