Saturday, October 30, 2010

elm jury, or what is autumn without a tree poem


Grounded


Tell me I don’t reach

in the way that elm trees arch

for blue heated sky,

stretching with beggar limbs

for one more soak in yellowed light

before the moon hustles in

with the blackwash we call night.



Instead, tell me

you feel the stubborn way

I burrow beneath groomed grass

the same way elms seek water

in a neighbor's yard,

reaching deep into musty earth

to battle the northern front.



First published in  Hobble Creek Review
Where is the balance between reaching for something and staying rooted?  If want is on one end of the scale and stay-put is on the other end, where is the balance and how do we recognize it? I wrote this poem a few years ago when I was thinking I shouldn't maybe reach for that blue sky. Jury is still out on that debate. And you? How is your jury doing on that debate? Or is it a debate for you?

Thursday, October 28, 2010

scrap



Red dawns have been happening without me. This experience requires an exit procedure: Slipping out of a warm bed into cold stiff jeans, finding a pair of socks,  keys, camera and mittens in an unlit house with an unlit mind. Sometimes this is beyond me.

Shhhh —somewhere  earth  is meeting water, water is lapping against light.

But elsewhere I am following rules: getting to work on time, obeying the dotted lines, not talking to strangers, writing a grocery list. Staying on task, staying within the lines.

After x number of days staying on task, I find myself tying silver maple leaves to knobs on kitchen cupboards,

carving pumpkins — not for the resulting lanterns — but for the scraps that happen as we cut.

And somewhere will sit a pumkin on a doorstep — a pumkin without lips.






Monday, October 25, 2010

all things unnamed

I name my world. When I can't, when I am unable to -- let's say I am camping inside a wet tent and am down to my last pair of wool socks, if I am quiet and listening carefully, comes the shadow against the blue of canvas, presenting words like roasted mittens, or long-elbowed boy. Naming the world realigns the stars etched against the life lines on our palms.

You can only see them when you do not look.

We took a long walk this weekend, along a creek which runs through a canyon. We threaded our way through ungroomed stands of trees, around a bend and over hillsides- taking photos of all things unnamed.

I name my shoes, the vehicles I drive, the pumkins we carve, but realized on this walk- I didn't know the names of anything we saw. Moreso, I wasn't inclined to rename anything. Everything had already been named. We have names for the flower and its petals, we have names for the October air. When we name something, do we stake a claim?

I didn't want to stake a claim. I took the Vow of No More Making Names. Dropped the vow into the HeretoforeThereafterUnamedCreek- with three witnesses pressed against me.




Sometime after crossing the bridge, I caught myself from naming this delicate fluff:
 The Stuff Little Kids Are Made Of.


And this one, while I was on my knees, holding steady, waiting for the slight breeze to subside so I could take this photo- I was almost thinking: Flattened Bloomer.


When we returned home (all our lanterns waiting for us on our doorstep.) (all of them named before the Vow Ceremony)

Jack O'Jacky, brother to Jack O'Punch, son of Jack O'Dult


I uploaded the photos to my laptop and read my email. A letter from a friend had arrived, detailing his plans to continue climbing the highests peaks in each of our fifty states. This time - Mount Marcy in the State of New York. I toggled over to Google to learn a little more about this peak. First thing I learned was the peak was once known as Tawahus,  an Indian name for cloud splitter.



 Second thing I learned:  the local Indians back in the day had no name for this mountain. The name Tawahus was given to the mountain by white settlers.

Thursday, October 21, 2010

level 255, white without detail


I'm early, which means according to my watch (if I could find it) I am on time. I park between two vehicles in the parking lot at the Lincoln Center such that the brilliance of the evening sun cannot find me. I roll my windows down. To my left, a macho 4x4 pickup with exaggerated tires. To my right, a mother in a van. I'm not eavesdropping, but she's talking on her cell phone about how to heat up breadsticks, and Aunt Sally can show him if he's not sure how to run the oven. And Zach is walking to his cross-country run. Save three sticks for him and a plate of spaghetti. She won't be home til nine.

I'm not as organized as she sounds. Last week's banana is still in my book bag. There aren't bread sticks warming in my oven, but I know there is a wasp waiting underneath my favorite antique tea cup in my kitchen sink. This is how things are.

The man who owns the large pickup next to me comes out of the center, pauses to unlock his door. He's wearing cowboy boots and has sneakers in his hands. He smiles with a sort of shrug and tells me he has to drive to where he runs.

Once he drives off, I turn back to my journal and study notes from last week's photography class.  Photography = light + drawing, which  means drawing with light. Before the 1950s, burning magnesium was how we made our light. In shadows, light is bluer than one might think.

A camera is taught 18% of everything it sees is gray. There are times we must override this by studying the histogram of each photo taken. My notebook has four pages of etchings to demonstrate a variety of bad shots as graphed in a histogram.This graph has a sliding scale from zero to 255, with zero standing for darkness and 255 being white without detail.  Who would want shots like that, our instructor asked. He took his green marker and made a messy circle in the center of the graph on the board in front of the class -- showing us where the detail of most life exists.

I flip to the back of my journal and write a note to remind me when I get home at nine to let the wasp loose.


.











on naming her twelve hundred months


On Naming Her Twelve Hundred Months


For example, she gets August and Tuesday mixed up
and she’d like to name the next month Caesar. Julius
after that. I sense that she prefers infinity, avoiding
things that go around and come back again—which is why
her father asked my mother to tell me the least I could do
is write to her, maybe apply for a visitor’s pass.

I show her the piano in the day room with keys named
one through eighty-eight. Octaves don’t exist. She skips
the scales we learned as kids but plays killer
ragtime blues. Speaking of music and Tuesday,
my puppy stops barking when I say things
like Excuse me, or Ruby Tuesday, or when I sing the blue

shoe song she likes. Layla is the Irish Setter I rescued
from the pound. Her previous owner gave her up
because she’s afraid of a rifle going off, bullets
in a barrel, the click from a trigger’s pull, the sounds
of hunting season, the sound September makes.


Previously published in Fifth Wednesday Journal.

Photo Credit: William O'Keefe

Tuesday, October 19, 2010

morning glory - mary macgowan


Dirty dishes kept me company the other night. We won't talk about how long they had been soaking in the sink. Catching up on my dishwashing turns out to be good Home Alone on Friday Night therapy. I filled the sink with hot sudsy water and listened to tunes on my CD player, recapping the past week in my mind.  Was there anything good from it I might want to remember?

 How was it that the only good conversation I'd had this week was with the roofer who plans to reshingle my house?  The debate over natural wood or wet wood three-tab shingles almost turned fun when we started renaming the shingles' colors. But it didn't take long to discover he wasn't, never will be, a poet. For every shattered red and auborn grey name I invented, he invented bright green and vivid yellow.

The next good conversation I'd had  . . . (thinking) . . . might have been, must have been when I woke in the middle of Tuesday night to listen to voice mails on my Blackberry. I have a few friends who call my voice mail when they can't really talk to me "live." I envy their ability to leave a long voice mail that doesn't sound like this: Hi Sherry, It's McGillicuddy......Guess you can't answer your phone.....It's Tuesday night around midnight....call me when you can.

I buried myself under my comforter and listened to the rambling chat of a friend who leaves pauses in his conversation with my voice mail...knowing when I eventually listen to his voice mail, I will talk back to it:

Remember when you were here and we all had tea? I forget now, but what about my tea did you not like?

(pause.........)

Cuz I am making tea right now and I thought I'd pour you a cup....listen, here is the sound of hot water boiling on the stove.....

(insert the sound of a whistling tea kettle)

.....so if it was the honey you didn't like, I am not putting honey in your cup

(insert the sound of a cupboard being rummaged in)

... say, how about a drop of spearmint in it instead? are you up for that?

(insert another pause for Sherry's reply)

But back to doing dishes on Friday Night. My Aussie pup was outside playing Tire, the shepherd was inside eating an ice cube on the kitchen rug. The music on the CD player had switched gears. A sweet voice sang out, "and she asked me: are you okay? Those are the saddest words ever heard".  Whoa. Someone was singing my name. I dried my hands, turned the music louder and listened to Mary MacGowan sing my kind of song, talk my kind of talk. Where did this line come from? I decided to write and ask her. She sent me back the lyrics to the song. Here's the second verse:

Cooler aka Bright White Winter Day aka The exquisite torture of new relationships


        and you have so many friends
        oh maybe right now might be the best time to end?
        I don’t want – to – watch it all fall
        oh then my sister will call
        and she’ll ask me: Are you okay?
        Those are the saddest words, ever heard
        on any bright, white winter day.

Mary, turns out, was in the midst of purchasing a new home, accepting the risk of starting up a private art therapy practice. I admire her courage and the work it has taken to record this CD, write her poetry, build her life. It’s not easy to push through fear. When I wrote to tell her I related to her music, she wrote back:

“. . . have survived the basics. the jitters
are still there, but i'm okay.  Although
i just had a crazy tumble face down
coming out of our natural food store,
so i can tell i'm not quite myself.  but
since i'm here, with nothing to do, i am
delighted to take this chance to respond to you!
Words like that from Mary, whether in her soprano voice or her Garamond typed words renew my conviction to keep on believing in what I can’t prove. I wanted this post to be an interview of Mary, but she wrote back to say I should share in my blog what I wrote to her:

I believe in the exception to the rule. I must be in a space with open doors. I might not go through the doors, but need them to be open. I've said no to enough relationships in my life for that very reason....and keep finding out that while it is painful it remains necessary. I have friends who choose relationship over open doors. Somehow I keep believing the two can co-exist, that I won’t have to choose one over the other.

Want to be part of this multi-media dialogue? Check out this link to Mary’s music. Listen to her songs. Maybe, come back and tell us how you like the harmonies and the clarinet, the mandolin and the lyrics. No need to tell us when you tumbled down. When we don't ask if you are ok, you will know that's how we show we care.
    

Monday, October 18, 2010

mach 1 and lost lockets


The latest photo from my father: An F-15 from the nearby Air Force base leaves its mark across both sky and water. I grew up in this area. On one side of the river -- teepee rings lingered from the 1800s, and on the other side, fighter jets experimented with sonic booms in the 1960s.

When something moves through something else -- a boat through water, a jet through air -- waves are created.  If the speed and power of something gets to be so fast and strong, the waves created by said passage start to pile up against one another. It gets to where they can't get out of the way of one another. That's when the sonic booms, so to speak with poetic license.


Across the kitchen table from me, my daughter was working on lesson plans for her first grade students at a school designed for kids with emotional and social issues. We can, at times, act like an old married couple where when one says "Are there any more plums left in the fridge?" the other might reply, "I forgot to tell you the neighbors brought us a pumpkin." 

I told my daughter about the lastest photo from her grandfather and what I was learning when I googled sonic boom. She talked about math centers, parent permission slips, and a locket found on the playground. What did I suppose was inside the locket? she asked.

Perhaps what was inside the locket would help locate its owner. Maybe it was a photo of the little girl once found miles away from home at the fishing bridge, at 3 AM. Maybe it was the girl who often sits on a neighbor's doorstep at night, waiting for someone to let her in. Maybe, my daughter thought, it belonged to one of the students who wears a whistle on her backpack.
Whistle on a backpack? Yes, for in case her father shows up again -- she and her brothers are instructed to grab their whistles and blow as loud and long as they can, summoning help. Apparently there is a lifelong restraining order to keep him away from his kids. A photo of him is taped inside each teacher's desk drawer. Just in case he storms in.


I put aside my Mach 1 research, closing up my laptop with its bookmarked page filled with talk of boom carpets and overpressure profiles. We picked out pretty papers and spread them on top of my laptop, set the locket down. When my daughter opened the locket, I expected to see a photo of a mother, a father, maybe someone's happy dog - but not this: a dull black pebble, carefully glued inside.






Thursday, October 14, 2010

pryor mountain ice

I'm really pleased to be included in this issue of Terrain.org, an online journal dedicated to our environments, both natural and built.

Both poems, And Yes, the River Waits and Pryor Mountain Ice are dear to me because they share some of Montana with you. The river poem also includes a rare appearance of one of my kidlins (something I don't write about too often.) If you have time, you can click on the audio links next to each poem to hear me read.

If you have time, and I hope you do, follow the link below to watch a film about the wild mustangs referred to in Pryor Mountain Ice. You'll need 51 minutes to watch the entire film, but even if you just have time to watch a few minutes, the film will give you an idea of this area of Montana (and Wyoming). Hats off to Ginger Kathrens for her tremendous documentary.
http://www.pbs.org/wnet/nature/episodes/cloud-wild-stallion-of-the-rockies/video-full-episode/260/

Tuesday, October 12, 2010

going nowhere in plenty of time

The refrigerator in my kitchen is black -- not that you would notice. Over the years magnets have showed up. Like pocket rocks, magnets show up when you don't expect them. Because what do the gods say about expectation? Something something don't attach yourself to wantnot and whathaveyous.

In my household (homehold) my homemates (offspring) rearrange the magnets as a way to center themselves. There is something soothing about standing in a darkened kitchen (maybe there is an oatmeal raisin candle burning on the stove) and realigning the magnets.

The day when my offspring (magnet realigners) will move out to their own kitchens approaches. I work at not thinking about it. I work at not thinking about back in the day, how it was each of the twenty hundred magnets were acquired. I trade memories for remembering right now -- red peppers grow in a turquoise pot by the kitchen sink. When my son cooks dinner for us, he snips a pepper off,  grinds it for the sauce bubbling on the stove. I trade more pastward thinking thoughts for remembering right now a pile of illustrated books accumulates on the bench in the kitchen for my daughter's first-grade students. There are no moments before, no moments after.

the rose and the rise


I lift photos from my father.

Even in our toddler years my siblings and I were accustomed to having a father in the background with a camera in hand. Over the years we grew fond of his candid shots. Turns out each of are good at pouting when we thought no one could see us.  We grew up and became parents to a new generation of closet-pouters. Somewhere in the mix of time Dad put his camera away.

What I don't want to dwell on is the aging process and how we quit involving ourselves with a world which once beckoned us to come outside and play, to come outside and participate in what makes the world spin. I'd rather write about the way my parents are today -- rising every morning to take long walks along the river or along some new pond they've discovered since they adopted a dog to take care of, and since my father got back into photography. How did that come to be?

One day the internet showed up in our parents' home. My siblings and I started emailing photos to our parents. Grasshopperish photos sent to the master. Dad would write back to ask what sort of camera did we use, what F stop. We had (have) so much to learn. We kept sending photos.

Came the day he roused himself, bought a digital camera and started emailing photos back. At first they were often taken from his living room chair, at 4 A. M. Sometimes the subject line would read: photo of the morning light on the living room wall. Sometimes the subject line would be: sunrise through the etched rose window.
In any given day (with each day given to us), I hear from writers and artists who fear they've started writing and painting too late in life. I open my email and find a new photo from my father. We are celebrating his 80th birthday soon. My mother still runs circles around her children, such is her energy.


I think about poets like Gerald Stern and Marie Ponsot who started writing around the time of life my father started sending us photos of the light playing on his living room wall. Like Stern and Ponsot, came the day he opened his front door, stepped outside for a walk. A long walk with his camera.

Sunday, October 10, 2010

in which the beets and i find the poetry room


Between the ears of a horse I see the building. Inside the building are poets, reading. I plan to step inside. But not now. I hear music from a festival around the corner.


 Around the corner and down the street, I buy a pint jar of pickled beets from the Mountain View Colony Hutterrites selling the last of this fall's produce. It travels with me everywhere I go. Everytime I take a photo, I set the jar down between my feet.


But I don't take its photo. If my mom knew I was buying pickled beets and not asking for another jar of her own canned pickled beets, I might get cut off from any more jars of her dill pickles or flathead cherries.


This is one of many ways of knowing you are in Montana. Posters on telephone poles are beckoning me to attend the NILE rodeo. I'm torn. I have a jar of pickled beets in my hands, a camera in the other. I imagine walking away from the poetry reading, taking the jar of beets with me to the rodeo. Buying two tickets- one for me and one for the beets. I'm picturing the beets sitting next to me, we are both cheering for the bull rider to hang on for a few more seconds. Only after I walk by the next booth does it register I've walked by something more interesting that poetry readings and late September potatoes. Or me and the beets cheering on bronc riders.


I don't take her photo, but Violet is the name of the young woman who shows me the T-shirts various artists have created. Sale of said T-shirts goes towards micro-financing various areas of poverty: Honduras, Ethiopia, Afghanistan. We treat the source, not the symptom.

I walk away from her tent, thinking it is a worthy cause to click on.  And I also walk away, pint jar in hand, thinking about how hard it is to sort the symptom from the source, how hard it is to bring the subtle layers of humanity to the attention of a world caught in commotion.

 

I return to the corner where the horse is, walk into the bookfest building, stepping into a vast hallway designed to collect hats and coats. Across the hall, down and around another corner is a huge banquet room where fiction writers are signing autographs and posing for photos. This is not the poetry room. I retrace my steps, chose a different hallway, a different corner. There, off to the side is a small room set up for about ten people. Instinct tells me - this is the poetry room.  I peek inside and see a white board announcing the scheduled readings. First up: readings from a book vying for the High Plains Poetry Award -- I Go To the Ruined Place, an anthology of poems in defense of global human rights, edited by Melissa Kwansy and M. L. Smoker.  

I find  a vacant chair, put my camera away, situate the pint jar between my feet.


Thursday, October 7, 2010

the painter's son


Someone left a Tidbits newsletter in the cafeteria down the hall from my photography class. I read it while I ate my gryos-to-go dinner. Class wasn't due to start until six. I had thirty minutes to read about everything I didn't know about aviation, this week's Tidbits topic.

Did I know it wasn't true that seagulls would explode if they accidentally ate an Alka-Seltzer tablet?

I didn't know it had ever been considered true. But what if they ate it on purpose, did that change anything?

What I wanted to know was more about the Spruce Goose and how it must have felt to build such a plane and then spend a million dollars a year for thirty years storing it, preserving it, keeping it from the sky.

I never found out. The newspaper told me about its three minute flight over the shoreline of Long Beach, but never strayed into any realm that might have shared that sense of limited flight Hughes must have experienced when he ground his spruce.

**
Once class began, our Irish instructor, whose ability to say eighteen and eighty exactly the same continues to persuade me he's more poetic than he would admit, talked to us about focus. Apparently there are internal gyroscopes in cameras and lenses that work towards achieving stability. More stability, sharper focus.


It is his opinion, he told us as he moved through the aisles, glancing at the photos we students had up on our computer screens, that the better stabilization components in a lens are those found nearest the center point of gravity.
 
I flipped my notebook to the back pages where I kept poetry notes, and carefully reworded his words. It doesn't do any good to steady our hands if the point of unease is coming from where we stand.

I left class feeling steady. Feeling grounded can happen in a variety of ways, I thought to myself as I walked across the nearly empty parking lot. I hadn't expected a class in focus could be so reassuring. I was feeling grounded in a good way, not grounded in a spruce-goose sort of way.

**
Back home, I thumbed through my Blackberry to download a photo of the door. (Here I am taking a photography class and yet I still take photos with my phone.)

Door, door, doorknob, door . . . and then . . . little blond boy in blue.

I had forgotten him.

Not too long ago, in an effort to get the rest of my house painted before bad weather hit, I volunteered to babysit my painter's toddler so he could  finish painting.

Saturday morning, the little guy followed his dad around my yard, doing a pretty good job of staying out of paint. Both his dad and I were unsure if Little Boy In Blue would come inside with me while his father stayed outside to paint. But he came inside, crawled onto my lap, rubbed his eyes and slept. I quietly snapped his  photo with my cell phone camera, thinking how I envied his steady, trusting way.




Wednesday, October 6, 2010

where did everyone go? and do i have to leave?


My First

Three six nine

We played clapping games in sixth grade,
wrote the names of the boys we liked

goose drank wine

on our bare legs. Lee was the first at everything,
daring enough to lift my skirt to find his name

monkey chewed tobacco

on my knee. Cool girls changed the names every other
week, but his was the only name I wrote on my skin.

on the street car line.

He was the first to hold my hand, the first
to kiss me at the show, Thoroughly Modern Millie.

Line broke

He could talk me into anything -- I would have followed
him anywhere but my parents wouldn’t let me go

monkey got choked

when he asked me to go rafting with his brothers.
Spring run-off, they said. Submerged logs, driftwood snags-

and they all went to heaven in a little row boat.

too easy to drown this time of year.




(photo by W. O'Keefe)

Tuesday, October 5, 2010

in which we don't talk about failed milkweed



"Despair is a useless way


Oh, for the want of a better background . . .


of connecting with the world.


Oh, for the want of a better angle . . .


 Slow down

and


Oh, for the want of a better pod . . .


love what there is.


 - William Kittredge, Who Owns the West

Monday, October 4, 2010

then i moved away

I am sitting at my kitchen table, eating oatmeal with blueberries and walnuts. My back door is open to let the blue October sky inside. I have plans later to run the dogs down by the river. I don't want to spend another day inside cyber world. I've had it in my head for awhile now that too much cyber blurs the reality of my days. But then my Blackberry sounds its bing -- an email from Dad has arrived.

Apparently, James Parker Shield is filming a documentary today and Dad is taking photos from across the marsh, into the back of the stage set. I click through a series of photos, wondering who Shield is. Before I can google him, my phone rings -- a friend who lives eight diagonal inches away from me (if you were to spin a globe) is calling to discuss the day.

I tell him about the photos and immediately hear click- tap - clickclick across the cell phone wires. He googles faster than I do. In moments he is telling me Shield is part of the Little Shell Tribe. The Cree and the Chippawea once navigated the Medicine River, today's Sun River, all the way down to Black Eagle, the series of water falls upriver from where I grew up. Shield is filming a ceremony on these grounds. As he reads on, I find myself knowing what he will read out loud even before the words arrive across the miles:

 " . . . derelict shacks made of scrap wood, cardboard and tarpaper; ankle-deep trash covering frozen alleyways. The treeless, grassless village was situated next to a dump, from which residents scavenged scrap metal and rags. Two hundred people shared a single water pump and were crowded fourteen or fifteen to a room."


I know this tribe, the Hill 57 Indians. For twelve years we shared a rural school bus. Time and distance blur, this is what the cyber world feels like. I am no longer at my kitchen table eating Irish oatmeal -- I am back on Bus 16.

Our father taught us that people who start fires
aren’t the ones to put them out. Burning trash
was illegal, but a gully-load of tires had been lit.
When no one cares to stop it, heat can flame
for years in the chambers underground. Through
the smoke of burning rubber, we rode
a school bus along the Missouri River shore,
past the county dump to our squatty white house
in the down-spray of the falls. Two bedrooms
for eight of us, with the baby’s crib in the hall.
The oldest boys had a bedroom town kids
called a porch. These kids in town were lucky,
we thought, to ride bikes to corner candy stores.
Nickels in their pockets. Smooth pavement
for the games they played while the five of us

spent hours on the country bus with thirty-three
Hill 57 Indians. We stood out with our Irish freckles
and front porch house against their darker skin
and homes built from scraps mined from the coulees
around the dump. We learned who could be
friends, who would never be. Mary Little Cross
lived in a shack with a two inch gap
around the front door. Dark winter mornings
kerosene light leaked out. She stayed warm
by wearing her three dresses while she slept.
She told me she switched them so it seemed
as though she changed her clothes. We’d smooth
our skirts and huddle in the fourth row of our bus.
Knees pressed together, the paper keyboard
we had made spread across our laps. I showed her
how to read music from a book I brought from home.
Mary taught me how to chant for rain.




* * * * *
I haven't perfected the balance between the cyber and the real, between sharing something like this and knowing when to stop. Everyone on Bus 16 was and is real. I knew these kids -- which kids had moms and who was related to whom. In high school I researched the issue, wrote papers in English class, gave rides in my '63 Rambler to the nun who was helping the landless tribe gain a better water system, some sort of plumbing, the right to attend classes in night school. But still  . . . I moved away.  It was easy -- I was young and had my mind on other things. And now I learn the subject of  Hill 57 Indians is googleable. 

Pocket lake in the old river bed. Today's river is less than 1/4 mile away.
 -- W. O'Keefe

Friday, October 1, 2010

think of light as water


A length of black velvet is pinned to the white board in the front of my photography class. Light falling on black is different than black reflecting light. Until every student understands this, Mr. B plans to leave the velvet up.

Through our classroom windows, autumn has begun. I can't resist snapping its photo while I listen to talk about F Stops and shutter speeds -- when one doubles, the other halves. I write this in the front portion of my journal and then quickly flip to the back where I keep notes on poetry. I know Mr. B is about to say something brilliant again, in his Irish brogue, and I want to capture every word.

Think of light as water. Imagine filling your bucket with light.

He pauses to scan the room. Are all his students as captivated as he'd like them to be? Last week he spoke about the camera lens and I wasn't prepared for the poetry: Each time light passes through glass, it loses resolution. After he said that, I imagined he understood about tribulations in my life.

Somewhere in Germany glass is cooling. It is cooling very slowly, he tells us, as he roams about the room, glancing at the photos each of us have on our computer screens. Mr. B stops to look at my screen, nodding at my photo of the pulley and the rope. I like to think it is my shot of quiet tension, but it could be years before I understand enough to write a poem about the dust and fray.  Lately, I've not been able to write poetry, but I have been taking notes.

Mr. B weaves his way to the front of the room. He answers questions about compression and histograms before returning to the story about that German glass. The best glass, he says, takes twenty-two years to cool. Outside our classroom, four lanes of traffic suddenly race by. He pauses to let the noise subside. I flip to the back of my journal and carefully record his words.