Last Roll Call

sarge calls the roll until —
once, twice, three times:
rank and last name
rank, first and last
rank, first, middle and last
louder each time.
the name echoes in the silence.
to a man, the same thought:
answer, dammit.
it’s the sun that makes
these young men squint;
the dust they blink away.
it’s sweat trailing down
their windburned cheeks
as the bugle cries.

Joy Rising

Crossing campus afoot. The sun gleams coolly, bright enough to invite skin, distant enough to appear modest. A day for loving, but I am not home. I should be working, but the words won’t come.

The students would be out in force were it not Spring Break. Instead, campus is largely depopulated and scraped bare from winter, with just a hint of green on ground and none on the trees. My left shoe squeaks with each step. I peer at my surroundings through dark-rimmed glasses, jaw set, brow serious, daring the few passers-by to comment. It is a mask of sorts, to guard solitude. I do not wish to speak; only to walk and to think. Hiding in plain sight. I am not alone in this game. On three separate occasions I pass seated students (one perched atop a limestone buttress, his back to a brick wall; the other two beneath separate leafless trees) staring fixedly past their books.

Ahead a glossy brunette stretches languidly beside her rippled beau catnapping on the new grass. She turns from belly to back, then props herself suggestively on her elbows in order to emphasize the impossible pinkness of her fitted tee. Her exposure is her cover. He opens one eye, smiles, then rolls to one hip and plants a beefy arm firmly in the grass for her to admire. He speaks. She tosses her shining hair and laughs out loud. He grins handsomely, more on one side than the other.

Their colors are complementary. They insist without speaking that you must notice them. They swear by their perfection that they were made for each other. I see them clearly and cannot tell who they are.

Even the two mop-topped guys tossing a Frisbee on the vacant mall are incognito. They appear studiously disheveled, their board-shorts and earthy t-shirts are at least 10 degrees premature, and they shout too loudly to each other in the silence, as if to emphasize the tremendous fun they are having. In this they are not unlike the shining lovers.

I squeak further down the flagstones. A woman in a bright printed dress and chunky jewelry is seated on a bench, speaking softly into her cell. As if on cue, her voice climbs as I pass: Oh. My. God! Her sudden drama scatters pigeons. A dark-clad dissident is tacking flyers to a nearby kiosk with a stapler, but see how his skinny jeans come prewrinkled, how the white North Face logo stands in stark contrast to his black backpack and jacket. They are neither secondhand nor surplus. He is not from mean streets; he is a rebel with means.

I dress like a student, frown like an academic, and walk like I’ve somewhere to go. We are images passing.

And then.

I turn a corner to see a young woman approaching. She is short, well-rounded and feminine, with a mass of dark bouncing corkscrew curls, and a long, quick stride that belies her height and brings her quickly toward me. Her face is fair-skinned and unadorned; she is not looking at me, or even where she is going. She is alone, watching something unseen, and I see in her eyes the dawning of some great joy; soft lips move from quiet smile to toothsome grin verging on laughter. Cheeks flush, then blush, with this new dawning. I am an unnoticed witness to unguarded emotion, unvarnished happiness. Baby’s first laugh. Boy’s first notice of girl. For this brief moment, she is the most beautiful person I can imagine.

What joy rose in her in those few seconds I’ll never know. We pass. I don’t look back.

Blogger’s Note: This reminds me of two other posts, about our images and the faces we put on: Skin Deep is Deep Enough and Tres Chic(ago). Hope you like ’em.

Book Break: Flowers of a Moment

I like Zen poetry. I don’t really know what that phrase means for sure—Zen poetry—but I totally dig haiku, and have thoroughly enjoyed Korean Zen poet Ko Un‘s Flowers of a Moment in fits and starts since I found it on the Bargain Books rack at the U bookstore.

My rhythmic rhyming friend Jinglebob would not call this poetry. It’s form is formlessness, I suppose. Spacing, punctuation, subject matter—unpredictable. The poet finds unexpected hints of universal truths and shared emotion in mundane occurrences and natural surroundings. Beauty in simplicity—a sentence or turn of phrase set apart from its surroundings to make you see in a new way.

Gibberish you say? My “review” or this “poetry”?

I wonder what makes Ko Un a poet. Is anything lost in the translation from Korean to English? Or is it like a photographer acquaintance of mine, who, when I asked why he was considered a pro when both of us shoot dozens of photos to get one perfect shot, said something like, “The difference is, I know when I’ve got it.”

Whereas I generally had to wait until the prints came back to know if the film contained anything worthwhile…

Perhaps that’s the difference: perhaps the poet knows before he shares his poetry which words, which images will resonate, and throws the rest away. Whereas I’m just guessing.

Book Break: Here Is Where We Meet

A colleague of mine stopped me a while back to loan me a book I hadn’t asked for. “It’s kind of hard to explain,” she said. “It starts with this old man meeting his dead mother seated on a park bench. It’s kind of a novel, kind of a memoir. I don’t know why, but I thought you might like to read it.”

The book was Here Is Where We Meet: a fiction by John Berger. That’s what she said, or something very like it. And I can’t characterize it much better. I can say that I’m glad I read it. It’s relatively short, beautifully written, intriguing start to finish, with amazing detail about history, anthropology, art, music, and food. I hesitate to recommend it, because I can’t even describe it, but I’d give it 3.5 to 4 stars (out of 5), with the caveat that I’m almost certain it’s going to stick with me and grow on me over time.

It is not a book for young readers, but not because it’s “adult” in the popular sense (although it has a few moments). It’s a mature book. I’m sure if I were to read it again in a decade or two (or had I grown up and come of age during the two World Wars) I would take different things from it. Perhaps I’ll read it again one day.

A few lines struck me as particularly thought-provoking or beautiful. I’m sharing primarily to not lose them when I return the book:

  • Describing 15,000-year-old cave paintings in France, and the arise of both need and ability of our Cro-Magnon ancestors to create them: “Art, it would seem, is born like a foal who can walk straight away. The talent to make art accompanies the need for that art; they arrive together.”
  • Describing the skill of a charcoal drawing of an ibex in the same cave: “Each line is as tense as a well-thrown rope…”
  • Wise words from a deceased mother: “You can either be fearless, or you can be free, you can’t be both.”

Finally, here is a review that captures my impressions fairly well.