“Page two is a verb tense tour de force,” he says, and I puff right up. I’m pretty new at creative nonfiction as a genre, but prose storytelling is his mastery zone. Who knew the personal essay was all about verb tenses? Transitions, yeah, understood they were trouble. And bending accuracy for elegance (we sometimes ate upstairs from trays, but he wants me to say we ate upstairs from trays): those choices shape poems too but the pressure seems higher when the “I” is more plainly me (“speaker,” hah). Where do I write “Richard Attenborough” and where “John Hammond”? Does “curator of cloned dinosaurs” cover it, in an essay littered with Jurassic Park references? You’d think I’d be worried about the family business I’m rolling out in these sentences, but we agree on ethics quickly, having been discussing them since 1986. That was the Cretaceous Period, when we worked on the Rutgers literary magazine and flirted across the editorial table.

Then he says, “But I think this is the kind of piece that you need to sit on for a couple of months,” and I deflate miserably. I always let poems cool off at least that long but I just wanted to finish something, send off something, and I thought this was it. He spends the next twenty minutes trying to take it back while I make tragic eyes at him.

This is the core of living with another writer. It’s no joke finding time and energy to read each other’s stuff with jobs and kids and domestic crises to tend. When you do, you might like it or you might not, but be careful how you comment because you’ll be in bed with that person all night. And none of it is separate from all the other conflicts that percolate between two people in the same house. One always seems to be finding more writing time, or winning more accolades, or earning more money, and that absolutely affects the force with which the frying pan is lowered onto the stove. What can look from the outside like a steady climb is full of morasses, like when a press closes right after printing your novel and you’re completely on your own for promotion (buy Chris Gavaler’s School for Tricksters now!)  

Competition was much alleviated when we parted generic ways in our early twenties (his poems got longer and prosier while I cheered from the sidelines). I was genuinely happy about his successes, but my congratulatory exclamations still felt cleaner once I started having some success of my own. I didn’t like it at all when he started writing short stories about a stay-at-home dad whose English professor wife got pregnant by another man; by the time he posted an offprint of “The Best and Worst Sex Scenes of All Time” on the department bulletin board and colleagues started waggling their eyebrows at me, I’d had it. I regret asking him to get his female characters the hell out of my job description, though, and now I second-guess myself when I want to say: don’t write that, this one’s too personal. The kids deserve veto power but after all, reader, I married him.

Despite the appearance of kiss-and-tell (that character really WAS NOT ME), he’s a better writer-spouse than I am. He reads a higher proportion of what I produce, with less show of angst, and comments more generously. He often fails to notice that a poem is in iambic pentameter (oh yeah, it does rhyme) but he’s invariably smart about structure, where I need to cut or expand, whether I’ve gotten to the urgent you-must-read-this material or whether I need to keep digging. I rarely publish something before incorporating a few of his suggestions.

Except blog posts.