For many years, most others probably thought I should have been very comfortable in the role or roles by which they knew me. I was not! “Mrs Nancy Clark Scobie” was a very frustrated and conflicted woman in her kitchen early on a cold Winter morning in 1988. No one truly knew or understood that woman and that included me. I had been hopelessly adrift for many years. I was uncertain as to where I had been and where I was going. I had no answers and had run out of questions. My efforts to reach out to others were unsuccessful. I was in crisis and did not know where to turn. 

In my previous books (“Muses, Music, and More,” and “Primarily Poetry, Pithograms, and Pictures . . . but a little bit more”), I have detailed the nature of the many pressing personal problems and concerns that were operative at that time. They would have given virtually anyone cause for feelings of depression and helplessness. Then, on that fateful morning, in the twinkle of an eye, in an instantaneous, earthshaking epiphany, I underwent a sea change, a mind-boggling metamorphosis that transformed my life forever. In one magical moment, I found a surprising basis for my personal salvation. I became a poetess! Standing by myself at the kitchen counter, it took me only five minutes to write my first poem. In so doing, I became immediately a “free spirit,” a role that I will never relinquish. A new sense of confidence flooded over me almost immediately. My life became endowed with a sense of renewed purpose. I had important things to say and do. I could express my thoughts and feelings with effectiveness and conviction. I looked forward to the personal challenges that life would undoubtedly provide. Poetry writing was the means by which I could understand and deal with them. And all of this happened on a cold winter morning in 1988! 

Recently, in light of the paramount importance of poetry in my life, I decided that the poetess portion of my being deserved a special identity. I have chosen “Mariah Summer” as her name, or just “Mariah” to my many friends and readers. When I shift into the poetic mode, I become Mariah. It is now Mariah who fearlessly prowls the world generally, and the psyche of Ms. Nancy Clark Scobie in particular. Mariah is already well-traveled on both counts. She is looking forward to further explorations and adventures.

“Meandering with Mariah” results in large part from Mariah’s continuing efforts to engage in retrospection and introspection. As I free myself from the fetters of the past, it is necessary to identify and deal with them one at a time. Only then can I look deeply within myself. Accordingly, as a next step in my continuing exploration and growth, I have chosen to revisit the poetry of my past once again. The  visitation that occasioned this book will concentrate mostly on a selective sampling of the poetry that I wrote in the early 1990's. These poems constitute something of a bench mark by which the values and quality of my life at that time can be identified and measured. Have I changed my views since? Most assuredly! That goes with the territory for a free-spirit in a state of constant transition and growth. Mariah would have it no other way. 

In the past, I have encouraged readers to proceed independently in their perusals of my works. This approach has much to commend it. The reader’s special interests could then determine the choice and order of the poetry selected for reading. However, from time to time, some people have indicated to me a need for some direction or format so that they can determine more readily the personal meaning and direction of my writings. Ever flexible, Mariah has risen to this challenge by creating just such a device. 

This book uses “The Seven Ages” of Shakespeare as the basic format.  This arrangement allows for a presentation of clusters of poetry especially related to these differing ages. But that didn’t quite do it. The free spirit of Mariah, rose up and demanded more. Two additional “ages” were included so as to deal with what takes place before conception and after death. In effect, the book could be entitled, “The Nine Ages of Mariah.” 

As anticipated, my pithogrammic partner takes a somewhat divergent view from mine. He is less inclined than Mariah to be responsive to any reader demand for direction. As his pithograms are hard to classify, he would be content to sprinkle them along Mariah’s pathway in a completely random fashion. As the reader stumbles across these disparate versions of wit, wisdom, and irritants, he or she would then have to deal with each on its own terms. Thurston feels that this individual processing of these items is a demanding and creative act. In keeping with this point of view, he is not above planting the literary equivalent of land mines in his creations. For example, the seemingly meaningless title of “24601" comes to life only if the reader is familiar with Les Miserables. He directed only the most modest of efforts at placing his works in any age grouping. Free spirit that she is, Mariah is appreciative and accepting of the challenge and responsibility accorded the reader under these conditions. 

The book’s title suggests that its contents be read, digested, and enjoyed in a leisurely fashion. You are encouraged to meander down Mariah’s pathway at your own pace in search of your own personal satisfactions.