Walking down the helical road, untwisting as you go you discover places you never imaginged visiting, nothing like the path you thought you knew well.
Stop and claim your new heritage, find yourself on an alien map, bury yourself in books of new and ancient history.
Pause here and consider a King of Scotland, knights and lords, in the far distance know that you claim a link to a man so honored that he died by hanging, but was then beheaded and drawn and quartered.
Too late to unswab your cheek, so simply enjoy your ride.
This is what I would tell my sons: “You came from an ancient people, a heritage of poets and tailors, or thieves and blasphemers, of callous men and slaughtered children. I would give you these books, written by God, some have said, although I am doubtful but driven by Erato, without doubt.”
This is what I would tell my sons: “I didn’t go to war — there were so many options and I chose one where my feet would touch only Texas mud, where the only bullets were quickly fired on the rifle range. I wasn’t one of the 56,000. I didn’t come home in a body bag. But I do stop at the Wall each time I visit D.C. and say farewell to those who did.”
This is what I would tell my sons: “You have never known the hunger for a scrap of bread pulled from a dumpster, you have never spent a night on a steam grate hiding under yesterday’s newspapers from the rapidly falling snow. You never stood nervously at the waiting room of a dingy clinic waiting for a young, uncaring doctor to announce that antibiotics would likely clear up the infection but you should avoid any form of sex for a couple of weeks.”
This is what I would tell my sons: “You come from a heritage of poets.”
First published in The Right to Depart, Plain View Press 2008
Like the Anasazi’s sudden departure from his cliff dwelling I too snuck away, with hardly any trace from a life no longer in clear recollection, only faint images survive, of hours in the City Lights Bookstore reading Corso, Ferlinghetti and Ginsberg, then buying the slim volume “Gasoline” not because it was my greatest desire, but its price. Now the worn volume sits nestled between Wilbur and Amichai, a fond memory, like an afternoon in the park in Salt Lake City the tarot spread out before me whispering their secrets for the slip of blotter, the small blue stain bringing an evening of color and touch and that momentary fear that nothing would again be as I knew it to be. The Anasazi knew the arrow of time had flown, had passed the four corners where I lay in the street another senseless victim of a senseless war, while Karl held the placard demanding peace, until the police urged us to move along, and offered the assistance we were sworn to reject. Now the corners seem older, more tired of the life that treads on them daily, on my path to the Federal Courthouse to argue a motion where once we spilled the red paint the blood of our generation. Now there is a wall with their names, a permanent monument while we, like our Anasazi brethren, are but faint memories.
First Appeared in Ellipsis Literature and Art, Issue 35, 1999.
Sitting on the fourth shelf from the top, in the second rank of bookcases in my office is a somewhat worn copy Dylan Thomas is “Portrait of the Artist as a Young Dog.” I can’t admit to ever having read it, or an ability to now recall if I did, but I know I’ve had several young dogs in my 66 years, but none were particularly artistic; but perhaps I set too high a standard as they did seem to treat the white tiles in the foyer of my parents suburban home as a canvas on rainy spring days, very much to my mother’s dismay.