Gabriel Furmuzachi – A Poem in Which My Son Wants to Hear a Story

A Poem in Which My Son Wants to Hear a Story
by Gabriel Furmuzachi

I speak to him in an old
language,
musty and inveterate,
with a faint
whiff of salty cheese
and home-made bread.

Here, dragons
have only four letters,
cars are
complicated machinery
and polenta
is made up of eMs.

Here, to be
is thinner than
a spider’s thread.

I let him have it,
this language
of mine,
one word
at a time:
medicine for an illness
to come.

Curled up in his bed,
sleepy,
he asks for a story.

His fingers
follow obscure trails
along my scalp.

“A story from here”,
he tells me
“in your tongue.”

Brian Robert Flynn – Thank You, Robust Floors

Thank You, Robust Floors
by Brian Robert Flynn

Exsanguinating gasps and diminishing parental queries aside, the dawn silence dissipates to a mutter. This Saturday, these children could have been on a sofa anywhere not so utterly clean. Rather, somewhere liveable: The smell of French toast and bacon wafting over comfort’s thick serenity; watching cartoons instead of breathing final ohms out of this quick-tempered hell.

Instead, the telephones are ringing. Here we count little time, only moments and shortness of breath. No Saturdays, no lunchtime, no weekends. Or maybe the weekend bleeds faster, the extra time on our hands more time with which to overdose, for dogs and snakes to bite, for drunk drivers and drug users, dealers and churchgoers—Yes it’s true, somehow four Christmas carollers ended up in the ER.

Yes, we count Christmastime. A few greeting cards and mistletoe hang above the nurse’s station. Tinsel guards the registration desk. In some otherworldly regularity, a Saturday afternoon in December conjures images of almost anything else—leisurely time at a leisurely pace, a movie line, waiting for an open table in a posh new restaurant, the TV at the bar with the ballgame on.

But not this, not the timed captures on the closed caption feed of another ambulance arriving. Not the frequent beeping of an out-of-hand heartbeat growing worse. Not more spotless shock troops wearing surgical face masks prepping for defibrillation, the hurry of bodies on stretchers rolling over stained carpets and shiny, hospital grade flooring. Great floors. If only these floors could talk.

Thank you, vinyl composite floors: For keeping it real, keeping things level, keeping those of us traversing this realm of transition so firmly grounded. For keeping us safely floored as we wait in exigent hope for our turn or the return of our children. As we wait for news of life or death, noting glimpses of such news, hoping ours won’t be so notable. This cartoon-less Saturday, let us give thanks for your even-mindedness and precise stillness.

For your balanced reminder that we should thank the ceiling, if we must thank anything, for the screaming. For your Yang winning out against the Yin of ceiling’s noise-perforated closeness, so meticulously engineered. But for the faint, halogen whir of 1000 luxes squiring your steadfast watch, keeping your lookout from beneath cat scan machines, plastic-coated beds and bags of blood—we’re dearly thankful for your shine and solid sheen. For you, O robust floor.

Meryl Stratford – How the Beautiful Changes

How the Beautiful Changes
by Meryl Stratford

You lie in bed sleeping,
             not going anywhere.
I look at my book,
             not reading.
You wake and speak
             but I do not understand.
I see
             but I do not believe.
Outside are hibiscus,
             bougainvillea,
frangipani.
             The poetry workshop
goes on as planned,
             words and
words about words.
             Each time I visit
the silence grows louder.
             The television stares at us
with one blind eye.
             After the radiation
and the chemotherapy,
             after the second opinion,
the word for today is
             terminal.
I scribble words
             in my book.
On the cover
             a bright skiff
crosses green water
             to a tropical island.
We were there.
             Now I am this silence beside you,
watching you sleep.
             When I leave,
you look like a frightened child.
             I leave and return.
I leave
             three kisses on your lips,
three secrets to take with you.
             when you go.

Dennis Sinar – The Doctor in Town

The Doctor in Town
by Dennis Sinar

Fate, the mother of us all, guided me here in 1957. I drove a dusty 1950 Powerglide Chevy into town looking for a job. Cars parked at angles studded the four blocks of Main Street and shoppers crowded both sides of the street. Eventually, I found a vacant two-story building at the north end of town, a block beyond the established stores. Negotiations were quick. The owner needed a tenant, and the combination first floor office and second floor apartment were suitable for a businessman tenant who didn’t mind being on the edge of town. Location was not a problem because I knew people would come. It took a day to find a sign maker and hang my shingle above the door. Carl Jordan, M.D. was open for business. I was the only doctor in this small town.

In the late 1950s, a general practitioner was expected to be a caring, gentle, knowledgeable person who listened to his patients and most importantly, was willing to work hard. On the first day, people started coming with the usual illnesses, and in that first year, my practice grew steadily as I established trust. My patients were my neighbors and it was easy to remember all of their illnesses. I treated mostly common diseases in families and sat with other families for comfort when their people died.

My patients were black or white, rich or poor, ornery or not, and I made house calls. If a drunk wandered onto my porch on a Saturday night, he sat there until he was sober, then I saw him first when the office opened. My posted office hours were eight to five, five days a week, but that was only a guideline. If a sick patient knocked after hours, I yelled out the upstairs window for them to sit on the porch and I’d be down shortly.

I learned that the interview was the most important part of the encounter, a time to observe all the clues about what was troubling them. People needed to tell their story on their own terms and it was best to smile, nod, and listen as they talked. I remember a wife who was nervously waiting for my diagnosis of her husband’s illness. As she sat silently beside her husband, looking between us, rubbing her trembling index finger across the hair of her eyebrow and then repeating the motion on the other eyebrow. To hide his embarrassment, he looked straight ahead at the sunset print on the wall, studying the print and the color of the sunset. He was used to facing the setting sun in tobacco fields and his face was lined with crow’s feet. His right foot tapped, tapped on the floor to some rhythm in his head. The wife looked at her husband and then back to me, willing him to talk about his symptoms, to be truthful about his weight loss, lack of appetite, and the pains in his stomach. He was silent, not ready, so she told the story. I watched her hands and her eyes for clues as to what she needed. It was obvious that he had a cancer of some kind, likely terminal. He never looked at me. Before I said the words, she knew her suspicions were true, and her eyes asked what could be done. She wanted my guidance on the path from here to there, but he never stopped looking at the sunset print. Diagnosing cancer was terrible, but not difficult. Someone with a wasting disease, steady pain, or jaundice had the bad disease. Finding where the cancer was located was not important back then. People did not want to know the kind of cancer; they just accepted that it was cancer, an untreatable condition in their mind. Every day they stayed above ground was a blessing, a day to be used to work and provide for their family for as long as they were able.

In those early days, my hands were my greatest asset, warm, smooth, and neatly groomed. Someone told me that people didn’t trust a doctor with dirty hands and so I washed my hands after coming into the room so the patients knew they were clean. In the beginning, it was difficult for me to examine patients because I disliked physical contact, but when people complimented my gentle touch, I became more comfortable.

Examining a patient was like playing a fine instrument, my warm hands started well away from the tender area and slowly worked toward their particular area of discomfort. During the exam, I nodded often to encourage patients to add details to their story. If someone complained of pain in their chest, I’d gently palpate the back and front, feeling for tender spots. If I found tenderness, it was the end of my search and I knew what to do; if not, I’d listen with my scope and decide on something different. If their chest rattled, they went home with pills dispensed by the nurse from our back office supply; if their chest was quiet, they went home with the same pills, but a different colour. The results were the same—patients most often got better. Each of my capsules looked different, large, or medium sized and coloured blue, white, or bright yellow. It was easy to buy coloured double 0 wax capsules out of town and fill them with sugar. Placebo pills were common at the time, and as the nurse handed the patient their envelope of pills, she instructed them to swallow them whole, so they never tasted the sugar. I used simple medicines because they worked.

The mechanics of laboratory testing did not interest me; I was concerned only with the mystery and the manifestations of disease. My medical knowledge was refined by trial and error. On a back office shelf was my single reference, the Merck Manual. I consulted it with difficult cases and the pages became worn over the years. In most cases, the manual proved adequate. Most days I was able to puzzle out a patient’s problem using common sense. My treatments reinforced the placebo principle— examine carefully, treat with confidence, and expect a cure.

Surprisingly, their confidence in me was the most effective medicine – if a patient believed I knew how to treat their problem, their belief was enough; patients tried to get better because it was expected. When people heard my diagnosis, they nodded understanding, and symptoms that were unbearable before the visit, with my reassurance, became bearable. I had a nervous tic, rubbing my knuckles back and forth across my lips and teeth as I thought about a difficult case. The tic initially gave patients a start, but then eventually instilled confidence in my diagnostic skills. The tic helped solve a surprising number of vexing problems.

Vaccination of children was not widespread in the South. I learned that childhood diseases, whether in a rich child or a poor child, mostly improved in a day or two, and if the child did not improve, I sent them on to a specialist in the big city. In children, what looked like a cold might actually be a serious disease like polio or meningitis that could get much worse in more than a few days. Those were the times of the most severe cases of polio, widespread tuberculosis, and the worst of a handful of other severe childhood illnesses. Thankfully, those times have passed. When I sent the child to the city, the specialists appreciated the prompt referral and always let me know how things turned out.

Payment for my services was a challenge because few people had readily available cash. Most offered trades or asked for credit until their crops came in. I collected food, dressed farm animals, or canned preserves. Patients saved their best harvest for the doctor. If I took care of all three kids in a family for their colds, I might get a smoked ham; if a farmer’s wife had the vapours, the husband brought a few thick steaks. When I had enough food, I took handmade clothing.

In the practice of general medicine, people came during regular office hours with common ailments: colds, scrapes, arthritis, and fevers. Emergencies and house calls always came in the middle of the night for patients too sick to leave their bed. An emergency for a farmer had the same importance whether it was a cow in labor or his wife’s spells. Often I would see the wife and the cow on the same house call. In both cases, I prescribed the same pills, and more often than not, the wife and the cow got better. I saw joy, grief, and the loss of life, often in the same week.

Toward the end of a long day, I was exhausted and failed in my caring. The best I could do at those times was to follow the thread of their history, but no diagnosis came into my head. I saw the person in front of me as a skeleton stripped of skin or a blob of muscles that talked. When that happened, I asked them to come back in the morning for a fresh look. People saw my foibles and believed my words, either in the office, or when they saw me on the street and stopped to ask about some medical problem.

One morning, a car weaving down Main Street hit a man, and the patrons of the Starlight Grill had an excellent view of the accident. I was sitting at a table in the front window, looked out at the splattered man, and then resumed my breakfast, knowing the man was already dead and beyond my services. None of the patrons questioned my decision.

Through weeks, then years, I learned to appreciate the strength of the human body—the oldest to the youngest bodies—and how they adapted as they aged. It was common to see an old granny and then a newborn baby, one after the other in a morning, and the diversity of life amazed me.

There were many times when I went to a person’s home, often in the middle of the night. On one visit, the spouse opened the front door, nodded, and led me upstairs to their bedroom. It was a clean room, but infused with the smell of sickness. On the wall opposite the window, there was a huge poster bed with a white lace canopy. The patient, a man I had seen only rarely, was propped up in the bed, leaning against large feather pillows, his breathing so laboured that he could barely get more than a few words out without pausing. There was an odour of urine from the bed and damp washed sheets hung out the window to dry. By way of decoration in the room, hanging on a nail in the middle of the wall across from the bed was a crayon drawing of a man. Underneath the drawing in a child’s handwriting was: “To Dear Papa.” This man was Papa.

One hot summer afternoon, a woman sat in the office and told me about her husband: “That man is disturbed, sick you know. He’s never been all there, what with staring into space rather than looking me in the eye like a normal person, talking crazy sentences about the devil or someone following him or trying to poison him. He never tells normal things anymore, and people stay well away from him. I’ve never known for him to hurt anybody, but with crazy people, you never know when they’re just going to snap and go for your throat.” She went on in that vein for some time, and I found that letting her get it out was the best tonic, nodding, looking at her face, and listening with my hands crossed in my lap. Eventually, her tape ran out and she went back into herself. Our conversation continued, but she avoided my eyes and looked down at my hands, as if they would give the diagnosis and tell what she should do.

Then, one week, my routine changed. Odd feelings stirred in me, and I felt something alive moving deep inside my abdomen, tightening and squeezing, not yet pain but becoming pain. The feeling became worse and changed to pain in another week. I had examined enough patients to know the diagnosis, but not how long the disease would take. I knew there was no treatment, even in the big city. My nurse and I decided to close the office gradually over the next two months.

At home, I turned to thoughts of God and an afterlife. I became philosophical about the extremes of life, knowing that the boundary between life and death could be measured like the narrow path of a tornado, and like the tornado, my disease was unstoppable. My ego hoped that perhaps medicine might hold back that boundary, and that my will alone could determine the path enough for the storm to miss me. With each day as the pain increased, the division between life and death became more narrow, making me wonder about the next adventure. A week after the office closed, I sat in the sun on the front porch and looked at my hands. I was surprised at how bony they had become, how the flesh had stripped away. The knuckles were prominent, and the skin was stretched tight around every joint, yet my grip was still strong and my gentle touch was the same touch that so many patients recalled.

I had seen life end in suddenness, a merciful transition between living and then not, and I had seen the opposite—a slow, painful process of ending that fostered replaying, regret, and only a few pleasant memories. Which path would I prefer if it were in my power? My preference didn’t matter because the choice was made for me.

Perhaps my legacy will live on, but I doubt it. After I’ve gone, people will forget the good and only remember the bad in their dealings with me. My greatest secret would go with me into the grave. On my scout drive into town in 1957, I was looking for easy money, but instead found my destiny on a path that was irreversible. In the end, if people thought I was a doctor and helped them, then I was their doctor.

AQ18 – Medicine

Rink Foto & Bryan R. Monte – Photos of Harold Norse

Harold Norse was a seminal figure in San Francisco’s poetry scene from the early 1970s to his death in 2009. In New York in the 1940s he befriended W.H. Auden and William Carlos Williams. In the 1950s, he lived for five years in Italy. In the early 1960s, he worked with Allen Ginsberg and William Burroughs on his “cut-up” technique in Paris. He became engaged in the gay liberation scene in the late ’60s and early ’70s when he moved to San Francisco.

Norse’s most important books include Carnivorous Saints: Gay Poems 1941-1976 (Gay Sunshine Press, 1977), Beat Hotel, (Atticus Press, 1983), Memoirs of a Bastard Angel (William Morrow, 1989) and collected poems, In the Hub of the Fiery Force, Collected Poems of Harold Norse 1934-2003, (Thunder’s Mouth Press, 2003).

Below are photos by Rink Foto and Bryan R. Monte which captured Norse in San Francisco at cafes and readings during the ’70 & ’80s.

Harold Norse 1917-2009. Portrait © Rink Foto. All rights reserved.

Harold Norse 1916-2009. Photo © Rink Foto. All rights reserved.

 

Gay Writers at Café Flore, San Francisco, April 1984. Left to right: Jim Holmes, Harold Norse, Phil Willkie, Bryan Monte & Steve Abbott. Photo copyright © 1984 by Rink Foto. All rights reserved.

Gay Writers at Café Flore, San Francisco, April 1984. Left to right: Jim Holmes, Harold Norse, Phil Willkie, Bryan R. Monte & Steve Abbott. Photo copyright © 1984 by Rink Foto. All rights reserved.

 

Five men at Café Flore, San Francisco, April 1984. Left to right: Phil Willkie, Jim Holmes, unidentified man, Steve Abbott and Harold Norse. Photo © 1984 by Bryan R. Monte. All rights reserved.

Five men at Café Flore, San Francisco, April 1984. Left to right: Phil Willkie, Jim Holmes, unidentified man, Steve Abbott and Harold Norse. Photo copyright © 1984 by Bryan R. Monte. All rights reserved.

 

No Apologies #2 Reading, Newspace, San Francisco, May 1984. Harold Norse, front, Steve Abbott, left front. Photo copyright © 1984 by Bryan R. Monte. All rights reserved.

No Apologies #2 Reading, Newspace, San Francisco, May 1984. Harold Norse, front, Steve Abbott, left front. Photo copyright © 1984 by Bryan R. Monte. All rights reserved.

Bryan R. Monte – AQ17 Autumn 2016 Book Reviews

AQ 17 Autumn 2016 Book Reviews
by Bryan R. Monte

Dig by Bryan Borland, Stillhouse Press, ISBN 978-0-9905169-8-9, 2016, 74 pages.
Coulrophobia & Fata Morgana. Stories by Jacob M. Appel, Black Lawrence Press, ISBN 978-1-62557-953-9, 2016, 2016, 182 pages.
Lost Salmon by Scott T. Starbuck, MoonPath Press, ISBN 978-1-93665-723-0, 2016, 96 pages.

Seldom do I have the opportunity to review three books in the same issue, all of which, I can recommend to my readers unreservedly. This is one of those rare occasions. The three authors and their books above are three of the best, but still relatively “new,” writers. Each has his special areas of interest and unique style for which I believe American writing is that much richer.

The first book Dig, is a collection of poems by writer, editor and publisher Bryan Borland. Borland was recently recognised by the Library of Congress for the contribution of his press, Sibling Rivalry, to American letters. Dig’s poems are primarily about Borland’s life as a gay man living in Midwestern America. The title poem or proem is an invitation to readers to dig “the dirt” about his last “ten years,” his “two dogs,” “past lovers” and his “husband,” about the things each brought to their unique literary relationship “ink…books from other tribes” but “nothing from what we are together.”

The book is divided into three sections: “A Form of that Word,” “These Boys” and “Blood in the Throat.” The first section is about Borland’s long-term relationships with his partner and friends. There are poems about anniversaries, “The Body is a Damn Hard Thing to Kill,” betrayal, both real and imagined, “Weather, This” and “Cheated,” and the remembrance and death of family and friends such as “Walking Through the Fields of Ruin” and “How it Ends.” The second section describes other gay lives; those who did or did not make it; some through suicide such as in “Jumpers” or murder such as “The Significance of Matthew” about Matthew Shepherd’s murder or marriage such as “White handkerchief,” in the series “These Boys” in which Borland writes how his partner’s “Old flames, too, leaking into his dreams/puddles of memory that never quite evaporate.” The third section, “Blood in the Throat,” is perhaps my favourite because it includes poems about poets and writers such as Thom Gunn, “Eat the Whole World,” Ian Young, “From Ian Young,” Ted Hughes and Sylvia Plath, “This Telepathy is Intrusive,” Christopher Isherwood “Isherwood’s Journals” and William Carlos Williams “This is What It’s Like” and their influences on Borland’s and/or his partner Seth Pennington’s writing.

Three of the poems I wish I’d written myself can be found in this third section. One is “Your Older Brother Gives Me My Name” in which Borland describes his partner’s relatives’ awkwardness about what to call him at a wedding until his partner’s brother says: “he’s my brother-in-law.” Another is “At a Bach Concert” in which just as Borland and his partner walk into a Boston church and “lock arms and start toward the front of the church,/the quartet begins to play the wedding march for/absolutely no reason—and for absolutely every reason.” And lastly, the poem “Rooster” about the puppy that Borland writes: “I grow to love him by the second week, when you and I/have figured out how to touch/one another again.” brings him closer to his partner again.

Dig provides a poetic, honest look at a mature gay relationship. It also demonstrates how, in just a short time, Borland’s poetry has gone from strength to strength since his debut book, My Life as Adam (2010), his subsequent, Less Fortunate Pirates (2012) to Dig (2016) This opinion is confirmed by Borland’s receipt of the 2016 Lambda Literary Emerging Writer Award.

Jacob M. Appel’s book, Coulrophobia & Fata Morgana. Stories is his third collection from Black Lawrence Press. His book Scouting for the Reaper (2014), won the Hudson Prize. (Appel is also an O. Henry Prize winner). Appel is one of American’s best short story writers due to his combination of quirky characters and unexpected, snap endings. Coulrophobia & Fata Morgana merely confirms this reputation.

Appel is a master of characterisation. He seamlessly crawls under the skin of his cast characters, who live and work in various jobs and in various parts of the US. Coulrophobia & Fata Morgana includes stories about a female butcher and her murderous concert violinist sister, an East Coast folk singer celebrity and her very destructive, delinquent grandson, a smallpox scare for two guards on the US Canadian border on a snowy New Years Eve, who think they might be in love, an Oakland, California landlord whose wife leaves him for a mime and then won’t talk to him, two New York parents whose infant suffers from pica and an unfaithful minister who can’t sleep at night because he imagines his dead wife noisily making love downstairs to Greta Garbo are some of the many interesting situations and unusual characters in Coulrophobia & Fata Morgana.

However odd these characters seem, though, they all seem to deal with various common themes: fidelity, the value of continued friendship versus sexual intimacy, the limits of friendships and relationships within and without families, and how these families cope with the bad behavioural genes and patterns that are passed down the generations. Appel explores these themes and problems and comes up with very novel, unexpected, snap solutions usually based more on utilitarianism than lofty philosophy. The focus to detail in these stories about medical and ethical situations and their solutions shows Appel’s own wide range of professional experience as a doctor, bioethicist, professor and writer. In addition, no matter how dark the thematic material, the stories in Coulrophobia & Fata Morgana are written with a sense of wit and humour which propels the reader forward to their uncanny resolutions. Coulrophobia & Fata Morgana proves that Appel is a master of the American short story, (in a somewhat American Gothic, Edgar Allen Poe-like tradition). He explores the depths of human experience in unusual cases while still maintaining a sense of humanity. Coulrophobia’s stories surprise, shock, entertain and challenge.

Scott T. Starbuck latest book of poetry is entitled Lost Salmon and even though all the poems in this collection are about fishing, there is something in this collection to interest just about everyone. One of the most important issues Starbuck depicts relevant to AQ17 is climate (change)/species extinction. Many poems in Lost Salmon would have been ideal for AQ17 had they not previously been published in other journals or were pending publication in this collection which was released a few weeks before AQ17’s own debut. These poems include “Strays” and “At Rocky Creek” about diverted or blocked salmon runs. In “Strays” the “salmon who run up the wrong river,” end up “in ditches, cow pastures, even Hwy 101.” In “At Rocky Creek,” the salmon’s progress is blocked by a concrete wall under which they are “floating belly up.” In the book’s title poem, “Lost Salmon,” Starbuck writes: “I can relate, brother/as I gasp smog,” perhaps to the salmon he’s caught who are “wanting waters with my own kind” and to “just be.”

“In River at 52,” the fisherman in Starbuck knows he needs the river just as much as the salmon: “I know if I can just get to the river, everything will be okay.” He relates the flow of the current to the passage of time and the relatives and partner he’s lost and perhaps the real reason he needs to get to the river after he’s graded “…stack after stack after stack/from men and women who don’t want to write/who force themselves into strange unnatural positions.” (This sentiment is also echoed in “Advice to a Student” in which he gives counsel to get down to the business of poetry: “If you want an audience/go into advertising” and ends this short poem with the advice that a bird “doesn’t wait/ for an audience/ to sing.”)

In “Canyon” and “My River” Starbuck worries how rising temperatures from human-made climate change will destroy some of his favourite fishing spots. Lastly, in “Pigeon,” he initially describes his cynicism about individual efforts to stop climate change as he saves a pigeon left for dead by other fisherman “torn by fishing line” by taking her to the vet:

“A few weeks later when she flew away

it gave me hope against all odds
we can slow a warming climate, rising seas.”

emphasising perhaps his enduring belief in the power of compassion to change things.

The poems in the collection are also about other subjects related to fishing. “Meditation on Emptiness between Universes,” describes the healing, revitalising effect fishing has on Starbuck. It takes him to a place “under evergreen shade and birdsong” where he breakfasts on “hotcakes/and blueberry tea.” A riverside meditation is also included in “Drifting Out of my Body in the Dark Somewhere near Astoria, Oregon.” In this the fisherman expresses his awareness of the interconnectedness of life, “tiny human gill slits/in the womb when all these salmon/were his brothers and sisters.” There are also a few surprises he discovers along the way like in “Underwater Piano and Eagle,” the piano, perhaps abandoned by pioneers, or the two lovers he accidentally stumbles across in “The Folks I Surprised In Drift Creek” in which the poet describes how:

“…in remote wilderness
I saw sex—arms and legs in the way
like when these creatures had finned hunger
and nothing else—“

In addition to the moving poems in this book, Lost Salmon is complemented by beautiful artwork. Its cover is a blue-green, mixed media piece on wood by Jennifer Williams entitled “Hooked.” The dedication page has a pencil sketch of a salmon by Herb Welch. Lost Salmon is certainly a book that will be treasured by many—fishers, environmentalists, writing teachers, and naturalist-oriented readers—among others. AQ

Srinjay Chakravarti – Chronicle of an Indian Summer

Chronicle of an Indian Summer
by Srinjay Chakravarti
 
The vultures of famine have stripped
the green river to bleached bones,
and the sun toasts its skeletal rocks
on the tandoor grill of its sharpened rays.

Under the glare of the cloudless sky,
a striated pattern of dry canals—
topography of nude shadow and stark sunlight,
the rickety ribs of the arid land.

Raped by fire and left barren,
the very earth writhes in agony
with the slow scorch of summer.

The abandoned fields, with parched throats and cracked lips,
their faces lined with cracks and wrinkles:
fleshless mounds under parchments of ancient loamy skins.
The soils crumble into brittle grains
of bitter despair and amnesia.

Bare leafless trees, branches like uplifted claws,
beseech—in turn—the rain gods
and the blasé bureaucracy.

The sky drops alms of sere dust
into the begging bowls of dry lakes and ponds,
all the manna from heaven
and the Food Corporation’s godowns.

Farmers hang themselves with the daily noose
of pink newsprint and red tape
while the latest sex scandals of Bollywood starlets
hog the menus of the glitzy satellite channels.

Harvests of cattle carcasses pile up
at the Bureau of Statistics,
deodorized by economists’ platitudes;
and blackened villages steam
like cannibals’ pots in the cities’ kitchens,
in their five-star hotels and restaurants.

Srinjay Chakravarti – Messengers to the Goddess

Messengers to the Goddess
by Srinjay Chakravarti
 
It was a bright clear day in autumn and wisps of white fluffy clouds floated in a transparently blue sky, white like the kash flowers in the fields. It was the season of Durga Puja, the autumn festival of the Mother Goddess.

Mr Pal was painting a pair of model clay birds with blue paint. They were brilliantly plumaged, and beautiful works of art. Adrija came into his studio.

“Grandpa, what are you doing today?” The little girl loved to watch her grandfather work on his clay, terracotta and marble sculptures. He was an artist and his studio was right next to his house.

Adrija was seven years old and lived in New York with her parents. She had come to Kolkata for the Durga Puja festivities.

“These are clay models of Neelkantha birds. The organisers of our local Puja have requested me to make these birds and so I am making these models.”

“What are Neelkanthas?”

“They are a kind of beautiful blue birds called rollers. They are found in India’s forests and jungles—or, rather, I should say that they used to be found there.”

Adrija thought this over for a while. “Why are you making clay models of the birds?”

“Neelkanthas are used in the worship of the Mother Goddess. There are very few of them left in the wild now, which is why we have to use replicas made from the mud on the banks of rivers. Brahmin priests drop these clay models into rivers and lakes during the Pujas.”

“Why are there very few left in the wild, Grandpa?”

Mr Pal sighed. “They have been hunted through the centuries by kings and princes, and now they are almost extinct. The birds were snared and kept in cages by hunters. Now even fledglings can hardly be found. When taken from their nests, the chicks die very soon, and grown-up rollers have all but vanished from the hills and forests. It is forbidden by law to capture or sell rollers—if anyone catches these birds now, he will go to jail.”

He paused, then went on. “Earlier, just before the Durga Puja festival was about to end, priests used to release two of the Neelkantha birds into the freedom of the sky, within hours of each other. The first would carry the message on its wings to Lord Shiva that His consort had just left Her pandals and temples. The other was freed when the idols of Ma Parvati were immersed in rivers, ponds or lakes—to tell Lord Shiva to prepare for Her return to Mount Kailash. The Divine Mother of the Universe is returning from the plains of Bengal to the frozen mountain peaks of the Himalayas in Tibet.”

He picked up one of the lovely clay birds. “Now we have to make do with these models, and we drop these from boats in the water. And the Neelkanthas take their messages all the way to Lord Neelkantha Himself!”

“What does that mean? Who is Lord Neelkantha?”

“Neelkantha is another name for Lord Shiva, the immortal god whose throat turned blue after he drank a terrible poison to save the world.”

“Why did he drink poison?” Adrija was astounded. “And he didn’t die even after drinking it?”

Her grandfather smiled, stroking his white beard. “It’s a rather long story, a very old legend. Once all the gods and demons were churning the ocean to get the nectar which gives immortality. But first this poison, named kalkut, came out of the waters. No one could bear its heat! Only Lord Shiva could drink it all up, and even He passed out. His throat turned a deep shade of blue from the poison—that is why the name Neelkantha, which means He-with-the-Blue-Throat. These birds, too, have blue throats; that is why the rollers are called Neelkanthas as well.”

Adrija was listening wide-eyed to all this. She digested what her grandfather had said, then blurted out, “When the birds used to be released into the sky, did they fly all the way to the Himalayas?”

“That I don’t know!” Grandpa shook his head, smiling. “But nowadays, since there are very few blue rollers left, we have to immerse the clay models in water to tell Lord Shiva that Ma Uma is returning to Him. And that is why I’m painting these birds.”

“But these are not real birds. They are only make-believe!” exclaimed Adrija.

“No, it is not exactly like that. When your father is not at home, when he goes out on tours, you look at his photograph, don’t you?”

“Yes, I do that.”

“Why do you do that?”

“Because—because—I like doing it! It reminds me of him…”

“That is why we make clay models of Mother Durga and paint them and decorate them so beautifully. The images remind us of the real Goddess.” He went on, “In just the same way, the clay replicas represent the real birds!”

“But wouldn’t it be better to use actual birds, real living birds, instead of these blue models?” Adrija asked.

“Yes, of course,” her grandfather nodded. “But, as I said, the rate at which the forests are disappearing is alarming, and blue rollers can hardly be found any more. The survival of countless other birds and animals is also very much threatened.”

“What will happen if forests disappear altogether?” she asked, her eyes wide.

“Our very lives will be in danger. The whole planet will be at great risk.”

“When we can’t see Ma Durga, we make clay idols and worship them. When we can’t find live birds, we make clay models and use them,” she said, more to herself. “But—” she turned to her grandfather— “can we make models of forests and jungles? Would that be the same thing?”

“No, of course not. If trees are cut down they can’t be replaced at once, and it takes a long time for new trees to grow.”

“We grown-ups have been destroying the world around us, the forests, mountains, rivers and lakes—cutting down trees, polluting waters, dumping garbage all around. We have been taking away sand and stones from hills and river beds for building houses and factories. We are destroying the environment, damaging the planet’s ecology—”

“What is ecology?” asked Adrija.

Her grandfather paused for a moment. “It is—it is—the nature we have all around us. Trees, forests, jungles, birds and animals, mountains and rivers, fields and ponds. It is the environment we live in, our very world. And it is slowly being destroyed.”

“Can’t we do anything about it?’ Adrija asked, her voice tremulous. Then she asked, “Can’t I do something to help?”

“Well, you are too young right now. But I’m sure that when you grow up, you and your friends will certainly make our world a better place for us to live in—not just for human beings, but for trees and animals and birds as well. We can all make a difference, there are many things we can do to make Mother Earth happy. In the meantime, we can only pray to Ma Durga that our forests and rivers and mountains are not destroyed, that these don’t turn into deserts.”

Adrija looked downcast. Suddenly her face lit up. “I know what to do! When I pray during the Puja this time, I shall send a message to Ma Durga!”

“What message will you send Her, Adrija?”

“I will pray to Her so that once again forests can grow on earth and that more birds and animals live in the forests. Then there will be more Neelkantha birds and we will be able to send real blue rollers to Lord Shiva and Ma Durga with our prayers and messages, not these make-believe ones!”

Jennifer Clark – Common Tern, 21. Scarlet Tanager, 3.

Common Tern, 21. Scarlet Tanager, 3.
by Jennifer Clark
 
One afternoon in 1886, ornithologist Frank Chapman—
whether a distant relative or not—will observe women
in the wild, strolling along streets of New York City,
a spectacular parade of 700 hats bobbing atop
their heads, 543 doused with wings, breasts,
and colourful corpses of native birds.

Waxwing, 23.
Snow Bunting, 15.
Golden-winged Woodpecker, 21.
Tree-Sparrow, 2.

His list soars.

In two more decades, the last
of the passenger pigeons
and Carolina Parakeets
will be snatched
from the skies.

For now, though, appetites
for apples have yet given way
to bird as John Chapman strides
along native-made trails,
comes upon a trove

of Carolina Parakeets—
bright beacons of yellow
atop emerald bodies,
raucous jewels
that bedeck the trees.

A thousand wings soar,
John’s heart pounds.
The birds,
the West,
boundless.