EARLIEST MEMORY

The first thing I can remember is water -- not a lake

or river but the rising level of it in the bathtub, the untroubled

sheen of its surface splashing over the lip of porcelain,

below which many imaginary explorers went in search of

new worlds, new creatures, new routes of escape.

I am holding my favorite rubber alligator, the one I will

soon bring with me to foster care. But not just yet.

I have locked the door, but cannot remember

doing so. I can hear voices calling on the other side,

going back and forth, but do not answer.

I like the hum and gurgle of the water. I like the quiet.

But my older sister, convinced that I am drowning,

has scaled the creaking fire escape and kicked in

the window with her flimsy summer sandals, throwing

shards of glass across the smooth tiled floor.

They are like small jewels, aquarium green at their edges;

I want to pick them up and turn them in my hands.

We are fine, but we are both in trouble now.

Though our mother does not stir from the sanctuary of

her television-blue room, the permanent dusk she cultivates,

and does not bother to unlock her door. It is not time

for us to break that door in, its frame dangling

like a broken cross, nails bent downward. Not just yet.

For now, she stays in bed as though tethered there,

drifts in an ocean that is not quite oblivion,

steered by starlight we can neither follow nor understand.

We are fine, we are; but we will be in trouble soon.

RITUAL

 

In those days, back in the hills of Tennessee, you knew why

the church bell tolled at an unusual hour of the day,

sometimes signaling with a few short hammer strokes,

sometimes slow and sustained, going on and on,

ringing out once for each year of a life now passed.

Someone had to cover the windows and mirrors,

lest the spirit enter and be trapped inside the glass.

Someone had to edge the stationary in black, and to stop

the clocks, as they had stopped for the departed.

Someone had to wash the body, a sacred rite for the closest

of kin, neither to be hurried nor turned away from.

Someone had to stay up with the body, keeping watch,

wildflowers and juniper masking the smell of decay,

mingling with the warm comfort of constantly brewing coffee.

My mother has not forgotten placing silver dollars

on the eyelids of aunts and uncles, of touching

the hand of the deceased in the belief that it would

remove a blemish, which she says it did. But my mother --

having buried her parents, siblings, and two children

at early ages -- is a lifetime removed from that wide-eyed girl,

and from that sepia-tinted world of front porch songs

and white whiskey, of tobacco leaves on bee stings

and a pair of good overalls for Sunday, a Ball jar of pickled

pig's feet and a can of bacon grease above the stove.

She has requested for herself that there be no ceremony,

no tributes, no songs to be song or scripture read,

and above all, no one gazing upon her body.

Perhaps she is simply removing the trappings of this world

in advance, blotting out the unnecessary, the gaps

in her memory becoming the narrowest of bridges now;

her prayers -- whatever they may hold, in whatever

order recited -- require no words to be lifted.

MY GRANDFATHER'S DAY BOOK

 

Worn and dappled with age, it creaks slightly upon opening, must in its creases, a small narrow door leading immediately into the past. The winding blue script within -- all of it in Finnish -- I can only translate in part, a reminder that language, like memory, can only take us so far. What is left out of this ledger -- this list of dates, facts, and figures -- must write its own story elsewhere. There is no listing for the cost of whiskey and cigarettes, no mention of the son drowned on the other side of the world, nor the wife who followed soon after, no price mentioned for the arsenic that took her. The margins are narrow. There is room only for what he is willing to record, that which makes sense and can be easily measured. I don't know where my own days stand, so many squandered with laziness, the stubborn refusal of youth, so many unaccounted for. I know only that their shadow grows long, no matter which direction I stand. If I am found lacking, grandfather, let these words be a start, let my debt be paid in the telling.

SNAPSHOT FROM MY MOTHER'S WEDDING

 

My brother stands just outside the door frame,

a small coffee cup in hand, while I sit on a folding chair,

thin and lanky in a too-big secondhand suit,

hunched forward, scribbling in a moss-colored notebook.

Neither of us particularly wants to be here -- though

of course we cannot say -- the pastel carnations pinned

to our chests belying our expressionless faces.

Our mother is marrying for the third time -- this time

to a good old boy from south Texas who no one

cares for or trusts more than the weather here in spring.

This was before he spit her name out like a curse,

his hands having become more menace than comfort,

and certainly before he held a shotgun to her head,

threatening to paint the wood-paneled walls with whatever

thoughts and dreams she might have left inside her;

and it's a few years before my brother lifted him

by the neck, dangling like a scarecrow in stocking feet,

eyes popping like buttons, holding him there calmly,

steadily, breathing hard but slowly, until our sister's shouts

convinced him to at last let go, allowing him to fall.

But this is not that moment; this is merely a snapshot

of that young man, having found a quiet corner

for a moment, writing his way towards all he cannot

know, his left hand curling above the page, pale sunlight

filtered from another room, hovering like smoke.

WHERENESS

 

I had never considered it that way --

the simple state of being in a particular time

and place -- until you let the word fall,

suspended between us, both strange and familiar.

Where else could one be?, I wondered.

You loved words that way, trying out the new,

settling on favorite phrases, turning them,

chewing on their shapes and sounds, following

their threads wherever they might lead.

Now, all those years having gone wherever

the years go, I can only be grateful that

my whereness and yours found each other,

however briefly, breathed the same air,

shared the same silences, laughed at the same

absurdities you couldn't help but challenge.

You demanded much but expected little,

your lack of faith in others a religion unto itself,

yet never questioning where we belonged,

and never doubting that we would live forever.

MYSTERY LIGHT

 

Sometimes, when I'm in an old building --
marble floors and dark wood smelling of history --
I can't help but press one of the light switches
on the wall, those ancient metal buttons
blackened by the touch of countless fingers,
curious to see if they are still functional.
I did the same as a kid, in church basements
and schools, houses with unfinished attics,
half-expecting someone to storm through the door,
demanding to know who flipped the switch,
the one that controlled the whole neighborhood.
We certainly lived in enough places with wiring
from the turn of the century, lights flickering,
unsure if they wanted to work or not;
some you'd have to flip three times, rapidly,
to wake, or press with just the right force.
Not surprisingly, more than one of those houses
burned to the ground after we had left.
These days -- so many years turned to shadow
in my periphery -- I can't help but wonder,
against my own reason, if I'm turning on the light
in some distant room of the past, my brother
blowing ribbons of cigarette smoke, balanced on
the narrow window ledge, my older sister
curling her hair for a date, telling another corny joke.
There are rooms I would not want to enter --
some known, some forever closed -- but I'd take
my chances to see those faces lit up again.

THE UNSPOKEN

 

Part of Uncle Silas always resided in absence, the quiet and the still, his handsome face just off to the side in old photographs, gazing over his shoulder into the distance, or down at the solemn and familiar earth, smiling slightly, as if some joke or pleasantry had been spoken between them. Unlike my father, he took the cure for booze at the clinic in Duluth, telling no one, returning weeks later, clean-shaven and rested, as though he had merely driven to the grocery store and back. When he married, later in life, he didn't bother to inform the family, so averse was he to drawing attention to himself. He worked at the hospital up in Hibbing, learning the secret language of blood through the thumbnail lens of a microscope. He called it a dance. When ALS came to rob him of his touch, and then his speech, his limbs hardening like the branches of a weathered tree, he retreated further. I can see his sturdy frame receding, folding into itself, can see the old black-and-white television flickering, the news already old somehow. I can see the newspapers he could no longer hold stacked up beside him, all those words and faces gone blank, all those stories -- like his own -- waiting to be told.

GARAGE SALE

 

Someone, somewhere, has that missing arm

that snaps neatly into Barbie's shoulder;

someone can patch up those jeans, torn and frayed

by time, clean out that ancient coffee pot.

Someone needs an 8-track player in their Chevy,

a jar of random buttons, ball of rubber bands,

someone needs that painting of Jesus knocking

at the door, rays of gold light drifting out.

Someone can restring and tune that guitar.

Someone never read that book in high school,

or heard that album at the right time in their life.

Someone has looked everywhere for that,

then forgotten all about it, then looked again.

Someone has decided to take up bowling.

Someone can save that withering plant.

Someone has just the right photo -- graduation

or wedding portrait -- for that antique frame,

its tarnished brass edges pointing outward

like stars, its bed of black felt empty beneath

the dusty glass, waiting for someone to step inside,

turn on the lights, claim their rightful place.

ONE YEAR AFTER YOUR DEATH

 

The winter sky reflects the river today,

as it always does this time of year,

each gray-blue sheet of ice

indistinguishable from the other.

The narrow shadows lengthen, drawing

fenceposts around the empty spaces.

Everything becomes clinical fact,

every step taken a punctuation mark,

though what has been said and what has

been left out remain unclear,

hovering like my breath before me.

How is it that I cannot see you now, yet

feel you closer than this wind,

this hardened earth, the bare limbs

of trees reaching like roots in reverse?

All I know today is that we are not made

merely of things that happened --

for better or worse -- nor the way

we smiled, or didn't, in an old photograph;

we are closer, I say, to the light itself

coming through the dusty window blinds,

holding us there, frozen as this day,

making us believe we are the subject,

that we are the ones standing still.

THE SCENT OF THINGS

 

What I disliked most about moving into all those

different places during childhood -- houses

of family, friends of friends, or rank strangers --

was that nothing ever smelled familiar.

The dark scarred wood of dressers and doors

breathed silently in and out, the salt-grease aroma

of food arose from pots and pans long ago

scorched and settled into their particular seasoning.

Even water boiling was somehow not the same,

the grimy tea kettle hopelessly shrieking out of key.

Soap, perfumes and perspiration clung to every fold

of fabric, laundered or not, the musty basements

and dry dusty attics, the damp funk of dogs

had claimed their territory years before we arrived.

Most days I felt that I had stumbled onto a stage set

without the benefit of lines, or even motivation.

Most days came and went with neither incident

nor reason, the cloudy stove clock ticking.

The air outside felt closer to the truth, even in a place

I did not know. I followed my own tracks from

the day before, addressed the birch trees as family.

When I slept, I curled beneath the covers, knees

to elbows, even in summertime, worried that if I lost

the signature of my scent, I might lose myself for good.

ROAD

 

There's no marker along that stretch of Highway 8, no stone or plaque bearing your name, the dates you were here, then gone; no makeshift memorial of Mylar balloons and requisite roses wrapped in cellophane. There is only road, indecipherable from any other, its meandering cracks patched with fresh tar, lines offering no discernable word or message. The heel of your boot has been swept away, your handprints -- like wings stopped in mid flight -- have been washed from the dusty hood, the dark blood you spilled allowed to seep slowly into the asphalt, following its own course, like the thinnest of roots, hidden from view. You, of course, have long since passed from this world of ordinary fact -- of arguments and disappointment, of endless coming and going. So, maybe this absence is just as well, along this anonymous road slicing through pine and scrub grass, through small towns without stop lights. No one wants to stop here, or even slow down. They all have somewhere else to be, someone waiting, patiently or otherwise, someone wondering where they are.

SECOND GHAZAL FOR TRISH

 

There's no burying you, no risk of forgetting;

though you would say the past is merely escape.

Whatever truce you made with life was brief,

its tentative agreements offering you no escape.

We were so young, what could we have known?

But I knew, even then, that love was more than escape.

Some days we read for hours, daylight shifting.

You said that poetry was the opposite of escape.

It was, we imagined, you and me against the world,

until the world itself managed to escape.

In the end, you pulled away from everyone,

your stubborn isolation a poor imitation of escape.

The prayer I offer now is one of silence,

the unspoken understanding of no escape.

CANNED LAUGHTER

 

Most of the laughter we heard when

growing up did not come from the grownups

around us -- who seemed perpetually

glum, reserved in speech and movement --

but from the canned laughter rising

and falling from the small, dusty speakers

of bulky television sets -- sharp, tinny laughter

you could hear from the next room,

even if you had somehow missed the joke.

Even Saturday morning cartoons,

that most sacred of childhood rituals,

had a laugh track with which to instruct us,

not unlike the voices at church, hesitant

at first, then growing robust as their numbers

swelled and converged, demonstrating

to us when to sing out, if not precisely how.

Say what you will, but there's something

strangely reassuring in knowing

that all of that laughter from ages past --

the low, persistent titter, the chortle

and guffaw, the outright snort -- is there,

waiting patiently to be opened again,

in times of war and uncertainty,

when grief has once again shrouded us

in its oily rags, following us like an unremittent

beggar -- times not so unlike our own.

THE AFTERNOON SHE DID NOT DIE

 

Well, we go on -- one hand floating weightless as a balloon,

the body pulling itself downward again.

Our bones can only be lifted so much by this wind,

and the ocean is so vast before us.

Though a residue remains, like soot from

a long-neglected fire or a thumbprint on the soul,

and it belongs the way a bruise belongs,

the way our shadows spark and smolder without us,

solitary, when shut away for the night.

Today I walk with neither haste nor direction,

the sex and the sorrow of sad letter days

discarded, the fact of my name, age, and profession

lost to the angular wind. I carry your words

in one pocket, your silence in the other,

past the once-familiar storefronts of our past,

the soft glow of your childlike face gazing back at me

and back upon itself, a foreign postage stamp

on an antique postcard you bought but never sent.

How can I answer now, knowing this business of words,

this stooge's religion, to be diversion at best?

How can I speak when addressing you now means

addressing any tree, or cloud, or patch of grass?

You have grown vast by way of vanishing.

You always said it was an art, a trick you could not unlearn.

But we go on, each in our separate ways.

Our bones can only be lifted so much by this wind.

But the body is such a stubborn guest,

unwilling to leave, despite the late hour.

We may as well settle in, make up the spare room.

ADDICTION

 

You held your secrets close, as gently

as they would allow, as if they, too, were

wounded things, in need of your full and constant

attention, as if keeping them cocooned

in your cool, anemic room kept you both safe.

So much we did not and could not know,

so much you kept even from yourself.

You longed most for respite from this life,

its continual demands, its pettiness and pretense,

the futility you saw in its endless disguises.

You wanted to step outside of it all, time itself

racing past the window glass, frame by crooked frame.

What a shock, then, when it found you unaware.

What a shock when the pills swallowed you.

I still don't understand the simplest things

in this life -- like how to love and be loved without

fear, or how to explain to others that you were

never the measure of your illness alone.

I still don't know if the world, as you might

have said, is so bitter that we must wash it down

with something strong, or so very sweet

and wonderous that we must raise our glasses

again and again. You tell me. You tell me.

SPARRING

 

My young hands are slow, hopelessly so, hardly

equipped for the instinctual jab and reach

required for this dance; my flat feet, likewise, reluctant

to lift themselves from the cool kitchen linoleum.

This is as close as we will get to an embrace,

my brother and I, the palms of his hands held out

toward me, waving, circling, shifting the air between us,

hands which look like larger versions of my own.

Still in high school, he proudly wears his silver satin

jacket from the White Bear Lake Boxing Club,

the rust-colored spatters of blood, who knows whose,

along its front and arms a badge of honor.

"Protect your head," he reminds me, repeating it,

having twice had his own nose broken of late.

This is the true gospel he is preaching,

fire and brimstone in each of his teenage fists,

where all of his sorrow, anger, and betrayal entwine,

speaking with blunt certainty all that he cannot;

and though I flinch, I know that he would not hit me

in the face, not intentionally, but merely brushes

against my cheek slightly, delicately, my periphery

catching only the blur of sudden motion, of autumn light

shifting through the broken branches of trees,

the movement of human or animal already gone,

just to show that he can, just to remind me

how quickly things can come at you in this life,

and how quickly they can all just disappear.

TWO DREAMS

 

The first night you came to me in sleep, we were

back at the old apartment, everything exactly

as it had been nearly two decades before,

mildew seeping through its basement walls,

silverware rattling atop the refrigerator,

cats circling our feet, slipping in and out of view.

You walked into the room, already knowing

what I was thinking, explaining that you had only

brought some things to the consignment shop,

and not to worry now that you were home.

"There's something I want to show you," you said,

making your way to the kitchen, white shopping bag

at your side making a sharp, crackling sound.

The second night, your face appeared perplexed,

your smile sheepish and uncertain, as if you

had just begun to realize the absence of your body,

the dusty amber sunlight softening the edges

of your elbows and shoulder blades.

You were frail, as you were the last time I saw you,

seemingly growing smaller before my eyes.

You said you didn't know what had happened,

that you only remembered falling asleep

in the same familiar bed we once had shared,

only to wake in this shadowland, land of in-betweens

which you never claimed to believe in.

This time when you turned, I meant to speak,

but instead awoke against my will.

Now, the days are rainy, the weeks stretching

into months, and the months into a greater silence.

You have not returned, though I am still here

in the next room, among the dust and the bookshelves,

waiting to see whatever it is you have found.