October 23, 2020

Lewis Crawford

TO THE MAN WHO MAY OR MAY NOT BE MY FATHER

I was twenty-one when we first spoke; 
not first met—
                                                 spoke. 
No, not because I didn’t try.   I remember 
being fourteen and watching my grandmother’s hands shuffle
through a stack of old Polaroids, 
sun-bleached and yellow from nicotine. 
As we fumbled from picture to picture, I noticed
a face, your face, and I asked her who it was.
Your father, she said. Your real one.                 
                                                             Can you even imagine
me standing in her kitchen, middle of the night, 
being stared at by cheap porcelain roosters,
stumbling through a Coweta County phone book
for a name that I should own by right? 
Can you imagine finding that name,
your face red with heat? No, not anger,    not yet,
maybe love, but you don’t know what love is,     but you think you do,
as a woman picks up the phone, asks your name, then hangs up. 
It takes you a couple times to catch the hint     but you learn. 
So you do what everyone else does to get rid of a problem:
you bury it, hoping that the soil will break it down
to the insignificant nothing that you want it to be
and there you are, twenty-one, standing on a car lot
in the middle of July, the time of year that heat hits
the asphalt so hard that if you stand in one place too long,
the soles of your Goodwill penny loafers stick to the ground
like a rat, half-submerged, in a glue trap. 
Your boss says You don’t take orders.
If you wanna take orders, get a job at Long Horns.
So you do what got you the job in the first place: you talk. 
Yeah, the trunk has 14.8 cubic feet of space.
        In English: Groceries. Lots of groceries.
Yeah, this baby has 580 horsepower.
        In English: Women. Lots of women. 
And maybe you sell one, maybe you don’t,
but one thing’s for sure, the night comes down
and there you are, sitting in your office,
with a Coweta County phone book, calling
people who just got done spending their day 
busting their ass to make copper wire,    or whatever, 
and they’re sitting down to dinner with their kids
who don’t appreciate them, and their wives
who don’t cheat on them     but think about it,
and it’s meatloaf night, and there they sit, 
utensils clutched in their hands and brought down 
like spears on the night’s kill, and here you come
to ask if they’ve thought about trading
their piece of shit Chevy for something they can’t afford.
And when one says No in the nicest way he can, 
you ask again. The answer is still No,
but, this time, with a Fuck in front of it
before he says Don’t call back and hangs up. 
But You don’t take orders. So you write
a note beside the number: Call back in a month. 
Then you trace your finger down the page 
and see a name. One you should know 
better than you do and you remember 
your grandmother’s hand, resting between your shoulder blades,
saying, You don’t need him.     Yes,
you remember that hand:
the nails coated in chipped red lacquer,
the knotted nub where she lost her pinky
to the hydraulic press of a Toyota plant,
the blue-veins that wrapped around her wrist and knuckles,
tying it all together like the belts of some mortal engine.
And you see that name and You don’t need him
but you want him to know that.  
So you pick up the phone and, as you dial, 
something familiar comes over you.     Heat
but, this time, anger—     definitely anger
as he picks up and the only thing that stumbles
out of your mouth is a name.     Your name.
Then he curses as he walks into another room,
swearing to a woman that it’s Nothing, damnit. Nothing. 
        Then silence.         
                                         Listen,
I got a wife and two kids. 
    I’m not gonna badmouth your mama
but she got around. 
                 You could be anybody’s.               Anybody’s. 
Good luck.                                         I mean it. 
Then you’re twenty-seven, leaning on the railing
of a bridge, watching two people,     maybe lovers,
casting rocks across a frozen pond and, for a moment,
you’d give anything                            absolutely anything
to be the stone rolling off their fingertips.     Their hands
holding,    guiding,    letting loose.    Then air, the rush
of coolness,  the ice cracking beneath you, falling,
sinking as the water ripples like waves of light on crystal,
deeper into that which shaped you, darker,     darker.
Then earth.     Stillness.     Rest.
Oh, God.     Can you imagine?

from Rattle #69, Fall 2020
Tribute to Service Workers

__________

Lewis Crawford: “Growing up dirt poor in Georgia, it seems like everyone in my family has worked for either the food service or some other form of customer care. Personally, I spent six years selling cars at a dealership called Mike Bell Chevrolet where, instead of pushing two-dollar cheeseburgers, I sold used Corvettes and made small talk with the townsfolk. Though much of my work revolves around the complicated relationship I have with my grandfather and grandmother, I try to keep most of it in a simple, working-class vernacular, because that’s what I was raised on.”

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October 21, 2020

Sam Burt

HUMMINGBIRD

the counter filled with regulars, I tip
silently over its edge

a cork chirps in the bartender’s palm
as she unpierces its screw

squeak of wood against metal
of hand held to animal

sound of my father cupping
the cat-bloodied hummingbird

through our back lawn as its
wings beat

his hands like a heart

from Rattle #69, Fall 2020
Tribute to Service Workers

__________

Sam Burt: “With no certainty on my future’s direction, and no prospects related to my Russian major, I began working at a deli immediately after finishing my undergrad. In the three years since, I have worked as a pastry chef and now as a cheesemonger. In the last week of my college education, I asked my poetry professor what he thought about pursuing graduate school immediately after college. He told me to spend two years working a menial, degrading job. If you find yourself turning back toward poetry, he said, then you know it’s the right path. About a year into my work in food service I felt that tug. I needed to express and create beyond my daily grind. I began working harder than ever on my poetry, reading more broadly and experimenting with tone and style and form. While working in food pays the bills, it most importantly drives me to reach for a future in poetry. I’ve just finished my graduate school applications and look forward to hearing back.” (web)

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October 19, 2020

Jan Beatty

ON THE 101

An atlas on the underside of my dream
—Jennifer Elise Foerster

On the cab ride from the San Francisco airport,
the driver a guy named Thom from Southeast Asia.
Are you in town for convention? he says,
No, I say, I’m a poet, I’m here to write.
His face changes in the rearview,
he gets that look in his eye,
that flash/then retreat I’ve seen so often.
Are you a writer? I say.
Oh, no, no, he says, I work on English.
You seem like a writer to me, I say.
He smiles, I study. In my country, is hard to get education.
I have done middle school.
He grabs three books from the passenger seat, lifts them up:
This is what I do. I read these books.
I talk to people, way to learn.

The cab fills with moving air, my face waking cool
to the cirrus sky.
Wow, I say, That’s great,
it seems like a really good way to do it—
can I see those books?
His face opens, his brown eyes alive, and he
passes them back to me.
They’re written in a language I’ve never seen.
This Burmese, he says, my language.
These books I read to learn.
I’ve never seen books like these, I say.
Yes, he says,
these are my books.
Great, I say,
as I hand them back to him.

We’re driving by the San Francisco Bay,
I feel opened to the air and the great expanse.
Can I find my way to my birthfather,
poems of where I came from?
Thom hands me one of the books and says,
Gift for you.
Surprised, I say,
Oh, my—
and look at the slim green book:
the cover a waterfall with rose-colored flowers.
The cover and inside written in Burmese.
It is Buddhist book.
I am Buddhist, he says.
This is very kind of you, I say,
and Thom nods.

I don’t think I should keep this, I say,
I don’t know how to read it,
and this is one of your books.
Maybe one day you learn, he says, smiling.
I’m nodding,
yes, he’s right,
Yes, you’re right, I say,
I can learn like you’re learning.
Thank you, thanks so much.
I knew I wouldn’t learn the language, but
I’d read it, I’d feel the voices moving through me
as I held the book.
Thom is very happy and saying,
My gift to you,
and I thank him again.

The bay still there, blue with its endless stories and upheavals.
I say, When we get there, I want to give you one of my books.
Thom’s face tightens,
No, no, not that. I give you MY book. My gift.
I see I’ve upset him and say,
I know, I appreciate your gift.
But I want to give you one of my books too as a gift.
He looks at me in the rearview, his eyes serious,
as if he’s checking me for truth.
Okay. Okay, he says.
Thank you, I say.
I open the green book.
It’s all written in Burmese, with the exception
of about 10 numbered sentences in English.
I open to the first English sentence:

1. You will be given a body.

from Rattle #69, Fall 2020
Tribute to Service Workers

__________

Jan Beatty: “I think everything goes back to being adopted, really; that’s the core of things for me. If I’m brought up not knowing my name, not knowing where I come from, being raised with lies, and then when I meet my birth parents, they’re telling me lies, or they won’t tell me the truth, it becomes really important to me. Because it’s a search for the truth. If I’m going to write poetry, I’ve always wanted a sense of the authentic.” (web)

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