Sunday, January 14, 2018

Will Work For Kleenex

I’ve posted before about the bizarre mix that is my life: poet and hospice nurse. Most of my posts have been about poetry. But lately, I have been working excessive amounts of overtime and the business of death has absorbed so much of my energy and attention that I thought I would write about some of the things I’ve been thinking about on that subject.

The relationship between the hospice nurse and their patient is hard to define. It’s definitely not a friendship. It’s a professional relationship. And its range is significant.

On one end, there’s the 97-year-old in the last stages of Alzheimer’s disease, whose family you may never meet, but whose caregivers in those little facilities for the elderly are generally the salt of the earth. And yeah, from s***hole countries, just like myself (Ireland was considered a 3rd world country until the 1970s). I may never interact with my patient at all, because he or she is well beyond that by the time they come on hospice service. But I may have the opportunity to make them more comfortable, either with medication for symptoms, or with my gentle touch and words that they might hear, a hand on the forehead, some time at the bedside hoping that my loving energy and kind intentions somehow make a difference to the person in the bed who has had such a long, rich, and eventful life on this earth, and whose last days, however diminished, I am privileged to witness.

At the other end, there are the patients, particularly the younger ones, into whose lives I am welcomed and in whose final weeks and months I become enmeshed. These are the patients I find difficult to let go. They are the ones I check my work phone at 3am to make sure there have been no calls from the family, or worse, the late night ‘time of death’ email from another nurse.

When a patient on hospice dies, the family calls us and we send out a nurse to do what is termed the “Time of Death” visit: to confirm the absence of vital signs, note a time of death that will be recorded on the death certificate, call the mortuary, notify any doctors and all hospice staff involved in the case (automatically cancels any planned visits: you don’t want a hospice aide showing up at 7am to bathe a patient who died at 6). If the patient has had a recent fall, we have to call the county coroner, to confirm the death was not due to the fall. Most importantly, the nurse attending a death can give emotional support and solace to the grieving family.

Sometimes this is not called for. I have attended the death of patients in facilities who had no family present or close by, or (worse) no family at all; who lay in an anonymous room in a hospital bed with the covers drawn over their faces and a kindly but busy nurse somewhere down the corridor who could report to me how the death went down. Those are uniquely sad deaths to me. I try to spend some time with the person, wish them well on their journey, and let them know that there is someone here on earth who is keeping their recently vacated body company for a little while.

Then there are the patients I’m very connected to. Sometimes, I will have spent hundreds of hours in someone’s company before they die, having profound and memorable conversations about their lives, their impending deaths, and their feelings around facing the end of the life. I may have worked hard to manage their physical symptoms, rushing medications to them, talking them and their families through the cataclysmic changes that occur as the body shuts down. And yet when they die, I may not even be working. I may learn about it in a businesslike email the next morning, or on a Monday when I log in. Somehow, I have to manage my grief over these deaths. If I am the Time of Death nurse, I have to be efficient and productive, yet sensitive to the family’s grief. Sometimes there is chaos around a death, anger, disbelief; unresolved history comes barreling to the surface; family members show up and the dynamics are unpredictable. Sometimes the last hours were a real struggle and the family is in shock and trauma. I may have to help manage that.

And then, at a certain point, I leave. Because I have my next patient to visit, and then the one after. There have been times I have left a home after seeing a patient I was close with laid out in their beds with their loved ones around them, and I have sat in my car shaking and crying with grief. The family gets to spend the day and maybe days after moving through their grief. And so it should be: they have a lifetime of history with the person, I have weeks or months. But I have to move through it in a matter of minutes sometimes, so my next patient will not notice that I have been crying. I have to have somewhere to put my grief so I can deal with it later, after the rest of the day’s visits. Every patient deserves my undivided attention. It’s not fair to bring my feelings over one patient’s case into the next.

When I tell people I’m a hospice nurse, I sometimes get the response: “That must be a really depressing job. How do you do it?” Because I’m Irish, and was raised to minimize things, I usually shrug the question off with an answer about how much I love my work. And I do. But the truth is, it is heavy work. I realize just how heavy any time I come back after a vacation and feel the mantle of responsibility settle back on my shoulders. You have to have ways to put the burden down and walk away into the light of your own life, or you will burn out. I journal, I ride my bike, I go to the gym and burn it all off. I listen to music, sometimes obsessively to the same few songs that give me comfort as I drive between patients. And every Wednesday, I meet with my team for a 3-hour session where we process the deaths that happened that week, the new patients, tell their stories and unburden ourselves of the sadness and grief we carry. We also, make no mistake, tell funny stories and laugh a lot. Hospice humor: key survival tool!

At the end of the day, as long as I keep a reasonable work/life balance (hard to do with hospice oversubscribed and understaffed right now), the nourishment and fulfillment I get from my work outweighs the heaviness. But I never go off to work without a packet of Kleenex in my bag.


Sunday, January 7, 2018

Dark With Supermoon

What does a writer do when they are not writing? I go through phases where poetry is flowing, and phases where it is stopped. I’m a hospice nurse, so when I’m not writing I can always accept more patients and work myself ragged to distract myself from the fact that I am not doing my art. So there’s that.

As a writer, you have to accept the barren/fallow times as a necessary part of the ebb and flow of the writing process. It’s important to focus on the fallow, not on the barren. Sometimes I am writing, and it’s amazing, and I feel alive and vibrant. Sometimes I am not writing, and I feel dormant. But as much as I accept this and understand it, I do not like it, any more than as a sun worshipper and lover of lush vegetation I like the dormancy of Winter. When I am not writing, I feel that an important part of me is dead.

And then one day, I’m journaling and I write a few sentences that I suddenly realize are not prose. They spark up. Something lights inside me. I transcribe them into my sad, neglected poetry notebook and they flame up there, I write more and the flames catch and there’s a vivid sense of burning, good heat. When it dies down, the embers stay lit so next day when I go back to it I only have to blow for the poem to relight. More light, and more. Sometimes a whole verse in one go. Sometimes just a line or two. And it’s capricious. I’ve had poems die as I wrote them, just go stale and fail to catch and sputter out.

Just before this New Year, I was writing in my diary about the year being almost over. Almost there, I wrote, almost at the bottom of the year. Then the year flips over and we are at the top. These were the lines that sparked something, and I transcribed them and started working them up. I thought for a while about whether December was the bottom of the year or the top of it. Shouldn’t we climb up the year, starting from the bottom? But in the end I liked better the idea that we start January with a full year and it runs down, like an egg timer. So New Year’s Eve is a zenith, and New Year’s Day a summit of sorts.

The first verse of the poem was all about how New Year feels like a reset. Everything starts again, hopeful, full of promise and potential, a blank canvas, numbers reset to zero. Then towards the end of the second verse, the poem took a darker turn. No, really? My poetry? I was being influenced by a funeral I had been to with my teen daughter of her friend who took his own life just before Christmas. I started thinking about climate change, the cataclysmic weather events happening around the globe, how they sometimes feel like the dying throes of a planet fighting for its life, and losing. The third verse became about the imagined funeral of our planet.

Since New Year’s Day saw a supermoon this year, I had been writing in my diary about what a dark time it had been, the last few weeks of the year, and yet the supermoon felt like a metaphor for the optimism and hope I always feel around the new year. Dark with supermoon, I’d written. Because I always like to try and abrogate the darkness in my work, to bring it round at the last to something infused with hope, that seemed like a fitting title for the poem.

I worked on it a few days into the year but found myself constrained by the form I had tied myself to (why?!) of 13-line stanzas. The poem wanted to break free, reflect a little more the chaos of our world and future. So it finished with four stanzas of different lengths. Dark, change, chaos, and hope. And the greatest of these is hope.

Dark With Supermoon

Almost there,
Almost at the bottom of the year,
Then the year flips giddily over
And we are at the top;
The summit is blindingly bright
And the air thin, with the supermoon
Spitting stars into the night,
Supermoon spinning in the galaxy’s arms
And our planet wearing its crown of thorns;
All the numbers zero out
And the dreams kick into high gear
And the hopes are all reset
With the first ragged breath of the year.

Then we’re back to ordinary time
The year a little broken in, a little tamed,
No longer new, the winds change
The way they’re meant to change
And the sands shifting beneath my feet
Are unpredictable as I expect;
The tides ebb and flow
The way the shoreline birds expect them to,
The candles gutter and burn low
And we’ll be sleeping as we’re meant to be
When the waters climb out of the sea.

The planet’s funeral 
Will be unholy, awful; I will stand alone
Outside the church in the mourners’ stream
Searching for friends so I can grieve with them
All warmth will be gone, the sandstorms
Will have scoured the deserts raw,
The rage will come in waves
But eventually leave, and the fires
Will have satisfied their greed,
They will have eaten all they see.

When the air is minus seventeen degrees
And light is reflected through
The particles of ice, the sun builds
A sun-pillar in the singular dawn.
I don’t know why it took so long
For me to learn: you have to break fear open
Over and over, rise up
And carry yourself across the water
To the others waiting on the shore.
A hawk balances delicately on the wind’s edge
And the year’s heart is beating strongly now
As it trains its one yellow eye
With fierce intensity
On the dark.