Fruit

   L & S was a candy store and newsstand located on the corner of 60th St. and 18th Ave.  L & S, which stood for Louie & Son, was owned by Louie Varinella: a burly, slightly balding man with chipmunk cheeks, bushy brown moustache, and distrustful eyes.
   His son, Louie, Jr., was in my class, we were both in the fifth grade, and we had been classmates since kindergarten.  Louie, Jr., was a tall solidly-built kid with a scar just above his right eye that looked like a tissue-textured music clef.  Louie got into a lot of fights and was fearfully regarded as one of the school’s genuine tough guys.  Louie might run his mouth a lot but he would always back up his words.  Same with sports: Louie was a natural athlete and would often brag about how good he was, but it was true . . . he was that good.  Whether it was baseball, basketball, football, dodgeball, Louie was tops, but his best sport was football, and later on, as a sophomore in high school, Louie would be named All-City as a Defensive End.  In his junior year he would blow out his knee, and come back in his senior year only to blow it out again, officially ending his promising football future.
   My Uncle Eddy lived with his mother, my grandmother, Maime, down the block from L & S.  He worked as a fruit vendor in the City, his cart usually stationed somewhere in Chinatown or City Hall.  Before going to work he would pit-stop at a methadone clinic just off Dekalb Avenue to get his morning medicine.  After work he would pit-stop at his dealer’s house somewhere on Prospect Avenue to get his nightly fix.  I had worked with my Uncle on several occasions to earn pocket money and knew his rituals, which also included bringing home a bag of mixed fruit every night.
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Howl II

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(Poem written in response to Joe Sorren’s “While the Trucks on the Highway All Howl”)
While the trucks on the highway
all howl, beneath a milk-bottle sky,
Sunday’s children, curious and bulb-headed,
lay vigorous claim to Paradise.
Non-profit architects,
they sit upon the sand-skinned
hand of God, a rough-hewn cradle,
stable and craggy, while their nearest neighbor,
the Sea, produces deep-bellied blues,
fathomless and freighted with
the arias of disenchanted mermaids.

These chums, Joey and Eddie, live Sundays inside themselves.

They build, in sync,
master improvisers
who never sacrifice
play or fresh piety
for empirical progress;
their hands, a nimble quartet,
gently massage eternity into
every grain of sand
knowing it cannot last.
Happy, even,
that the mouth of the sea,
or a blast of fresh wind
can topple their kingdom
like that.
Which is why Eddie
forgets about his sandcastle cupcakes,
and leans in, flamenco-necked, eyes closed,
to admire Joey’s sunbaked dome.
Oddly moved by Eddie’s buddhalike
attention to his work, Joey squints his left eye,
acquiring his friend’s profound silence,
and the two boys
slip, with ease,
into a fragile paradise

while the trucks on the highway
all howl.

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Solvent

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Water,
like a tempera of fog,
buoying the natal intent,
the fragile rapture,
against which gravity sets
an insoluble course.
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Double Exposure

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I.
There is strange music in her head,
a choir’s brew.
You cannot see it
but, in the bask of a sunchecked idle,
she drifts beyond ordinary logic
to dream of water
like melted locks,
like aquamarine flowers
silk to the touch
and praising.
II.
She could be Cleopatra on Valium,
calmly awaiting the tragic destiny of asp.
She could be Jackie O. sunbathing in Greece,
far far away from a slow motion drive in Dallas.
She could be Anne Sexton,
having escaped herself in a postcard
dispatched from Cairo or Capri
or Shangri-La, a cursory note
scrawled in haste–
Having a great time without you,
Love, Anne

 

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Morningbreak

 

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I want to eat
Anne Sexton for breakfast
like toxic cereal
like bacon fat
like sunbursts of egg yolk
swallowed whole and washed down
with a glass of fire
(then I will spit up the flames
burning down the kitchen
until there is nothing left
but ash and cinders
and family secrets
exposed)
I want to eat
Anne Sexton for breakfast,
lunch and dinner, all of her,
the heels, the sorrow, the rouge,
the blue eyes, the cigarettes
and Martinis, the jangly bracelets,
French perfume, and suicide watch,
the frayed ends
and moths that died
clinging to her chest
and closet,
I want to love her a little,
grope and nuzzle and drizzle,
trace the children lost
in her hair and constellations,
call her Annie or Miss or Mother,
and if she wants to love me back a little,
if she wants to eat me in return,
great
but it’s not necessary
I need to be the one eating her
so I can become a witch
and she-wolf and gravity-babe
and dirty my clean silver spade
by moonlight
in someone else’s
cold and remote grave.
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Vivaldi in Love

Spring,
tender bud
raising gravity
in the center
of a palm.
Summer,
drawn and quartered
shafts of light
mouthing the sea.
Fall,
fetal leaves
curling in on themselves—
inversion
banking on faith.
Winter,
hospitable merger
of bare limbs
relishing arson
and lace.
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Cloud Nine

Dylan Thomas falls
from his barstool in Heaven—
God, tending bar, picks him up,
turns to Job—Who am I to judge?
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Lighted Window Syndrome

lighted-window

   All my life I have had lighted window syndrome.
   Being outside someone’s window at night, and seeing the lighted window, its warm amber glow was an invitation to feel a sense of home, not to be at home, but to feel at home, and yet to remain a stranger, in a position of intimate remove.
   It was important to be near yet not in, because that left essential space for my imagination to participate, for speculation to arise. Imagination needs space to create and conjure. It understands the need for sufficient detachment, just enough neutral remove, a calculated distance. Too much and you went cold in all the wrong places, too little and you lost necessary perspective.
   Outside the lighted window I could fully engage my emotions in ways that I could not it if I were on the other side of that window, inside the house. One was a lucid dream-state, the other a state of reality, an actuality. To be inside the house meant to destroy something. Destroy what, exactly? The illusion, the ghost, the fiction. To be there and to not be there at the same time was always my goal, my dream. I suppose writing has allowed me to achieve this in a certain way.
   The lighted window—a lovely haunt, a symbol of purity, an incorruptible dream, a portal to other worlds, but mostly and always a sense of home where my spirit and mind go, and the rest of me is left behind (and happily so).
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My Sister

   My sister and I are bonded in that we were in the trenches together. In the battle-zone that was our household, we were witnesses to and casualties of the same war.
   I am six years older than my sister. She arrived a little bit later in the war. She missed the early battles. Yet the thing is, memory-wise, she missed some of what she actually was there for. That is, when I talk to her about our childhood, she doesn’t remember a lot of it. She said it’s like a fog, she looks back and there’s nothing there, nothing she can clearly see.
    I remember our childhood as violent, unstable, crazy, memories heated to point of blistering. My sister doesn’t remember it being that bad. I then wonder, with my penchant for dramatization and exaggeration, did I blow the whole thing out of proportion? A part of me needs it to be as scary and fucked-up as I remember it. Otherwise I feel some validity is lost, that my claims are the product of a faulty mind wired for fiction.
   Then I reflect, and while yes I am prone to dramatization and exaggeration, I also clearly remember certain events and episodes that were the seeds of terror and turmoil.
   My sister said she remembers very little about her childhood. Almost as if it hadn’t happened. I remember much about my childhood, and have spent a lot of time reimagining it. My childhood became the primary material I mined and converted into fiction. My sister didn’t mine or convert, she allowed her childhood to be swallowed in memory-devouring black holes.
  My sister does vividly recall a specific incident of terror, in which my father, blitzed out of his mind, chased her and my mother down the block with a knife, and my sister and mother hid in the doorway between a couple of stores on the avenue.
   My sister and I talk about this memory and laugh about it. When we swap other memories of a similar nature, we laugh about them too. It is the laughter of people who have gone through something together, who understand that the laughter is a salve, a release, a comfort, derived from sources of terror and anxiety. Laughter, born of fear, helps to dispel fear. It is the offspring that destroys its maker.
   When my sister was younger she always wanted me to play with her. She would dump out her Care Bears or Strawberry Shortcake figures and ask me to play. Which I did. My sister, unlike me, hated playing alone. I loved playing alone, creating my own world with my action figures in which everyone and thing from reality was excluded. My sister always wanted to play with another person, to be alone and playing did not sustain her interest, nor did it bring her pleasure.
   There was also a game we played called The Wizard of Oz. Basically, all we did was go under a sheet or blanket, eclipsing our “surface reality” as we entered the land of Oz. I’d become different characters, guide the action and narrate our adventures. I think what we both enjoyed most was the fact that we were hidden, that we were cocooned inside a magical world where reality couldn’t touch us.

 

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My Mother

   My mother had had a hard life. There have been many challenges, many obstacles, and in a sense you could trace their origins back to her father, her rapist.
   When your father is also your rapist your childhood is poisoned at the center, contaminated at the core. And from there growth is irregular, perverse, distorted. Growth no longer occurs naturally. Inversions stage a revolt, or suppress a revolt.
   My mother’s father was her rapist, her jailor, the keeper of the keys to the dungeon in which she was locked. I don’t know much about him. What I do know is that I’ve never heard anyone speak a good or kind word about him. He was regarded by everyone in the family as mean-spirited and miserable, a cheap, petty, and malicious man.
   He seems to fit the profile of a one-dimensional villain, in that he wasn’t even a rapist and child abuser who, on the surface, was a friendly or nice guy, he was an asshole and a rapist. What qualities, I wonder,  if any, redeemed him as a human being?
   My mother got married and had a kid, me, when she was eighteen. My father was seventeen. My mother and father decided to prematurely enter the world of grown-ups, and my mother escaped from her dungeon into a fire-pit. My father had a drug and alcohol problem. Our household was torn apart by squalls, violence, accusations, threats. Everything except peace, never ever peace. “Peace” in my house equated to tense jittery respites, undercurrents simmering and bubbling, until the next blow-up, the next battle.
   My mother was married to my father for seventeen years. She left him many times, when we—me, her, and my sister—would move into my grandmother’s. These trips were advertised as permanent, yet they usually lasted anywhere from three days to two weeks. After leaving my father “for good” for what felt like the thousandth time, eventually one of those times stuck, and became the true and lasting end-point my mother had been building toward for years.
   For the first time in my life my mother was on her own, with her two kids—I was fourteen at the time, my sister eight—and she did what she could to keep us afloat. Welfare, food stamps, a waitressing gig at a bingo hall, while returning to school part-time to work toward a teaching degree.
   If my mother didn’t say I love you enough, or at all, when we were kids, she actively demonstrated that love by taking care of us, making sure there was food to eat, that we had a roof over our heads. She loved through action, though I didn’t recognize it as such or appreciate it back then. Then came the contaminated backwash of memories that had been blocked, that had been dammed from her consciousness since she was a child. Memories of her father’s sexual abuse came back to my mother and sent her into an emotional and mental tailspin.
   There was the day she lapsed into a fugue and walked back to her childhood home as if she still lived there, there were the pills, there was the suicide attempt.
   My mother began the work of directly addressing the ghosts and demons of her past. She did this determined to heal the shame and hurt which poisoned her insides.
   I always tell my mother I’ve had two mothers. The one who was married to my father, and the one who came after the divorce. The second one put in time and effort to reclaim vital parts of her soul, to restore herself to herself, and to this day she continues that kind of soul-work. Whether she sees it or not, she has exhibited bravery, she has been a fighter.
   My mother is now sixty one years old. She has been diagnosed with a rare form of lymphoma (Waldenstrom Macroglobulinemia). She has good days and bad days. Her body is starting to betray her, sometimes subtly, sometimes in more pronounced ways. Sometimes I feel sorry for my mother, I feel pity. I feel as if her life has been a struggle from the very beginning, she was robbed of her childhood by her father’s malignancy, and there have been many battles, struggles, and disorders between then and now.
   I do not want my mother to wither away, with so much life inside her still unlived.
   Live, live, I want to scream, as if my rage will work as a spell, a difference-maker.
   Live, live, I want to shake the disease from her body, her bones, want her once and for all, even if just for a brief while, to be free of all malignancies, to know what it feels like to live beyond shackles and contamination.
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