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    Entries by Clint Piatelli (443)

    Thursday
    Jun112009

    SledgeHammerHeart

            I dug up this poem that I wrote a year ago next week. Back then, it was the first truly emotive piece of writing that I had shared with another person in years. I wrote it a few days after my heart exploded, and I sent it to the woman who blew it up.
            When I read it today, many things come up for me. I can recall exactly how I felt a year ago. The intense power of such heartache isn’t there now, but it’s memory shall always remain.
            That’s not a bad thing at all. It helps remind me of how far I’ve come in a year. How much I’ve grown. How much I’ve changed. It helps remind me that today, love is a vibrant, living, breathing, feeling, spirit that pervades all of my life. It reminds me that I really have made a quantum emotional shift. And that shift has allowed me to become so much more of myself.
            This poem represents the beginning of the finest year of writing of my life.


    SledgeHammerHeart

    why did my heart have to break to be opened up?

    was my heart like a geode? a rock that housed a beautiful crystal on the inside. but the only way you could get to the crystal was to break the rock wide open?

    i did everything i could to not have my heart broken. and it still happened. so what does that tell me?

    maybe that to hide your heart is a waste of time. and energy. and love.

    how could she break my heart if there was nothing there to break? she couldn’t have. so there was something there. or i wouldn’t feel this way. i just couldn’t get to it. and i couldn’t let her get to it either.

    but she did. and i didn’t even know it. and i spent all that time hiding when i could have been seeking. for something. with her.

    why does it take so much pain to be able to feel something that was there all the time?

    why does it take a sledge hammer to smash a beautiful soft heart?

    because it was a heart disguised as a rock.

    you tap on what looks like a rock, what feels like a rock, and nothing appears to be happening. but something is happening. because the rock is really a soft heart. so finally you get tired of tapping and smash it open. and only then does the illusion of the rock disappear.

    only then do you see that it’s not a rock at all. it’s not hard and cold. it’s soft and warm.

    and it’s splattered all over my life.

    and i played just as much a part in splattering my heart as she did. i can’t be mad at her, and i’m not. i can’t be mad at me. and i’m not.

    but i am so sad.

    sad that i couldn’t remove the illusion of the rock.

    and the heart is really who i am.

    it’s big and soft and warm and beautiful.

    but i just couldn’t let her see that.

    and now that’s all i want her to see.

    we were both great illusionists. i created the illusion that i didn’t care that much. she created the illusion that things were okay.

    i wonder how it would be with no illusions?

    she reached my heart.

    and she didn’t even know it.

    because i didn’t even know it.

     

    ©2009 Clint Piatelli. All Rights (and a Flintstone quarry of Wrongs) Reserved.

    Tuesday
    Jun092009

    Nonny

            My grandmother lived with us for a little while when I was a kid. I wish I could say that, as a child, I loved my grandmother; I wish I could say that I have memories of how she bestowed upon me the archetypal love that a grandparent lavishes upon her grandchild; I wish I could say that she taught me valuable lessons in a way that only a parent of a parent can; I wish I could say that having her live with my mother, father, twin brother and I, was a good experience. But I can’t. Not without lying.
            My grandmother, or Nonny as she was often called, was senile and physically disabled for the majority of my childhood. Or at least, I don’t remember her any other way. She was more than two handfuls for my mother to take care of. Nonny demanded a tremendous amount of my mother’s attention and energy. She would scream a lot at my mother and my father in Italian (she didn’t know any english). She couldn’t dress herself, or move around very well, or go to the bathroom herself, or do much of anything herself, really. She was like a child that way.
            My grandmother was a hugely disruptive element in my household growing up. My mother didn’t have much left, emotionally or mentally, to give me after taking care of her mother. My dad, who worked his ass off, would come home from twelve hour days at the office to an old, senile woman who screamed at him and his wife. An old, senile woman who he was paying to feed and house and clothe and support. An old senile woman who was making his home life very difficult.
            It was a bad situation, for everybody. My grandmother needed professional care from a staff of people. She didn’t belong in a home with young twin boys and a couple in their mid fifties trying to make a life for their family.
            I grew up not liking my grandmother. She was nothing but a horribly disruptive force in an already tense home. She added nothing but mayhem. It wasn’t her fault. She was senile. She couldn’t help it. I understand that now.
            But as a ten year old, I was resentful and angry at her. For taking my mother out of my life so much. For being so mean to my parents. For not knowing who the hell I was. For causing nothing but turmoil in the only home I knew. Truth be told, I was angry at my parents, especially my mother, for allowing this maniac into our home. But you couldn’t get angry as a kid in my house. I was told countless times that I had no right to be angry at my grandmother, or even my parents, for anything. And that’s a real mind fuck for a kid, because some amount of anger towards elders is natural, especially considering the circumstances.
            What I’ve come to realize is that, as disruptive as that situation was, it wasn’t the situation itself that caused the most damage to my relationship with myself. It was how we, as a family, handled it. Or more precisely, how we didn’t handle it.
            We never talked about what was happening, or why. We never talked about how it felt to live under this roof with this very sick, disruptive, screaming, crazy woman. In fact, not only did we not talk about it, I was shamed for feeling the way I felt. Everybody was. It’s how we “dealt” with feelings.
            What this did for me was create the ultimate emotional dead end when it came to how I felt. I wasn’t allowed to express, or even to have, normal feelings, even in response to such extremely abnormal situations. So as a kid, to feel resentment towards your grandmother for screaming at your mother was normal. But then I’m shamed into oblivion just for having those feelings, so I learned not to trust how I felt. And I didn’t learn how to let go of the resentment. I didn’t learn anything about how to deal with how I feel. In fact, I learned to hate having feelings at all, because they created so much shame inside of me. And then, feelings usually created turmoil between me and others if I ever dared express them. Eventually, I developed an attitude of “Fuck that. Just don’t feel. And if you do, fuckin’ hide it.”
            In much the same way dealing with a mentally challenged sibling can either rip families apart or bring them together, my senile grandmother created the same dynamic. If we had been able to talk openly about this as a family; if we could have all been able to express how we felt; if we were allowed to have feelings without attaching truck loads of shame to them, we could have all grown so much from this experience; individually, and in our relationships with each other. The situation sucked, but lots of families deal with much worse. It’s not what happens so much as it is how you deal with it and what you learn in the process. There’s opportunity for personal growth, and for growth in your relationships, at any age, for anybody, especially in such adversity.
            I’ve learned to try and apply that axiom to the rest of my life. Not always with success, but I know that that’s the path of greater enlightenment. It’s an attitude I constantly shoot for.
            My parents did the best they could. They didn’t know any other way. The situation was very difficult, and unfortunately, how they chose to deal with it made it exponentially worse. As an adult, I have a responsibility to myself to unlearn all the bad lessons I learned through the whole ordeal. I’m responsible for it now. There’s no anger towards my parents. Or my grandmother. Just sadness that I never really knew her.
            But there is an incident that still haunts me today. In fact, it’s impossible for me to to even think about it without getting emotional.
            I had this latex gorilla mask. One night, I put it on and peeked around the corner so all my grandmother could see was the mask. It scared her.
            I can still hear my grandmother, the sound of her voice frozen inside of me, as she called out my mother’s name, “Angie”, in a heavy Italian accent, her voice thick with fear. When I think of that moment, if I stay there any more than a few seconds, I burst out crying. Every time. The thought that I could scare my helpless old grandmother like that fills me with a sadness and a guilt that almost no other memory of my life does. It happened almost forty years ago, I was just a kid, and yet it still hurts me to know that I could do such a thing.
            I’ve had dreams about my Nonny since then. In some of those dreams, I apologize to her for what I did. She always forgives me. I guess I need to learn to forgive myself.
            When I’m awake and think of that night and can get past the pain and the tears, I fantasize that’s she still alive, she’s lucid, she knows me, and that she can understand me. Then I imagine a scene with my grandmother that I never had. It goes like this:
            I tell my Nonny how sorry I am for scaring her. I see her smile. She doesn’t say anything. She just smiles and holds out her big, fat, beautiful arms, and wiggles her fingers, motioning me to come towards her. I run to her and jump into her heavenly soft embrace that I never knew as a child. I say to her, sobbing hysterically, “I’m sorry grandma. I love you so much Nonny”. She doesn’t say anything. She doesn’t have to, so perfect is her hug. I can literally feel the love coming off of her and wrapping itself around me like a blanket, just like her body does. She keeps smiling, closes her eyes, and hums a lullaby, rocking me back and forth, until I fall asleep. Then she opens her eyes and watches me sleep. My Nonny adores me with loving eyes, and wipes away my tears. I am at peace with all the universe.
            In those moments, I forgive the child who acted out of pain and anger. And all I feel is love. For the boy. For my parents. And for Nonny.


    ©2009 Clint Piatelli. All Rights Reserved.

    Monday
    Jun082009

    Poems From A Friend

            A friend of mine, who wishes to remain anonymous, has been following this blog for months. When she told me that she wrote poetry, I asked her to submit a few of her favorites so that I could publish them here. At first resistant to the idea, she found the courage to share them with me. I am honored to earn her trust. And I am a better man for knowing her and reading her work. Now, because she found it in her to share so much of herself, we can all share in this gift. Thank you.


    SKY

    Sharing feelings, thoughts and desires
    Secrets said out loud, I hear a quiet noise
    It is the sound of serenity
    A feeling of peace within
    Upon arrival back to reality, I look up
    The sky is sparkling “just for me” I think
    Millions of diamonds against the black eternity
    I am finding my strength within
    Being led by a power greater than me



    THE MEDITATION

    I walk along the angry shore
    I hear the thunder of the waves
    The sky is white as snow. The ocean a deep dark blue
    I feel alone, empty, sad. The feeling of despair devours me
    I voice is faint. I am here. I am her within you.
    Don’t be afraid my child. Walk towards me.
    Slowly my pace begins to change
    A peace surrounds my body. My spirit has been lifted.
    There is a quiet calmness that begins to soothe me soul
    He is there. He is real. He holds my hands. He fills me.
    I close my eyes. I pray for strength. Quiet and still.
    Be still my child. I will do for you what you cannot do.
    I let Him
    As I open my eyes, there are tears on my face
    I cannot see Him any longer.
    My heart beats stronger. I put my hand on my heart.
    He is in my heart
    I am loved and I will not feel alone ever again

    Friday
    Jun052009

    Lick It. Bite It. Suck it. (part 4)

            If I think of my whole personality as a big symphony orchestra, with many different instruments, or parts of me, all trying to play the same song, the song of my life, then it’s easier for me to understand my internal dynamics. Each one of my parts, or sub-personalities, is like a musician in the symphony of Clint, each with a a job to do. There’s Self Conscious Guy, who keeps me “safe” by telling me not to risk rejection. He’s like the tuba player: a background instrument. And there’s Dancin’ Boy, who wants all the attention, all of the time, or life’s just no fun at all. He’s like first violin; a lead instrument as opposed to a supportive one. And because he’s a lead instrument, I identify with Dancin’ Boy more than I do Self Conscious Guy. He’s more in the front, more visible, and he’s playing a melody that’s closer to my heart. Just like first violin.
            But just like in a real symphony, all of the parts, all of the instruments, are important. If I want the song to sound it’s best, if I want my life to be firing on all cylinders, then I have to find a way to make all of my inner parts work together. Just because I identify with one sub-personality, with one instrument, more than another, it doesn’t mean that the other instruments aren’t important. In fact, just like in a somewhat psychotic symphony, where each instrument is an extremist just like each one of my sub-personalities are, if one instrument doesn’t get enough attention, doesn’t get heard enough, he plays louder and harder, even if it fucks up the rest of the orchestra. Because damn it, he’s got to be heard, and being a myopic extremist, he doesn’t care if the rest of the orchestra gets blown up in the process.
            Conducting this cacophony of instruments is my true self, my higher being, the real me. Just like the conductor of a symphony orchestra, he has to make it all work. He has to be in charge. If not, it’s chaos; just like it was for me at The Gypsy Bar. First violin Dancin’ Boy and tuba player Self Conscious Guy were taking over the orchestra, and instead of getting them to play together, I just let them jam on their own, the result being considerable discord.
            I couldn’t find my conductor that night. I was aware of the disharmony within me, but I wasn’t aware of how to help it. The more conscious I become, the more work I do on myself, the better I’ll be at identifying exactly what’s going on and how to correct it, all while it’s happening. Because I couldn’t do that the other night, my symphony was out of sorts. So I was out of sorts. Not terribly, but enough to know that I wasn’t fully present. I wasn’t showing up the way I wanted to. I wasn’t being enough of myself. My song, the song of Clint, wasn’t sounding like it could have if my inner world was more in harmony.
            Here’s what it sounded like inside my head that night:

    Dancin’ Boy: Yowza, look at those women dancing! I want a piece of that! Let’s get out there and shake it up! I need some lovin’, some attention, and they look just right for the job!

    Self Conscious Guy: No way. Look at them They’re gorgeous. You’re mojo isn’t workin’ at 100% tonight, and that’s what you would need to even have a chance with getting them to even look at you. Besides, it’s too bright in here, and everybody can see what you’re doing.

    Dancin’ Boy: Fuck that! The band is hot, the chicks are hot, and damn it so am I! I’ve got more style than any other guy in this room! And there are no other dudes dancing! It’s all women! And I can dance! C’mon, this is perfect! You’ve already said hello to that blond at the bar. Go over and ask her to dance! It’s “Livin’ On A Prayer”, by Bon Jovi for god’s sake, and I’m in New Jersey! The song’s got a great groove, and the place is hoppin! They WANT to dance with a guy! They want to dance with ME! Look, they came all the way over from the other side of the room to dance next to our table so they could be closer to me!

    Self Conscious Guy: I’m not convinced. Stay here and hang with your buddies. It’s safe talking to them and just ogling the women. You can’t get hurt doing that. Just stay put.


            My higher self, the orchestra’s conductor, wasn’t in the building that night. So these two just went at it, unabated, the whole time. When I can find that conductor, that is, when I’m more conscious and present and in the moment, I’m more myself. I’m integrated, and more of me shows up. Not just one or two parts hell bent on getting their way. And I’m able to listen to all my parts without getting too caught up in any of them, the way a good conductor leads a symphony.
            If I had been able to find my conductor that night, there would have been another, less extreme, voice that would have directed my inner dialogue.

    Higher Self: Okay, I’ve heard you two, and we’re going to have to come together on this. I know you’re trying to protect me Self Conscious Guy, and I appreciate it. But if rejection comes my way, I’ll be able to handle it. I’ll laugh it off and have a good story to tell. And Dancin’ Boy, I get how bad you want attention. That’s not a bad thing. But we’re not going to judge whether the evening was a success or not based on how much attention we got from women. I feel like dancing, so I’m going to ask them if they want to join me. Whatever happens, we’ll be fine. And my college friends are here with me. So either I’ll get ribbed for striking out or exalted for dancing with the hottest babes in the bar. It’s all good. Hey, we’re in Atlantic City with a bunch of guys we love. What could be better than that?

            When I’m more myself, that’s what it sounds like inside my head. Sometimes I’m there, and sometimes I’m not. But I’m going in the right direction. My symphony is sounding better, sounding more like me, more often. My song is getting out there a lot more these days, and I love the way it sounds.


    ©2009 Clint Piatelli. All Rights (and a Psychotic Symphony of Wrongs) Reserved.

    Thursday
    Jun042009

    Lick It. Bite It. Suck it. (part 3)

            Paul Simon wrote in his song Slip Slidin’ Away; “A good day aint got no rain. A bad day’s when I lie in bed and think of things that might have been.” Simple words that ring true.
            There’s a stark beauty in simplicity, especially when it reflects such powerful truth. But I’ve always found immense pleasure in taking that simplicity and, once I’ve absorbed it, deconstructing it and examining the complexity that lies within. Like a perfectly executed, successful scoring play in football, when experienced in the moment, the result is a touchdown. If you walk away from it with just that, it’s simple. Victorious. Six points. And there’s a joy in that that’s unique.
            But after reveling in that excitement, I find a whole new experience in breaking down the play, analyzing it, and understanding how and why it happened the way it did. It doesn’t diminish the original elegant simplicity in the least; that stands on it’s own. But it adds another layer to the experience, making it richer, fuller, more complex. It works for me that way in football. And it works for me that way in a lot of other things too, one of them being my own process of growth, change, and experience of life.
            Although I admit, sometimes I can get too caught up in the dissection and analysis at the expense of pure enjoyment. It’s not so much a balance as an integration. Having the simplicity and the complexity co-exist, side by side, each standing on their own and yet also somehow contributing to the overall complete experience that is both simple and complicated. I guess that’s the zen of it.
            Either that or I’m just missing the whole fucking point completely.
            I’ve written about being more in touch with this little boy inside of me and the parts that my psycho-emotional self has developed to protect him. There’s a simplicity in that that automatically resonates very deeply within me, and there’s a complexity to it that I want to better understand.
            The naked truth is that the more in touch I am with this kid, the more other parts of me are going to try and protect him from getting hurt. Because that’s their job, and they’ve been doing it my whole life. I’ve been aware for years that this kid and these protective defense mechanisms have been inside of me. But I’ve done a lot of inner work with this over the last few years, and I’m close to another breakthrough now. I’m close to helping this little boy let go of more of the pain he’s still holding onto. That freaks my defense systems out, because with no more wounded boy to protect, they’re out of a job. A job they’ve had for a long time, that they’re very good at, and in fact don’t know how to do anything else. Who the hell would want to give up a gig like that?
            One of these defense mechanisms is Self Conscious Guy. He’s hyper...self conscious. Very critical of me. Very scared that I don’t look right or act right. Very concerned with how I appear and of what other people think of me. At The Gypsy Bar last Thursday night, he was in overdrive.
            His job is to protect me from getting hurt, or more precisely, to protect that little boy in me from getting hurt. So how he does that is to scare me out of taking risks by coming up with all these doom and gloom consequences that could happen if I put myself out there and really show up. He automatically thinks “rejection”, a real buzz word for most of us, and plays out all of these painful scenarios that should befall me if I get rejected. That’s how he sees the world. As a potential stage for rejection, humiliation, pain, and suffering. To avoid that, he wants me to stay inside myself and hide. That way, I can’t get hurt.
            Polarized from Self Conscious Guy is Dancin’ Boy. He’s a psychological construct in direct opposition to the dire consequences of rejection. He sees life as a party: damn the torpedoes, full steam ahead, take no prisoners, let’s jam. He’s the person I show most of the world a lot of the time. He’s closer to the real me than Self Conscious Guy, but he’s still an extremist. He’s an extremist because if I don’t squeeze the maximum amount of fun and mayhem out of every single moment, he’s not happy and he gets on me for not seizing the moment. He’s just as brutal as Self Conscious Guy, but in the other direction.
            He’s trying to protect this little boy inside of me as well, but he’s doing it by trying to kill the pain with fun. With attention. With “Look at how great I am!” He’s not self conscious at all. He wants the attention. In fact, he wants all of it. Every minute. If he’s not getting it, he feels less than, in the same way Self Conscious Guy feels less than by rejection.
            These two extremes are built around trying to protect this kid inside of me. The closer I get to him, the more these parts wig out, because they’re afraid that once I really connect to this kid and release his suffering, they won’t be needed.
            What I’m developing is a new paradigm where these parts aren’t in conflict but in harmony. Integration, not separation. Zen, not....something un-zen.

    Please join me again for part four.


    ©2009 Clint Piatelli. All Rights (and a Self Conscious amount of Dancin’ Wrongs) Reserved.