"...solitude, which has been mostly useful."

Oil & Steel

by Henri Cole

My father lived in a dirty-dish mausoleum,
watching a portable black-and-white television,
reading the Encyclopaedia Britannica,
which he preferred to Modern Fiction.
One by one, his schnauzers died of liver disease,
except the one that guarded his corpse
found holding a tumbler of Bushmills.
"Dead is dead," he would say, an antipreacher.
I took a plaid shirt from the bedroom closet
And some motor oil—my inheritance.
Once I saw him weep in a courtroom—
neglected, needing nursing—this man who never showed
me much affection but gave me a knack
for solitude, which has been mostly useful.

"Oil & Steel" by Henri Cole from Pierce the Skin. © Farrar Straus & Giroux, 2010.

Trust

by Thomas R. Smith

It's like so many other things in life
to which you must say no or yes.
So you take your car to the new mechanic.
Sometimes the best thing to do is trust.

The package left with the disreputable-looking
clerk, the check gulped by the night deposit,
the envelope passed by dozens of strangers—
all show up at their intended destinations.

The theft that could have happened doesn't.
Wind finally gets where it was going
through the snowy trees, and the river, even
when frozen, arrives at the right place.

And sometimes you sense how faithfully your life
is delivered, even though you can't read the address.

"Trust" by Thomas R. Smith, from Waking Before Dawn. © Red Dragonfly Press, 2007.

"She is his responsible soul broken free"

Retriever

by Faith Shearin

My father, in middle age, falls in love with a dog.
He who kicked dogs in anger when I was a child,
who liked his comb always on the same shelf,
who drank martinis to make his mind quiet.

He who worked and worked—his shirts
wrapped in plastic, his heart ironed
like a collar. He who—like so many men—
loved his children but thought the money

he made for them was more important
than the rough tweed of his presence.
The love of my father's later years is
a Golden Retriever—more red

than yellow—a nervous dog who knows
his work clothes from his casual ones,
can read his creased face, who waits for
him at the front door—her paws crossed

like a child's arms. She doesn't berate him
for being late, doesn't need new shoes
or college. There is no pressure to raise her
right, which is why she chews the furniture,

pees on rugs, barks at strangers who
cross the lawn. She is his responsible soul
broken free. She is the children he couldn't
come home to made young again.

She is like my mother but never angry,
always devoted. He cooks for his dog—
my father who raised us in restaurants—
and takes her on business trips like

a wife. Sometimes, sitting beside her
in the hair-filled fan he drives to make
her more comfortable, my father's dog
turns her head to one side as if

thinking and, in this pose, more than
one of us has mistaken her for a person.
We would be jealous if she didn't make
him so happy—he who never took

more than one trip on his expensive
sailboat, whose Mercedes was wrecked
by a valet. My mother saw him behind
the counter of a now-fallen fast food

restaurant when she was nineteen.
They kissed beside a river where fish
no longer swim. My father who was
always serious has fallen in love with

a dog. What can I do but be happy for him?

"Retriever" by Faith Shearin, from The Owl Question. © Utah State University Press, 2002.

I love this. What does it mean?

Ocean

by Jason Shinder

Stupid Hope) --

Goodbye again. Say there is a little song in my head

and because of it I can't sleep or change my mind
about the future. Now the song runs all the way down

to the beach where I sit as if the sky

were my room now. No one, not even you,
can hear me singing. Not even me.

As if the music rose from the mouth of the ocean.

No mouth. Like rain before it reaches us.
Like wind twirling dresses on the clothesline.

Who has no one has the history of the ocean.

Lord, give me two more days. So that
the last moments may be with someone.

"Ocean" by Jason Shinder, from Stupid Hope. © Graywolf Press, 2009.

A Ritual to Read to Each Other

A Ritual To Read To Each Other

If you don't know the kind of person I am and I don't know the kind of person you are a pattern that others made may prevail in the world and following the wrong god home we may miss our star. For there is many a small betrayal in the mind, a shrug that lets the fragile sequence break sending with shouts the horrible errors of childhood storming out to play through the broken dyke. And as elephants parade holding each elephant's tail, but if one wanders the circus won't find the park, I call it cruel and maybe the root of all cruelty to know what occurs but not recognize the fact. And so I appeal to a voice, to something shadowy, a remote important region in all who talk: though we could fool each other, we should consider-- lest the parade of our mutual life get lost in the dark. For it is important that awake people be awake, or a breaking line may discourage them back to sleep; the signals we give--yes or no, or maybe-- should be clear: the darkness around us is deep. William Stafford

I've still want to go to Greece

Grecian Temples

by George Bilgere

The White Museum) --

Because I'm getting pretty gray at the temples,
which negatively impacts my earning potential
and does not necessarily attract vibrant young women
with their perfumed bosoms to dally with me
on the green hillside,
I go out and buy some Grecian Hair Formula.

And after the whole process, which involves
rubber gloves, a tiny chemistry set,
and perfect timing, I look great.
I look very fresh and virile, full of earning potential.
But when I take my fifteen-year-old beagle
out for his evening walk, the contrast is unfortunate.
Next to me he doesn't look all that great,
with his graying snout, his sort of faded,
worn-out-dog look. It makes me feel old,
walking around with a dog like that.

It's not something a potential employer,
much less a vibrant young woman with a perfumed bosom
would necessarily go for. So I go out
and get some more Grecian Hair Formula—
Light Brown, my beagle's original color.
And after all the rigmarole he looks terrific.
I mean, he's not going to win any friskiness contests,
not at fifteen. But there's a definite visual improvement.
The two of us walk virilely around the block.

The next day a striking young woman at the bookstore
happens to ask me about my parents,
who are, in fact, long dead, due to the effects of age.
They were very old, which causes death.
But having dead old parents does not go
with my virile, intensely fresh new look.

So I say to the woman, my parents are fine.
They love their active lifestyle in San Diego.
You know, windsurfing, jai alai, a still-vibrant sex life.
And while this does not necessarily cause her
to come dally with me on the green hillside, I can tell
it doesn't hurt my chances.

I can see her imagining dinner
with my sparkly, young-seeming mom and dad
at some beachside restaurant
where we would announce our engagement.

Your son has great earning potential,
she'd say to dad, who would take
a gander at her perfumed bosom
and give me a wink, like he used to do
back when he was alive, and vibrant.

"Grecian Temples" by George Bilgere, from The White Museum. © Autumn House Press, 2010.

symbols - Oddray - Beliefnet Community

symbols - Oddray - Beliefnet Community

Sometimes I say that, too.

Something Else

by Nin Andrews

Southern Comfort) --

Sometimes you say I'm something else,
and you mean I'm good, really good,
but honey, don't say that, please?
Reminds me how my dad used to say,
I'm just not myself today.
As if here were some kind of imposter dad.
Then he'd ask things like:
Why don't you go play with James?
Has the dog had his walk yet?
Will you kindly get out of my cotton-pickin' hair?
Sometimes he'd come home from work
carrying his hat and a brown paper bag,
and I'd know he wasn't my dad.
There were at least three daddies then,
sort of like daddy A, B, and C.
Like that TV show. Which will it be,
bachelor 1, 2, or 3?
My mom often said he wasn't the man
she married. And I thought about that.
How, when they were married,
I wasn't me, either. I wasn't anyone.
I didn't like to dwell on that.
It kind of gave me the creeps,
but I liked to ask,
Were you really in love then?
Of course, she'd say.
Did you hold hands?
Yes.
Kiss in public? Sit on his lap?
Yes, yes, I did all that. Once
She even showed me photos
she kept in her lingerie drawer
beneath her slips and silky things
she never wore anymore: him
in his spats and slick-shined hair,
her in a pink crinoline cocktail dress
with her long bangs clipped back
in pearly barrettes. Not a thought
in her head, except maybe
Don't I look swell? And
Love me. And he did.
Did he say so?
He said it every day.
He was something else back then.

"Something Else" by Nin Andrews, from Southern Comfort. © Caran Kerry Press, 2009

Wow

Hitchhiker

by Galway Kinnell

Imperfect Thirst) --

After a moment, the driver, a salesman
for Travelers Insurance heading for
Topeka, said, "What was that?"
I, in my Navy uniform, still useful
for hitchhiking though the war was over,
said, "I think you hit somebody."
I knew he had. The round face, opening
in surprise as the man bounced off the fender,
had given me a look as he swept past.
"Why didn't you say something?" The salesman
stepped hard on the brakes. "I thought you saw,"
I said. I didn't know why. It came to me
I could have sat next to this man all the way
to Topeka without saying a word about it.
he opened the car door and looked back.
I did the same. At the roadside,
in the glow of a streetlight, was a body.
A man was bending over it. For an instant
it was myself, in a time to come,
bending over the body of my father.
The man stood and shouted at us, "Forget it!
He gets hit all the time!" Oh.
A bum. We were happy to forget it.
The rest of the way, into dawn in Kansas,
when the salesman dropped me off, we did not speak,
except, as I got out, I said, "Thanks,"
and he said, "Don't mention it."

"Hitchhiker" by Galway Kinnell, from Imperfect Thirst. © Houghton Mifflin Company, 1994.

I don't like snow but I like Catherine.

SNOW: I

by C.K. Williams

Love About Love) --

All night, snow, then, near dawn, freezing rain, so that by morn-
ing the whole city glistens
in a glaze of high-pitched, meticulously polished brilliance, every-
thing rounded off,
the cars submerged nearly to their windows in the unbroken drifts
lining the narrow alleys,
the buildings rising from the trunklike integuments the wind has
molded against them.
Underlit clouds, blurred, violet bars, the rearguard of the storm,
still hang in the east,
immobile over the flat river basin of the Delaware; beyond them,
nothing, the washed sky,
one vivid wisp of pale smoke rising waveringly but emphatically
into the brilliant ether.
No one is out yet but Catherine, who closes the door behind her
and starts up the street.

"SNOW: I" by C.K. Williams, from Love About Love. © Ausable Press, 2001.