At first, I was willing to make any sacrifice,
Change any foible within me,
Deny every quibble I might invent.
In trying to open to others,
I knew I was still searching
For some 2.0 version of you.
Unspoken shame lives darkly in that truth.
Shame remains, a sniper in the night.
It does not look at me with liquid blue eyes.
Or if it does,
They are unblinking
Like a shark.
Today, I have a different love,
Together now for decades.
Through the whole panoply of feelings
We have traversed dead lunar landscapes,
Navigated oceans of tears
Which would have consumed you again.
Shame abides.
Mine is uneasy and refuses to rest,
We co-exist. It’s like owning a mean cat—
Tail switches like mad some days, ears laid flat.
It murders songbirds at night
But does not gift them to me as restitution.
My shame is a mercenary stuck tick-tight.
My first encounter with death was filled with blood and trauma. As it should have been.
It had to be a Sunday morning in the fall of 1955. It also must have been early on Sunday morning because I was not yet in church with my Grandmother. Grandma always took me, and later my two younger sisters, to our very conservative Free Methodist church on Sundays. But I was not there yet. It must have been not long after first light on a Sunday morning in the early fall.
I was up the hill at Mrs. Brown’s house. Yes, that was her real name. She was the mother of Ron Brown, a good friend of my father’s from when they were in high school. My parents rented the small two and a half bedroom, one story frame house down the hill from them and had done so almost from the day my Father returned from Korea with a well disguised case of what we would now call post traumatic syndrome. Back then he was jumpy.
Mrs. Brown was that woman used to conjure all the stereotypes of long-suffering but good-hearted American farmer wives from that century and the one before. She was short and plump, I suppose it would be kinder to say, “stocky,” but I remember her as round as Mrs. Butterworth. Her hair was graying and pulled back in that low-on-the-neck bun favored by sensible women of her generation. She wore a dress, what she, no doubt referred to as a “house dress.” It was in some nondescript, pale color and printed in a nondescript simple pattern, not in any way outstanding, or garish. The purpose of these house dresses was to preserve modesty, not to draw attention to the wearer. And over this she wore a long apron. The kind that looped over the neck and tied in the back at the waist. I think she must have worn an apron often because almost all my memories of her include the apron, often being used in various ways as something else–sometimes as a hand towel, sometimes as a basket for carrying fresh tomatoes or ears of ripe corn from the garden, or as a hot pad when removing pies or casseroles from the oven, sometimes as an impromptu wash cloth to clean my face or even as a mop for drying sweat from her forehead. This particular morning she was also wearing a pair of tall black rubber boots that were sized to Mr. Brown’s feet. She sometimes wore them if she was working in the chicken coop or in the barn.
And she carried a hatchet.
Mrs. Brown was preparing to kill some chickens for Sunday dinner. She asked if I wanted to help. I always said yes to adults who asked if I wanted to help. And I always had believed I was helping, until this morning. This morning I was sure I intended to help, but by the time it was over, I was certain I had not.
In the 21st Century, it bears saying that Mrs. Brown was neither cruel, nor dangerous. She was a sweet and kind woman who had spent her life on the farm. Our little town had grown outward enough to, at first, encroach upon her farm and eventually, to swallow it completely. Bit by bit, they sold off a little acreage at a time until they held only the two houses and about ten acres next to the railroad right of way. It was by no means, a rich retirement, but Mrs. Brown and her husband continued to put in a large garden every year, to support an old yellow dog and a few barn cats, to keep some chickens in a coup for fresh eggs and for occasions like this–Sunday dinner.
I often went up to Mrs. Brown’s house. It was one of two destinations I was permitted away from my home at the tender age of five. Our street was still made of dirt and set off from the rest of the streets in town. It was only used by a very few people, three houses on our section coming from the railroad tracks, a turn and six more before it was crossed by the road that led to the dump. Our street, Munson Street, just a half block long, was a safe place to play or cross even for one so young.
Mrs. Brown was a bit like a grandmother to me and certainly a “safe” destination for a small child. On this day, she was headed to the chicken coop. Normally her chickens roamed the yard without constraint. We’d call them “free range” today. Back then we called them chickens. It was unthinkable that you wouldn’t let a chicken roam around the farm, foraging harmful bugs off the garden plants and helping to keep the nitrogen levels high in the pumpkin patch. But we have pesticides and chemical fertilizers for that today. So we can keep the chickens locked up in wire cages. Back then, Mrs. Brown would head to the nests looking for fresh eggs for breakfast. The hens that weren’t producing were sometimes moved from the egg production line to the meat production line. That’s what Mrs. Brown was doing this morning…counting eggs and making decisions about mortality.
Mrs. Brown knew exactly what she was doing. She knew which hen nested where. She could sneak the eggs right out from under a sitting hen if she wanted.
“You check those nests down low,” she instructed.
I tried to put my hand under one of the birds and she clucked and flapped her wings and eyed me sideways out of one of those weird chicken eyes with that even weirder chicken eyelid. It unnerved me. I tried to screw my courage up but every time I moved my hand near the nest, the chicken flapped and I was certain she would peck right through my skin into blood and bone.
“No, honey. Like this.” And Mrs. Brown put one gentle hand on the back of the chicken’s neck and briefly covered its eyes with her thumb. With the other hand open and palm down, she slipped under the sitting bird. Then she finished a stroking pet to the back of the neck and on down the bird’s back with the hand that had served as a blindfold. “That’s a good girl,” she crooned and sort of magically produced a warm chicken egg in her other palm. It seemed all of one smooth movement created by a body which had done it thousands of times in her lifetime.
“You try it,” she said to me and so I petted the next chicken on the head and neck and back and the bird clucked but not excitedly. It even seemed contented. My thumb wasn’t big enough to cover the bird’s eyes so I held my petting hand up to the side of the chicken’s head and blocked her vision while I slipped my free hand under the bird and extracted the egg. I felt like a mesmerizer. She (the chicken, not Mrs. Brown) never saw it coming and she never complained after it was over.
“Well done!” said Mrs. Brown. “You are a professional already.”
We collected about a dozen eggs into Mrs. Brown’s apron and then she transferred them to a small cardboard box with a wire handle. “You carry this, honey.” And she handed the basket to me. I used both hands on the wire handle, not because it was too heavy, but because I knew the load was fragile. This basket needed very careful handling. I headed toward the doorway and Mrs. Brown made what seemed like one move and collected two hens by their ankles in one hand. She carried them upside down out of the chicken coop behind me. The chickens chattered some, but didn’t seem remarkably upset.
“These are for dinner today,” she announced. Vaguely I knew that meant they would be killed, cleaned and plucked. But I had not witnessed any of these processes before. “Do you know what that means?” she asked.
“Yes,” and it wasn’t precisely a lie.
“Do you want to help?”
“Yes,” and I was pretty sure that wasn’t a lie either.
You stand right here and keep the chickens from escaping.” And Mrs. Brown positioned me in a place where it would be impossible to not see exactly what was happening.
She was a pro. Mrs. Brown swung both chickens up on the chopping block with her left hand. She knew just how to apply a little downward pressure on the backs of their legs to make them crane their necks outward and in two quick snicks, the heads of the chickens fell to the ground and their bodies fell down next to them.
That’s when the Halloween movie began.
The two disembodied chicken heads continued to look at me through those terrible eyelids. The beaks moved open and closed like the head was clucking or worse, trying to speak to me in some kind of spirit chicken talk. The dreadful chicken tongues moved as though the birds were choking on something and trying to vomit up something stuck in their throats. Years later I saw a man choking on a broken chicken bone and he had that same motion in his mouth parts. The lower part of the mouth dropped down like it was trying to melt back into the throat while the tongue gaped out unnaturally and flexed as though it could expel something causing great pain.
And that’s when the bodies jumped up. Quite literally, I learned that day the expression “running around like a chicken with its’ head cut off.” These two bodies rose up from the dead and began sprinting. Not just stumbling around, but sprinting. Each of them displayed two spurting threads of chicken blood shooting short parabolas into the air through their chicken arteries. At first the headless bodies staggered and bumped into each other and the ancient chopping block that had been witness and partner in countless crimes, all committed in the same nonchalant way. I watched with my mouth open, aghast. This couldn’t be true. It was at least as terrifying as any dream that had sent me to my mother’s safe haven at night. And then, the bodies bracketed me. One on either side. Ghoulish spurts of arterial blood arcing toward my trembling body. I was in the moment. I panicked and began running away from the dead chickens. I ran away from one and nearly bumped into the other. I wheeled to escape and stepped on one of the still silently squawking chicken heads. I dropped the box of eggs. My hands went to my chest like tiny Tyrannosaurus Rex arms and flapped impotently. I danced on my toes. The birds still staggered toward me. And without knowing it consciously, my urine flowed–flowed right down the insides of both legs, through my tennis shoes and into the rich, loamy earth which had been fertilized for years by the sacrificial blood of countless chickens, sprinting around to spread their fountains of enriching blood on Mrs. Brown’s yard.
Mrs. Brown, looking at me like she was concerned, nonetheless was smiling. She reached down and collected the now slumping body of one chicken and made a stab at the other. It ducked behind my jittering knees and she grabbed again, this time coming up with the flapping white body and tried to hold it behind her while she smoothed my hair and tried to hug my face to the side of her thigh. I felt her comfort. And then I saw the chicken blood on her fingers and recoiled. I stepped on the other chicken head and turned hard to escape it. That’s when I ran into the chopping block. I was defeated and I sank to the ground.
The chicken bodies were now lifeless and dropped behind Mrs. Brown on the ground. She wiped the chicken blood on her ubiquitous apron and reached to pick me up.
I was crying inconsolably now, wailing really, in an irrational objection to a world that could offer such a horror to an innocent child of mid-century. And she began to pet my head and neck, much like she handled the unsuspecting chickens in the chicken coop. My wailing began to subside into little whimpers as she began to carry me down the hill to my house. About half-way, despite the fact that I was clearly still in shock, the tears had stopped, the breathing was nearly normal. She put me on the ground and held my hand as we slowly walked home.
Down the hill were adult conversations and gentle laughter, a little hair tussling. There was some one-handed hugging against the outside of my mother’s thigh. My father laughed but didn’t seem to talk about the dead birds or the blood or the horrific specter of reanimated chickens. Instead he recalled a story about when he and Ron Brown had ridden bicycles down the railroad tracks some fifteen years before. Shortly Mrs. Brown returned to her house and the chickens and Sunday dinner. My mother turned to breakfast. My father walked into the back yard and sat on an old tree stump staring down the train tracks. I stripped off my wet pants, redressed and went to the living room to play with my baby sisters. I didn’t want to leave my house ever again if I could avoid it.
I’ve been trying to argue lately that Joe R. Lansdale is not merely a purveyor of fine fiction. He certainly is that. I believe he is worthy of higher accolades. I compared the scene of a patriarch of a poor family of coal miners in To The Bright and Shining Sun, to the death scene at the end of Grapes of Wrath by John Steinbeck. I believe they stand up to each other very well. Here’s the link to that study if you like. http://stevedmarsh.com/review-burkes-to-the-bright-and-shining-sun/
So, today I thought I’d take a look at two descriptions of like intent and tone with another big prize winner. The first selection is from William Kennedy’s Ironweed, his 1979 novel which ultimately became an excellent 1989 movie with amazing performances by Jack Nicholson, Meryl Streep. (And one of the oddest by Tom Waits). The book was a part of a triptych called the Albany Cycle. It was Ironweed which earned Kennedy the Pulizer Prize. The following is Francis, a profoundly alcoholic bum returning to the only place he ever thought of as home and to his wife whom he has not seen in years. The scene begins inside of Francis’s memory.
From Ironweed by William Kennedy.
And then they kissed.
Not just then, but some hours or maybe even days later, Francis compared that kiss to Katrina’s first, and found them as different as cats and dogs. Remembering them both now as he stood looking at Annie’s mouth with its store teeth, he perceived that a kiss is as expressive of a way of life as is a smile, or a scarred hand. Kisses come up from below, or down from above. They come from the brain sometimes, sometimes from the heart, and sometimes just from the crotch. Kisses that taper off after a while come only from the heart and leave the taste of sweetness. Kisses that come from the brain tend to try to work things out inside other folks’ mouths and don’t hardly register. And kisses from the crotch and the brain put together, with maybe a little bit of heart, like Katrina’s, well they are kisses that can send you right around the bend for your whole life.
But then you get one like that first whizzer on Kibbee’s lumber pile, one that comes out of the brain and the heart and the crotch, and out of the hands on your hair, and out of those breasts that are not all the way blowd up yet, and out of the clutch them arms give you, and out of time itself, which keeps track of how long it can go on without you getting even slightly bored the way you got bored years later with kids and almost anybody but Helen, and out of fingers (Katrina had fingers like that) that run themselves around and over your face and down your neck, and out of the grip you take on her shoulders, especially on them bones that come out of the middle of her back like angel wings, and out of them eyes that keep opening and closing to make sure that this is still going on and still real and not just stuff you dream about and when you know it’s real it’s OK to close ‘em again, and outta that tongue, holy shit, that tongue, you got to ask yourself where she learned that because nobody ever did that that good except Katrina who was married and with a kid and had a right to know, but Annie, goddamn, Annie, where’d you pick that up, or maybe you’ve been gidzeyin’ heavy on this lumber pile regular (No, no, no, I know you never, I always knew you never), and so it is natural with a woman like Annie that the kiss come out of every part of her body and more, out of that mouth with them new teeth Francis is now looking at, with the same lips he remembers and doesn’t want to kiss anymore except in memory (though that could be subject to change), and he sees well beyond the mouth into a primal location in the woman’s being, a location that evokes in him not only the memory of years but decades and even more, the memory of epochs, aeons, so that he is sure that no matter where he might have sat with the woman and felt this way, whether it was in some ancient cave or some bogside shanty, or on a North Albany lumber pile, he and she would both know that there was something in each of them that had to stop being one and become two, that had to swear that for ever after there would never be another (and there never has been, quite), and that there would be allegiance and sovereignty and fidelity and other such tomfool horseshit that people destroy their heads with when what they are saying has nothing to do with time’s forevers but everything to do with the simultaneous recognition of an eternal twain, well sir, then both of them, Francis and Annie, or the Francises and Annies of any age, would both know in that same incident that there was something between them that had to stop being two and become one.
Such was the significance of that kiss.
Francis and Annie married a month and a half later.
Katrina, I will love you forever.
However, something has come up.
Wow! I love that kiss. I might have had one like it once in my life. It might just be me adopting this memory as my own.
But now, consider Joe Lansdale’s comments on the same subject. Bear in mind, Joe adds some difficult social stuff in too. The main male character here is called a lot of names, my favorite being Deadwood Dick¬¬—former slave, former dirt farmer, former Buffalo Soldier, current sharpshooter, bouncer and spittoon emptier. He takes a fancy to a woman named Win. It is implied that Win is of no relation to the woman with whom she is traveling, but it seems to be that she is the daughter of a slave and “the madam’s” dead, slave-owner husband. It is just after the Civil War and the West is still trying to figure racial society. But none of that matters in the following paragraphs.
Paradise Sky by Joe R. Lansdale
I dropped down on the cloth, and when I did she grabbed my head and pulled my face to hers and kissed me. It was for me the finest moment in my life. That kiss was like fire. It lit my lips. It lit my head. It lit my heart. It lit my soul. I was ablaze with passion.
That first loving kiss, the one that comes out of you from the source of your personal river, and the one that comes from her that is the same, there’s never another moment like it; never another flame that burns so hard. It can never be that good again, ever. All manner of goodness can come after, but it’s different. And that’s a good thing, because if we burned that hot for too long, we’d be nothing but ash.
What followed some might think was better than that kiss, us taking off our clothes and all, bringing ourselves together with excitement on that picnic cloth, under that blanket with the weather turning cooler and cooler and there being the smell of pine and oncoming snow in the air, but it wasn’t better than that kiss.
Don’t misunderstand me. It was well worth doing, and if I was making me a list, it would be listed second in goodness and something that works better in repetition, but everything in my life from that point on lay under the mountain of that single kiss, and try as I might, I have never climbed that high again.
You ask me about the drape of a dress,
or if your shoes work with an outfit.
I can answer without looking.
I know it looks fine, great, even wonderful.
Sadly, we both know my sense of fashion
does nothing to augment yours.
It doesn’t matter my protestations,
you still have to FaceTime a daughter.
But when I tell you how good you look
you may not tell me I’m wrong.
You do not see yourself through my eyes.
I have great eyes when it comes to finding beauty.
I see the silver in your hair,
sparkling just on top of the gold.
Shimmering.
I see the blue of your eyes
in sun and shadow
on summer sand dunes
and trying to dig the car out
of deepening snow in the driveway.
I see the grace in the curve of your jaw.
I see your skin, pale and vulnerable
At the base of your neck.
I watch you examine a thing
held hard to the sunlight.
I see the intelligence of your investigation.
Lasers.
I see your butt.
Don’t ever argue with me about the glory of your ass.
I know a thing or two about
Glory.
I see your carriage,
its poise,
Its grace.
I see your smile,
its warmth,
its quickness,
its generosity.
Kindness.
I see your lips when you kiss me,
When you kiss your kids,
When you kiss your grand kids.
I see your youest you.
Your purpose.
Beauty.
Ancestors in my family
(mostly women–the men are heathens)
believed that when the Turkey Vultures
roosted in the trees,
the lower they roosted
the greater chance of a death nearby.
It was not always a person.
Sometimes a pet or a milk cow.
I have been feeling a step or two
closer to death all winter,
but with the return of the Vultures
and the very late hints of an actual Spring,
I have felt Death’s silent retreat.
She understands her eventual victory
and she is satisfied to be patient.
The Buzzards have been working the back roads
now that the snow is gone,
especially in the ditches by the two lanes.
Winter has conspired
to preserve and to age
deer carcasses
and the hairy lumps of raccoons and opossums.
The Raptors survived the snow that lingered
after their arrival
on a predictable fare of flat squirrels.
The Old Ones are patient too.
All day they have wheeled high in the sky.
They constantly survey eight square miles.
They watch and they wait.
They understand their inevitable victory as well.
They come from miles to roost in loose communities.
They wheel in from on high
in tight arcs, left and right.
They depend on smaller currents,
Invisible to us.
A precise and studied aerial ballet,
they spill air from powerful wings,
which if provoked
can break a man’s forearm,
wheel tight through branches.
Again spill wind,
drop the back of the wing to slow speed, spill air,
drop the black curtains of feathers,
to hug the air to breast and
to stop
with no visible support.
To step
off the wind onto the branch
more than halfway to the top of the tree.
Folding wings, they squat motionless,
hunching their shoulders into the last fading rays of the sun,
black, slender lumps on the limbs of leafless trees.
They sleep
and dream Vulture dreams
of warmer days
and bounty.
Dear Grandchild,
(If we share a funny name for each other, put yours here ____________.)
(If we don’t have one, you should be called Farnsworth…
unless your real name is Farnsworth,
in which case you should be called Bingo,
like the dog.)
Time has gotten stretched in my generation.
Everything takes people longer now.
Childhood lasts a very long time.
When I was a child,
I couldn’t wait to be an adult.
Each birthday mattered. Even half-birthdays.
5 meant go to school
8 meant getting homework
10 was DOUBLE DOUBLE DIGITS DIGITS
12 was a dozen
14 meant high school
16 meant drivers license! Freedom! Buy gas! Pay tax!
18 meant adult. Move out. Go live your life.
But here I am writing to you when I’m almost 70
And I don’t know how long we will know each other.
One or some or none of you may not be BORN yet!
If you know me,
I hope I loved you enough and
Just the right way.
If you don’t know me,
Or you can’t remember,
I did love you,
Even if we didn’t say hello face-to-face.
I have held you as much as you needed.
I wanted each of you to need holding
As much as I wanted.
I smelled your baby head.
I can still smell your baby head.
I was there when you ran,
When you swam,
I was there when you scored in soccer.
And when you sang in the play.
I’m still there whenever you do something important.
Baptism? Yup
Wet your pants in school? Uh huh
Hit the ball?
Stopped the shot?
Wanted to ask out that special person?
Picked a puppy at the rescue?
I was there.
When you think of me,
I’m there.
I’m there
Any time you think of me.
In the Before Time
the animals lived in peace
among themselves.
The forest was their home.
But the Sun lived outside the forest
and threatened to turn the forest into desert,
to singe the trees and dry the ponds and rivers.
The Animal Council decided that one of them
must deliver the sun high into the sky,
to hang it there so that all would be safe.
Turtle was selected
because of the armor on her back
and her ability to march all day.
It would be a long trip to the apex of the sky.
In the days before the Two-Legs Turtle had a lovely voice,
one that nearly purred as she thanked the Animal Council
for the opportunity to serve the greater good.
She took the Sun on her back
and sprang immediately to carry it aloft.
But before she could get even a quarter of the way to the heavens
she shrugged off the sun.
Her back was burned deeply.
She fell, screaming all the way down from the sky
and landed hard on all four of her legs.
She tried to run to the river to cool her burns
but her legs were so damaged from the impact
she could barely crawl.
To this day the outside of the turtle’s back is black and melted,
Her legs are mere stumps with claws.
The only voice she has left is a hideous hiss.
The long midnight conversations
of her kind are lost forever.
The frogs pitied her loss of voice.
The fishes swam under her as she rested on a log in still-too-hot sunshine.
But all was not lost.
Opossum was blessed with a great bushy tail in those days.
Her tail was the envy of Fox
and boastful, chattering Squirrel.
She could wrap the sun in her tail
and finish carrying it to the top of the sky.
She embarked, in the dark, the Sun completely shrouded
in her tail. The stars were her only guide
as she set off to the Heavens.
But only half-way there,
the sun began to burn out of her tail and
to spill light and heat throughout the firmament.
Opossum tumbled back to earth,
falling around her burning tail, screaming
until her voice too was gone,
reduced to a vicious, hissing snarl.
Opossum’s tail is a pink, hairless, burned worm to this day.
The Animal Council did not know what to do.
Things were only a little better, but it was Spring.
In Summer, the temperatures would rise.
Surely the forest would not survive.
Of her own volition,
the most regal of all the birds,
the Turkey Vulture, set off to right the world.
Her long, powerful wings lifted her slowly skyward
to where the sun hung half-way between Earth and Sky.
Turkey Vulture was the most beautiful of all birds
in those days.
A great crown of a thousand colored feathers
adorned her head
and a ruff of the same wrapped her neck.
When she reached the sun
she placed her head against the burning orb
and pushed with powerful strokes of her long wings.
She carried the sun to its safest height.
Here the sun could warm the earth
and the waters but the great scar of desert
would grow no larger.
All Turkey Vultures since have lived with
bare scarred skin on their heads and necks
instead of their birthright of the glorious crown of feathers
she had been given by the Mother.
She too, no longer speaks.
An angry, snuffing hiss through her nostrils is the best she can muster.
She still flies with no effort
riding the sun’s thermals and
the uplifts it sets in motion.
She no longer associates with the other animals
or the Animal Council. Some say it is her lost pride.
But the forest abides.