June 14, 2018

John Paul O’Connor

STONE CITY

When he walked down the road to the bridge
eighty years ago to look closely at his subject,
I was standing next to the river watching mud

crumble from its banks. Heron were plentiful
then, as now, and the quarry belched out white
dust that caught the wind making headway

toward Chicago. We all loved Chicago.
It was a place you could sit and watch the murder
of the working classes while sipping iced beer

on Wabash Avenue. Gangsters would lay low
in the fields of Illinois and sometimes make
a lark of it, driving their black Pontiacs across

the Mississippi and down along the Wapsipinicon
to see where the chalky clouds began their story.
Everything in sight was made of stone. Churches,

barns, even outhouses. This was back when men
knew how to build the world. No one wanted
to take it apart. When bombs dropped, they called

it a war. They sent young men away on ships made
of stone to stop the bleeding with their own blood.
Soldiers wanted to get it over with and come back

home to build something or dig a hole or pay
a man in a striped tie for a house in the projects.
The little town lay down still through all of this.

Fascism, capitalism, socialism. All chewed up
and spit out through a Calvinist mouth. The Wapsi
moved tons of silt in spring time and the quarries

got deeper and deeper. Up out of the valley
you could set up your easel and paint a world
only chumps like me would want to enter.

He painted me there, standing by the bridge
and the river, the smallest smudge of ochre,
hiding in the obscurity of the canvas’s texture.

I always knew how to get out of the way.
I stayed behind, standing still as a portrait
and let others die. Let me teach you now

how to build with stone. Let me show you
how to hold your hand steady enough to paint
a corn filled landscape that ripples like the sea.

from Rattle #29, Summer 2008

__________

John Paul O’Connor: “When I lived in Iowa City I used to drive out toward Stone City and try and find the place where Grant Wood sat to make his painting. Have you ever wanted to walk into a landscape and become part of it? This is what I was attempting when I wrote ‘Stone City.’ Not just the landscape, geographically, but the landscape of that twentieth century epoch from which Wood came. In the painting there is no human figure standing by the bridge (though there is someone on horseback approaching the bridge), but in this poem there is someone hiding in the ‘canvas’s texture’ trying to make a confession to the reader. The greatest moments of writing are when you feel part of the landscape, part of a world that did not exist before you entered and began creating it.” (web)

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November 27, 2016

John Paul O’Connor

THE FALL

My old friend and I walk down the sidewalk after drinking beer
and whiskey at the pub and despairing over the election of the new
president. Walk is the wrong word, at least for my friend,
who is in a wheelchair he’s occupied since he fell from a roof
thirty-five years ago. We haven’t gone half a block when his front
casters hit the edge of a section of sidewalk heaved up half an inch
and his chair halts with a jolt and he pitches forward and lands
spread-eagle on the concrete. At exactly the same time the toes
of my shoes stumble on the same edge of pavement and I arrive
next to my friend as if we are bunk mates flopping belly first onto
our mattresses. I pick myself up and look at the atrophied legs
crumpled beneath him as he lifts his torso upright and wonders
aloud in a panicked tone whether one of them might be broken.
He wouldn’t know. The pain that comes with crushed limbs
hasn’t lived in his legs for decades. He can’t get himself up
and I don’t have the strength to lift him properly back into the seat
of his chair. Help arrives; stragglers from the nearby bar. He’s back
in his chair and I’m on my feet, humbled that we are two drunks
who have been face down near the gutter. And we are old drunks,
who would appear to most of the world as pathetic and beyond
empathy. Our jeans are torn and dirty and the country of our birth
has just elected a fascist to lead a drunken nation down a road
of frost heaves and potholes toward a cliff. I walk with my friend
to his car, help him make his transfer in front of the steering wheel
and place his chair wheels in the back seat. Then he is gone and
I walk the other way, over the Fremont Bridge, below the misted street
lamps wondering if his legs are all right before I hear my own voice
speaking to the darkened sky, “Well, of course they’re not all right.”

Poets Respond
November 27, 2016

[download audio]

__________

John Paul O’Connor: “The national discussion for the past two weeks has been over this most unusual and shocking presidential election. A couple of friends and I were talking politics over beer, and then, as the mood demanded, bourbon. ‘The Fall’ is about what happened after two of us left the bar.” (website)

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January 21, 2011

John Paul O’Connor

BREAKFAST

When you were born I was eating a plate of eggs
and potatoes in a café called the Cupboard, five blocks
from the room where your mother and I conceived you,
admittedly an accident of desire, in the middle of the night,
wakened out of sleep, letting our bodies’ clockwork
lead us down a path we could not turn from, to you.
My life has been one surprise after another,
you being the one that keeps coming back,
a girl, for God’s sake, and now a young woman.
That day, before the earth’s harsh oxygen woke you
unto us, your mother cast me out of the labor room,
tired of my jokes, irritated that she had to do this
on her own while I stood there useless. I had never
heard her use the word jackass before. A few years
later they would come up with ways to keep men busy,
to make us feel as if we have some part in the intimacy
called birth. But we may as well be eating eggs
for the little we have to do with you daughters being born.
I didn’t carry you within me, didn’t push you
through the channel in the pit of my being,
the hose of life connecting us. Even had I become
your father a few years later when they were teaching men
Lamaze, had wiped your mother’s brow and breathed
with her her every breath like bellows on a fire,
had watched you turn a flamey pink and heard your first cry
from the canyons of this world, I still would have to envy
the woman who bore you.
Today you come to me
in your thirty-fourth year, lost and frightened, as anyone
would be in this inhospitable world to which we brought you,
and what can I do but sit you down with your hangover
and cook you breakfast? As long as we both live
we carry between us this staidness, this hum-drum,
until appears the rare moment when we look between us
to see how thin the string is and how delicately
we must hold our connection. I try to look steady and speak
a few words that sound like wisdom while you look
at me blankly and continue eating your eggs.

from Rattle #33, Summer 2010

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July 19, 2010

John Paul O’Connor

BEANS

The way my father told the story, it wasn’t Jack who climbed
the Beanstalk. It was my sister and I. We were very,

very poor and my mother asked us to go sell the cow, whose part
my father gave to our dog, Igor. How sad I felt for my mother,

who was so desperate as to send her two young children
out into the world to bring home food for the family. Was this

why I discovered her one afternoon in her bedroom, sheer
white curtains feeding light onto her face as she wept? When we

came home with only beans to show for the cow we sold (what else
could we get for a cow that resembled a black Labrador?)

she screamed hysterically and sent us to our rooms without supper,
throwing the beans out the back door with a disillusionment

that was always with her. The narrator hid from the picture, omniscient
and absent, spending his time at the AmVet hall or at Nick’s Tavern

where he learned the art of long elaborate tales which he told only
on the occasional nights when he drank at home and we gathered

around curious to know who he was. If he were sober he stayed
behind his newspaper and called for his supper like the giant

at the top of the beanstalk, growling at his tiny wife. Had he enough
to drink, the story would continue and the giant became

what we always hoped he would; a kind soul who did good work
for the people of the kingdom. But this wasn’t a kingdom.

It was a four-bedroom house in Albuquerque in 1958 when there were
no giants, but plenty of dogs and children and drunken fathers

whose wives wept in the privacy of their afternoons and yelled
for their children at supper time. Food was on each table

and from my window I traced the long trunk of a poplar tree
to its top, where white flimsy clouds couldn’t hold a thing.

from Rattle #32, Winter 2009
2009 Rattle Poetry Prize Honorable Mention

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