Fiction & Poetry

 

 

Gardenia petals and ugly art dolls

Poetry collaborations that combine words, art, and music.

Gardenia petals
Visual poetry featuring the art of Dawn Petty, the poetry of Annette Marie Hyder read by Belinda Subraman, and the music of Ken Clinger. A Vergin’ Production.

 

 

 

Gardenia petals

By Annette Marie Hyder / St. Paul, Minnesota

Every summer morning
Mother picked gardenia flowers
cluttering the ‘fridge
with water-filled jelly jars
boasting bouquets.

Every evening
she plucked them
like exotic chickens
scattered their petals
onto our sheets
cool and creamy soft
against my skin

I fell asleep
crushing her benedictions.

We had no air-conditioning
but we had electric fans
and gardenia petals.

Mother was young and pretty
with a French nose
that she quietly suffered.
I loved the way it said "arrogance"
where she never would.

Some nights
winds would blow the curtains wide.
Hurricane winds we called them
as they rustled the palm fronds
bullied mangoes from our tree.

Those nights
Mother would sing us old French songs
her mother had sung to her
lonely songs
filled with regret.

She sounded so sad
I forgot the wind
trying to make her smile.

That’s when I
hated her big nose, too.
It got in the way
wouldn’t let her smile
climb up into her eyes.

It is summer,
but I live in a colder place.
I have little occasion
to remember electric fans
and goodnight wishes
scattered on sheets.

But when I do
I think of tears
falling like petals
from a flower in the wind.
 

Ugly art dolls
Visual poetry featuring the art of Ugly Shayla, the words of Belinda Subraman, and the music of Ken Clinger and John Lisiecki. A Vergin’ Production.

 

 

 

Vanity

By Belinda Subraman / Ruidoso, New Mexico

Unless we give it up
and embrace our profound
and wavering wisdom
we may find ourselves
mopping our heads with wigs
caking powder on shriveled faces,
lip-sticking not quite on the mouth,
gripping life with shaking hands
in a house of fantasies
with no tolerance for mirrors.

Nurse / writer

By Belinda Subraman / Ruidoso, New Mexico

curious
native
tender as the unwritten page
lost in a book
swollen in a hurricane

holder of healing spirit
eagle feather, turquoise
abalone shell

a long journey
winding down
eyes that open
to the unseen web
the dream catcher
that snags us all

hands that hold the dying
and a pen
 

Whose cries are not music
Visual poetry featuring the art of Robin Urton, the poetry of Linda Bennbinghoff, the music of Ken Clinger, with reading and production by Belinda Subraman.

 

 

 

Whose cries are not music

By Linda Bennbinghoff / Lloyd Harbor, New York

I come down to the dark, torn pond
to hear the geese
whose cries are not music, but
catch in my ears:
the cry of wild things
who can make only one sound
and put into that sound
wing-beat, empty marshes
clouds and their quests
for home.

They have traveled miles
are far from earth
when I hear them
but I think of a child
who has no words
and will cry without stopping
as if everything
must begin in pain.

I can spend my whole life
healing it
but find in the end
that love itself contains pain
though I do not give up feeling it
as today I do not give up
hearing these geese
whose cries are constant
and I pause
as their shrillness softens
and the light fades
and the night comes with silence.

A peek into the creative process: first drafts.

 

 

 

A soul with nothing up its sleeves

Five poems touching upon transcendence and escape.

 

Larry has left his body

Ladies and Gentlemen
Larry has left his body
it was not accidental
and no he did not die
doing it
he’s really not like that.

Truth, he meant to do it
not as some freak of nature
or pretending he is an angel
we know he is not
an angel that is.

No he simply left his body
a memorable liftoff
of an enthusiastic soul
hoisting by spiritual bootstraps
he uplifted himself
said it was better
than poetizing
like some kind
of spontaneous
exteriorization …

Lost magic

Did you see
the look
on her face
when I lifted
the poem out
of her hair
from behind
her ear
just a like
a magician
with lost coins
only this time
it was a poet
with lost magic

Dying without leaving a forwarding address

I seem to have died
and left no forwarding
address. This is inexcusable
none of my pals
know where
to find me.

As we pass from body to body
we need
to alert friends and relatives
where we
will turn up next
and who we just might be.

This should be a service
the post office would delight
in. People are dropping bodies
every day and they would
have a guaranteed income
sort of a next life
forwarding agent
the www.usps nextlife.com/.

We might also demand
a past life depository
a place to store our
worldly goods till
we come of age
once again.

We are holy

As I gaze
upon sacred
visage
it comes
to me
— we are holy
holy women
holy men
holy children.
All.

Why must we
wear saffron
shave our heads
in contrition
wear shabby clothing
or abstain from life
to be considered
pious?

We walk
upon consecrated
ground
in homes
hallowed
enough
for any god.

Rising
above the altar
I see
we are all holy
— never
to be desecrated
only to be bestowed
with beauty
and abundance.

Venture

A sculpture of sand
as souls conspire …

— a spiritual venture

haze removed
not forgotten
destiny forgiven.

Bound to earth
no more
they climb vistas
swing from stars
and ride unicorns
into the sunset.

 

Today, finance and trade bailouts are too often in the headlines

But where is justice for the oppressed and the homeless?

raptorial kangaroo courts
 
the walrus and the ostrich
converse on the way of man
seasonal equinox
a burden to his plan
yesterday’s migrations
lost in confetti news
as schedules are no longer
yours and mine to choose
molted are the costumes
and flightless are the days
when raptorial kangaroo courts
feign interest in the strays
 

hidden tents
 
beyond the superstore
canvas replaces walls
hidden from the cameras
and gone with morning dew
 

 

Landscapes

Three poems.

etchings

the spears of light between ice-
sheared bark cast long bars
of brilliant yellow upon the
snow-hugged earth.

the roots shiver
beneath
the spindle of branches
shudders with scarce leaves
left from autumn

spread of sky against
the pale blue slate of late-morning
tufts of tears unshed

blades of marsh grass
puncture the ice — needles
reaching and bowing to
the wind’s gentle kiss

and the crows settled on
power lines swivel
their heads as one
eyeing the open.

set on the mooring

          easel
                                set sure
 pastels                                   a crane
                and the ocean

     resemblance
                                    motion from
               the tugboat
                   passing.

        a dry spot
                                   darkening w/
   frustration — aggravated rubbing

       again           breathe

   hopeless               flint gone

             cheeks redden
                                in the wind.

grouse

tufts of fog-laden marsh grass
the ebb tide rushes under
sway in the breeze.

birds alight on the dead trees
poking up through the bog
disingenuous and intrigued.

in mouse holes
and large webs,
bunched together brown
remnants of the fall
in the cool spring air.

ripples dilate
on the marsh stream.
crest of the sand banks
shorn flat with the tide —
a miniscule detail out the corner
of the eye disappears into
a thicket — berries hung low
by raindrops.

 

Lean Over: There Is Something I Must Tell You

Best of In The Fray 2009. Four poems by a contemporary American poet.

Undercurrent

Lean over: there is something I must tell you.

To the current there is a hook, an undercurrent of darkness braided with light.

The bustle you are, somber & vivid.

The little receipt which is old fashioned like the tall laced boot of our town.

The name sticker “Margaret N. Cutt” to whom the used book belonged.

Your language, “O dear,” and “quite the town,”

Vivid lipstick out of the forties.

The overwrought city, the muscled imagination.

The bustle in a dress. Free-floating angst in ceiling chandeliers, & the purple sweater I have taken to sleeping in with wool circles like those a child draws on a blackboard, a child of ten:

Filmed

Marcella Goldsmith would understand.

Preparing for the stone city of age, myself I am slowing, never leveling

See in dream

Steps washed over by water,

The thin air of antiquity’s room

I reach for every twig for the nest

The storyteller with leukemia habits our planet still
unlike the poet who grieved his wife’s death it was years before he habited his own skin.

Landscape tonight fades into Federal gray as I turn out lamps on reading

Knowing I can never have you,

Knowing John Donne’s words, “If I dream I have you, I have you,”

Are true & untrue like a bird flying with one wing.

Not bogged down in sateen daughter

Chylde

Sister

But rising

To surge above the plains of rainy Tuesday.

Now will become later         like after the anguish of an infusion

Meantime Lindt Fioretto assorted chocolates

Stand in a round hatbox on my desk

& I start trying chocolate, moka doll hats on

With plumes

The plumes are “chocolat croquant” Caramel & hazelnut
we are two long-legged children in the attic on a dark day

Making lights

Revolve like at the planetarium:

A peacock & his hen:

I am the little drab one

Bringing up the rear

Bustle rustling

Am I the dark one serving the blonde one or are you the dark one serving me?

Roxbury Hall, Mass this would bow me to sateens:

Lady  Robe

I do not often rove but rove now

For whom I leave / for whom I love.

Duvet sale

A four season 550 loft power goosedown

Blowout                        Price-Slasher

“Sweet Dreams”

Dare I imagine us under it? How do I write? I open a vein.

Ink barely dry on the death certificate

Sharp as a tack if I’d sat on you in life I’d have bled:

This way it’s an uproar, an otherworldly bed:

Dream up a pillow fight, Paul Bunyan daughter

Feathers aglow an albino snow blown in a fan: I’m yours. You’re down:

Four posts, gold maple bedsteads:

Cold polishes lenses & silver pen nib

From swan.

No swan, tall woman, yet egret feathers would look good upon

A hat you wore tearing at drabness like a lion with roar:

Cape

Flung over shoulder with that bravado of a very large woman.

Just a touch of mascara

Diminishing such mirth would be

Like cutting off the hands with a blowtorch.

That touch

Is over the top

Too little

& too much

The way Sappho’s odes

Were unbearable

Yet not enough.

My shower restores me

Between bouts of loneliness

(Which strike now I am laid off work with a broken ankle)

Its colours sepia, silver salts, gelatins like an old photograph turned liquid

But its script is virginity: non stop

Vocal chords closing down.

Only two globes back

(Two “Globe & Mails” that is)

I received accolades:

Now, although I trace the alphabet faithfully with my wounded foot as the doctor tells me to, there is no full telling this thing, this loss.

Now in this gray convening

I pleaded with the covenanters

To move be in a New York moment

So I can be held with the wild language again.

The Lord of Diminuendo

Has come

Those small footsteps

Insistent

As the rain

Colours sweet

But so saturated

With the approach of spring

Like Leonardo’s Adam & God almost touching hands.

 

Aliens

“On with you, go on, go on,” he said.

Usually when one leaves a city for another, sheds a life and a skin for another, one turns one’s attention to what one must take along, rather than understanding what one must not leave behind. Father and I came to this city quietly, naked to the bone, to the recesses of our souls, though we didn’t know it. The aircraft that carried us landed lightly upon a long dark runway, and stopped. We were empty, vessels within a vessel. As we disembarked, set our feet firmly upon the dusty soil of this city, I remember thinking: This city is strange. I don’t belong here. I was seven at the time, and, without a doubt, was given to reason with that characteristically complex though effortless ease — the city was unfamiliar, strange, and I thought each step of mine an intrusion.

I now believe there were several reasons I felt the way I did. New Delhi summers are hot, and we arrived in the middle of June from wherever it was that we came. I was a child of winter, and in nail-biting cold, felt alive. I loved to resist winter’s icy offensive, its assault upon my being. I’d fight the cold because I could and because it made me feel brave, understood, even relevant. But now, the summer wind that accosted us as we hurried away from the craft was this strange city’s restraint, its displeasure; the harsh gust expected resignation, not a fight. New Delhi didn’t want us. We were flayed, the sun glared contemptuously and cracked open giant eggs of sweat upon our heads. I felt unwelcome, wanted to return to the craft, but Father gently pushed me into the departure terminal, mopping his forehead with a small, insufficient handkerchief. “On with you,” he said, “Go on, go on.”

On we went, till we stood before a conveyor belt that slowly whirred past while a bunch of us stood in a huddle, waiting. Father, too, at the time, contributed to my (our) situation. “On with you,” he’d said, while he reeked of that alcohol that so reminded me of wherever it was from which we came. Every inch of his body, more correctly his being, seemed to be absent, left behind at the place which was the very source of us. Our presence at that airport seemed to be so steeped in absence that we must’ve been invisible — someone lunged for their luggage, and I was thrown aside. Father didn’t notice.

“Why do people rush? It’s not like the luggage is going anywhere,” I said, mildly bruised.

Father continued to stare at the belt, through the belt, at something distinct and imperceptible. I repeated myself, and he finally looked at me, through me, and spoke.
“One place to the next, that’s the way it is.”

As the wait prolonged (there was a problem with one of the luggage transportation carts), I thought Father might turn into stone. He stood so very, very still, his glance unwavering, like a statue erected in fond memory of himself — my father who once was, and now, strangely, wasn’t.

I gave in, as I often did, to reminiscing. I felt there was a library where memories went and were classified, and when one summoned, an appropriate one was sent along. Perhaps a stern librarian sat behind some giant wooden desk trembling beneath piles of memory retrieval applications. As luck would have it, that particular day, standing by the conveyor belt, I was not fortunate (the librarian must’ve been overworked). In a jolt, a flash, I was back where I came from, back on the streets of a lost city that was cold and lightless, my home. I was walking back from school, whistling to myself as it were, and upon turning a corner found myself surrounded by a horde of hooligans.

“Take off your clothes,” one of them said. He was large and filthy, looked singularly mad.

“Why?” I asked. “It is cold.”

“We’re feeling cold too,” he sang, and smiling, punched me in the face. I fell to the ground; my nose broke upon the pavement. A narrow stream of blood found its way down my face, and soon, a patch of ice on the street turned a pinkish red. No one moved for a few moments. It was as if we were all waiting to measure how much I’d bleed, how much blood, how much warmth, I had in me to lose.

Then I rose. “All right,” I said, removing my cap. As I peeled off my clothes, the hooligans claimed them and scattered, shouting, hooting, even whistling the tune I’d been whistling a few moments past.

I sat down on the bloody ice. I was naked and much too cold to move. Too cold even to cry.

The memory passed, and I found I was breathing harder. I turned my attention, once again, to the conveyor belt as it whirred and chugged on by. I hadn’t cried since that day, as though the cold of that nightmarish nakedness had then and for all time thereafter frozen the pools from where tears drop. Had my blood been turned to ice?

“I like the cold,” I told Father. “Delhi is too hot.”

He looked at me (through me) once again.

“Don’t worry, beta,” he said. “Delhi has its winter months too, around four in a year.”

I looked away. Maybe adults didn’t understand anything. No, they didn’t. Who was to decide who understood what? I was troubled by this question, confused, afraid to attempt to understand anything for I might misunderstand. That day was instilled in me a fear of comprehension.

“You’re seven,” said Father, when I spoke to him of this fear.

Our luggage arrived and we lunged for it with controlled hurry.

Soon we were in a cab (a black and yellow taxi), speeding away from the airport. Father sat beside me in the backseat, and stared out of the window as the city underwent an unending metamorphosis occasioned by our passage. I took to appraising him and I am now thankful for that decision — the vision of my father that day as he sat and surveyed this city is the memory of him I carry most distinctly, most clearly, even today. His shoulders were hunched, his handsome face only just beginning to show the signs of weariness. His large brown eyes were concealed behind thick, horn-rimmed spectacles, and his wide intelligent wrinkled forehead was lined with sweat. It was as if he was a glacier, beginning to melt, just then — a slow meltdown of age and heat and disorientation, and with each successive kilometer of our descent into this new world, he seemed to bite his lip harder, though he was never going to cry. Past him, I saw through the window odd bungalows and multiplexes and dust rising in spirals upon hordes of people. At red lights, beggars came and beat their fists, clanged their bangles, blessed and cursed us.

“Where are we going?” I asked him, desperate for some distinct emotion, as the biting of the lip I didn’t understand.

“To our new home.”

“Is it big?” Our earlier apartment had been big. It had grown bigger once my mother died.

“It’s big enough, yes.”

Settling in was not difficult — we barely had any luggage. It was true that the apartment was big enough, but it would be truer to say that our existences were unquestionably small, compact. The apartment was on the second floor of someone’s home, and had a bedroom with an attached bathroom, plus a drawing-dining-kitchen and no balcony. It took us about an hour to empty our suitcases.

Then, we slept, and in that sleeping waking dream, three years passed: I found myself enrolled at a school and found that I had friends. I saw myself smiling when I looked at my reflection, and soon, I began to find that summer was an added joy, and so was monsoon, so was spring, so was autumn. Soon I forgot that I ever was born in another city, that I ever had a mother. I forgot what she looked like, whether she smoked and drank the same alcohol as Father, whether she smelled nice. I found that I had cousins and aunts and uncles here, I felt as though I’d always lived here. I was wrapped and swept away in a tide of wanting to belong and then actually belonging and I unearthed, in some illusory, childish sense, a sort of happiness. All this while, Father walked beside me, behind me, in front of me, always a shadow that stretched around me, now grew, now collapsed toward me. When the thought of his loneliness hit home, I stopped to look at him. He was still the man he was in the black and yellow taxi, but further away from me, veiled in a darkness that was perhaps my happiness. But then I thought: Can one ever shed light upon a shadow?

The day after my 10th birthday, he moved me into my aunt’s home, and then disappeared.

I never saw him again.

Till this day, more than a few decades after the events I have just described, people speak to me of desertion, abandonment — a big word, an unforgivable act. I am asked: “Did you feel abandoned at the time?” I tire of telling people that it doesn’t matter what I felt at the time, for my feeling at the time cannot qualify his act — he left when I was 10. The act was neither wrong nor right, couldn’t be either. It was a fact — he left when I was 10, when I grew comfortable in my own shoes, when I forged a bond with this city. He did what he thought was best, and the act was neither right nor wrong. He couldn’t have known whether it would be either, because a man, at the end of what he supposes is his life, at the time of crisis, if he is moral, does what he thinks is best.

I like to think he didn’t abandon me, but abandoned instead a memory of another land, another time, which instead was his imprisonment — the memory of his wife, my mother, our home. I like to think he abandoned his imprisonment.

I like to think he returned to the part of his self that he left behind. I like to think he returned to that memory, to live in it as if it were not yet a memory but the actual content, the substance of his reminiscing. I like to think he now lives once again in the lost city that we so hurriedly left, no longer a prisoner of its memory, but a free man; he is at the beginning of something, thinking of me (as I am of him at the moment), snuggled in a blanket, warm in the cold, his glasses patient upon the bridge of his nose, his eyes alert, his hair grey, and his forehead less creased.

He’s reading a newspaper.

He’s home.

 

Beakman

Cold outside and crammed inside as lessons commence on the el-train.

He stands near me, a tiny man in a puffy blue winter coat and a red woolen cap pulled down over his ears. I’ve seen him on the el before, but usually from farther away. I’ve seen him trying to start up conversations with people. But rarely does anyone engage beyond a forced smile, or a bothered exhale. I’ve never been close enough to hear him speak, so I’ve always assumed he’s asking nonsense questions or making inappropriate remarks. No one talks to him.

But today he is close by, leaning over the woman crammed into the seat next to me. She is stuffed into a too-tight linen suit and at 7:30 in the morning, it is already wrinkled. He stands over her as she turns the pages of her RedEye and bumps my arm with every turn. I have my cell phone out and I’m trying to check my email and I want to say something, like, “This is my dance space, and that is your dance space.” But I don’t. Instead I let out sighs of annoyance.

 

(Ruibo Qian) 

 

The little man leans over her and I can see now by his eyes that he is special, likely having Down Syndrome. He tilts toward her, trying to read her newspaper, trying to keep up with her as she folds each page over, even crouching to follow along. I am anxious for him, feeling that protective impulse, worrying that this woman will either be rude and shake the paper in his face, or fold it abruptly, stuff it in her lap, and sigh with annoyance (like my sighs of annoyance). But she is completely unaware.

A seat opens up at Belmont, a single facing me. I’m in one of the seats saved for the elderly or handicapped. I’m neither, but I really wanted to sit, so I did that “el-train-door-dance,” aligning myself as the train pulled into the station and scurrying to the seat. I plopped down and quickly pulled out my cell phone to keep from making eye contact with any elderly or handicapped person that might have followed me onto the train.

At Belmont, when the seat opens up and the little man takes it, I feel him turn toward me.

“Hullo,” he says.

I know right then I have the choice to either say something in return or keep my eyes on my cell phone. I could easily pretend to not hear him, could even bring the phone to my ear and fake a call. For some reason, I just look up. Maybe it’s because I self-righteously want to show the woman next to me how unreachable she is in her urban anonymity. Maybe I want to show all the other passengers cocooned in their morning commute how we should all be more charitable. Or maybe I just feel guilty about sitting in what probably should be this man’s seat. Whatever the reason, I say, “Hello.”

He speaks with a stutter and talks as if he’s got cotton inside his cheeks. But I can decipher his words and I’m surprised that I can make out his meaning. Likely on a different day, in a different mood, or forced to stand on the train, his words would have been unfathomable gabble.

“Are you having a good day?” he asks. I actually consider the question instead of giving some auto-reply.

“Sure. Yes. I am having a good day,” I say.

“Me too,” he says and smiles slightly. He doesn’t keep eye contact, just quick glances my way, like a bird that’s pecking in the grass but keeps lifting his head to see if any other birds are approaching.

“How old are you?” he asks.

I resist answering. I don’t want to tell him, don’t want to divide us into different decades, so I ask back, “How old do you think I am?”

He says, “Twenty?”

I shake my head no.

“Twenty-one?”

I shake my head no again.

“Twenty-two? Twenty-three?”

We get to thirty before I realize he will keep on going, just adding one, unless I cut in. So I save myself seven questions and say, “Nope, I’m thirty-seven. How old are you?”

“Fifty-five.”

I say, “Fifty-five?”

And he says, “Yep. Fifty-five. April 7.”

And I say, “April 7?” I find I repeat most things back to him to make sure I’m hearing him right.

“Yep. April 7,” he stutters, “That’s my birthday. April 7.” Each stutter flutters his eyelids. I wonder, if he could control his blinking, could his stutter subside?

Next we talk about the weather.

“It’s cold in New York,” he says. “And it’s cold here.”

I say, “Yep, it’s winter, but it’ll be hot here again soon.”

He chuckles and says, “Hot. Bare arms. But it’s cold now.” 

“Yep,” I say.

He tells me Miami is hot, 90 degrees in Miami, and asks my age again.

“You asked me that, remember? I’m thirty-seven.”

He cuts me off, “Do you have a dollar?”

I say I don’t, and for once it’s true. I figure this is his real question and actually feel a little hurt, but he continues.

“I’m the baby.” He holds up one long thin finger. It’s surprising, someone so small having such long fingers.

“You’re the baby?” I repeat back.

“Yes. Youngest. Baby.”

I say, “I’m the baby too. I’m the youngest of five.” 

He is an uncle, he tells me many times. “I love my nieces. I love my nieces. They live in New York. Is it cold in New York?”

“Yes, I think so,” I say. “I have friends in New York …” He cuts me off again, this time to remind me that it’s cold in New York but hot in Florida.

“Yeah, like 90 degrees?” I say. And he smiles. We sit and smile at each other.

“How old are you? Are you married?” he launches in again.

“Yes. Thirty-seven. I’m thirty-seven and I’m married,” I say.

“I have a girlfriend.”

“You have a girlfriend?”

“She asked me first. We’re going to get married.”

“Congratulations,” I say. “When?”

“On my birthday. April 7. Yep, she asked me first. I love my girlfriend.”

“Where are you going to get married?”

“At my house.”

He goes on to name all of the people who will be there — or maybe he’s naming all the people who live with him, I can’t tell. When he gets to his parents he says, “My parents died.” And when I repeat it back to him, he closes his eyes and drops his head. I wait, unsure. And then he looks up and says, with full eyes brimming, “I’m crying.” Before I can think of how to respond he asks again, “How old are you?”

“Thirty-seven. And you’re fifty-five. You’ll be fifty-six on April 7 when you get married.”

He smiles and asks, “Do you like me?”

When I say yes, he reaches out and touches my arm, squeezes it. I irrationally imagine he wants to feel my muscles (maybe I just want him to feel my muscles), so I say, “You feeling my muscle?” flexing a bicep and letting him clasp it with his long fingers.

“Pretty good?” I ask. “Strong?”

And he smiles and says, “I love my girlfriend.” He thinks I’m flirting with him.

“Beakman.”

“Beakman?” I repeat.

“My last name.”

“Will your girlfriend take your last name?”

He laughs at what a silly thing I’ve said. “Of course!” But then he sits up straight, startled. When he stands up quickly I ask if this is his stop and he says, “No. Next one. One more.” But he doesn’t sit down.

“Oh, okay,” I say. “Nice to meet you.”

He scurries around the standing passengers. As he moves away I see just how little he is, my size, almost. He pulls gloves from his coat pocket and I see they are yellow and black striped. His bumblebee hands look warm, warm enough for winter, wherever.

I presume he has already forgotten me, but just as the train is slowing into the next station, he looks back at me.

“You like me?”

I say, “Yes, I do.”

The train doors open and he smiles one last time and says to me, “Well, good for you!”

It dawns on me then that I’ve been the charity case this morning, receiving a little of his time and attention. Beakman saw me, deciphered my story, and brought me out of my self-induced commuter’s coma.

I smile and laugh at myself.

Yes, Beakman. Good for me.

 

The luster of pearl and pico rat traps

Five poems exploring themes of imprisonment.

Luster of pearl

the bamboo mirage in the gravel garden
faints dead away

at the howls in the dining room
springing up at the fairway moon

Observation pit

and the western horse shall lie down with the ground sloth
and the dire wolf
the western camel
the mastodon
all for a space of thirty millennia
the saber-toothed cat
the ancient bison
and their bones be roofed charmingly
while the decades of fashion go right by
one after another
and the ground shake
and the precipice of history
at the Los Angeles County Museum of Art
 
a figure of Orpheus left outside in the back where smokers go
and the Burgher with the key
and the other backward-looking with despair
and Eve
The Shade
all wrapped in plastic on pallets
Bourdelle’s archer
Balzac

Pico

in the city
no longer a city
college
across the street
an agreeable old motel
blue as the Pacific Ocean
now a rat trap

marron glacé

he talks about the weather
of this crisis and that

a nincompoop
a poltroon
they say

but he strikes back
outlawing the light bulb

Wilshire Boulevard

we had to sit right in the by
your leave temple while the sit
right there leave nothing behind
temple went down and then we said
all of us we said to ourselves
they can’t we think again

but ourselves think little and that
with a certain sort of greed
that came of plastics and regurgitated music
so they said and took it up
the proverbial flagpole and sang the pledge of allegiance to it

all night long we hear the singing
night that is violet with stars and planes
and the golden sunrise you see
in California Impressionists

 

The goblins’ drum

Write your secrets, they said.

I had a nightmare as a child, where goblins marched through the snow in step to the slow, steady rhythm of their drum, and the line of them extended way up into the mountains. Now, when I put my ear to the pillow, I can hear the sound again, and I remember them coming through the walls to get me.  

A large, slow-moving river runs through the center of my new life. I am a scholar now, not a soldier, and if successful, my achievements will be noted here and there in obscure academic circles. Dead leaves float in clusters along the banks of the river, just below the surface of the water, and a cold wind blows waves that lap the stones along its shore, and the dead leaves bob with the waves. This was where, months earlier, we met, and she refused to speak to me after I told her I’d been in uniform. She said she wished I hadn’t told her. I said I was thinking the same thing.

She’d been embarrassed, I think, by her anger during our introduction, and after months of polite smiles and quick hellos, she apologized. I told her she didn’t have to. She apologized again and said she hoped I didn’t hate her. I told her I didn’t, and when she said she didn’t believe me, I asked her to dinner. “If I behave strangely,” I told her, “it is only because I’m nervous around beautiful women.” I was glad to have been over there, I said, because I tried to be noble, and someone else might not have even tried. She asked if I had any photographs. Looking at smiling soldiers posing with guns, she said she’d seen enough before we were through with them. She would not look at me just then.

I think it is good to believe in things, meaning, to not believe in nothing, since already there is so little worth fighting for.

 

 

I come to my empty apartment wearing a sweater and the warm scarf she knotted around my neck the night before her return to Gaza. Two tea bags rest on my journal as a reminder to write about her. Being a humble woman, she didn’t throw them out after boiling them in water for us. They are dry in my fingers and smell of mint. The tea leaves crumble in the bags. She asked me if I’d ever been hungry and I told her how much weight I lost in training once. She was glad. I told her life is extremely short and she told me we are from different worlds. When she removed her scarf and wrapped it around me, I told her to keep it, because she wasn’t used to cold weather. Already, it was a harsh, dry cold that grabs your fingers and ears as soon as you step outside. She told me that she has hot blood and didn’t need it. I said I believed her.

I had felt happy to be alive again, taking refuge with her from the isolation of winter. Her bones seemed as thin and frail as a bird’s. I’d find her at the bar and sit beyond her circle of visiting artists. She could look so casual, glowing with heat, cigarette and wine, her curls in disarray, the burden of her compassion for this world hidden in the way she looked people in the eye and judged them for kindness. Few, it seemed, looked back.

She gawked when I showed her my home, said not even a good woman could save my children from extravagance. (I’d never considered myself this way.) She asked how to use the stove. I told her I didn’t want her to leave, that she should find a way to stay at the university, to extend her visa. She told me how confused she felt. I told her she is still young. She talked about her family. “You must love them,” I said. She told me I’m a good person, and I said she doesn’t know me very well. She said she wanted to see the inside of a prison, and I told her she is still young and shouldn’t be rash. We never had enough time to finish understanding one another. I told her about the paintings on my walls — about the one of the house blending into the pale mountains behind it, the home of my grandparents and place of my childhood.

That was where I knew all the stones for a half mile up and down the mountain stream and had given them all names, where hemlock needles would spin through the curls of fast-moving water, and, in places where the stream was still, one could crawl to the edge of a boulder, peer over it, and if the sun didn’t cast your shadow over the water, faces of minnows would appear below the surface.

At night, in the mountains, the goblins came at me but couldn’t get through the walls, so they would bend them, and objects from across my room would suddenly be right on me. They would whisper to me and then jump back to the other side again, and the walls would bend, and my grandmother would squeeze me against her and tell me everything is okay, that there is no drumbeat inside of my pillow, that it is only the beat of my own heart. My grandmother would sing Ukrainian lullabies and I could feel the goblins scratching themselves inside of my skin.

We cooked dinner and she asked me to play my music. She asked if I had any music from my family’s old country. I didn’t realize how much this meant to me. I told her they were singing about freedom and she told me that I must be very proud. I was. Many of hers, she said, are ashamed. Different worlds aside, I asked her to marry me. She agreed. If we are both single a decade from now, we will find each other and marry. “And living,” she added. I asked if she’d like to live in the mountains, and she told me it’d be up to me. I told her I’d try to remain unsuccessful so our children can grow up humble. I wished her great happiness and she told me to wish her great courage instead.  

They came through the walls again and marched back and forth in my room. Back and forth, seeing nothing with their blank fish-eyes, and they marched on their feathered legs and feet that look like human hands, their horns carving furrows in the plaster of my ceiling, and I could see their severed limbs.

When I was a child, I was told to write because it was healthy. They said write that you don’t know what to write, because it’s healthy for you to have an outlet, because you have no sibling to talk to, few friends. But the dreams persisted. I learned to slip outside at night to take walks, and I’d wait for the dawn before sneaking back to my bed. 

Write your secrets, they said. The woods across the stream were dark. The trees were older there and rooted in the seep bank. Some bowed so far toward the water, the tops of them touched the surface. The only way to cross came in the autumn, when the water was lower, and even then, one had to be an expert of the rocks. One had to know which way to hop so as not to strand oneself, or to unexpectedly step on a rock widely known among experts for its wobble. This knowledge was my secret. At night, the noise of the stream pushed away the drum.

I told her about the ringing in both my ears — something I’m learning to live with — and how I missed the sound of quiet. She lay with her ear to my chest and told me my heart sounded strong. She asked if they could still call me, if I’d go back, if I’d refuse.

My new is life is so easy, I feel guilty. I told her I would go. Of course I would go. Duty, I said. “Don’t,” she replied, “because we will kill you.” We. I told her I believed her. Her body was thin as a match stick. She said we had too much to say to one another before she had to return home, and I told her to write it all down.

When I told her she must be tired from carrying such heavy things all the time, she startled like she’d been doused with water, and touched me for the first time — the promise of something worthwhile, permanent. I asked her to put the heavy things down for a little while and sit on the swings with me. We’d gone for a walk. The stars were out. I told her I didn’t believe in God. She told me how confused she was. I told her I could spend all night telling her stories about the house and the mountains, and she told me she’d listen.

In the summer, I could skip one of every five stones off the surface of the stream and have it bounce onto the opposite bank. Scouts. In the autumn, I would gather the ones that made it and return them to the water.

One of the goblins stopped his march, looked straight at me with the jelly eye of a fish. I felt him crawling and twisting underneath my skin, his bones clattering against my own. I don’t know why they hate me.

“I like drinking and sex,” she’d told me, “but when I think about my father, I am ashamed.”

I’m alone now with my paintings and my heart, and I fear the truth will make me a very lonely person. At some point I became aware that the puzzle of the Earth did not quite fit together, and the goblins’ drum comes to sound like the question “why” hammering in my temples. I want to stop thinking, and yet: Why! Why! Why! Why! Why! The frail patches of logic I construct over the fault of the Earth collapse the instant they are created, and I fear the pressure is building somewhere deep, somewhere beneath the surface of the ocean, unseen, unheard, building slowly in the darkness. A pressure in the depths that may yet come roaring out from the darkness and toss the ocean in a wild and unpredictable direction.

At night, I’d pull sneakers over my bare feet and find peace in the chilly air, electric with the chants of unseen creatures. The road between my grandparents’ house and the near bank of the river looked like a striped serpent heavy in its slumber. A few paces off the asphalt, everything was dark. I would stand in the dewy brush, listening to the night, my eyes groping the darkness. Slowly, black and blacker things distinguished themselves in the shadows, and I’d feel for the path under my feet and follow it toward the gurgling stream, where stones shone white with moonlight and the water raced eternally between them. I’d watch the far bank, and the goblins’ drum would seem very far away.

“I’ll see you in 10 years,” she told me. Insha Allah.

I fell into the stream once as a child, when summer was still in bloom and I, too anxious to wait for the fall, attempted to reach the dark woods. I burst back up through the surface, sucking the sweet air, my sweater heavy with water, pulling me down, the sound of falling water all around me, skin bristling with cold, and my eyes flooding with the moon shadows of leaves on the water, and the dark woods alive in the starry night. I wanted the moment to last forever, like a painting. It was then I decided to follow the sound of the drum.

When I wrote, telling her they were calling me back, and that I would be going, she said good-bye.

 

Disinformation revealed

But will truth triumph in the end?

the efficaciousness of the media
a modern day ballyhoo
preaches prevarication
to a congregation
of fictile sheep
 
this semantics of salesmanship
is newspeak defined
advocacy masked
rumor paints a scapegoat
with the brush of psychological warfare
 
october’s tricks
seek to dupe november
with messianic promise
as a distressed populace 
pray for a miracle
 
a facade that deludes
wears yet the domino of pretext
cloaked in political mythology
pernicious propaganda prevails
disinformation wins out
 
or will it …

 

Songs of change

Five poems.

My Light
 
Could I take your hand?
In my mind the skin feels
               uh
too close

walk with me
there’s this fence
one two three …
five strand wire
and sheep

amidst the sunlit grass
blade by blade step through
step      
how the hillside climbs
away in rolls and slides
tracks and shelves
where the sheep trail
little feet climb

from the top
where the Maori cemetery
hushes your mouth       gaze
out to the glass horizon
where the whales boom

I want to show you
                        the sea wall,
the tiny huts two beds bunks
outside dunny

and the wood pigeon
carrying the sound of five hundred
journeys in each wingbeat
downstroke
fat with plums

show you the cut cross
clean above the salt bones of driftwood
sparking up the dark

take my hand
I’ll try not to mind
how close you are

see the morning rise?
This is mine.

Separation
 
As I was cleaning my bathroom,
I found a place beneath the doorframe
where two edges of vinyl touched.

I’ve cleaned this floor many times
and never noticed that line before.

Funny, so often we don’t see
how completely two have joined
until they come asunder.
 
 
Night Dust
 
As I walk the glistening halls of night
my bones sing of calcification.
Fluid thrums from the caverns
beneath my teeth.

Poker machines lolly-gagging tunes
play in the spaces my throat
tries to swallow.

This is a new kind of dark,
where one day melts into another
in a way you just can’t be bothered with.

Moonsong
 
Flowers are embroidered in glittering beads
along the curves of my thighs.

You’ve heard my voice chime
deep silver along the horizon
as I rise
but you don’t remember.

I have many names,
Crow and Sickle, Arctic, Wolf,
Barley and Blood, as I shift
in shade and shape.

I cup light in my palms for you to bathe,
but you must come to me unclothed,
stripped of all pretensions.
I care nothing for the weight you bear.

Rest, for you have not known rest.
Divest yourself of clutter
and concealment. You are
a manifestation of love,

and I am a crone born from fires of stone
and cooled to airless ice. I hold
the traction of tides and seasons.

Time upon time I have died and renewed.
If I wash you clean in the bowl
of my lap and chant my names,
might you remember me?

Southern Alps at Midnight
 
The soldier on maneuvers
stands in the howling dark,
on rock crystallized to white.
 
The night strips away camouflage,
opens his ribs and creeps around lungs,
to germinate a small seed,
the dream that is his life,
whenever he thinks of home.

 

The Jaunt

Best of In The Fray 2008. Life, love, and death — destinations unknown.

I dreamt of death smiling down upon me.

It is still dark when I open my eyes, and there is not a hint of dawn. There is not a hint of soft morning clamor. Not a chirrup. Not a rustle of leaves. Not a sense of place. Not a sense of time. Not a sense of life. Not a sense of anything that is anything.

There is a murmur. It is Theo, talking to his dreams of other places, other times, and other things. I become aware that I lie next to him. I seem to fall within my head. I feel the bed I lay on, the floor upon which lies the bed, the walls between which spreads the floor, the roof, the house entire, the earth, and the darkened sky. I know where I am at this very moment. Here, upon my bed, beside Theo, awake before dawn. There’s a soft chirrup, a rustle of leaves. Knowledge that dawn shall soon follow. Perhaps it is time, I say to myself, my insides beginning to curl with apprehension.

We leave home empty-handed. Bare and unburdened. Suddenly, on a whim, we leave because we think that it is time we do, though we may be entirely wrong. Theo sees I am not averse to the idea of venturing outside (at least, I am less rebellious than usual), and he does not wish to miss the opportunity, to overlook my lack of tenacity. We leave behind the home I have known for so long, known in exclusion to everything else.

There is grass everywhere, tall grass that surrounds our home from all sides and seems to extend all the way till the end of things, ends vertical and horizontal. I know the sun is somewhere up above, patient and mild, but I cannot see it. The grass hides everything.
Is this all there is to the illustrious outside — tall grass?

I follow Theo as he makes our way through it. You haven’t seen what lies beyond, he said this morning. You don’t know what it is like, yet you’re afraid. I acquiesced. I had known at dawn that I would. I plunged.

I hold his hand because the grass is tall, and I’m afraid of losing myself. And what could be more absurd, more foolish than losing oneself amidst tall grass! Or am I afraid I might lose him? That would be foolish just as well, perhaps more. I can see only the back of his head as he holds it straight and focused on the parting blades. He seems confident, sure. He has that sixth sense everyone talks about so much.

There is a road beyond, he says. This he knows from experience. You walk any which way and you’ll come upon a road, he’d say. It may not be the road you’re looking for, but there’ll be a road, right there, waiting for you, stretching along like a friendly yawn.

The blades of grass wave about as the wind tries to push through, as Theo tries to push through to the road he sees in his head. They wave slowly because they are tall. They dance, waving all the way from the bottom to the top I can barely see. I feel we’re in the midst of a slow shimmy, a ripple that slides all the way through, through the blades, through us. The blades are like solitary waves trapped in thin green frames, sinful waves condemned to heave in a windy wave-penitentiary for a minimum of one lifetime. I feel sorry for them, because I sometimes discern a similar sense of condemnation upon my own being. It’s just grass, says Theo, when I tell him about my sinking feeling, just grass.

Here it is, he says, his hand pushing aside the waves. I see the road that stretches out, a narrowing line reducing itself to an imperceptible point, far beyond the back of his head. It is long, straight, and looks difficult. I cannot see the end of it.

We seem to be at the edge of the windy wave-penitentiary — ill-fated, ill-prepared prisoners who dwell upon their options before diving into an escape. I’m scared. The delinquent waves seem comforting, like long caring arms of dying grandmothers, and I don’t want to leave them, for once the road begins, they shall fall behind. I want to turn back and head home. I almost turn to run, but Theo holds me by the waist. The strength of his grip, the warmth of his hands overwhelms me. He wants to be reassuring; I can feel the ferocity of his emotion pulsing through his palms, bursting into my waist, spilling into my stomach.

I seem to stop, though I haven’t moved. My contemplation seems to stop. It’s the death of the very thought, the very notion, of turning back, not out of faith, but out of fear, confusion. All I have known is reassurance. But now it seems to be a rather demanding word, with high character, impossible standards. His emotion seems to fade before it can find a place within my heart, before it can be called reassurance. Perhaps I haven’t known it at all. Come, he says. I follow, because I do not know what else to do. I follow, kissing the waves goodbye.

We have been walking for days, and I believe the road shan’t redeem itself. This isn’t a picnic, I tell Theo. This isn’t fun. This isn’t anything at all except latent footprints on a black line of a road in the emptiest painting there ever was. And where shall this lead? This isn’t fun, I say again. It wasn’t supposed to be, he says. It’s just different that’s all, something new, something that must be done.

I do not know what carries me forward, what pushes me or what pulls me, but I do move, with the back of Theo’s head bobbing in front of me. We seem to be in the middle of the road, walking forward, away from the middle. Yet, if I turn around, I feel like we’re walking backward, away from the middle. Away from the middle; forward or backward, it makes no difference. God sets his sun.

One morning, we come upon a dust path that leaves the road, and curls away as if to meet another secret dawn. We have grown old on this road, Theo and I, grown faster than we’ve ever grown. The path is charming, and we follow it as if willing ourselves to turn young again. The path is lined with healthy trees, bursting with purple flowers. They shield us from the sky, letting in only a bit of sun, forced to peep through bunches of leaves and petals, losing strength before it can touch us, drown us in yellow. There is something about the path, and so Theo and I walk on though we still don’t know where we’re headed. This is going to take us away, he says, sighing as if finally blessed with a wish of a hundred years. Where to? I ask. Where have we been going all this while? I wish you’d tell me things. Away, he whispers, as if away were a place, a place with a path leading to it, a place with people and lives and history. Away, he says again. I look up at the sky.

At the end of the path, at dusk, we come upon a silent river. It is silver and wide — we cannot see the other bank. The water is calm, quiet — a stolid warrior looking upon us with poise. It seems to mock us with all its composure, and I’m not sure I take too well to its disdain.

What now? I ask Theo warily, for these days are his, this jaunt is his. It is he who has chosen to show me what he wants me to see. We look for a boat, he says, treading upon the pebbles that make the bank. He is careful not to upset the smooth, round stones too much, and his caution unnerves me a little. He looks upon the river, his brows furrowed, as if questioning its depth, its integrity.

We must cross the river, he says, it is the only way. It is the only way. I follow him as he makes his way down the bank, looking for a boat, though I’m not really helping at all. I gather pebbles and put them in my pocket, trying not to look at Theo, for I know if I look at him, I shall only doubt him. To trust him, I must not look at him at all. I must pretend he is a voice.

With the delicacy of a falling snowflake, night descends upon us as the boat makes its slow way across the river. Theo has the oars, one in each hand. I sit across him, staring away into the night. The black is thick; I feel I should be able to caress it with my fingertips, but I do not try for I can feel Theo’s eyes on me. The oars kiss the water repeatedly, upsetting the silver surface. We seem to invade the river, upset the staid warrior’s night of peace. Each slap seems to cut through the silence, killing a bit of it each time; bits of silence gone for good.

I feel as though I have surrendered myself to Theo. The entire exercise begins to seem futile. I feel cheated into Theo’s quest. Perhaps he does not have anything to show me, but himself. Perhaps there is nothing to be shown at all, nothing to be seen or believed in, except him. Perhaps this is all there is — Theo and I.

As the fog begins to rise, I drift into sleep. This is the first time I have slept since I dreamt of death, and I know that I shall dream of him again, him alive and looking into my window. He is cheerful, though, and quite young himself. He asks me not to worry at all, and that he is there. What are you here for? I ask. I am here for you, he says. As he turns away, I see that he is life too.

When I open my eyes, it is still dark. The fog has lifted. The soft stars shimmer through.
Theo sits upright at his end, but his head has fallen forward and his hands hang from the side of the boat, fingertips kissing the surface of the water. He could be asleep, but I know that he is not. He is dead.

The oars float beside the boat, one on either side. I lean forward and grab them. Holding one firmly in each hand, I begin to row, heading for someplace Theo wanted me to see.

A note from the author

I have tried to exhibit the suffering caused by miscommunication within the mechanics of a relationship. The protagonists of the story depart on individual quests, though superficially it may appear to be a common one. Regardless of sexual orientation, I believe a man or a woman needs to find his or her “place,” so to say. There is no singular, underlying theme or philosophy underlying the story, and the deliberate vagueness will, I hope, allow the reader to interpret it in a manner personal to her or him. — Ashish Mehta