Fiction & Poetry

 

 

When the violin is silent

Song lyrics, a translation into English of the Icelandic poem Frændi þegar fiðlan þegir.

Best of IMAGINE 2007 

 

When the violin is silent
the bird kneels low towards a shelter
when the frozen roads of winter
deceive how city and hill differ

I often see within the palaces of wishes
within the sweet smelling woods of greater countries
my love that would stand taller
than any other Icelander

he that once stayed with me
like a tone within the string of the violin
for eternity my wishes of peace for those that have passed
will follow him

even if the line is broken
even if the string is torn
I have given him one wish
my thoughts forever where he walks

 

Frændi þegar fiðlan þegir

The original Icelandic poem and inspiration of the song “When the violin is silent”

by Halldór Laxness

Frændi, þegar fiðlan þegir,
fuglinn krýpur lágt að skjóli,
þegar kaldir vetrarvegir
villa sýn á borg og hóli,

sé ég oft í óskahöllum,
ilmanskógum betri landa,
ljúflíng minn sem ofar öllum
íslendíngum kunni að standa,

hann sem eitt sinn undi hjá mér
einsog tónn á fiðlustreingnum,
eilíft honum fylgja frá mér
friðarkveðjur brottu geingnum.

Þó að brotni þorn í sylgju,
þó að hrökkvi fiðlustreingur,
eg hef sæmt hann einni fylgju:
óskum mínum hvar hann geingur.

 

Related pieces:

POEM — Songbird

PHOTO AND WRITTEN ESSAY — Journal of the Ladybug

 

Songbird

A poet’s free verse on her mother’s death.

 

Best of IMAGINE 2007 

You didn’t want howling machines   
 to prolong the inevitable  
 the fake life morphine reality  
  
Please don’t die until I am with you  
I have plenty of grace to your liking  
I will read at your beside the poets you love   
I shall read for you about life and the angel of death  
     
I will brush the dried blood from your thick hair  
Sing for you the lullabies forgotten  
from your youth  
Please wait for me  
  
Songbird spreading its wings towards the light  
Your life fades out  
your face faultlessly smooth  
Through your half-closed eyes  
I see stars  
Infinity and the universe  
Yet death does not come at our mortal bidding   
As you slept the angel of death came for you   
embraced you with ocean-blue cloak  
and as you left with him  
you sang in my dream  
“Did you know, your friend is dying?”  
You smiled and vanished into the beyond   
   
The day passed in flight  
In transit between our world and your world  
So far yet so close  
  
Finally on a distant soil  
I embraced your lifeless body  
still lukewarm  
I kissed your face with a thousand kisses   
howled “mama, mama, please come back  
be warm again”  
but nothing was capable of pulling you  
from death’s embrace  
     
Peace found, mercy from life’s heavy burdens  
And I let go, I rejoice with you at the core of my grief   
with your book of life singing in my heart.

Related pieces:

SONG—When the violin is silent

PHOTO AND WRITTEN ESSAY—Journal of the Ladybug

 

Two poems

200710_imagine3.jpgA poet whose language of birth is German, yet whose preferred language of expression is English.

 

october rules of conduct

1
paint a picture without using browns.
capture the past splendour of cornfields,
echoes of combines, the stutter of tractors,
sunflowers fading in the arms of clear days.

2
make a kite of bamboo, silk in primary colours,
a soft tail that caresses barren branches,
comforts them with whispers of spring.

3
never smother a fire. sparking a new one
gets harder by the hour as leaves curl up
in the gutter, wet and wounded, pages
of your diary are sodden with ink.

4
do not clip raven wings, their blackness
will soothe your eyes once snow has come
and the sky is the colour of spilled milk.

5
do not rest your head on a pin-cushion.
the sharpest needle will pierce your dreams,
drag scarlet threads across the madness,
stitch an eye, a grimace, a lacerated heart.

6
set aside all five euro notes. steel-grey
classicism will calm you once the gales
of november rattle your heartstrings.

7
prepare for samhain. set candles
in all windows, have soul cakes ready
to feed the year’s departed when the veil
between the worlds is whisked away. 

 

 

 

cobalt (co)
the story of blue wednesdays and a three-quarter moon

the sky is raining notes from a twisted cello. all arrows point towards closing time.
wind is flying faceless kites, anchors trailing. the sea spills gossip on a barren beach:

goblins have stolen the silver, placed it on the ghost woman’s lap. her face is still
a mask — all eyes, no cheekbones — but she tinkles now, finally forgetting the sound
of accordions. once every crotchet, she stirs. before the fire in tree crowns fizzles out,
she listens to a red spider on the wall, braids his three missing legs into a tender plait.

outside the long shadows of october, a brown man coughs at her feet. everybody
pretends that his eyebrows are not the shape of egyptian snakes. his first name is rutherford, he takes orders and is fluent in lies. he has grown mittens in reverence
of winter, who hangs head-first above the plains, spout dilated, belly full of sheep:

soon they will conquer the horizon, swallow all the cobalt hung between the stars.

kobalt (co)
die geschichte von blauen mittwochen und einem dreiviertelmond

der himmel regnet noten aus einem krummen cello. alle pfeile zeigen auf sperrstunde.
der wind trägt drachen ohne gesicht, anker schleifen. das meer gießt klatsch auf einen öden strand:

kobolde haben das silber gestohlen, in den schoß der geisterfrau gelegt. ihr gesicht ist noch immer
eine maske – nur augen, keine wangenknochen – doch sie klimpert jetzt, vergisst endlich den klang
von ziehharmonikas. alle viertelnoten bewegt sie sich. bevor das feuer in den baumkronen erlischt,
lauscht sie einer roten spinne an der wand, flechtet die fehlenden beine zu einem zarten zopf.

zu ihren füßen hustet ein brauner mann am rand langer oktoberschatten. jeder
tut, als hätten seine augenbrauen nicht die form ägyptischer schlangen. sein vorname ist
rutherford, er führt befehle aus und lügt fließend. ihm sind fäustlinge gewachsen, aus ehrfurcht
vor dem winter, der kopfüber auf das flachland hängt, schnabel geweitet, bauch voller schafe:

bald erobern sie den horizont, verschlucken alles kobalt, das zwischen den sternen hängt.

inspired by: Joan Miró, Dutch Interior II

 

Change me

200709_changeme.jpgHigh school Spanish and Michael Moore play a part in complicated financial dealings on the streets of Seville.

 

The city was lovely in December. Most of the narrow streets in the town center were draped in lighting, and I’m not talking schmaltzy, blinking, trailer-trash numbers either. These were uniformly white strands, their elegance adding to the city’s already over-the-top beauty. And the streets were simply packed in the evenings — everyone just finishing up work, kids running around, street musicians competing for the attention of passersby. The stores were packed with holiday shoppers, but the wares they had for sale were nothing like what the street vendors were peddling.

The street vendor’s routine was similar to that of most illegal street sellers: Spread a huge blanket on the sidewalk, and arrange the goodies over it in a way that facilitates a hasty, gather-it-up getaway should the police come around. Most of the vendors, who often displayed their goods in packs of six or seven, had things like rainbow-colored knitted caps and scarves, leather belts and bags — things I wasn’t interested in. But one fellow had an absolute gem of a thing: a foot-high stuffed cow standing upright on a fairly stable set of hind legs. When turned on, its upper body simply thrashed in every direction. The action of the upper portion led the legs to waddle here and there, and the effect of 20 of these cows doing this in concert just captivated me.

As I stood at a distance watching, I pictured the toy as a gift for my three-year-old nephew, Zdenek — how much he would enjoy it! The vendor, a short fellow who looked to be about 30, had a shock of straight, combed-over black hair. He wore a lined flannel shirt over jeans, and running shoes. He had a pleasant-looking face, but his eyes were nervous and constantly scanning the crowds. I must have looked suspicious to him standing across the pedestrian way, because his eyes kept returning to mine. Eventually (more to stop him from eyeing me than from a real desire to buy), I went over and asked him how much one of the thrashing cows cost.

“Ten euros,” he said. I had thought double that, and right then I decided to buy two.

“Ok,” I said, “I’ll take two.” The guy gave me a big smile and took two of the stationary, plastic-bagged cows from the back row and handed them to me.

“Batteries included,” he said.

“What service,” I responded, and smiled. I took the 50 euros from my pocket and handed it over. His face sort of changed as I held out the money, and he fished around in his pockets before asking if I had something smaller. I didn’t. He looked around for a second and then suggested that I go into a bar — he pointed at one behind me — and ask for change. I turned around and looked. There was a side street that led off of the main shopping avenue, and maybe 50 feet down was a busy pub. The plastic garden furniture placed out in front was completely occupied and surrounded by napkins and other trash lying on the ground. I nodded and told him I’d be right back.

As I walked, I felt the weight of apprehension settle upon me — I wasn’t sure how to ask for change. I racked my brain for the phrase and found an approximation before walking into the bar. Everyone noticed me coming in. The whole pub quieted down to check out the stranger. At least 30 sets of eyes rested on me. But the most important set — the barman’s — came nowhere close to mine. He studiously avoided eye contact for a full minute before I spoke up, asking him in Spanish to change me. “Puede cambiar me?

He didn’t lift his head from his task, but responded, “Into what?” The people around me laughed, but I didn’t understand the joke.

“Two 20s and a 10,” I said. He again said something I didn’t catch — more laughter. “I’m sorry,” I responded. “I don’t understand.”

“I don’t give change,” he said. “What?” I said. “I don’t give change.” “Oh. Well, thanks,” I said, “That’s very kind.” I tried to say it ironically, but in a foreign language, one can never tell.

“Nothing to thank,” he responded.

I weaved my way through the crowd and back to the vendor. As he saw me coming, he picked up the two cows he had chosen for me and said, “Okay?” I shook my head and showed him the 50 again. He looked at me and said something I didn’t understand, and as people tend to do when they don’t understand, I nodded my head and agreed with him. He smiled then and placed the cows among the other cows, then reached out for the 50. I blinked in confusion as he did this, and he said, very slowly, that he was going to try to get change and that he would be right back. I said okay, and he smiled and took the money, then weaved through the pedestrians and into the bar.

As I stood there in front of the thrashing cows, distracted by their non-stop action, I wondered that the man would leave his wares just lying there — someone might steal one and run away while he was gone. But then I realized I probably wouldn’t let anyone do that. They had somehow become my temporary responsibility. I even moved behind them to let the pedestrians have a better view, and this seemed to be the right move, because just a moment later, two children, probably brother and sister, ran over and stood in front of the cows. They were really beautiful kids, dressed in formal winter wear. The girl was in a tan, knee-high wool jacket and thick stockings. Her ensemble was topped off by a matching ribbon in her hair. The boy was wearing the same jacket and brown slacks, and I couldn’t help but smile at them as they jabbered away, pointing and giggling at the raucous cows.

Still smiling, I looked up at the parents, who looked like they might buy. They edged closer and asked me how much the cows were, and I told them 10 euros each. They smiled at each other and nodded, then tried to pull their kids away. There were protests, but the parents placated them, and the man winked at me as they walked away to the right — I took his signal to mean that he would return to buy. Buoyed by the kids and thinking of how I could tell the vendor he had a customer, I was smiling and on the verge of a chuckle when I turned my head to the left and saw two policemen coming toward me. They did not look nearly as fun-loving as the children had. My smile fled as they came up to me.

The big one looked me up and down and demanded something of me. I told him I didn’t understand and he took a step toward me, as if making to grab me. The second one said, in English, “Speak English?”

“Yes.”

“Are these yours?”

“No!”

“Why are you standing over them?”

“I was just … just looking,” I stammered. “Whose are they?” I shrugged, looking at the English speaker. Just then, over their shoulders, I saw the vendor emerge from the bar. He stopped short when he saw the police standing in front of me.

I told the policeman I didn’t know whose they were. This brought out a grunt and they commenced to speak between themselves. As they did this, I looked back to the vendor and saw him hold up the money, crumble it, and throw it to the ground. Then he shrugged and ran like hell. The Spanish-speaking policeman must have seen my attention shift over their shoulders, because a moment later, he yelled to his partner and pointed at the fleeing vendor. They both looked at me and yelled. I didn’t understand the Spanish speaker, but the English speaker said, “Is that the owner?”

“I … I don’t know.” The bigger one started running through the gathering crowd, but it was hard for him to get through. The English speaker moved closer to me. “I want your identification.”

“I don’t have any. It’s … in my hotel.” “Then tell me your name and your hotel name.” No idea where this came from, but out it popped:

“My name is Michael Moore. I’m staying at the Holiday Inn.”

The policeman wrote my “name” down and told me to go back to my hotel — they would come visit me shortly.

“Yes sir.” Glaring at me meaningfully, he tucked his notepad into his jacket and then gathered up the cows with the sheet. He bound the resulting sack, which was thrashing everywhere with the cows inside, with a pipe tie that he fished out of his pocket, then fought his way through the crowd in the direction his partner had gone.

As I faced the inquisitive crowd that had gathered, I suddenly felt sick to my stomach from the stress. It isn’t often that one gets to experience another man’s lot so completely. I puffed out my cheeks and made my way through the people and over to where the vendor had thrown the money. I had to search for awhile, but eventually I found a wadded-up bill and unfolded it. It was the 50. The bastard wouldn’t change him, either.

 

Words on Operation Iraqi Freedom

200709_wardance.jpg

Living in the confines of liberation.

 

 

A bluebird slips between electric wires
as we wake to radio static and the President
who says there was no choice but war
but there were no plans for war, a confabulation
confusing as the tongue of a captive raven, split
so he’ll talk to amuse the neighbor
who nursed the raven back to health
after it was hit by a car in the street
and now keeps it caged in a backyard
where it has learned the price of being saved.

 

 

Farm girls like it heavy

200708_imagine2.jpgLooking back on lessons learned.

Hey Deb, didn’t we love to shovel shit
from the barn, toss it
into the waiting manure spreader
just outside the door, until the barn floor
was clean down to concrete, the spreader
full beyond capacity?
And didn’t we compete
over who could lift the biggest load? 
The heaviest bucket of water?
The largest bale of hay?

Maybe we did have something to prove
if only to ourselves — two oldest girls
on the farm — preadolescent girls
working like ants —
lifting more than our weight
in whatever needed lifting
and almost always dressed as if
going to the beach instead of the open field.

Don’t you think we were stupid?
In halter tops and shorts lifting
huge rocks, boulders really
onto the tractor bucket.
Bruises and scrapes
on our arms and legs? Ever-reddening
scratches from embedded chafe?
Was it worth the deep dark tan?

Or maybe, Deb, the real reward, was the way
dad bragged about his girls — how we could hold
our own, and stick it out till the field was clear.
How we earned a swim in the deep, cold quarry,
or dinner at the Supper Club. How, at the end of the day
we knew what we could do.

 

 

Summer heat, moths in the moonlight …

200707_imagine2.jpgThree poems.

Rioja

One sip
and the skyline
starts to soften.
Ignore the glare
of a nun-faced moon.
Crush out the stars
in an ash tray.
Let the moths rest
and glitter
on your cuffs.

Gulp down
that dark blue
backlash of night
until
you can almost taste
the milk of the morning
until you can feel
the key of his tongue
turning the shadows
and sweetening
the black.

 

The man who dripped Digitalis

He could charm the poison out of fox gloves
and used his skills to quicken my heart.
I wondered what he fed on: frayed liturgies
and the secret dreams of women
toxic spores translated into messages
of lust, slivers of the dank March sky
rolled up like pickled herring.
I never knew. He always skimmed me
left me hooked on some potent pollen
some sacrificial line
some cold gap between sentiments.
His fingers were like cathedrals
too big to untie my delicate knots
yet he knew me inside out like he knew
the names of flowers and bats and clouds
like he knew how to throw daggers
without skewering the soul.
He could sniff out creeping wolf-men
and crack their backbones with a lazy wink
worked my fingers to his throat
like a snake charmer
made me slide and arch with his singing breath.
After we’d loved and I was doped up on glow
he laid wet silver on my eyelids
believing it would bring him luck.
He told me he wanted me to wear
red in bed so I wore it on my lips
I wore it in my memory
and the sleep was good.

 

Canticle
 
Our whole loving metropolis
is crumbling.
Ornamental hearts
have fallen off gateposts.
The sun-sucked river
is hissing for alms.

There were words once.
Now they’re gone
wiped off your lips
like biscuit crumbs
and I have nothing
just the dry silence
the murmur
of things dissolving

and I sit here
trying to tap the void
trying to remember a life
pumped full of colour:
nights tinged
with peacock green
moths crushed into gold dust
cold blue canticles of frost. 

Salvation will come
with the thunder.
Your old touch will swell
in the drag of rain.
Ignited by lightning
our eyes will be
feverish again.
Our fat tongues will flicker
with song.

 

Runway

200706_imagine.jpgFood’s so mundane when compared to the adoration of emaciation ...

Sara chops her lunch into equal sized bites,
moves it around on her plate
                       leaves white spaces
pretends to chew when anyone looks her way,
slides food into her lap.

Sara thinks her belly is as big
as the rising moon, that her thighs rival
those giant Doric pillars on the Parthenon.
Ten pounds down and she could be a runway
model like Anna Reston once was
or Barbara Di Criddo, strut flat-eyed
                             and loved,
a human hanger for size zero dresses.
She doesn’t know her runway is fated
to be a dark graveyard row, her trophy
a bouquet of dead roses.

Sara dreams the mirror tells her she’s beautiful.
She bows to her make-believe audience
holds frail arms out like angel wings for a curtsy,
smiles as her flesh melts down from bone
                                  to fairy dust
                                            to ground.

 

Shapes that brush against you in the dark

A legacy of women.

Mother, grandmother, great-grandmother,
a legacy of women who hand-smocked
lawn gowns, embroidered in silk thread,
bottled rows of pineapple-cucumber chutney,
plum sauce, and rhubarb jam
with the seasons.

Looking through mother’s things
I find a tiny satin-covered shoe
saved from grandmother’s wedding cake,
and a lock of lover’s hair in a silver snuff-box
curled atop a blind man’s photograph.

Sifting her memories
cold scales of the fear fish scrape my leg:
that my dream will die, stillborn lips unkissed,
that I’ll fail to make a French knot, or daisy stitch,
just as I failed to birth a daughter,
that my passion pushes love away,
replete in its own shiny orb.

Guilt or innocence a state of mind,
my thumb is up to hitch a ride,
that stitch, or nine, dropped in time
down patchwork highways
inlaid with symbols raised to make me trip.

The needles of many women gleam,
complete each seam on which I step.
I tread upon grandmother’s hands —
how easily they take my weight,
willing me to find my path.
Though I can’t sew worth a lick,
maybe I can fish.

 

Happy little poem

A factory worker/poet’s snapshot of one short space of time.

I have gained
indulgence pounds
small darknesses around
my eyes
and little
insight

and I’m feeling
old
old
older than voices
I am 35
tiredness hangs around me
a cold unflattering coat

fatigue is no longer to just
drive through
rather something to be
appreciated
quietly
in its absence
the sound of a cathedral bell
up close
birthday parties when
they’re over

and life in all its forms
to me is holy and wondrous
pistons
birdsong
lichen and candlelight
etc.
but lately I’ve been catching myself
at odd moments
looking forward
in a way
to a long lie down

 

Two ebullient sisters

Twosisterssepia.jpgA photo of two great aunts serves as inspiration.

Twosisterssepia.jpg

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

repressed footnotes
on an archival page
resurrected by
genealogical research
and the discovery

of a sepia photo
that is no longer
portentously bound
the vignette
an uninhibited pose
of visceral youth

two ebullient sisters
that gaze out
with enigmatic smiles

and whisper yet the mosaic
of memories that
once defined their days

 

Footnotes

Freud steps off the printed page.

Allurement

Freud is at it again
probing what excites men.

It is not the size of the shoe
but the height of the heel

stilettos.

He watches the sophisticated pose
the way the wearer walks,

the sway of the hips
the shape of foot and leg.

Footnotes.