Monthly Archives: August 2023

Circling Back (Again, Again, and Again)

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“I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means.”

–Joan Didion (1934-2021; renowned American Essayist and novelist whose distinctive writing style and introspective approach earned her a lasting place in contemporary literature).

Maintaining friendships can be a delicate dance, and I’ve learned that silence is golden when it comes to my own writing. My friends–especially those who are writers–know that I abide by Robert Frost’s sage counsel:

“Talking is a hydrant in the yard and writing is a faucet upstairs in the house. Opening the first takes the pressure off the second ” (Letter to Sydney Cox, 3January 1937; quoted in Robert Frost and Sidney Cox: Forty Years of Friendship. By William Richard Evans. 1981).

Rarely, then, do I talk with friends about what I’m writing in my weekly blog posts. Talking about it diminishes my focus and my belief. Oh, to be certain, I may tease by divulging a topic or a working title. I love teasing. I’ve done it before, and I’ll do it again right now by telling you the working titles of some future posts:

● “What My Father Saw.”

● “Packin’ Up. Gettin’ Ready to Go.”

● “My Right to Know.”

● “Somewhere Called Home.”

● “What If Artificial Intelligence (AI) Makes Us Even Better than We Are?”

● “Grappling with Unknowns.”

● “The Cake Stops Here.”

● “When Did Tomorrow Begin?”

See there. I didn’t mind sharing those titles at all. Like I said, I’m a tease.

Truth be told, though, that’s all that I can share in advance because I’m clueless as to how those tentative titles will play out. I never know the end of a post until it leads me to its ending.

Clearly, I am not one of those writers–of whom there are many–who align themselves with Edgar Allan Poe. I’m thinking now about his focus on “unity of effect” and that a writer must know the intended effect from the beginning:

[…] in almost all classes of composition, the unity of effect or impression is a point of the greatest importance. […] If his very initial sentence tend not to the outbringing of this effect, then he has failed in his first step. In the whole composition there should be no word written, of which the tendency, direct or indirect, is not to the one pre-established design (Poe’s review of Hawthorne’s Twice-Told Tales, Graham’s Magazine, May 1842).

A few years later, he reiterated that point:

Nothing is more clear than that every plot, worth the name, must be elaborated to its dénouement before anything be attempted with the pen. It is only with the dénouement constantly in view that we can give a plot its indispensable air of consequence, or causation, by making the incidents, and especially the tone at all points, tend to the development of the intention (“The Philosophy of Composition,” Graham’s American Monthly Magazine, April 1846).

Poe’s way of writing is not my way of writing.  Mine is just the opposite. Mine is the Frostian way:

Like a piece of ice on a hot stove the poem must ride on its own melting. A poem may be worked over once it is in being, but may not be worried into being. Its most precious quality will remain its having run itself and carried away the poet with it (“The Figure a Poem Makes,” Atlantic Monthly, June 1939).

I am not trying to compare my writing to Frost or to Poe. Yet, as a writer, I have every right to align my methods with someone. I choose Frost for alignment, and I choose Frost for ally.

Like Frost, I am unwilling to talk about the content of what I am writing: opening the hydrant [talking] lessens the pressure on the upstairs faucet [writing]. At the same time, I am more than willing to talk about my writing methods: melting like a piece of ice on a hot stove, carrying me away with it.

Actually, I have talked about my writing process extensively in several blog posts. I’m tempted to suggest that you browse my posts and find them for yourself. But that would be mean spirited. So let me recap the main points here.

1. I write my posts in bed–every day, seven days a week–starting at 8:00 pm and continuing until I decide to stop, usually around 9:30 pm or so. Sometimes, I ignore my body’s call for rest, and I write until 11:00 pm. I don’t think that I’ve ever written past 11:30 pm. (However, I do recall writing until 12:30 am once, just to prove to a friend that I could stay up that late.)

2. I write my blog posts exclusively on my smartphone. Yes. On my smartphone. I hold it in my left hand (as I am doing now), and I touch type my text, letter by letter, with the index finger of my right hand (as I am doing now). I know: it’s slow. I know: it’s tedious. But guess what? It works.

3. I write my blog posts while sipping on a Bunnahabhain Scotch, neat.

4. I have a large number of drafts in progress at any given time: everything that I experience is copy. Right now, for example, I have 29 drafts in various stages of development.

5. Whenever I have an idea and start a draft, I develop it enough so that I can leap back into the idea whenever I return to it, even if it’s weeks or months after the idea leapt into my head.

6. Usually, one draft among all the others calls to me and demands my attention. I listen. I focus on it for seven nights, hanging on tight and never letting go.

7. On Sunday of each week–the day before publishing a post–I read it out loud by telephone to my oldest sister, Audrey. Reading it aloud gives me the opportunity to find any remaining mistakes. (Inevitably, I still miss a few.) More importantly, however, it gives me the opportunity to hear the rhythm, and if I have an off-key passage, my ear speaks to me. Sometimes, I pick up on a rhythm, and I decide to play it more fully in one final revision before going to bed. But here’s the important thing: it’s the hearing aloud–what Frost would call the “sound of sense–that allows me to know my degree of accomplishment.

Those are the main steps that I follow in writing my posts.

Recently, however, I noticed a recurring practice that I’ve been unintentionally following. Let me share it with you.

As I open a draft, I revisit the beginning instead of scrolling down to where I left off the night before. This practice offers a fresh perspective on my words and ideas.

I circle back to the beginning, I start from there, and the Frostian melt starts anew.

As I circle back, I take my time. I savor every word. I savor every nuance. I savor all the possibilities, including the white space between words where so many meanings live–and hide. And, as I circle back, I change whatever it is that calls to be changed.

To be sure, circling back flies in the face of the process that I and other English professors are hell-bent on teaching our students. Generally, we teach a straightforward, linear process without much room for deviation, except for an occasional reminder that writing can be recursive, especially when we need to do additional research to strengthen content. The process that we teach goes something like this:

First. Prewriting (Topic, Audience, Brainstorming, Research, Thesis, and Outlining).

Second. Drafting (Creating an initial version).

Third. Revising (Reconsidering content and context).

Fourth. Editing (Looking at grammar and mechanics).

Fifth. Proofreading (Taking a final look to discover mistakes, including formatting).

Undoubtedly, the 5-step method works, especially for beginning writers who often have no method.

It works for seasoned writers, too, but as we gain more and more writing experience, we follow that method subconsciously. For example, even though I write my posts in bed, I’m well aware that whatever I’m working on is simmering on my writer’s back burner throughout the day and throughout the night as I sleep. My ideas and insights come unexpectedly and without invitation.

For me, then, as a writer–especially a writer of Creative Nonfiction Essays like my blog posts–I’m tapping into the tried and tested steps of the writing process, but I’m really unaware that I’m doing so.

Yet, I am exceedingly aware of my circling back, and I find that keen awareness fascinating. It’s a conscious choice that I make every night when I open my WordPress draft to pick up where I left off. The starting point is always same: I circle back to the beginning. Most nights, I spend half of my writing time revisiting, rethinking, and modifying what I’ve written already.

I’m not suggesting that the “circling back” part of my writing strategy is revolutionary or unique. Perhaps lots of writers circle back in like manner.

What I am suggesting, however, is this: Circling back becomes a dance of words, a waltz with sentences that have already found their footing. It’s a writer’s serenade to their own creation, a harmonious echo of ideas that resonates and refines. Circling back is an invitation to linger in the labyrinth of language, to savor the richness of thinking, and to let the journey unfold in its own enchanting way. In the quiet act of returning to the starting point, I find my path illuminated by the wisdom of Frost and by the freedom of my narrative.

A War on Weeds: What the Heart of the Garden Said to the Gardener.

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“The love of gardening is a seed once sown that never dies.”

—Gertrude Jekyll (1843–1932; a British horticulturist, garden designer, artist, and writer.)

Confession is good for the soul, so gather round as I confess.

Please, if you wouldn’t mind, might I implore you to lean in just a little closer. I don’t want the weeds to hear.

“Say whaaaattt?”

Yes. You heard it right. I don’t want the weeds to hear. I’ve discovered that they have extrasensory powers (never before known and never before explored) that allow them to know a gardener’s unspoken thoughts from hundreds of yards away, especially when the weeds think they’ve won the battle.

Some days, I think they’ve won the battle, too. So that’s the first part of my confession. Believe it or not, I’m starting to feel a wee(d) better.

It’s been a rough gardening season here on my mountain. Actually, since I am confessing (laying bare my gardener’s soul right here in front of the whole world, lean in and have a close look at my pain, but don’t mess up the few strands of hair that I have left), let me be brutally honest. It’s been a tougher-than-nails gardening season here on the mountain.

It got off to a really good start. Spring came early, nearly a full month, and I accomplished lots, especially ripping out shrubs that had outgrown their spaces. I even managed to thoroughly weed several garden beds.

Then, after dinner each day, I’d go deckside, lean back (all lazy-like), survey my progress, raise high my Gin and Tonic, and toast not only all that I had accomplished but also all the glorious weeding triumphs ahead of me.

Looking back, I realize that was my mistake. No. No. Not the Gin and Tonic. A Gin and Tonic is never a mistake as long as it’s made with Bombay Sapphire or Hendricks. The mistake was my boastful toasting. The damned weeds heard my every unspoken thought, and they went on the offensive.

I didn’t just make that up. I know for a fact because one day, I heard them chatting amongst themselves whilst I was raising a second toast. They didn’t mince a weed.

Japanese Knot Vine: Did you hear that? He’s confessing his weaknesses to all his readers throughout the world!

Johnson Grass: Weaknesses? Ha! More like his utter defeat! Did you hear him babbling about our victory?

Fern: Oh, don’t you all just love how he’s pouring his poor little heart out? He’s silly if I ever heard silly.

Ivy: Yes, but don’t get too cozy, my leafy friends. He’s onto us – he knows we’re more than just your average weeds. We’re up-and-coming. His garden is our focus.

Japanese Knot Vine: Ivy’s right. Our psychic powers are legendary. We can sense his thoughts from every corner of his gardens and deep into his deep, dark woods.

Fern: And let’s not forget his most revealing Gin and Tonic confession. That’s where our plan takes root.

Johnson Grass: The Gin and Tonic? Is that some sort of secret weapon?

Fern: Well, sort of. You see, when he’s sipping on that stuff, his guard is down. He’s practically defenseless, especially when he makes it a double!

Ivy: Excellent. So, what’s the master plan, oh wise and vengeful weeds?

Japanese Knot Vine: Let’s just wait him out.  While he’s toasting his “triumphs,” we will bide our time in the shadows.

Fern: And then?

Johnson Grass: And then, my leafy accomplices, when the dark clouds gather and the rain pours down as it is about to pour down for the next two weeks …

Ivy: We strike! We grow faster, taller, and thicker. We wrap around his plants like a cozy blanket. He won’t know what hit him!

Japanese Knot Vine: We’ll show him that the real victory lies with us.

Fern: Revenge is ours!

Johnson Grass: Get ready, my weedy companions. The rain is our cue, and this time, we’re taking over that mountain top garden that he thinks belongs to him!

As much as I hate to confess it, the Weedsters did exactly as they plotted. They wrought havoc upon me and my gardens during this year’s Sheep’s Rain that came later than usual. (I wrote all about it in “Human Being, Not Human Doing.” Remember?) Without a doubt, the Weedsters caught me off guard.

TANGLED AS ONE, THEIR WHISPERS ROSE UNHEARD AS I DROVE DOWN THE DUSTY ROAD:

Rain and shadows, our powers align,
Gypsy Moths will join us, a force malign.
Towering oaks: brace for the blight.
Unity’s strength, our dark flight.

With Gypsy Moth allies, our plans will unfold,
the old gardener’s excitement, already he’s told.
He’s leaving now with smiles, but oh, the surprise,
Upon his return, the shock in his eyes:

No leaves will remain, the forest will be bare.
Our triumph will be visible in the open sky.

To make matters even worse, right after the nearly catastrophic Sheep’s Rain, I headed off to Vermont for two weeks. As I left, I sighed a painful sigh as I confessed to myself that the Weedsters were gaining the upper hand. But, hey! I was off to celebrate Mary E. Wilkins Freeman and my edition of her Green Mountain Stories. I’d resume my war with the weeds when I returned triumphantly home from my book tour.

Off I went on my merry way, pumped up with such great expectations that I didn’t have my ear to the ground as the Weedsters plotted my demise.

During my time in Vermont, I didn’t have one wee(dy) thought whatsoever. But when I returned home, a heavy burden fell on my gardener’s soul. I could see it from down in the Valley as I looked up to the mountains, precisely to the spot where I knew my home to be. Half of the mountain–hundreds of acres, including my 20–had trees with no leaves. As I drove up my mountain road, I was shocked beyond belief: my home was standing in the midst of towering, leafless oaks. Worse, my weedy world–now high above my wobbly knees–was thick with wooly, black Gypsy caterpillars.

Even though I had not heard the Weedsters whispering their threats as I drove off to Vermont, I now witnessed their vicious vengeance: they had joined forces with Gypsy Moths in a conspiracy against me.

Others, too, have conspired against me in the past, and I have managed to survive. I had no doubt in the world that I would survive this attack, too.

I knew exactly what I would do. But I did not dare even think the thought because I knew that the Weedsters would know. The next morning, I harnessed myself to my Weedwhacker and started cutting large swaths of weeds, level with the ground, sometimes so close dust devils swirled heavenward. The Weedsters knew that the end was near for them.

I did not realize, though, that they were on to me, and they were conspiring a horrendous attack. They came up with a sinister pact to enlist another unlikely ally:

Ivy (Dancing a sinister dance, its tendrils all twisted): Listen closely, my brethren. Our time has come to strike a blow that will shake the very core of our gardener. Let us extend our influence beyond the confines of earth and air and beckon the venomous ally that slithers within the gardener’s oasis.

Japanese Knot Vine (Quivering with malice and hissing in agreement): The Copperhead is a force to be reckoned with, its bite a venomous thrust of agony. Once it sinks its fangs into Ruby, the beloved companion of our gardener foe, despair will melt away his resolve to conquer us.

Pokeweed (Nodding in approval): But how do we lure this deadly ally to our cause? What bait shall tempt the Copperhead to plunge its venom into a dog as sweet and innocent as Ruby?

Johnson Grass (Waving its fronds and whispering): Let our whispers cast a spell on Ruby so that she will not recognize the Copperhead with all its poisonous power and instead she will mistake him for playful friend.

With their plan intricately woven, the weeds exchanged malevolent winks. All that the Copperhead had to do was to wait for poor innocent Ruby to come along as indeed she did, mistaking the pit viper as a serpentine toy for her amusement, opening her mouth fully to his viciously venomous bite. I became the victim, too: caring for Ruby during the two weeks of her recuperation kept me from weeding and weedwhacking. I lost most of June to the Weedsters.

What can I say of July? I doubt that any of us can speak kindly of the month that proved itself this year to be the hottest on record. Yet as a gardener battling the Weedsters, it gave me joy beyond measure. As the scorching fingers of July’s embrace tightened and the heat index reached 110 degrees, the once defiant weeds withered like forgotten dreams, their vibrant greens surrendering to the relentless heat, their grand subterranean structures reduced to delicate skeletons in July’s unforgiving furnace.

August has been somewhat cooler, especially at night, but as we approach the end of the month, it’s abundantly apparent that a drought plagues our land. Yet, again, as a gardener battling the Weedsters, it gives me joy beyond measure. The weeds now face a duel against their own roots. As the days stretch on with no rain in sight, their subterranean anchors strain and thirst for the lost melody of raindrops.

As September draws near and as the Weedsters grow weaker, I will renew my strategic assault. Each morning will find me armed with firm determination, renewed purpose, and (t)rusty tools. I will destroy the once-mighty weeds, whose defenses have been eroded by the scorching trials of July and the relentless drought of August. The garden will become a battleground, as I methodically reclaim the territory, unveiling patches of earth left parched and vulnerable. Day by day, defeat will resound through the heavens as I subdue the weeds one by one.

I know fully well that my September triumphs will be but a momentary stay against the attack that the Weedsters have launched against me this gardening season. It is, I fear, precisely as one of my kind neighbors kindly reminded me, just the other day, in the midst of my lamentations:

Matt: Give a weed an inch, and they’ll take a yard.

How prophetically true. But something else is true as well. This is my yard, my garden, and my mountaintop oasis. The Weedsters will not seize that which is mine. I will take back the proverbial “yard,” inch by inch.

What the Weedsters don’t understand is that they will die, and even if they return (as they surely will), they will be weakened and diminished. What the Weedsters don’t understand is that I, the gardener, will prevail. The heart of the Garden tells me so daily, reminding me that the love of gardening never dies.

Lifted Up When I Am Down: The Power of Paradox in Gospel Music.

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“Gospel music is nothing but singing of good tidings — spreading the good news. It will last as long as any music because it is sung straight from the human heart.”

–Mahalia Jackson (1911-1972; widely considered the most influential voice in twentieth century Gospel music.)

I fell in love with words when I was four years old or thereabouts, listening to my mother preach. Magical things seemed to happen in that little coal camp church. It was not uncommon for one or more women in the congregation to get slain in the Holy Spirit. They would jump up on the back of a wooden pew–not nailed to the floor, by the way–and then hop to the back of the next pew, continuing pew by pew until they reached the pew in front. Still standing on the back of the pew, they would pirouette gracefully and continue their pew-hopping journey to the last pew in the back. They were called pew-hoppers.

At that tender age, I did not understand fully what was happening, but the halleluiahs and the weeping and the speaking in Unknown Tongues always seemed to be filled inexplicably with an abundance of joy and with an equal abundance of mystery. I was certain that whatever was happening was because of the words coming from my mother’s mouth.

I became convinced that words had power. I became convinced that words changed lives. And so it was that my love affair with words began right there in that little Pilgrim Holiness Church.

It was strengthened through the Gospel hymns that we sang. One of the earliest that I remember is “I’ll Fly Away,” especially the chorus:

I’ll fly away, Oh Glory
I’ll fly away; (in the
Morning)
When I die, Hallelujah, by and by,
I’ll fly away (I’ll fly away).

I loved the song’s uplifting melody and rhythm, but I could not comprehend the song’s depth. In fact, it perplexed my four-year old mind. I knew the concreteness of death, but I knew not the abstraction of its sting. I had seen death once when I walked up the road to buy some candy from Mrs. Cory, a Black woman who had a little building, hardly bigger than a closet, where she sold candy and soft drinks. As I walked across the wide-planked bridge spanning the creek, I looked on up the knoll past her store toward her house. An ambulance was there, and men were carrying a large-framed Black man on a stretcher. He was covered with a sheet, but he was so tall that his feet were showing. In my innocence and curiosity, I walked over and touched his soles, knowing neither fear nor apprehension. I have never forgotten their softness and their tan whiteness. It was my first encounter with death.

Little wonder, then, that I was perplexed when we sang “I’ll Fly Away.” I had seen a dead man who could not move, and I could not for the life of me figure out how he could fly.

Even without understanding, I liked the song’s happy, handclapping rhythm. More, the song got me to thinking, and it kept me thinking. It didn’t matter that I had no answers.

Other songs confounded me, too. Most of them were songs that the Black congregation sang in their church. Their services, lasting for hours, were filled with lots and lots of singing. After we finished our service, I’d go sit on the steep rocky bank high above their church, enjoying the powerful, thunderous singing of choir and congregation.

It was on that bank that I heard them singing “Jesus Gave Me Water.” As I swayed to the song’s rhythm, I was perplexed by lines repeated over and over again:

Jesus gave me water,
Jesus gave me water,
Jesus gave me water,
And it was not in the well.

We had a well at home, so I knew all about drawing water from the well. I had done it myself. But if Jesus gave water and it was not in the well, where did it come from? What was its source?

Once again, I did not understand. And, once again, it did not matter that I did not understand. The song had a soothing, comfortable melody, and it gave me something to think about long after the singing ended, long after the church windows lowered, long after the entrance doors closed, and long after I rose up from the bank to retrace my steps back home.

As I grew older and my intellectual abilities developed and my life experiences expanded, I gradually understood and appreciated the deeper meanings of the songs that we sang. I came to realize that “Jesus Gave Me Water” is about finding spiritual nourishment and fulfillment through faith in Jesus. I came to realize that “I’ll Fly Away” expresses the belief that one day we will leave earthly challenges and struggles behind when we enter a better place, presumably heaven, filled with eternal peace and joy.

Over time, I came to grow into a heightened awareness of all the nuances of language–imagery and metaphor and paradox and symbolism–that had tugged at my heart and soul through my mother’s preaching and through Gospel singing when I was but a boy of four, too young to understand but not too young to be drawn to the power.

Over time, I came to grow into a heightened awareness of the power of paradoxes that make up the grand tapestry of human existence.

Paradoxes–those statements, situations, or concepts that seem contradictory yet reveal unexpected underlying truths, like the ones that I witnessed in “I’ll Fly Away” and “Jesus Gave Me Water”–appeal to us because they invite us to go beyond surface assumptions and to think deeply. They:

● help us see the nuances of the human experience fraught with emotions and connections that define our lives;

● challenge us to reflect on philosophical matters such as time, existence, truth, and identity; and

● foster rich and robust conversations because they are open to interpretation.

In the Gospel music tradition, paradoxes are as important as they are in their corresponding scriptural passages from the Bible. They:

● invite us to explore the mysteries of faith and spirituality;

● help us find joy in sorrow, strength in weakness, and power in surrender; and

● pump energy into our souls and lift our spirits.

They leave us with memorable and poetic lines that are silently humming deep in our psyche, bursting forth in song sometimes when we least expect them to burst forth, just as “Never Grow Old” did this morning when I awakened to the fresh vitality of a brand-new day:

I have heard of a land
On the far away strand.
‘T is beautiful home of the soul.
Built by Jesus on high,
There we never shall die.
‘T is the land where we’ll never grow old.

I didn’t go looking for “Never Grow Old.” It came looking for me the same way that “He Saw It All (The Blind Man Song)” found its way to me shortly thereafter, a song celebrating the story that a worker heard when he stopped a young man and asked why he was running through town:

I was trying to catch the crippled man.
Did he run past this way?
He was rushing home to tell everyone
What Jesus did today.
And the mute man was telling myself
And the deaf girl he’s leaving to
Answer God’s call.
It’s hard to believe but if you don’t trust me,
Ask the blind man he saw it all.
Ask the blind man he saw it all.

There we have it: one simple stanza from a Gospel song, packed with four monumental paradoxes. It matters not whether we can walk the crosswalk from the paradoxes to the Biblical accounts of Jesus’s miracles, four among many. The paradoxes stand on their own just as they are, and they provide us with a PAUSE BUTTON FOR THE SOUL, beckoning us to be silent and to reflect.

I’ve been cradled in the comforting snares of Gospel songs for more than seven decades. These days, their number is so vast that counting them seems an impossible feat. Nestled within my own dedicated Gospel playlist, they multiply day by day. While pedaling indoors on my bike or journeying through the hours, their melodies shuffle like soothing whispers to my soul. The paradoxes woven into these songs sometimes align me in unwavering belief, and, at other times, they leave me in a corner, wondering and doubting. Yet, always, they provide a wellspring of spiritual convictions from which I can draw. Through every note, they offer solace, always lifting my spirits higher and higher.

My Mother’s Dress

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“The art of mothering is teaching the art of living to children.” 

–Elaine Heffner (Private-practice psychotherapist and parent educator.)

My mother loved clothes. Her wardrobe of dresses was small, but they were always fine quality.

One dress stood out from all the rest, not because it was the finest but rather because it was the plainest.

It was a dress that my mother made. An excellent seamstress, she made clothes for all of us–including dress shirts for my dad–without ever using a pattern.

So it was with this dress. She created it without a pattern. It was a straight cut, knee-length, short-sleeved, shirtwaist dress with large brown buttons going down from the Peter Pan collar to the buckled belt made of matching fabric. It was perfect for my 45-year-old mother, thin-framed and erect.

Obviously, since she made the dress herself, she would have selected the fabric, too, and she would have ordered it from Sears Roebuck Catalog.

The fabric was cotton percale. The background color was a soft tan. But what I remember most about my mother’s dress was the pattern. The word “if” was stamped all over the fabric–just as it is printed here: both letters, lowercase and bold. The word was diagonally positioned no more than an inch or so apart. From afar, the ifs looked like little flags of color ranging from midnight black to deep brown to burnt red to marigold orange to olive green. Up close, though, it was an explosion of ifs.

I was fascinated by my mother’s dress. As a 10-year-old child who loved words, it was fun to gaze upon. I am still fascinated by my mother’s dress. As a 75-year-old man who loves words, it’s still fun to reflect upon.

I wonder now, more than I did then, why she picked a fabric with that pattern. What might the if’s have been that she dwelt upon?

If she had ifs in her mind–and she surely did–she never voiced them.

Some ifs, of course, are anchored to regrets. I’m thinking of all the if onlys that shadow our lives and tarnish our joys. Without doubt, my mother had regrets, but she would never have dignified them by letting them parade around publicly in brightly colored ifs on one of her dresses.

Other ifs are anchored to fears. I’m thinking of all the what ifs that keep us from moving forward because we don’t know what the consequences of our actions will be. Without doubt, my mother had her own share of fears, but by the age of 45, she realized that whatever was to come could no more overwhelm her than what she had overcome already.

Other ifs are programmed to a gazillion if-then thoughts, hard-wired to our daily lives. Without a doubt, my mother had those too, as she processed her own binary language code, whirring around cooking and cleaning, saving money to make ends meet, teaching her children strong religious values, and building healthy relationships with neighbors.

While all of those various if-scenarios no doubt played out their little dramas on the backstage of my mother’s mind, I imagine that she chose that particular pattern for other reasons as well.

I imagine that my mother’s dress was just a simple and playful testament to her own vivid imagination and creative spirit.

I imagine that my mother’s dress heralded, in an understated way, her unique sense of style and her boldness of expressing herself in unconventional, homespun ways.

I imagine that my mother’s dress reflected her engagement not only with the significant changes of the 1950s–a decade known for its affluence and alienation–but also with the major adjustments my family had to make in the new town where we had moved two years before she made her dress.

I imagine that my mother’s dress manifested her willingness to embrace uncertainty and to grapple with potential choices.

I imagine that my mother’s dress may have been inspired by Rudyard Kipling’s “If–“, the poem that I memorized in school that year and, with my mother’s encouragement, recited aloud at home over and over again.

But far greater than any of those imaginings is this one. I imagine that every time my mother put on her dress, imprinted with what seemed to me to be all the ifs in the world, she wore it with a palpable awareness that her hopes, her visions, her aspirations, and her dreams would impact positively both her family and her world.