John Grey is an Australian poet, US
resident. Recently published in New Plains Review, South Carolina Review,
Gargoyle and Silkworm work upcoming in Big Muddy Review, Main Street Rag and
Spoon River Poetry Review.
COMPANY
PICNIC
On
a hot February Saturday,
the
families of workers
from
the tobacco factory
spread
blankets on the grassy field,
haul
coolers packed with beer and ice and
steaks
and hotdogs as someone in a chef’s garb
starts
up the portable grille.
Plastic
table cloths adorn tables.
Bowls
of salad miraculously appear.
Young
boys kick a soccer ball around.
Girl's
mark up a cement walkway for hopscotch.
A
few kids poke around in the nearby pond,
collect
tadpoles or yabbies in glass jars.
"Watch
out for snakes," a mother warns.
In
the small playground, a father swings
his
daughter out, assured, no doubt,
that
for the foreseeable future,
gravity
will bring her back to him.
A
mother nudges a shy boy to
go
play with the others.
Management
make their fleeting appearance,
dressed
in golf shirts and plain slacks
that
give off an aura of three piece suits.
They
share a couple of corny jokes,
pat
the heads of various kids, then leave.
This
is a picnic for the hoi polloi after all.
"But,"
as one VIP remarked to another,
as
they headed off for the golf course,
"they
need to know who's paying for all this."
That
father is still swinging his daughter.
The
mother refuses to give up
on
a boy who's almost in tears.
It's
typical of all the grizzled,
worn
down, bleary eyed laborers
with
their scarred hands,
bent
backs and lungs of black tar.
Their
kids need to know
who's
paying for all of this.
NEW
YEAR
Sea ends
here.
Land does
also.
Wind brags how it
can cross
any line I draw in
the sand.
The year is barely
holding on,
It's time for it
to be over.
Night creeps into
the frame.
Day is hunted to
the death,
along with its
fragile sky.
But even darkness
is a ghost,
as flimsy as
childhood memory.
Moon in the
tree
is ripe for
hanging.
Stars belt out a
tune
but not a one of
them know the words.
I'm growing
older.
Time has a hard
time reaching
anywhere of
importance to me.
It's
December,
that cold Sunday
of a month,
bone
white
and rhyming like
the carols
that everyone's
stopped singing.
It's a
relic.
An idea left
over
from some ancient
calendar.
It's like the
victim of a holdup
that tries to act
brave
and is shot dead
for its troubles.
So another year it
is.
Another year to
take the stage
so it can be
jerked off in rough fashion.
Beer and cheers
and Auld Lang Syne
and already an
anachronism.
Should old
acquaintance be forgot,
a curse or two
will remember.
IN
THIS WORLD OF VIRGINS
"It's
time!" I focus on something absurd,
a
line I would use.
After
dark, amid the residue of a carnival,
in
the dark town park. Why not the bandstand?
I
feel the insistence of summer,
the
rise in temperature, a measurement of some kind, of
me
asking, asking, "How much longer can this go on?"
By
the cemetery where the mourners
perform
some kind of ritual, faces down,
eyes
vaporing. I lean my elbows on a tombstone,
fear
for the shy girl asking, "How much will it hurt?"
Bulldozers
and wrecking balls take down neighborhoods
gunshots
are the nearest thing here to nostalgia.
In
an empty lot, a shy girl, a crown of curls,
tickles
my nostrils as I imagine night revealing
some
evening sacrifice despite the threat of rain -
it
tumbles down.
Then
there's the river,
adorned
in city-light jewelry,
its
banks as soft as pillows,
the
scat of animals, puddles,
while
I make an intimate with the pure and generous,
setting
her house-trained dignity
against
an odd pleasant pride in her womanhood,
as
my mouth strokes her neck, tastes the veins
of
her sudden dry cough. Better this than motel rooms,
greasy
garage storage closet.
Later,
in the coffee shop, sipping joe,
pecking
blueberries from a muffin like a bird,
she
comes by with a couple of her friends.
We
don't celebrate our new status
merely
gobble at each other's eyes like pigeons.
I
have a hard time forgetting my clumsiness.
She
recalls something other than the sweaty
grind
of it all. A nearby couple argue
over
something trivial. He slams his cup down.
She
crashes her chair back against the wall,
grabs
her pocket book and leaves.
What
we witness is not sex.
But,
as with love-making, it appears to be a function.
John Grey's voice of intimations and connection in
ReplyDeletesex, sports,nature,psychology go reach to the pure voice in the language of our humanity's speech actuating our being and state of mind in a living buoyancy of modern poetry.Congratulations!