TOBACCO

 

I never took up the family habit of smoking,

as my grandfathers did, both of them eaten away

by cancer -- or my grandmother Artie,

who spit that bug-colored juice into a milk jug

just off to the side of the open porch,

as discretely as one could manage, not wanting

the world to know that she chewed the stuff.

But when my mother was a girl of five

or six, she reminds me, she was startled and stung

by a wasp, and her blonde, skinny arm began

to balloon, her breathing soon reduced

to a labored wheeze, the blue sky wheeling

and the dark earth pulling its door

open beneath her, she remembers her uncles

running gangly-limbed out to the field

to snatch a few green and fragrant leaves,

dowsing them with well water and wrapping them,

gently, around her red and swollen skin.

"It must have worked," she smiled softly, her eyes

grown distant and wistful in her remembering,

"Because here I am." Did she mean merely

that we make do with the remedy we have on hand,

or that one poison sometimes erases another?

Some lessons, perhaps, are lost on a son

born and raised in the frozen north.

But I can kiss and wrap a wound, I can run

when my daughter is on the cusp of falling, or edges

too close toward the oncoming traffic.

We are both, to our occasional and mutual

wonder, stronger and faster than we could have

imagined only moments before.

THE COUNTY LINE

 

(Tyyne Natus, 1906-1953)

Having waded through the green waves of ditch grass

and wildflowers, bramble grown nearly waist-high,

the prickly stems of young strawberries

and the private cosmology of gnats, we arrive

like casual explorers to examine the broken foundation,

hidden from view off the highway, of what once was

The County Line Bar, place where my grandparents --

only yesterday it seems -- served up drinks

to the always thirsty locals and those passing through,

and no doubt consumed as much as they sold.

Who's to say that these ruins are not sacred,

or their ghosts worthy of remembrance?

Just over there, my grandmother stood for what has

become my favorite photograph of her, framed

on either side by my grandfather and two regulars,

laughing, girlish and seemingly without care,

her small dog held close against her, one cloud of breath,

all but invisible, hovering in the crisp winter air.

This is how I want to remember her, her smile

like a sudden flash of daylight, the gold in her hair

shining, even in black-and-white -- before the loss

of a son on the other side of the world tore

something in her irreparably, before the alcohol bruised

and the weight of her days became too much.

I need to remember this moment, if only for myself,

to remember that she knew joy upon this earth,

the ease and gentleness of common things,

that she loved and was called beloved in return.

MY GREAT GRANDMOTHER AT 75

 

In the photo, grown cracked and distant

with age, my great-grandmother Kustaavas is seated

outdoors, her plain dress dignified, unadorned,

a large birthday cake balanced on her lap.

Her face, remarkably unlined, looks on, quizzically,

head tilted slightly to one side, a thin glimmer

of a smile shining forth through shadow.

She is centered perfectly in the frame,

as she was undoubtedly in life, yet clearly seems

unaccustomed to such a fuss being made.

In the lower left, the back tire of a Model-T

casts its lengthening shadow, a tangible bridge

stretching from one century to the next;

while further off to the right, a milk pale stands

as a reminder that this life is a life of work,

its chores never finished, and that cows, chickens,

and children pay little heed to the sabbath.

But in this moment, at least, she appears content

with it all, the moment of stillness well earned.

In the next, she will draw her breath in deeply,

blow the candles out like so many sparks

of light in the night sky, out past the camera's

shuttered lens, beyond her own imagining,

far enough to find us here, still in need of such light.

Send more, Isoäiti, send more.

ALL THE LOVE WE LAY CLAIM TO

 

My great-grandfather Juho leans forward slightly

in his chair, as though about to speak

or to reach out his hand one last time

to his beloved, at rest in the casket beside him,

its doorway already covered in handfuls of flowers

and soil, heavy and damp, the solemn faces

of men in the background looking on, weary,

their funeral suits and ties virtually interchangeable.

But the mourner up front wears his work shirt

for this, the hardest labor he has endured

in a lifetime of work, his hands having carved

long into the night a seemingly endless array of roses

and filigree into the wood, as he had once carved

into the marriage bed, and the children's cribs,

hands that look suddenly exposed and empty,

lingering like uncertain birds too long into winter.

Could he have imagined this moment when he arrived

from that other world, with neither currency

nor language, to stake his claim and break this

ground open like a sacred book of secrets?

He must have known, without ever having to say,

that the earth we till must be fed in return,

and all the love we lay claim to must be met equally

with grief, solid as the ground on which we stand.

This, it seems, is the only bargain we are offered,

our baffled silence continually interpreted as assent.

SNAPSHOTS OF MY GRANDPARENTS, CIRCA 1947

 

for Nels and Tyyne Natus

They lean into each other, almost imperceptibly, as two old drunks, long familiar with one another, often will, partly out of love, partly out of habit. They wear neither their Saturday clothes nor their Sunday best, he in plaid farmer's jacket and frayed cap, her hat tilted like a lazy flower to one side of her bronze-tinted hair. Their smiles look slightly weary, as if lacking the energy to rise fully above the surface. But this seems to be a moment on which they could agree -- no arguments here, no shouting in the old language or the new -- years before she chose the arsenic over the simplicity of sunlight, before the cancer carved through him a path which no living thing could ever hope to travel. In this moment, the silence is not pointed but as gentle as the smoke which surrounds them, bringing them somehow closer, their pale eyes narrowed slightly against the light.

FINNISH FUNERAL, AITKIN, MINNESOTA (1939)

 

It's impossible to know who is behind

the camera's noisy shutter, capturing these

mourners gathered beneath a haze

of summer sun, in somber black and gray,

gazing, without exception, at the dry ground.

Not so unusual, perhaps, for a people

known for their stoicism, for not making such

a fuss about this life, whose language has

many words to describe the existential weight

of snow and ice, but lacks any future tense.

The pallbearers stand on the back of the flatbed,

the hand-carved coffin between them,

men long accustomed to labor, not quite

prepared for this task, their faces shadowed

by grief, hands held close to their bodies,

as if already clutching at bits of earth.

My father is the baby here, knowing only

his own hunger, memorizing each face,

the sound of their voices, each particular touch,

while my mother, many miles away, has not

yet opened her blue eyes to this world.

My great-grandmother is about to move,

slowly, just outside of the picture frame,

becoming, seemingly overnight, part of what

we call history, that lengthening shadow

we each carry, yet never quite manage to catch,

that which shows no sign of stopping

for us, or even of slowing down.

WHAT MY FATHER FOUND

 

My father says that he remembers nothing

after finding my grandmother, thrown as if by

force upon the kitchen floor, her blue eyes gone

blank as river stone, blood not red but black,

reaching as one hand did into the stillness of air,

the other held inward, as if cradling a book

which no one could have seen or deciphered.

He remembers the amber bottle of arsenic glinting

in sunlight, the maddening shouts of the crows,

the strange weight of his own breath hovering;

remembers walking slowly back to the car,

easing it up the gravel road to the Halverson's

to start up a game of afternoon baseball.

I cannot pretend to know his thinking in these

moments, or whether all thought simply fled.

Yet in my mind's eye I see him, unwashed jeans

dragging at the heel, the bill of his cap pulled low,

walking much the same as I did at that age,

hands in pockets, gazing vaguely at the ground.

I can see him kicking at the dirt, signaling,

his worn H&B bat suddenly connecting, startling

the barn swallows out of their secret chambers,

the thin, red stitching of the ball turning

and turning, fast upon itself, shooting past

the billowing tops of summer trees; and below,

the lengthening silhouette of that farm boy

running, running toward a fierce blinding light

where, for one imperceptible moment,

he somehow manages to all but disappear.