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.

AUTHOR PHOTO

 

It was the way he held the temple tip of his eyeglasses gently against his lips, pinched and not quite smiling, as if he were about to nibble them, lost somewhere in thought, or at least within the bright confusion that sometimes leads to it. It was the faux-shabbiness of the shelf behind him, filled with well-placed books for our consideration, the loosely-tied silk scarf, and the sporty blazer of no discernable color. But mostly, it was the hands -- hands that looked as though they had never lifted anything heavier than a pen and notebook, never shoveled snow or horseshit, or shingled a roof in ninety-five degree heat, never picked cotton or plucked metal shavings from them after a double shift on the assembly line. They looked, to my eye, as though they had been preserved under museum glass for this moment alone, positioned now in some uncommitted form of prayer, one index finger folded inward toward himself, as if we had somehow missed him, as if he were afraid of receding back into the silence of the page.

MY MOTHER'S CHINA

 

My mother's china -- bone-white, heavy in young hands,
encircled with a pattern of sky-blue flowers
and filigree, tiny leaves pointing in all directions
at once -- emerged from the far reaches of the cupboards
only twice a year -- Thanksgiving, and Christmas.
It was a set acquired, piece by piece, each having its day,
by saving up a small fortune in S&H green stamps
from the local Red Owl -- the delicate teacups
and saucers, the weighted serving tray, dinner plates
and bread plates, a cream pitcher for coffee.
Even butter claimed its own home -- such extravagance!
Yet we could not have know -- how could we? --
what such an ordinary luxury might mean to our mother,
to at last have something simple and fine, something stately
among the brick and cinder block of the projects,
the mountain girl from Tennessee, denied even a doll
or summertime shoes, trying hard to forget one
lifetime while imaging another, brighter somehow,
which might or might not choose to emerge.
But twice a year, at least, we drank our milk from goblets
like royalty, poured our canned, grayish vegetables
and gelatinous cranberry sauce onto what we imagined
must have been the prettiest plates in town,
while that gravy boat, loaded with thick, brown cargo,
sat motionless among the white cloth of its waters,
dreaming already of the long voyage home,
its sturdy bow not to be seen again for months.

DREAMING OF OLD JOBS

 

We still dream of those old jobs, the ones leading only to the next shift, the next break, the next paycheck and day off, to rest and to worry, and start it all over again. Those jobs that we gave so many years to follow us like ghosts, tracking us down in our anxious sleep, as if we had left one detail or another unfinished, forgot to lock up or turn the thermostat down. The waitress balances her tray of trembling water glasses two decades after she has retired, a cacophony of voices still calling out their orders. The bus driver turns his oversized wheel onto a street with neither a name nor discernable stops. Your mother still packs shells at the munitions plant ten hours a day, and your brother tears sheets of steel from the shearing machine into eternity, tiny stars of metal glinting beneath his skin. While you stand on the loading dock of a crumbling factory, ringing the service bell again and again. It's so early the birds are not yet stirring, the winter darkness folding in around you. But you have been here long enough. If no one answers this time, you think, you'll force yourself to wake, and be gone.

CHARLOTTE

 

Charlotte was well into her ninth decade,

with no plans for retirement, making,

slicing, and packing sandwiches

on the assembly line with the rest of us

poor souls -- perpetually bored teenagers,

dropouts, and functioning addicts trying to survive.

Her face was a wonder of lines intersecting

with lines, of worry and laughter,

one long and detailed story leading

imperceptibly into another; her skin, thin

as parchment, polished and shining

beneath the gray industrial light,

especially when she turned to smile.

Her beloved husband Frank had long since left

this life, while their children, and their children, had

grown and moved away, one to the east

and one far out west, remembering, most years,

to call at Christmas and her birthday.

"What would I do sitting at home alone?,"

she would ask to no one in particular,

answering herself with an exaggerated shrug.

Decades earlier, she had worked

at the ammunition plant not far from here,

alongside my aunt Anna Mae, counting

and packing machine gun shells for the war

six days a week, her hands perpetually

smelling of metal and oil for years.

This work was easier, much easier by far.

"Here I can eat what I make," she once quipped,

"and no one gets hurt, or killed -- just fed."

THE SOCIALIST OPERA HOUSE

 

It's long gone now, the place where the working class Finns met to raise their banners and sing the songs of labor, to act upon the stage a world that made a bit more sense, taught the lessons not yet learned. Gone now the farmers with broken English and missing fingers, the rebel girls and rabble rousers, the miners who shed their blood for a day's pay and a day of rest in this land of the free. Gone now, one dream swallowed by another when no one was looking. Though the bones of the building remain, housing yet another office, yet another bank. But the stage is still there, hollow, and long unused, holding close its secrets in dusty curtain folds and boards. The old songs are still there for any voice to lift again. The prop ship still hangs in the dust of darkened rafters, white sails torn and frayed, ready to set sail for a paradise, real or imagined, so very far from here.