When you wake
It is sitting on the edge of your bed,
Waiting to be put on
Like a new suit of clothes.
It is too small.
It chafes at your neck
And pinches at your waist.
It shrink wraps itself
To your joints,
Stiffening your gate,
Chaining your hands and feet,
Wrists and ankles
Knees and elbows.
It has enough electrical charge
To freeze an appendage
And force the involuntary utterances:
Oh,
Ow,
God damn, for example.
It is small like electrons
Racing up neural pathways to the brain,
Always leaving damage in the synovial joints.
It is as wide as the sky
Filled with tumbling lightning,
Rolling and rolling through tangles of nerves.
It travels with you
To the bathroom.
Will your knees get you there in time?
Will your arms reach yourself
In the bath?
Will fingers hold out long enough
To rinse your hair?
To trim your beard?
To hold your toothbrush?
The warm water helps.
Eventually you must negotiate
The cold.
You towel off where you can reach,
Contort into real world clothes.
Begin your day.
But one day you cannot sustain the defenses.
You let it pierce you
And you cry and stamp your feet
Like a six year old
Who keeps wetting the bed
And who wants his mama
To make it stop,
Only Mama is dead
And the pain doesn’t care.
It throbs with your pulse
In bones
And joints
And synovial tissues.
It pierces
Then overfloods.
It seeps out of your bones
And it flies in your hair
And sets your scalp on fire.
Your knees ache
But your shoulder pain is sharp.
Your elbow locks
When raw bones clash
Like broken gears in a broken clock.
Your hip grates,
Grinding something down
That bleeds and erodes.
And you gnash teeth,
Gird loins
and you ignore it
And ignore it
And ignore it.
But eventually you understand:
It is not your pain.
You do not own it;
It owns you.
You are its reason for being.
It is your possessive lover
And it hurts you where no other may touch.
It is intimate
When it electrifies your nerve gardens.
Its fingers pry and dig.
It seeps salty vinegar into open wounds.
So you and your lover
Face your day with new understandings.
It is a jealous lover
And you dread meeting new people
With firm handshakes.
You give up any intimacy with tools.
Hammers may as well be cattle prods.
Rakes and shovels become abstracts
Hanging on your garage wall.
Even books are too heavy for your wrists.
Instead you begin a new study of drugs.
Your days get measured out in pills:
The morning pills, not coffee.
The afternoon pills, not lunch,
Maybe some weed.
The evening pills.
And you offer more changes for your lover:
You drink less
Or you drink more,
Some drink a lot more.
Each day is measured in organ capacity.
Will too many pills kill your kidneys?
Some days you root for liver failure.
You begin to understand the Oxy crisis.
Finally, it is bedtime.
Your lover crawls in with you
Wrapping you up in
Child-sized flannel pajamas
On flannel sheets.
They grip in your crotch,
Pinch in your groin,
Squeeze your chest
And armpits.
Lying still hurts.
Turning over hurts.
No pillow fits your neck.
No quilt lies easy.
You curl, feeling close to Heaven,
Still outside the gates.
You lie there a long time.
Eventually gray light seeps through the window.
You see the figure on the side of the bed.
[87]
Tag Archives: aging
What a Ride: A Proposal
Looks like we might have made it to the finish line.
At least we could walk it from here.
Well, you could. I have some doubts.
And it wasn’t like it was a smooth ride.
Lots of couples hit some bumps in the road,
But we skidded out more than once,
Saw the ditches way too close
When I was driving a while ago,
And I know we caught air this last time.
You were driving.
But I think I can see the route ahead
And now that we know we don’t speak the same language,
But we think we’re heading the same way,
I’ll try to navigate if you’ll do the steering.
Deal?
[44]
Admonition
My elders were very poor teachers,
Or I was a piss-poor student.
So much about aging was left unsaid
Or unheard:
That pain is ugly
But it’s only pain.
That your heart will heal
But it might be a little crooked afterwards.
That the injuries from the Spring of youth
Return in the Winter.
That you can weep when one who cares
moves on—
And still wish them every goodness.
They also didn’t mention that
Mentors grow in age,
That gardens aren’t about vegetables,
That owning a dog isn’t about owning.
And shame on them for not telling
How an old heart can swell,
not just with edema,
But from the full panoramic view of life
As it plays out on the faces of children
And then the Elfin magic of grandchildren.
I’m writing this down today
So no one else forgets to say
Or hear.
[43]
Review: The Last Chairlift
John Irving announced The Last Chairlift would be his final novel before it hit the shelves. (I mean, he’s 80.) After reading it, I think it is fitting. Before I read this novel, I claimed John Irving as my second favorite fiction author (There is no better storyteller than James Lee Burke.) And that my favorite Irving novels, in order, were: 1. Hotel New Hampshire, 2. The World According to Garp, 3. A Prayer for Owen Meany. Each of those novels is a first person, autobiographical novel about the life of a literary man (writers/English teachers) who used to live in New England but who now lives in Toronto and/or Europe, and so is Chairlift. Each of those other stories is a kind of coming of age tale and relate their powerful themes inside that kind of structure. Chairlift does too, except the age Chairlift comes to is 80. I happened to be in my 73rd year as I read it and I appreciated both when his recollection of the history of the last 80 years matched my own and when his fervor of all kinds was familiar inside my own experiences. In other words, that old guy tells a story appreciated by another old guy.
The way this guy uses language is a joy. It is intelligent but not overly erudite. It is full of lofty ideas but not snooty. John Irving’s voice is among the most American in the world. And the treatment of pronouns (and the plot driven necessity to handle pronouns) is delightful. I’d love to insert an example here, but it would be too big a spoiler. If you have ever had an argument with anyone over he/she/they, read this novel.
Now, your homework: You will want a working understanding of another fat tome—Moby-Dick. (Also a first person narrative novel.) If you’ve never read it and you want to hurry through Melville, I have a good cheat where you can get away with reading only 35 chapters and ignore all those “interstitial” chapters. For extra credit, it wouldn’t hurt to have read “Bartleby, the Scrivener.” Also, if you would like to appreciate just how autobiographical this novel is, check out Irving’s Wikipedia page at https://en.wikipedia.org/wiki/John_Irving I promise it will make you happy if you are a word-geek.
Let me tell you a couple of things I didn’t like:
I did not like the appearance of long segments of screenplay inserted into the text. I don’t buy plays of any kind. I hate the artificiality of what feels like “telling me a movie.” Movies are for watching, not reading. Irving tries to justify using the form the first time because, he claims, it is more powerful for its immediateness, being written as it is in present tense. The ceaseless voice-overs become necessary when Irving doesn’t allow himself one of his best tools–his narrative voice. If, as Irving asserts, present tense is the best way to tell a part of the story, why not just tell the reader that and proceed with 1st person, present tense? I would find that irritating too but I’d forgive it quicker than the THREE long screenplay sequences. As an aside, I am sure Irving plans for this to be a big movie and those scenes are already done. They are key scenes too. But I generally prefer novels to movies. I always appreciate novelists more than screenplay writers. PS, It also bothered me–lower case “b”– each time he mentions winning an Oscar for a screenplay.
And I did not like the 888 page length. The first 100 pages become this necessary slog to get all the different characters down without much plot advancement (and Irving novels are 19th Century monuments to plot). But as always with Irving, pay attention to everyone and every event in the beginning because you know they will come back to (ahem) haunt you. And the last 100 pages are necessary to tie up ten thousand loose ends. And, as I said above, THREE movie segments. Forgive me some math. The book is 888 pages. The three segments, Chapters 30, 45 and 49 add up to 228 pages. The list price of this fat tome is $38.00. That means I spent $9.76 on a screenplay. That’s more than the last 25 years!
The novel is a beautiful (if too long) amalgam of those other three stories. We have lesbians who are mute, a big sample of the spectrum of human sexuality, Vietnam, Regan and AIDS, humans of very small stature, death and death, plenty of dark humor, wrestling, teaching in high school and college, lots of talk of writers, between writers, about writing, and best of all, that Irving irreverent political commentary. If you liked Garp, you’ll see something familiar in this writer’s life and his relationship with his mother. If you liked Owen, you will see other little people here. If you liked Hotel you’ll love the haunted hotel in this story.
Oh, did I mention it’s a ghost story?
[32]
Go On (with a nod to Ezra and to Buk)
Go on, little poem;
Go down the hill and get in line
With the others.
There are hundreds of you now
Trying to stand as tall and straight as soldiers
Holding fixed bayonets at the ready.
But most of you are small,
Bent little things,
Like a long rank of twisted teeth
Standing stubbornly in your sockets.
You are barely strong enough to stand
And give testimony
To how someone once lived
And raised you
In all your misshapen fortitude.
But, go on;
Go get in line,
Like old-time farmers
Leaning on long handled hay forks,
Gossiping at market.
You tell them
After I’ve gone.
Show them my crooked scowl,
My bent grin.
Stand, like strikers, holding aloft
Your placards and slogans.
Stand against the bullies and braggarts,
The privileged and the aloof.
Stand in line after I have lain down
And make a good bit of noise.
Bees at the End of Day
When morphine slowed and thickened
my Dad’s voice,
he told anyone who would listen
about the bee colony
in his hospice room.
Back and forth,
they flew.
He said in his dry, dying-man voice,
“I think they are moving
from one place to another.”
Dad, deep in glaucoma,
without his glasses,
high as he ever had been in life,
watched bees
go back and forth
building,
while he was dying.
Two days before his death, Dad,
who was vain about his voice,
who some would say was vainglorious about talking,
who was not a conversationalist so much as
one who didn’t know when to listen,
used the last of his voice
to castigate my sister,
for a mass of imagined insults and disappointments
over a malignant lifetime.
She left in tears and vowed never to return.
Something sacred had broken
and it couldn’t be healed over
or sealed up, at least not in time.
The golden honey of her daughter’s love
had drained out
and was lost upon the ground.
When he finished,
and she had left,
the cancer took his voice.
And still he watched the bees coming and going,
tearing down and building;
he signed to me
to bring my sister back to him
that he might make amends.
I did not know how to trust him either.
Bees make honey
but bees have stingers.
And when they sting, they die.
For two days,
I went back and forth
to bring my sister back to my father’s death bed
And when she consented,
with steel in her voice,
and steel in her backbone,
and steel in her jaw,
I promised I would be with her.
He took her warmth in both of his paper-dry cool hands
And clutched her hand to his thin chest
near his heart.
He looked at her face and moved his rough lips
and though he was no longer taking water,
tears squeezed out of the corners of his eyes
and rolled backward
across his ears
onto the smooth hospice pillowcase.
That night, he moved on–
no more back and forth.
Five years later, my sister thanked me
for being tough with her
and for insisting,
although I don’t remember it
exactly like that.
Eye Blood
had told my therapist
about the chilling images
spontaneously blooming
in my waking brain,
like I’m trying to scare myself,
the image trying to be the whole
jumping-out-of-the-closet gestalt.
I had assumed
gore was intended to draw revulsion–
revulsion bound to all negative.
Until today,
the pictures became more
than the puzzle.
In real life:
blood clot headed for my brain
but gets caught in my eyeball.
I can see it floating.
It is deoxygenated maroon,
shaped like a large ant or
stinging, flying insect.
It is inanimate but
maybe wasn’t always.
There, a string,
a clot,
an antenna? on one end
waving in the liquid currents as it floats.
I can’t know if it is bad that it is in my eye
(and frightening to see,
let alone what that forebodes
for the health of my eye),
or if it is good
my eye filtered it out of my brain
and saved me from the stroke
I might have had today.
October 28, 2019.
It’s Entropy, Baby
This is another old poem, but I found a link on YouTube to an old video I put out years ago. If I were to record it again today, I’d pick a moderately slower tempo. (and my new gravelly voice.) It’s a good poem to put out on one’s 69th birthday.
No matter what you build, it all comes crashing down. No matter what you want, it all goes out of round. No matter how you sing, you make a discordant sound. It’s Entropy, Baby and it’s the law of the land.
It all spills into disarray. It all breaks into pieces. It happened to Sister Teresa. It happened to Jesus. As much as we want to keep breathing, eventually it ceases. It’s Entropy, Baby. And it’s the law of the land. Everybody turns to dust.
The universe is collapsing in upon its point of birth, or else it’s evaporating away from the center. No matter what we do In our little stay on Earth, we end up evicted like A delinquent renter. It’s Entropy, Baby and it’s the law of the land. Everybody turns to dust. And we’re breaking up the band.
Energy flows to where it hasn’t been. No matter how much you have, you always need more again. Feather, fur or fin–you die, you rot, you pay the wages of your sin. Your molecules go out. They don’t even know each other when they meet up again. It’s Entropy, Baby. And it’s the law of the land. Everybody turns to dust. And we’re breaking up the band. On a subatomic level
Everything goes to hell Given enough time. My effort to keep the rhythm raises hell with the rhyme. When I pay attention to the rhyming, the timing falls apart. Everything goes to hell. There’s arrhythmia in my heart. It’s Entropy, Baby. And it’s the law of the land. Everybody turns to dust. And we’re breaking up the band. On a subatomic level they need your parts again.
Sunshine singers say, “Look, it’s bright.” The sun comes up and spreads the light. The rain that falls on the grave in the spring brings grass, and leaves, and there’s life again. But it’s Entropy, Baby. And it’s the law of the land. Everybody turns to dust. And we’re breaking up the band. On a subatomic level They need your parts again. ‘Cause it’s entropy, Baby.
The elements that bring back the new life will erode my gravestone over time And the granite will turn to sand. Even the conquering worm becomes dust motes in the sunshine. And children who play in the sunshine will grow, break their hearts, break their necks and die all alone. It’s Entropy, Baby. And it’s the law of the land. Everybody turns to dust. And we’re breaking up the band. On a subatomic level They need your parts again. ‘Cause it’s entropy, Baby. And it’s the law of the land.
I celebrate the life of my father’s mother’s father: Francis Marion Cox
I can remember
near Memorial Day
of 1955.
My great-grandfather Cox,
(just Grampa to me)
has me seated in the car
up front with him.
I am sitting as tall as I can
in order to see out the windows.
Grampa is driving through the center of town,
three traffic lights then as now.
The first light clicks to red
in front of the courthouse.
Grandpa rolls to a stop next to
a skinny man
wearing an army barracks cap
in the cross walk.
The man, much younger than Grandpa,
nonetheless familiar, says,
“Frank, where’s your Poppy?”
Grandpa always looks pissed off,
Like he’s chewing something tough.
But he pulls two dollars
from his shirt pocket,
hands them to the man in the cap.
“I want two, Melvin.”
He gives me a glance.
He doesn’t smile,
He looks like he got stuck
with some duty
beneath his station.
He lays both paper flowers
on the dash.
He drives one block and turns right,
drives past the Post Office,
makes another right
into the parking lot behind Beech Market.
He stops the old Dodge,
takes a paper poppy
And twists the wire stem
around the middle button on my shirt
He does the same to his own.
I remember he placed his higher,
where he couldn’t really see it
but others could.
The VFW had completely
occupied our downtown.
I didn’t know then
that
the poppy was a protection racket.
It was a cool poppy.
Grampa always smelled of tobacco.
The poppy didn’t smell like anything.
A Child’s Version of On Death and Dying
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.