An Open Letter to Marc Maron (Day 4)
How do you say these things out loud Mr. Maron, week after week, in front of live audiences? Are you trembling even as you break into that great barking laugh of yours the way I’m trembling now as my fingers determinedly march across the keyboard? Perhaps the question is—how does one survive being self-aware and aware too of all the barren places propping you up?
I should tell you here that I’m 45, well, I will be officially in four days or so. And I’ve written poems always, it seems, and as a teenager plays about witches named after characters in The Outsiders and short stories that always ended with someone dying—suicide, murder—and a movie script when I was about 15 that starred Matt Dillon and me as star-crossed lovers who met after I’d been raped by a friend of his. On Trinidad where I was born there’s a pitch lake, a seemingly endless lake of asphalt. I thought for years that this pitch lake lived inside me, the lake and its attendant monsters (which is what leaked into my writing) and that’s why people couldn’t love me. By people I mean, of course, my parents but that’s still hard to write. And honestly, I didn’t have the language to really grasp what had formed me till my 30s and I didn’t have the understanding to grasp what was hidden in what I wrote with that language till just a few years ago, and I was still missing important words like “narcissism” and “abuse” and “unformed self” and “parent” until my father died last January.
It took till I was 36 or so and in grad school and realized that on the right day I could conceivably consider suicide and ran to the therapist’s office on campus and got some good drugs that I took for a long while and started to talk plain about what was inside me, not coded like I did in poems, for me to realize I didn’t have a pitch lake inside me. I wasn’t a secret monster and my parents weren’t right to protect themselves from me. So maybe what I’m saying is I’m a late bloomer. And also the truth can stare you in the face for four decades and it doesn’t matter. It’s not about whether or not the truth is easily apprehended—they were at fault not me—it’s about when you figure out how to stop listening to all the stories you’ve learned to tell yourself to explain the monster.
But when you’re a storyteller—as it’s plain you are—it’s sometimes hard to tell the difference between the stories you tell because they’re true and the stories you tell because you need them to be true. Is that something one ever learns to do with 100 percent accuracy?
To be continued…