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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.

To My Wife the Witness

I must apologize to the vines this year.
I was much too late in the pruning.
Instead of my cuts coming in the middle of winter,
when cold and ice have anesthetized
their limbs on cordons of frozen steel,
I was in my own darkness,
wrapped in a blanket that hindered action.
I merely bore out the short gray days and
stared impotently into the black nights.
Winter shook me like a dog shakes a snake in summer.

Instead, I come to them in a time
more comfortable for me–
A warming day,
knowing
that the necessary cuts come in Spring–
that  living sap will leak
because of my tardiness,
that I risk the health,
of buds,
of growth,
of flowers,
of fruit,
the wine.

I am sorry.
I will do better now.
Our chemistry is better applied this Spring.

I vow to better protect against living rabbits and deer,
against a thousand kinds of scuttling bugs,
against the single minded mania of birds
and greedy ground squirrels.
The end-of-the-season Autumn battle
will be fierce.

I cannot be certain of next November
or her cruelest shorter sister February,
But I can offer the summer, still with hope.

After Knowing

Before knowing
There is not knowing.
We bumble along
In our ignorance
Like a bee bypassing a flower
And we care not–
Because we know not.

Then suddenly we know.
Ignorance is torn,
Like a worn garment
discarded.

We bumble on
With the new known.

But for some few of us,
There is the new not known.
That which was known
Is known no more.
We no longer know the flower.
The scent is foreign.
Genus and Species slide back
Into unknowing.
This nectar is not known,
And then nectar is not known.

Hard Cider

Sometime between the fall of 1958 and the fall of 1962 I learned the lore of hard cider, at least as it applied to Marsh men going back three generations in my family.

We often drank apple cider in my family when it was in season. I don’t know if it was cheaper than milk or not. I’m pretty sure it was not cheaper than Kool-Aid but despite the tight food budget we stayed on for years, cider was still allowed on the grocery list when it was in season. I speculate that it was a rare indulgence of my father’s that the rest of us got to share in.

In the fall of 1958 our house was small. It was the first house my parents owned. It was just a couple of miles outside of town on a divided highway. Since then, the house and in fact, the whole highway are gone. I can point out the approximate location on a drive by, but I’m never exactly certain. Odd to think of having spent  my formative life there and not know today exactly where it was. But I remember some things with clarity.

We rarely used the front entrance to our house. There was no walkway from the dirt and gravel drive to the front porch. Instead, everyone used the back door. The driveway turned into parking places under two spreading black walnut trees where there was a short walkway my mother installed with used red brick. That led to the back door which was on a little enclosed porch. It was very small with space enough to get out of the weather and close one door behind you before you opened the kitchen door to come inside.

The milk company still delivered milk in those days. We had an aluminum-clad box in there for the milkman’s deliveries. It was insulated to keep the milk from freezing on cold winter mornings. But for about 6 weeks in the fall, that was where Dad kept the sweet apple cider too. He rationed it out slowly. His argument was that too much apple cider would give you the runs. That was probably true, but we never got to learn that life lesson on our own. His direct regulation was why.

The thing about apple cider back then was that there were never any preservatives in it. It contained fresh apple juice and that was all. It was pretty usual for cider to begin to “turn” before Dad’s parsimonious distribution ever came close to emptying the jug. Turning involved naturally existing yeasts beginning to ferment the liquid. Most of the time, that meant a little bit of alcohol in the mix, but sometimes it would be bacteria that fed off the alcohol and generated vinegar. The point was to keep the cider long enough for it to ferment a little but not so long that the “mother of vinegar” developed in the bottom of the jug and converted the hard cider to vinegar.

Dad was the one who most liked hard cider. He told me stories how his grandfather, Gary, my great-grandfather, made applejack from the apples he grew in his own small orchard. I can’t tell you how much truth there was to the story, but the way Dad told it, there were always enough details to make it believable.

Generally, to make apple cider into applejack one added brown sugar and raisins to raise the amount of fermentable sugars in the juice and then to keep oxygen and other bacterial contaminants out of the concoction, you stretched a balloon over the neck of the jug. In the morning, Dad would let the night’s build up of CO2 out of the balloon and when he came home from work in the afternoon, he would remove the balloon, take a couple of healthy swigs from the neck of the jug, declare it “not-quite-ready” and return the balloon to the neck and set it carefully on top of the milk box. The fermentation process needed the heat from the sun coming through the little window on the south side of the entryway and the storm door on the west. This was a crudely effective way to keep a ferment alive for many days.

The historical story also included a part where Dad’s grandfather used to sneak my father sips of the applejack. It was a secret he and grandpa shared. Makes a lot of sense to me now, more than 50 years after he told me the story. So I don’t know if my father liked applejack or if he liked the connection to his grandfather from many years before, but there was always a jug growing a balloon in our entryway in the fall.

There were two issues here. I knew about the “purloined sips,” and I knew the recipe. I want you to know I was never caught in this first part of the surreptitious applejack production. A kid could sneak a sip or two of applejack if his timing was right. My timing was thus: Dad got up to go to work. He released the carbon dioxide from the balloon and left. I, however, did not have to go to school until a while after that. The trick was to be the first one or the last one out to the bus stop. I would come through the breezeway, remove the balloon, tip the jug up on one shoulder, take several pulls off the sweet-bitey liquid. Then replace the liquid I drank with fresh cider from the milk box and Dad was none the wiser. The balloon filled all day while Dad was at work, when he came home he took his turn and recycled.

But eventually, he would complain that the recipe didn’t seem to be working right. He made a big production about explaining how the mixture needed more brown sugar and more raisins. He recharged the jug and I watched. That was the most powerful raw hard cider ever. I wonder how many morning classes I slept through in late autumn.

Here is the way it ended. Once, late in the season, it had gotten very cold overnight. The milk and the cider in the milk box were just fine. They were insulated from the cold, but the applejack maker was sitting on top. It froze, all but a couple of big glugs of rather clear-ish liquid in the neck of the jug. What I didn’t understand back then was that certain liquids have different freezing points. What we had in the jug was about 125 ounces of frozen apple juice, raisins and brown sugar and about three ounces of pure-ish ethanol. It is called freeze distilling and it was a technique employed by ethanol lovers for generations.

But what was a young boy to do without that information? Down the hatch! Replace the balloon and go to school. No, I didn’t get sent home from school. I just cruised through. But when I came home, the apple jack generator was gone. Dad said it had produced all it was going to, that when he sampled it when he got home it had hardly any kick to it at all and that’s when he threw it out. I didn’t tell him anything, but obviously I remembered the family recipe.

When we moved into town, we no longer had an entryway nor an aluminum-clad insulated milk box. The world was getting more modern and we didn’t have a milkman at all. I don’t remember much cider in that house, sweet, hard or otherwise.

I still make cider when I can. I have a small press and three apple trees. I also have a wife who puts up with the sticky mess it always becomes. And two grandsons who have declared Pop Pop’s Cider the best in the world, “even better than the Dexter Mill,” according to Teddy.

I made hard cider a couple of years ago, but it never tastes exactly right. I probably need to add some raisins and brown sugar. And maybe I need some kids around here to help me more often. I promise if that happens I won’t let them drink homemade apple moonshine. But if you hear me complaining about the quality of my apple cider, check Teddy. Smell his breath.

Underwear Goes On First – A Poem-Play in One Scene

Me at the dresser: Socks, underwear, tee shirt
Always put your underwear on first
To keep your butt juice off the bedspread.
Then socks,
Then tee shirt.
You: Why do you have to be so gross?
Me: What? Butt juice?
You: Well, no poem ever contained the image of “butt juice” before.
Me: unique, innovative.
You: Ugly, disgusting.
Me: True.
You: Isn’t there enough ugly in the world? Why fill up your poems with “butt juice?”
Me: Art isn’t always pretty.
You: But “butt juice?” That’s just gross sick factor.
Me: Should I say “anal leakage” instead? Would that calm it down for you?
You: No, why have it in there at all? Why a poem about putting on your underthings? Why that disgusting stuff?
Me. Some things about life are a little disgusting. Some are very disgusting.
You: But art should serve the beautiful.
Me: Yup, that’s why underwear goes on first: serves to preserve the bedspread.
You: I don’t like your art.
Me: Do you put your butt juice on the bedspread?
You: NO!
Me: I think you like my poems just fine.

Evolving Symmetry–A series of Short Poems about Aging

I love smoked meats.
It takes a little extra prep
And slow heat for a long time.
It’s harder than blasting a piece of protein with high flame
Then gnawing through it,
Poking it down with microwaved green beans.
But I have adjusted. Maybe I have more time.
Or I’m willing to spend it more slowly.

Who invented the 2 minute hug?
And how did we muddle through without it?
The old hugs saved us 117 seconds a day,
About 58 minutes a month
Almost twelve hours a year,
But we missed too much.
My heart doesn’t know what it is doing for at least 15 seconds.
It’s all brain and intention at first (and awkwardly self-conscious)
Until I open. It takes more than one try sometimes.

Holding hands in front of the television?
Is anything quite as much of a cliché?
My shows, your shows, our shows.
Your hand, with that active thumbnail,
Wiggling and jiggling on my cuticle?
My fingertip pad, running over the ridges in your fingernail.
The dog practices hand-hold interruptus,
Rubbing the web between your thumb and forefinger,
Making my finger multitask, scratching a dog ear to keep the peace.

There are no instructions for retirement.
So much of my day is spent waiting.
Tamoxifen insists on your daily naps
When we can make them happen.
I spend considerable time waiting to be with you.
And then we play Jeopardy.
We aren’t quite as good as we used to be.

Our inappropriate behavior.
Laughing at our own aphasia.
Ridiculing the loss of the keys, my glasses, a toothbrush.
Calling it “getting lucky” when I catch you naked from the shower.
Talking you down from an insult hurled at you at work.
You telling me to stop watching Fox News.

Carving out a life after all.
No one warned I’d have trouble swinging a hammer
Or climbing ladders.
That your thumb would refuse to open a canning jar,
That I would have to wait for a good day to trim my toenails,
That a good night’s sleep is nine consecutive forty-five minute naps
Interrupted by the urgent need to pee.

The Fibonacci dance.
After these decades
We finally know, a little,
About co-navigating our space and time.
You with me
Me with you
You with yourself
And me with me.
As we play for time,
We are finding the exquisite rhythms.

 

Haiku

The older I get,
The slower each day passes,
But years seem to rush.