March 12, 2010

Michael Salcman

THE NIGHT BEFORE

The ex-husbands were the worst; not one showed up
to discuss whether a wife’s head should be shaved
the night before or asleep on the table.
Ex-girlfriends and wives were better, always there
to stake out their territory and proclaim undying devotion.
A patient’s room the night before was like a temple
a moment before the service starts, everyone chatting
and catching up, the pews in front of the Ark
filled with noise, the children of blended families
forced to attend, in loud debate
about what should be done. Each of them had their reasons:
father was much too young or old to get the new drug,
he was otherwise healthy, his heart was strong,
if he knew he would fight to the end or
he wouldn’t want to live as less than a man.
Like this they broke into camps, some still wishing
to keep up the fight by another attack on the tumor,
others in favor of (usually unsaid) adjusting the respirator
and pulling the plug. Unless the man in the bed was deep in coma
or paralyzed by drugs, we took it outside to the hall
and made our decision in that outer courtyard of the temple
where nurses walk their silent carts
and monitors wink like distant stars.
I stepped just far enough away he wouldn’t hear them trembling
to know what I would do in the morning.
Even if he never spoke, I always assumed he listened.

from Rattle #31, Summer 2009

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December 25, 2008

Review by Siobhan Watson

THE CLOCK MADE OF CONFETTI
by Michael Salcman

Orchises Press
P.O. Box 320533
Alexandria, VA
22320-4533
ISBN-13: 978-1-932535-11-2
104 pp., $14.95
http://mason.gmu.edu

Michael Salcman’s book of poetry, The Clock Made of Confetti, is an ambitious first collection and an admirable work. Much of his work has previously appeared in a number of national publications, and it is clear that Salcman is no poetry novice, as he deftly maneuvers from poem to poem. The book is broken into five sections, each loosely fitting one category or theme. Most poems are written in free verse, although there are the occasional form poems (or form-inspired poems, as in the poem “September Sonnet,” which is only loosely based on the traditional form). The subject of the poems seems to offer a sampling of Salcman’s vast knowledge; he writes about public figures, fellow poets and authors, works of art (such as Vermeer’s “The Rokeby Venus”), issues of family, and Jewish heritage.

As becomes evident in his often analytic approach to his varied subjects, Salcman is a man of science—a practicing neurosurgeon in Baltimore, MD. He often infuses very specific scientific images or words that, without the aid of the extensive “notes” section of the book, the reader would probably not understand. This is not to say that science is dealt with poorly; in several poems, the intricacies of the human body are beautifully described with detailed images so vivid that one can picture the subject. An example of this is “Small Bones,” in which Salcman brings to life the bones of the hand:

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