Rendered Complete Equals

 

Through mixed media painting and drawing, I experiment with the pictorial function of words by deconstructing textual elements alongside organic forms. The integration of collage media provides a way to establish a visual dialogue between both natural and manmade symbols. The resulting imagery is gradually developed through the layering of paint with castoff bits gathered from unexpected sources. Paper scraps, eroded bits of plastic, vinyl lettering, discarded signage, fabric remnants, and old drawings ultimately find links to one another, fitting together much like a puzzle.

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Moving Beyond the Boundaries

The Impossible Fortress, by Jason Rekulak

Simon and Schuster, 2017

285 pages, hardback $24.00, paper $18.00

 

 

Writing a computer program and writing a novel share certain characteristics. Both involve using an established alphabet, syntax, and set of concepts. What separates truly great computer programs from serviceable ones might be the same thing that separates the great novels from the rest of the pack: a creativity that moves beyond the boundaries of what a reader or user expects. Jason Rekulak’s The Impossible Fortress does just that, taking the familiar elements of coming-of-age novels and injecting wit, pathos, and a helping of nostalgia. A tribute to outcasts and geeks and an unabashed love letter to the 1980s, The Impossible Fortress is a compelling and humorous first novel.

 

Set in Wetbridge, New Jersey, in 1987, the story is narrated by Billy Marvin, a computer nerd and pop-culture connoisseur. The child of divorce with a mother who works night shifts at Food World, Billy spends his days debating best friends Alf and Clark about the hot issues of the day. Who would win in a fight? T. J. Hooker or MacGyver? Springsteen or Billy Joel? Children of the 1980s, obsessed with Pop-Tarts and Atari, they take these conversations seriously, a fact which explains their fascination with Wheel of Fortune letter-flipper and 1980s it-girl Vanna White.

 

This schoolboy crush becomes a real-world obsession when White appears in Playboy. Billy, Ash, and Clark turn their world upside down in an ill-fated quest to secure a copy of the illicit magazine. Were this set in contemporary America, the boys would simply Google search the images or check Reddit. In 1987, they must result to more nefarious scheming. Their plan involves shoplifting a copy of the magazine from Zelinksy’s, a local newsstand and office supply store run by Mr. Zelinsky, who seems to be channeling Kurtwood Smith from That ’70s Show. A curt and dour manager/owner, Mr. Zelinsky sees through the boys’ attempt to shoplift, but when Billy meets Mr. Zelinksy’s daughter, Mary, the plot takes off. Initially, the boys plan to use Billy to seduce Mary and get the store’s alarm code so they can break in to steal the magazine after hours. Plump, chubby Mary is an object of scorn for our resident would-be porno bandits. However, when Billy gets to know Mary as a person, he learns that, like him, she is an expert computer programmer. The two collaborate on The Impossible Fortress, a game they design for a national competition. As Mary and Billy’s relationship grows, the boys make promises they can’t keep and wind up enlisting the help of high school bad boy Tyler Bell, whose role in the story is much larger than the novel first suggests.

 

As the affable and well-written prose moves forward, we learn that the real impossible fortress is adolescence itself, a hormone-fueled time that finds young people paradoxically living in the moment while planning for their future. Rekulak handles teen emotions well. We believe not only in Billy’s emotions, but we also believe that he believes them. Billy is an authentic character, one drawn with emotional weight and depth. His growing concern for Mary is undercut by his own ambition, and, as the plot moves towards its inexorable ending, readers witness his transformation from a boy whose world ends at the tip of his nose into a young man who understands the weight of his choices.

 

Each chapter begins with a snippet of BASIC computer programming, the rudimentary pieces of Mary and Billy’s game. A fully-playable version is available on Rekulak’s website (http://jasonrekulak.com/), rendered in cheesy, faux-8-bit graphics. This touch rounds out the book’s absolute love for all things 1980s, from Rubik’s Cubes to video rental stores, from cheesy TV to school bullies drawn from CBS after-school specials. Nostalgia can be dangerous for a writer. With too much of it, a story becomes mushy and syrupy, wallowing in details rather than advancing the plot. However, in Rekulak’s capable hands, the world becomes an extension of the characters. Indeed, it would be hard to imagine Billy existing elsewhere, with his un-ironic earnestness and honesty.

 

Writers and critics sometimes fetishize “newness,” quoting Ezra Pound’s closing-on-century-old advice, “Make it new.” That drive to make all things new denies the fact that writers have been telling different versions of the same stories for years. Have we seen coming-of-age stories before? Of course. Have we seen paeans to the 1980s before? Yes. However, we’ve never heard this story before told by this character at this moment. Like a computer programmer, first-time novelist Jason Rekulak takes the elements and assembles them. In his creative hands, the parts transcend into a beautiful whole.

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Tesseract

We admitted we were powerless

FORECASTING THE DEVELOPMENT OF A FEW STRONG
TO VIOLENT LONG-TRACK TORNADOES

this is called visitation.

 

I made a family of the towers. The one with a heart in her center and the pointed tips of a hat, the mother. In the summer weeks that were his we rode in the car for an hour, backpacks with coloring books and dinosaurs, quarters for vending machines.

 

We followed the power lines out to the river, past signs for evacuation routes. Gas stations with tanning beds, boiled nuts in greasy bags, bathrooms we weren’t allowed to go in. We pretended to work, typing newsletters on typewriters, wearing headsets not connected to the phone.

 

I want to be involved in raising the child/ren.

*

We came to believe

THEY WILL RAPIDLY BECOME SEVERE WITH THE POTENTIAL

 

Only her mother could talk about him in a natural way

 

*

 

Restore us to sanity

THIS IS A PARTICULARLY DANGEROUS SITUATION

A straight line is not the shortest distance between two points

 

I believe visitation is in the child/ren’s best interest.

*

 

We made a fearless moral inventory of ourselves

STORMS WILL SHIFT

 

“Just what was your father’s line of business?”
“Some kind of scientist, wasn’t he?”

 

*

 

Another human being

THE POTENTIAL TO PRODUCE

 

“When would you go, if you could time travel?”
“I’d go back and see my parents when they were younger.”

 

*

 

We’re entirely ready

THE MOST INTENSE STORMS ARE EXPECTED

 

I woke up when a man in a black cowboy hat got into the car parked next to ours. The familiar. A slamming door. My sister, asleep in her car seat, a slow drip of apple juice, crushed crackers against her legs. The sign from the building made a pink blur on the back window. Hours later, my mother returned. She smelled like someone else.

 

I have a safe place for the child/ren to stay during visitation.

 

*

 

To remove

A HIGH RISK

 

My mother asked about my dog. A name of some vague relative.

 

She would be happier in the countryside, without fences, away from the apartment with two bedrooms and twin beds.

Years later I learned she was bred, litter after litter. When I was sixteen, my mother pointed out the house as we drove by—a fence and a chain, the grass worn away.

 

*

 

We made a list

PORTIONS OF
MUCH OF
ALABAMA NORTHWEST GEORGIA SOUTHEAST MISSISSIPPI SOUTHERN MIDDLE TENNESSEE

 

*

 

To do so would injure them or others

STRONG LOW LEVEL AND DEEP
LAYER VERTICAL SHEAR

You and the child/ren will know when you can spend time together.

 

She knew that if her father could not get her through
the wall
he would stay

 

*

 

We continued to take

MODERATELY UNSTABLE

 

I will support the child/ren as ordered by the court to the best of my ability.

*

 

To carry that out

LISTEN FOR LATER STATEMENTS

The court will send you a letter

 

“Do you think things always have an explanation?”

 

 

*

 

To carry this message

FUTURE FORECASTS MAY EXPAND

 

This is not a fairy tale.

 

I swear that I am able

to take care of the child/ren
listed above.

I am

a fit and proper
person.

 

Works Cited
Alcoholics Anonymous: Big Book. 4th Edition. A.A. Grapevine, Inc. 2001. Print.

 

“Figure 1. Single circuit (a) and double circuit (b) transmission line towers for 154kV.” ResearchGate.www.researchgate.net/figure/269101284_fig1_Figure-1-

Single-circuit-a-and-double-circuit-b-transmission-line-towers-for-154-kV

 

“Form PS-06: How to Ask for a Visitation.” Rev. 8/08. Alabama Administrative Office of Courts. eforms.alacourt.gov/Do%20It%20Yourself%20Forms/ Petition%20for%20Visitation.pdf

 

L’Engle, Madeline. A Wrinkle in Time. New York : Square Fish, 2007. Print.

 

NOAA. “Public Severe Weather Outlook.” NWS Storm Prediction Center. Norman, OK.

0423 AM CDT Wed Apr 27 2011. www.spc.noaa.gov/products/outlook/ archive/2011/pwo_201104271035.html

 

NOAA. “Particularly Dangerous Situation (PDS): Tornado Watch 235.” NWS Storm Prediction Center. Norman, OK. 145 PM CDT Apr 27 2011. www.spc.noaa.gov/products/watch/2011/ww0235.html

 

Hartley, P. “HVDC Transmission: Part of the Energy Solution?,” James A. Baker III Institute for Public Policy, Rice University, May 2003.

 

Siemens. “Typical Transmission Line Structures for approx.. 2000 MW.” www.energy.siemens.com/br/pool/hq/power- transmission/HVDC/applications-benefits/benefits-hvdc-4-b_463.jpg

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Interview: Robert Pinsky

Photo by Eric Antoniou.

 

 

Robert Pinsky’s works of poetry include Sadness and Happiness (Princeton University Press, 1975), The Want Bone, (Ecco Press, 1990), The Figured Wheel: New and Collected Poems, 1966-1996 (Farrar, Straus, 1996), and Gulf Music: Poems (Farrar, Straus 2007). He has also published prose, including the books Poetry and the World (Ecco Press, 1988), The Sounds of Poetry: A Brief Guide (Farrar, Straus ,1998), Democracy, Culture and the Voice of Poetry (Princeton University Press, 2002) and The Life of David (Schoken, 2005). He has edited many anthologies, among them Americans’ Favorite Poems: The Favorite Poem Project Anthology (Norton, 2000), co-edited with Maggie Dietz, which grew out of the project he directed as US Poet Laureate from 1997 to 2000. This project invited Americans from all walks of life to name their favorite poems and to both record those poems for the audio archives of the Library of Congress and to capture their own reflections on why a particular poem called to them. Few contemporary poets have had as visible a presence as Robert Pinsky—he has appeared on both The Colbert Report and on an episode of The Simpsons. Yet, though his work and presence in popular culture have often had exalted status, his most recent book of poetry, At the Foundling Hospital, manages to delicately balance the universal and the personal, taking the reader from civilization’s battles to the side of a friend’s hospital bed. The poems reach out and take in both humanity’s sweep and what it means to be, simply, an individual human. Please also see our review of At the Foundling Hospital.

 

          

 

Danielle Kessinger for The Florida Review:
One of the things that struck me on reading At the Foundling Hospital is how often you took elements that didn’t have obvious links and connected them. For example, in your poem “Cunning and Greed,” you have David Copperfield and the collapse of bee colonies. Do you find these combinations come to you organically or do you find yourself gathering them together before you put pen to paper?

 

Robert Pinsky:
One of the nicest compliments I ever received from my wife was about something I made with my hands. She said, “I love your patshke imagination.”  Patshke is a Yiddish word that sort of means patting something together. I’ve never been good at learning everything about anything. I don’t have a scholarly mind, but I do have a kind of oddball mind. I enjoy finding similarities in things that aren’t similar. For me poetry, compared to a long, naturalistic novel, is very good at making lightning moves. I sometimes say prose is like wading. You move through the medium slowly. You see things down at your toes. Poetry is like ice skating. So, you can move through a lot of territory very quickly. I get bored very, very easily, much more easily than most people, which is why I like poetry.

 

TFR:
You’ve also presented your poetry in non-traditional ways beyond simply on the page or read aloud. You often perform with musicians.

 

Pinsky:
I love working with jazz musicians, yes.

 

TFR:
When you’ve worked with jazz musicians, were you usually choosing the poem you wanted to read based on the piece of music or was the piece of music pared with the poem as the starting point?

 

Pinsky:
None of the above. We improvise, and it’s based on sound. I hope it’s not me reciting to music. I try to make my voice like a horn. The pianist I’ve done a couple CDs with, Laurence Hobgood keeps the poem text on the desk of the piano and looks at it like you’d look at a musical score, and I try hard to listen to him, and he listens to me. Sometimes we might have a rough plan, a set of chord changes. I started out as a musician. I don’t speak musician fluently, but I know enough of it to be able to discuss with Lawrence what we’re doing. It isn’t basing music on the words. It’s not songwriting. It isn’t basing songs on words, or words on music. It’s making music together.

 

TFR:
How do you find the audience reacts to that collaboration?

 

Pinsky:
It works so much in our favor because people are assuming they’re going to be embarrassed or bored. They are thinking, This guy is going to say poetry with music, and you can almost see the nervous panic in their faces. [Laughs.]

 

TFR:
As US Poet Laurette when you were working on the Favorite Poem Project [see web links below]—which invited Americans to name and record their favorite poem—you found readers that represented a diverse group of Americans. What did you find that was common among the readers, even if what they picked was unexpected?

 

Pinsky:
It was really the readers that were unexpected. It is very important to go to favoritepoem.org and to see that there are no poets, no literary critics, and no professors of poetry. You see a construction worker read lines of Walt Whitman and then talk about those lines very cogently. You see a Cambodian-American high school student in San Jose read a Langston Hughes poem, and she doesn’t mention that Langston Hughes was a black man. She relates the Langston Hughes poem to the Khmer Rouge and Pol Pot’s regime. A US Marine with a Hispanic surname recites [William Butler] Yeats’ “Politics.”

 

It’s the only website I know that is actually about poetry in the sense that it’s not about poets, or smart things people say about poems. It’s about poetry in people’s lives.

 

TFR:
How do you think poetry is important to people’s lives, not just the act of writing it, but the act of reading and reciting it?

 

Pinsky:
It’s like answering the same question about cuisine as distinct from nutrition or lovemaking as distinct from procreation. I don’t know what the importance is. I don’t know why people like these things, but we seem to be an art-consuming animal. We don’t just walk around, we also dance. We don’t just talk, we also like to recite. If you have a tiny child, when you cradle it, it likes to be sung to. I’ve discovered an infant curls up in exactly the same way when you recite poetry as when you sing. It’s fundamental. It’s there. It’s a very basic part of human nature.

 

TFR:
Having published your first book of poetry in 1975 and your most recent book of poetry in 2016, do you think that your approach to assembling your pieces into a larger work has changed over time?

 

Pinsky:
Each book demands waiting for the physical materials to tell you what each poem is about and what the book is about. In the course of writing that book, At the Foundling Hospital, I had two or three friends die. That affected the subject of the foundling and culture. The foundling is taken into a culture it doesn’t particularly choose. It’s told you’re going to be a woman, you’re going to be Korean, you’re going to speak English, you’re going to be gay, you’re going to be subject to these diseases and have these immunities. The little child is just a squirmy little thing. It doesn’t know all that.

 

One of my friends was in a coma before he died. People sing to you when you are in a coma, they read, tell stories, tell jokes, and I found myself in the poem “In a Coma” trying to assemble the music, the news stories, the sports teams that he and I experienced when we were young. The sort of funerary or memorial aspect of the poem changed and was changed by the book’s project of talking about the foundling hospital and the infant foundlings and their growing up.

 

Identity is not the kind of fixed category that political discourse sometimes tries to make out of it. Culture is always mixed and fluid.

 

Favorite Poem Project Links:

http://www.favoritepoem.org/poem_FromSongofMyself.html

http://www.favoritepoem.org/poem_MinstrelMan.html

http://www.favoritepoem.org/poem_Politics.html

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Dirty Old Man’s Ode to Secondhand Smoke

Secondhand smoke does for him
what madeleines did for Proust.
At the carwash he lingers near
a woman puffing on a cigarette

waiting for the conveyor to disgorge
her SUV. He’s back at his house
with his chain-cigar-smoking father
and chain-cigarette-smoking mother

and all the windows closed because
the air conditioning is always running.
He goes over to the woman and asks
her, politely, to blow smoke in his face,

the way Bette Davis does in the movies.
She looks at him, mutters something
and walks away, taking his house
and his mother and father with her.

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Salvio: A Short Story

Mary Margaret Makepeace Bonifacio, age 82, passed from this earth December 13, 1974. Mary-Maggie was know for her rapt affections for crewelwork, Perry Como, houseplants, and public television; and for her marinated five-bean salad. She leaves behind her only child, Salvio Bonifacio. No services will be held. Please do not visit Salvio, or call him on the phone. Please.

 

Salvio had wrestled with the wording of the thing, composing it in his mind even as the ambulance, red swirling lights turning the early morning frost hibiscus pink, carried his mother away. He had held her hand while he dialed the emergency number, feeling its coolness and knowing she was gone, wondering when it would turn wooden and stiff, wondering why he was calling at all for help, why it was necessary to involve the authorities, wondering if any droplet of her being remained inside the failed body, evaporating, condensing. Knowing he owed her this rightness.

 

He typed the obituary onto lined mint green paper that he found in the drawer of her vanity, wrote the required two-dollar check, and put both in an envelope, addressed to the newspaper, care of Deaths and Notices. Please. He did not want to shake hands with weepy, old strangers, did not need flowers brought to the house, did not want visitors perched at the edge of the yellow sofa, offering to do anything at all that might help him through this difficult time, laying out cold cuts (slices of dead bird rolled tight like fingers), sweating cheese, and knuckles of raw cauliflower on the sideboard.  Please, he had typed.  Please. Don’t.

 

One stamp in the desk drawer, one crack beneath the front door, just enough daylight for sending his message to the moon.

 

 

Three months gone, Mary-Maggie, one quarter of a year like a wedge of pie left malingering on the countertop. On the living room rug mail accrued, vomited through the tiny brass mouth, an ever-expanding peninsula of bills and notices and Chinese food menus, beneath those a reef of condolence cards.

 

Milk bottles festered on the porch, small, foamy stalagmites. For a time, neighbors had brought lasagna dinners and foil-shrouded banana loaves, setting them on the welcome mat when he declined to answer the door. Gleeful raccoons gorged, then mice upon the leavings, and roaches upon the final, microscopic remains.

 

Then: there was no more light, no electricity for the television, the can opener, the toaster. Cans of frozen orange juice loosed long, sticky tongues down the front of the Frigidaire. Fish sticks grew green fur. A group came, church folk, with rakes and garbage bags and pruners. One of them turned on a car radio, Merle Haggard, Loretta Lynn, whistled along, and hosed rot from the porch.

 

Another rang the doorbell, dark suit, bolo tie. Salvio, wrapped in the living room curtain, watched the man’s mustache, how it did not move while he talked, more than ninety days, your mother’s remains, not claimed, next of kin, Mr. Bonifacio you must answer this door, the mustache a bumper on a car, the guardrail on a terrifying curve. You have abandoned her, sir. Salvio stayed there, swaddled, until the dark suit went away.

 

And then Salvio took to his mother’s bed. He bid sweet sleep, as ever, to her jar of Pond’s cold cream, the green glass bottles of pills, the arrested clockwork of her oxygen tank, the porcelain shepherdess lamp (dim, but smiling).

 

He slept the kind of sleep that felt like falling into warm gravy, like a journey to the farthest place he could fathom, Saudi Arabia, or Tibet, like swimming all the way there and all the way back. Dreams grabbed at his ankles, slowing his strokes: faraway sounds of telephones, doorbells, bewildering questions from men in plaid suits and paisley ties, in striped suits and bowties the doorbell again, fists thumping against wood, Salvio, are you there, open the door, Salvio, I never promised you a rose garden, a droning near the front of his skull—then the sensation of being touched, of his mother’s thumb melting a blessing around and around into the skin of his forehead, Salvio, honey, wake up, a hovering that brought him to the surface, opened his eyes, lifted his hand to his brow.

 

She had touched him, he felt it.  Then he remembered.

 

The ambulance, the neighbors peering out through their bedroom curtains, my good golly it’s Salvio, he actually came outside, it’s been years—decades, maybe, that poor man, I’d forgotten he lived there, how old would he be, fifty-five, sixty years old, the paramedic shaking his head, I’m very sorry, sir, the unhurried departure to—where? What had the ambulance driver said, where did she go? Morgue, mortuary? Mars? If not his mother’s hand, what, then, had he felt?  Salvio sat up, fingering crust from his eyelids, wiping drool with the sheet’s embroidered edge. The only other being in the room, save Melinda Lee, his mother’s prized philodendron, sat atop a half-eaten cough drop, flexing its wings with some distress.

 

A bee, a honeybee (Apis, he recalled, mellifera, tatters of school Latin). Lucky he wasn’t stung, he thought, looking around the bed for a magazine to crush the pest. Finding nothing, he put his feet to the floor. Then he looked more closely, leaning over the bedside table. Pulsing its hind end, the poor thing labored to release its feet from the gummy Sucrets lozenge, each outsized effort producing a minute kazoo sound. Salvio had to respect the creature for trying so hard, for its frazzled industry. He admired the tidy subdivisions of its wings, the mustardy gold tucked into its leg sacs. Its banded abdomen reminded him of his mother’s hair, dyed dark molasses brown with bright, brassy stripes.

 

Free it, he decided. I will free this bee.

 

He found his mother’s magnifying glass, the one she used for crosswords back when she could still sit upright, and studied the problem. Force would sever its legs. He wanted to avoid that throbbing stinger, and not damage the wings. Submersion seemed unwise, as did melting the lozenge over flame. Dissolution, he theorized—yes, that might work.

 

Salvio mixed soapy water in the saucepan and borrowed a dropper from his mother’s ancient tincture of Merthiolate. He drizzled a gentle wash over the bee’s feet until, one delicate limb at a time, the little beast found liberty. The bee traced an astonished spiral above his head, finding a perch, eventually, upon one of Melinda Lee’s hoary leaves.

 

Tingles of comprehension passed through Salvio—the blessing on his forehead, the brown-and-yellow hairdo, the affinity for exotic foliage and throat remedies—his mother had not in death delivered to him a herald, a solemn, comforting seraph, but a smaller, less conventional envoy. She had sent a bee.

 

I understand, Mama, he said to the ceiling.  I understand.

 

Bees lived in groups, in colonies. It would need to find its family, could not survive alone in this house, this he knew. None of the old Queen Anne’s windows opened, except the tiny attic porthole at which Salvio knelt as a child, spying as the neighbors around them drank, and gardened, and mated, so confident of their privacy. He could prop open the window and calmly herd the bee, using one of his mother’s head scarves to guide it from behind, upstairs and into the pre-dawn sky.

 

This was the time of day he’d always liked best, no furious lawnmowers, no bawling toddlers, no boys on skateboards riding past, laughing at the Bonifacios’ pigweed lawn, their balding roof. Earlier, even, than the milkman in his belching truck. He climbed the attic stairs, reaching into the dark for the handrail, swatting at cobwebs. Several days’ rain had swelled the wood, so Salvio kicked, hard, again, and yet again, throwing his right knee and shoulder into the place where knob met jamb. He felt bruises, small raisins of pain, germinate along his joints—proud evidence. He was saving his mother’s messenger.

 

When the door gave way, Salvio fell backward halfway down the steps, not from impact, not from relief. It was the aroma (unexpected, pleasant, like opening drawers full of cathedral candles, warm wax and a sweet musk) that pushed him, the novelty of it in a space that usually smelled of mice. Then, balanced once more, Salvio heard the sound: to call it a hum used too few letters—three insufficient to capture the carbonated rise and fall, otherworldly, circular, an incantation made of a million fractal notes. He shone a flashlight. The bee, his bee, his mother’s bee, joined her song to the one in progress, her wings to the turbulence of bodies in motion, thousands of them, fused by some alternate form of gravity around the crystal chandelier his mother had installed in the unused attic years ago. A ballroom, my darling Salvio, is what we shall have. They crawled over each other, obscuring the bauble completely, seeking purchase and contact, some flying free of the scrum to measure its sum total.

 

Their sound swelled and throbbed as he entered the space: let us out let us out let us out let us let us out out out. The huddle seemed to still itself as he tiptoed to the round window. A coterie of bees followed him, one of them colliding with his ear, the nape of his neck, prodding him on, hustle up, move it along, time is ticking (hadn’t his father once cuffed his head so, move it, son, have a purpose in this life for God’s sake). He dared not swat in response. Salvio wiped away brittle webs with his sleeve, swept to the floor a pepper of dead gnats. As his hands met the oak mullions, four glass panes tumbled to the bare dirt below, and the frame yelped wide into the cool morning vapors.

 

Behind him: acceleration, a stirring madness. As the bees took flight, Salvio flattened himself to the attic floor, breathing their collective zephyr. No air traffic controller could have choreographed such maneuvers, he thought, watching them spin lace from atmosphere while following some sort of ancient wiring. The exodus took many minutes and made a vibration he felt in the puzzle of his spine. A few stragglers clung to the chandelier, disoriented, or perhaps too spent to travel. Salvio found a stack of discarded old Reader’s Digests, and using January 1973 as a chariot, shuttled tired bees, one at a time, to the porthole. He tipped the magazine gently to the sill, depositing them in the dust.

 

Where had the hale among them gone? And which was his mother’s ghost? Salvio ran back down the steps to the second-story bay window. There, hanging from the old elm’s least frail branch, assembled in the shape of Africa, teeming and tangling about eight feet above the sidewalk, he saw them. A mammoth snarl turned rosy by a klieg of early sun—the bees looked like grapes, almost edible. He stomach railed. Salvio opened a can of pork’n’beans (fifty-seven left, plus the sauerkraut, the chutney, and twenty-eight jars of okra) with a hammer and screwdriver, grabbed a spoon, and returned to his observation point.

 

A lone bicyclist tossed newspaper capsules onto driveway tongues. Jacob Dilwell, to whom his mother once wrote monthly checks for two dollars and fifty-seven cents (plus a one-dollar tip and a thank-you note for feeding their paper through the mail slot), paused beneath the bees, set one meaty tennis shoe on either side of his green Schwinn, put his hands on his hips, and stared upward, jaw slacked. He took a rolled paper from his bag, lobbing a forehand at a few low-flyers. The mass shifted in shape (like a slumbering, tossing bear, Salvio thought, or an inflating airship). Jacob tried again, jumping, connecting with the swarm’s underside, and knocked a handful of bees a few feet toward the street. A hue and cry, a warning from the dark, changeling blur—less of a peninsula now, more a coiled, taut motherland—every set of antennae pointed upward, every poison dart deployed towards earth, toward the boy, the stupid, stupid boy.

 

Hey, he tried to shout at Jacob, palms flat against the glass hey, don’t, don’t do that, you will hurt them, stop that, stop it now, but all he produced was orange spittle. Hey. Hey, stop! Jacob swung his bike in a wide bend and circled twice before wiping some sweat from his fat neck and pedaling away.

 

Salvio made binoculars of his hands and scanned for casualties. A few bodies languished on the flagstone walk—stunned, dead? Magpies, a pair of them, arrived at the scene and pecked at the fallen. He smacked at the window with his hands and flailed, wheeling his arms to scare them away, a frenzied scarecrow, don’t eat them, don’t eat them, and startled Mrs. Montieth, who had just stepped outside to retrieve her paper. She reciprocated with a confused wave, and adjusted her housecoat’s closure.

 

It was the four of them—Salvio, the birds, and shower-capped Mrs. Montieth—who witnessed, seconds later, the specter of Jacob Dilwell standing atop the pocked chrome of his handlebars, tennis racket held to the heavens, being powered toward the swarm at impressive speed by a skinny-legged accomplice.

 

Just before the racket made contact with the bees, Jacob unthroated a bellow—the deep-belly bray of a Viking at pillage—and leapt from the bike into the elm’s crisp arms.

 

Detonation followed: within seconds a buzzing thickness obscured the houses across Alcott street and darkened an otherwise vivid May morning. Jacob Dilwell, armpit impaled upon the remains of a diseased branch, wore a fuzzy armor of furious honeybees.

 

The screaming, oh, the screaming.  Had Jacob not flailed and thrashed, unleashing one shoe and a sprinkle of blood upon the shoulders of his minion, he might have remained in the tree for quite some time. Mrs. Montieth, who had raised five boys without the aid of their merchant marine father, positioned herself beneath Jacob and called out orders: Kick, boy, kick like hell, you hear?

 

Jacob did. He kicked the heel of his shoeless right foot against the willow’s trunk until, his supply of swear words exhausted, dropped to the asphalt and fainted.

 

Mrs. Montieth removed her shower cap and began wiping the insects from Jacob’s body, from her own arms, from the hills of his cheeks and forehead, batting as they dove and whined, as blood spread around them. Another neighbor (new, a car salesman, rumored to cultivate cannabis) arrived with his garden hose in tow and unleashed its pressure upon Jacob’s form. Mr. Toomey brought clean rags to press against the wounds; his basement tenant, an army reservist, took Jacob’s pulse. Someone dispatched the bicyclist to fetch Mrs. Dilwell, a school cafeteria cook. They, together, huddled over the calamity, hands in frantic concert, calling the boy’s name over and over again, shaking the lumps of his shoulders.

 

One bee, a solitary, wandering velvet diplomat, had visited Salvio, had come in peaceable confusion—and now this doom, this fracas. From the north arrived a keening ambulance, from the south, Jacob Dilwell’s plump mother and a quartet of younger siblings. Paramedics shoved aside the throng and scissored Jacob’s t-shirt away from his distended trunk. One medic hammered at the rising dough of his chest, the other breathed into his tumid mouth. Mrs. Dilwell, hands clasped over her own heart, nodded in time to the rescuers’ rhythm.  On the curb, head slumped to his knees, sat the skinny boy.

 

From the window, Salvio counted thirteen people in his front yard, seven in the street, and four, that he could see, standing on the nearby corner. The number swelled by two when a local news reporter, cameraman in tow, exited a Channel 8 van. Mrs. Montieth courted local fame by recounting, directly into a satellite-shaped microphone, the velocity and amplitude with which Jacob Dilwell approached the tree, the force with which he pummeled the bees. She described his plunge from above, the sound (like a half-dozen stuffed turkeys hitting linoleum) he made upon impact. When asked to describe his current state she said:  Oh, he’s bit half to death, you know, just plain bit to heck.

 

The number of vehicles expanded by one when Mr. Dilwell, a stonemason, settled his Dodge truck atop Mrs. Montieth’s juniper hedge and charged across the street. He bypassed his helpless wife, his son’s beleaguered body, the paramedics preparing for Jacob’s transport, and the reporter with her vanilla-custard hair. He clumped past Jacob’s friend, who (infectious, incurable idiocy, what was wrong with kids these days?) busied himself setting wounded bees aflame. Mr. Dilwell found his way to the Bonifacio’s front porch and threw his football fists against the screen, bellowing for Salvio’s audience: Goddammit, Bonifacio, come out here, come and see what your Wild Kingdom of a dump has done to my boy. Get out here and handle it like a man. I’ll have this property condemned. This has gone on long enough, by God. I know people, Bonifacio.

 

The mob’s energy attached itself to Mr. Dilwell and his demands. Salvio could not see his caller from the upstairs window, but felt in his metatarsals the man’s ire, his broad-backed vim. He did see the faces of at least two dozen bystanders (how the vicarious multiply themselves around tragedy) lift themselves to where he, framed by drawn-back lace curtains, peered right back down at them. Index fingers rose like missiles—the most scrutiny Salvio had endured since boyhood, since his father’s departure.

 

There he is, there’s Salvio, that’s him, his mother, she died around the holidays, I saw the ambulance, was it cancer, helluva thing, who knows, maybe she’d been gone for weeks, bad ticker, could be, ramshackle, destroying home values, strange lot they are, what a family, the father in prison all those years, died there in fact, you remember, the treasury scandal, embezzlement, never quite recovered, heart trouble, bedridden for ages, never let anyone help them out, crazy as billy goats, never mow the lawn, probably riddled with vermin.

 

Salvio backed away from the glass, from the speculations and truths.  He heard the reporter at his front door: Mr. Bonifacio, could we have a word? Salvio, are you a beekeeper? How do you know Jacob Dilwell? Mr. Bonifacio? He feared faces at the parlor windows, at the kitchen door, hands rumbling the doorknobs, picking at the locks. He’d done nothing wrong, nothing at all, he was just a man in a house. Alone. How long before those doors gave way?

 

Sit, he needed to sit, to think calmly, to keep himself safe. He found the arm of his mother’s favorite chair, found the needlepoint seat, the upright comfort of its gilded back, and found those surfaces alive with bees. While he had watched neighborhood theater, a tragedy in three acts, his home had become a hive, a habitat. Across walls, around the phonograph’s mahogany cabinet, traversing a fern, flocking a plaster bust of the Blessed Virgin. Everywhere he could see, or touch, or step. How could so many materialize from one? In the kitchen, they’d found the overflow from a bloated can of corn, an apple core, the dregs of orange juice at the bottom of a glass. In his bathroom, they dabbed dainty feet to the backed-up drains and drank.

 

Salvio walked with care. Bees danced on the parquet floors, bees probed every window, bees sampled toothpaste, the ficus tree, the potpourri. Thousands and thousands of them, each a tiny soul.

 

More children gathered outside to hear the fresh legend called Boys Become Fools, and to bid Jacob’s ambulance swift passage. More parents came to lead them away from trouble, from the possibility of another monstrous swarm. The crowd moved to Mrs. Montieth’s lawn and quieted. Mr. and Mrs. Dilwell followed the ambulance in their flatbed Dodge.

 

Local news writers took photos, climbing through shrubs and over piles of bricks and rubble to photograph the Bonifacio’s home and the sickly elm. Onlookers described the scene to newer arrivals, pointing to the broken, bloodied branch, clusters of bees, the place where Jacob fell, explaining his fondness for dumb ideas and broken bones. The boy finds trouble. Always has, remember when he took a chainsaw to the fire hydrant?

 

By noon, there were no more stories to tell about Jacob Dilwell. Mrs. Montieth promised everyone she would be the point of contact for word of Jacob’s condition. The Channel 8 van departed for more emergent affairs.

 

Salvio watched a bee crawl in and out of his pajama sleeve. The sensation—feathery, benign—reminded him of a kitten he once held. He would not be alone as long as the bees lived here in the house with him. They would surround him with their chatter, their stirred air and primordial rituals. A beekeeper, him: a purpose for Salvio Robert Bonifacio.

 

The bees would need freedom, a fail-safe way in and out of the house. He returned to the attic with a hammer and a bread knife. Where daylight peeked through, Salvio chiseled at plaster, sawed at lathe. He worked a rusty golf club into cracks, and brought decayed shingles down upon his head. Then he stood back, satisfied. Roof and sky shared a generous maw.

 

Bees explored their new convenience and Salvio’s perspiring scalp. He unintentionally squashed one while swabbing himself, earning a stinging rebuke and a blazing, guilty headache. He would need protection to move easily among them. Duct tape strapped a lampshade to his head, and a lace tablecloth, draped over the shade and knotted between his legs, covered his most sensitive regions. He found work boots and tough leather gloves in the furnace room (should it smell faintly of egg in there?), and calamine lotion in the downstairs bath. When he stretched his arms wide, he felt moth-like, made of something holy.

 

As he moved from room to room, lord and keeper of this manor, bees took refuge on his veil. He found himself enjoying the weight of them—one felt like nothing, like the molecular zero of a single hair, but hundreds, together, became a chain mail that both endangered and guarded him. In the attic, beneath his mother’s chandelier, he tested a stiff foxtrot while the bees clung fast. In the parlor, he spun to what Chopin he could hum. He set out saucers of jam, and misted the houseplants with droplets of water for them to drink.

 

At five-thirty, he ate some pickles from a cracked jar, offering tastes to any interested bee. He read to them: excerpts from A Tale of Two Cities, and his mother’s favorite recipes (meatloaf au vin, almost everything au vin). At sunset, Salvio eased himself to the attic floor for sleep. Bees blanketed him with gold.

 

Superficial, childlike dreams followed, a slideshow of sensations and memories. Salvio dreamed of his mother making popcorn at the stove, the percussion of it, then the time he sat, as a toddler, for portraits at Sears (smile, darling, you are my sunshine) and cried at the flashbulb’s rude sparks. Arrows, when he was cupid in a play at school, then hailstones, the tingle of them on his arms, the orange fizz thrown by a campfire, the sparkle of ginger ale upon his chin. He dreamed of shouts that fell like stones, of jeering, of watching from the porthole window as other boys drove cars to girlfriends’ houses. Of his father’s cigars, of Independence Days.

 

He awoke to stars, to war.

 

Bits of brightness, all around—bottle rockets, their burning-candy smell, their small tongues of flame. He heard one scream, watched it duck into the attic through the hole he had made.  Then another, and still more. One landed on his shroud, feeding itself on cotton and starch. Salvio smothered it with his gloved hands. Below, boys (Jacob Dilwell’s faithful) called out dark and vengeful oaths. Salvio stood, and stomped on a dozen eager fires.

 

Restive bees smelled smoke and anger, took to the air, made a sound Salvio had not heard before, like far-off bagpipes, wide and bottomless. He ran downstairs to the bay window, apologizing as he cut through clouds of them. He felt a sting at the back of his neck, another on his thigh. Panic made him enemy, foe.

 

In the street, a mob. Mr. Dilwell, braying, the boys trading playground epithets, feasting upon odium. Light another one, kids, keep them coming. We’ll make him come out face us, won’t we boys? That’s right, it’s about time. Think of Jacob, boys. Think of Jacob.

 

Salvio filled a bucket in the kitchen sink and ran to the attic. Much of it sloshed over the sides and onto the stairs, causing him to slip and blunt his knees. Staggering, squinting, he arrived at a conflagration gorging on boxes of old books and papers, nibbling at his mother’s chandelier. He doused himself with the remains of the water.

 

Fire was loud, he decided, the greedy roar of it larger than Mr. Dilwell’s noise. It was also beautiful, painterly, much more colorful at close range than expected—pale lemon when encountering new fodder, deepening to tangerine, then russet, and finally a violet blue as temperatures crested, as surfaces succumbed. He pressed one gloved hand over nose and mouth, awed. With the other, he drew circles in the smoke.

 

Below: the caw of fire engines arriving, the thin wheedle of squad cars. A megaphoned order to the crowd, desist, disband, though Salvio could not say if the words were meant for Mr. Dilwell’s militia, or for his own nation state.

 

Salvio took to the floor once more. He felt washed pure, thawed to his core. Goodness fell on him from above, amber, and thick. The rotted attic walls released themselves, nectar rained down.  He licked his lips; the taste was sweet.

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Cut and Paste

 

In my collages, I mine popular visual culture to explore experiences of mood and an altered sense of reality. These collages reflect, through juxtaposition, an experiencing of a reality different from those experiencing consensus-reality, yet simultaneously they remain relatable in a way that forms a new sensibility. Given their small-scale, they function much like snapshots and spontaneous occurrences.

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Not a Museum to Nostalgia

Appearances, by Michael Collins
Saddle Road Press, 2017
84 pages, paper, $16.00

 

 

“No one wants to hear / impressions of the natural world,” Louise Glück warned twenty-five years ago, tongue-in-cheek, in The Wild Iris. “It is / not modern enough.”

 

Writing about the natural world in 2017 is an even trickier business. In Appearances, Michael Collins’ second full-length collection, however, the natural world becomes the imperfectly perfect site of one man’s struggle to hold onto the fraying pieces of himself within the whirlwind of a numbing, urban, twenty-first century life. This doesn’t, however, turn into a sentimental journey marked by luminous insights or an elegy to environmental ruin. What we get, instead, is a disarmingly genuine and intimate collection of all the thoughts a person walking every day around an ordinary harbor thinks, and all he’s seen, in poems that build convincingly on plain, deliberately understated images: ducks, clamshells, old people sunbathing, gulls, fish, oil spills, and water, lots of water.

 

That Collins himself realizes the potential perils of his quasi-Romantic undertaking comes through loud and clear in several poems, and adds to the charm and complexity of his speaker. Take the opening section of “Eclogues,” one of the stand-out poems of the collection, placed near the end of the book:

 

I came to this harbor unconsciously.

 

Seeking a mother made of breezes and waves.

 

One of those sublime lies the soul will tell

to trick a depressed man up out of bed.

 

Even after I reasoned this was silly,

I still liked it here, so I wrote poems

 

to honor the landscape for its own sake,

lending my voice to the slumbering fiddler

 

crabs and their marshland and ducks and swans and clams,

feeling rather magnanimous, thank you.

 

What’s notable here, apart from the skillfully timed humor, is how subtly—and unexpectedly—the speaker glides from state to state, and from tone to tone. From the high mythical arch of “Seeking a mother made of breezes and waves,” the opening couplet drops to a hard stop, a hard silence, before making a complete about-face. This is just a lie I tell myself, the speaker admits, because I’m depressed. In the third stanza we get another shift: I knew this wasn’t true all along, but I still like being at the harbor and trying to write. The poem goes on by acknowledging that nature isn’t “some museum to nostalgia,” before reaching the realization that “there’s nothing to fear or worship here.” In closing, Collins offers an effectively understated image of the speaker holding onto a fence as a storm approaches. Hairpin turns, psychological acuity, and self-effacing humor—we get these, fortunately, throughout Appearances.

 

This passage from “Eclogues” illustrates another pleasure of this book and a hallmark of Collins’ style: ingeniously compact philosophical statements. What is a “sublime lie,” exactly? That could be the thesis of its own essay. And on death, in “Katabasis,” the speaker observes: “It is not / an event; it is / a perspective, growing / slowly in each unique / separate sight.” On death and nature, in a passage about gulls shattering clamshells, “Seawall” gives us this to chew on:

 

. . . no words

to name an act murder. Nature, pure

transformation. Instantly

 

the world is only this cycling;

there is nothing

I must render.

 

Cleanly sculpted, with line breaks that let us savor the full meaning of this poem’s simple but resonant words, we get a weird chill from realizing that killing holds no moral content in Nature and that our seeing, as poets or otherwise, has zero bearing on any of it. And finally, on what it means to try to turn experience into words, “Myth” plunges us headlong into a fast-moving philosophical and personal meditation. Set in short lines that zigzag down the page as quickly as the concepts metamorphose from one to the next, the third-person speaker “walk[s] until / the jagged harbor is / a circle, walking until / he is himself, until / he is also the self / he is not.”

 

But perhaps what’s most compelling, most likable, about Collins’ work in Appearances is the raw persistence of his struggle—rendered fully and quietly visible to the reader—to commune with the soul that’s ‘out there’ in the natural world and also in us. “[A]ngel i know you here in flesh / i will not release you / until you bless me,” demands the speaker in “Genesis.” And like Jacob wrestling all night with the mysterious angel that could be God himself, that struggle in Appearances is often bittersweet. Moments of restoration and solace come as we watch leaves swirling in the water (“Fall”), a grown man hugging his dog (“Poem for a Predator”), enormous snowflakes falling down as in a winter globe (“Creation”). Keen disappointment, even outrage, crop up, too, in poems like “Dead Fish,” where a whole species dies helplessly in polluted water. But for every blissful pair of retirees whooping over a newly caught fish (“Communion”), Collins seems to tell us, there’s a plastic “Shop&Stop bag / that hangs from the chain link fence thrashing.”

 

That there is no final resolution at the end shouldn’t come as a surprise. A mandala has no starting or ending point, as the circular shape of “Harbor Mandala,” a late poem in the book, reminds us. We find in this poem that, despite the speaker’s private agonies and raptures, “ducks nap silently / in the oak shade.” There’s something comforting in that. And something true, if not comforting, in the act of walking by those ducks while carrying our own, completely other, merely human, emotions. The joy of Appearances—its gift—is placing us in these moments again and again, through winter and summer, high and low tide, elation and despair, so we can experience that open, shifting, mandala’s shape of apprehending the world as silly humans.

 

Michael Collins’ poem “Nightmare of Intercourse with Lightning” was a finalist in our 2015 Editors’ Awards and appeared in The Florida Review 39.1&2 in 2015.

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City of Bridges

 

And groping arms and thick strong legs; city of salmon-pink and dusty-orange buildings; and boats and bicycles and busses; subway cars that climb out of the ground in Gamla Stan, Old Town, to a tangle of crooked, cobbled side streets and the monkfish mouths of muted alleys.

 

Stockholm. City of the brackish Baltic Sea, where bare-breasted women sidestroke the gentle currents of the quiet canals and old men fish for herring near the castle. The city that took me in at twenty-two and refuged me for ten years more: invandrare, in wanderer, legal alien, where I grew a second tongue that struggled with certain sounds that resembled the shh in hush now baby don’t you cry, but wasn’t. Where I grew up, grew teeth; grew a pair; grew snakes from my head—harmless; grew a new heart for every old heart I’d lost under solitary lampposts on the south side of town, near the shops that sold vintage guitars and that cluttered used bookstore, where I found James Baldwin, ex-patriot, queer, who had discovered what it means to be an American, in Paris, in Sweden, in a dog-eared paperback, in English.

 

City of red busses running on time, from Slussen to Hasseludden, to Benny’s house, to every room a view of the sea; where we slept in on Saturdays and woke to white boats ferrying summer tourists and the morning paper and strong coffee, new potatoes in summer, lilacs in spring, and fish stew laced with saffron, heavy on the cream. Then Benny died of that virus and his house caught fire from a bird nest in the wires. An accident, the fire crew said, no one to blame; smoke damage only, the structure remained sound.

 

My city: stalwart, patient, knowing I have been faithful in my absence, knowing I will return one day, after dogwood but before lilac, to seek out the place where I first heard the blackbird sing with a woman who could never be true but whom I loved nonetheless. There, I will take stock of my life outside its city walls, these years of return, the hero’s call come to a comfortable close after all that fuss over umlauts and broken hearts, when all that really mattered were the canals and cobbled streets, the bridges I could never cross over. They were beautiful; they were all beautiful—like the decorative compass roses on outdated maps.

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