Tag Archives: literature

Getting the Story Straight

When they get here,
Won’t they be surprised?

There was nothing we could do about Luke.

He told the story he was told,
No better or worse
Than any of those TV evangelists
or any journalist who has drunk the Kool-Aid.
Wouldn’t he be a piece of work in the blogosphere?
Or reporting for Fox News?
Old Rupert would get a kick out of Luke.

Journalists like to think of themselves
As guardians of Truth.

Luke says Satan invaded me.
But how could he know?
He didn’t talk to Satan,
And he certainly didn’t talk to me.
I’m not a primary source in his story.

The Truth, which needed guarding,
was something quite different.

Read the story again;
You’ll see what I’m talking about.
The teacher knows so much in advance.
He knows there’s this local contact guy
with a jar of water
Who knows where the group will eat the Passover.
He knows the house;
He knows the room.

During the meal
He knows he is about to suffer.
He knows the “betrayer” is seated at the table.
He knows about Simon (that ass-kisser)
He knows about Peter (that weakling)
He knows about the swords.

He told them to pray,
But I was there.
We drank wine instead.
And it wasn’t that “new” wine you hear about today.
That’s an invention of Temperance Societies.
They drank wine because the water would kill you.
They passed out.
He told them they needed a sword.
Anybody know what happens when you mix alcohol with weapons?
But he did heal the ear of that guy who got cut.

He gave me the final cue
To do what he told me
When he asked,
“Judas, are you betraying the Son of Man with a kiss?”
It was all set up the week before.

I did what he said to do.
I was just following orders.
I guess that’s how I got here.

But you don’t hear any of that in Luke’s story.
You think he might have omitted that part on purpose?
Family values and all that?
Then why the swords
and the ear
and the blood
and all the whipping
and scourging
and thorns in flesh
and nails hammered through flesh
and spears piercing flesh
and all that blood and gall and vinegar?

Matthew had it a little different.
He was more like the CNN of his time.
He tells it as though the teacher knew it all in advance.
(And he did.)
But he makes it into some kind of supernatural mumbo-jumbo.

Matthew did a little research,
But he didn’t get it all right.
It was only ten pieces of silver.
I asked for thirty
But they negotiated me down.
The price didn’t really matter.
A little revisionist history never hurt the drama of a good story.
And he had a little trouble with point of view.
He talks about how the disciples went with the teacher to the garden
And how they all fell asleep
And then records what the teacher said in his prayer,
Which he couldn’t know if he was asleep.
He was a disciple, wasn’t he?
And if he stayed awake to witness the teacher’s prayer,
Why would the teacher chew him out for falling asleep?
And where was I in this account?
Wasn’t I a disciple?
Wasn’t I asleep with the others?
Doesn’t that give me an alibi?
And he told this same story twice.
Doesn’t that give me two alibis?

But then I kissed the teacher,
Just like he told me to.
And then they arrested him.
And then the ear got cut off.
And then the teacher put it back on.

And after that, where was Peter?
Was he around the campfire in the courtyard, like Luke says?
Or was he inside the priest’s palace with the servants like Matthew says?
Either way, he was certainly the bitterest weeper of the bunch,
that coward.

But how does my story play out?
Did I realize what I had done
and immediately throw the money back at the priests
and go hang myself,
And then the priests bought the potters field, like Matthew said?

Or did I take the money
and buy the potter’s field myself,
then fall down and all my guts gushed out like the prophecy says?
Real estate transactions
certainly were different back then.

I don’t even remember,
It was a pretty long time ago.
But I know this: Luke wasn’t even a disciple.
He wasn’t there.
Just another reporter,
Like Wolf Blitzer
Or Geraldo Rivera.

All I know now is that’s when I exited.
And here I am.
Just waiting.
Somebody’s going to have a lot of explaining to do
On Judgment Day.

Grandpa’s Workbench

Gravestone for Frank Roderick Marsh

My grandfather said,
“Always buy the best tool you can afford,”
and
“Don’t try to get by with a substitute.”

He didn’t own a pair of vice grips.
He told me he couldn’t figure out what they were for.
Anything they could do, he had a better tool.
He had fixed-span wrenches, boxed and open,
he had crescent wrenches in seven sizes,
he had reversible ratchet sockets
and maple handled nut drivers.
He had left handed wrenches,
specialized wrenches bent at precise angles,
wrenches with heads gamboled on universal joints,
and everything duplicated in metric.
He had pliers but I was never to use them on bolts.
Pliers were for compressing spring clips,
twisting wire,
for replacing hose clamps
and breaking dried plugs out of the spout of the glue bottle.
He always used WD-40 as a solvent, never as a lubricant.

His son, my father, was born in 1928,
just in time for the Great Depression,
and those tools had fed Grandpa’s family for six years.
He could no more throw a tool away
than burn a fifty dollar bill.

He had dozens of screwdrivers.
Some had broken or chipped.
Grandpa ground them down,
reincarnated them with a shorter shank
or transmuted them into a scribe or an awl.

Sometimes, on overnights,
after supper,
while Grandma cleaned up the kitchen and washed the dishes,
Grandpa and I would go out to the garage.
On his immaculate workbench,
which must have weighed 800 pounds,
he would show me how to raise a wooden curl as fine as an eyelash
using a spoke shave,
or how to hack out wooden handles with a draw knife.
or how to build drawer slides with a matched pair of hand planes.
or how to sharpen a plane iron on a whetstone and
how to de-burr the edge with a strop .

He showed me how to use my thumbnail as a guide
for the kerf of the crosscut saw,
how to use a bow saw,
a coping saw,
a backsaw.

He looked over my shoulder while his bifocals slid down his nose.
The wire cage of the single bulb lamp shone from behind him.
The smoke from his Pall Mall curled up past an eye, an ear,
into the light and the wire cage.

He never, not once, said, “Wait until you’re older.”

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.

Sit Still

Common frogs mating

 

As light fades
over the pond.
Frog song emerges;
one, then two,
five, then twelve.
Dozens sing.
Hundreds harmonize.
Thousands send an acoustic aura.
The musical swells
rise and fall,
synchronize,
then fall apart.

Each male chants,
“Come. Pick me.
My genes are splendid.”

And the females too,
hasten to frogsong
sung seasonally plumb.

And still,
if she is seized
from behind,
rough, rude thumbs
hooked into armpits,
she sings again:
either, “Yes. Yes,”
or “No, release me.”
Wrong breed?
Wrong species?
Deformed sperm?

Males release, mostly,
if told to.

The sound is not a murmuration.
(I looked it up.)
It is more a susurration,
rising
and falling–
a weak repeating pattern
that screams
into the otherwise
still night–
“Seize me.
Spill seed.”
Afresh, the cycle begins.
Sit still.

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

Not Mrs. Brown.

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.

Cathartes Aura (#9)

Stepped off the thermal

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.

Spring Conversations (#6)

further back in the reeds

 

In the back pond,
while I am burning leaves
and winter-downed limbs,
two Red-wing Blackbirds
chatter “chuck” in the reeds.
I tried to join their conversation
and they went silent–
two black-eyed parts,
invisible in the wider sytax.

In the next door front yard,
the neighbor’s daughter
is standing in early sun with her new beau.
They also chatter.
Their eyes shine for each other.
I did not try to join their conversation,
although I know the language.