Prose Poem: You're Not A Bird

In the dream you are at the top of a tall building. Sitting on a wet ledge. Not exactly perched. You’re no bird. Birds don’t read. And there you are, on a ledge at the top of a tall building, reading a book. You hold the ledge tightly with one hand. Birds aren’t afraid of falling. But you’re no bird. Wind doesn’t lift your wings. It pushes your heavy body. Your solid bones. It catches at your book. You need to hang onto the ledge with both hands, you think inside your brain. The one that’s bigger than a bird’s. But the book. You treasure books. Even in dreams. You can’t surrender it to the wind and gravity. The ground so far below is wet with yesterday’s rain. How you see that from this high up, you don’t know. Neither do the birds. The wind gusts again. Maybe it makes a sound, but your dream is silent. You only feel the wind and your hand slipping from the ledge. You will fall. Even when you let the book go and your reading hand clutches the ledge it’s no good. That wind. It flings you from the top of a tall building, from a wet ledge on which you werne’t exactly perched. You soar through the air. Not like a bird. Like a stone. You’re overtaking the book, its pages flapping like wings, letters and punctuation black against the off-white pages and come down at the end of a sentence on the bottom of a paragraph that ends a chapter. You come to rest wondering if the book can fly with you inside. Like a bird in a dream coming rising into morning’s first light.

Maybe Just Go

You wake and have plans. Sure you do. You write pages of words that would feel like nothing if you didn't know better. Quit your whining, you tell yourself. In the workshop, you apply another coat of poly to a project and wash the brush in thinner. The laundry tub could do with a bit of a scrub. You scrub it but just a bit. You go upstairs thinking you might go for a run. But the cat insists you pick her up. She purrs. You scratching that purring cat. Summer heat is rising. Bugs whir like tiny machines. You move in and out of the world, the whir and purr bringing on a trance. Then the cat has had enough of you. She jumps down. You pull on running shorts and shirt. You take yourself out into the heat, stand in the driveway, the world before you. Infinite choices of direction and distance. The map of who you are and might be. You stand, trying to choose right or left, as if it matters. As if anything matters other than putting a foot forward, bringing the other along, and so on and so forth. You can have your plans, write your words, coat a project in poly, hold the cat while she'll let you, and stand in the driveway forever, but it's getting so very hot, the world is moving on with or without you. Maybe just go. No, really. Go.

The Brakes

In the dream I can't stop Dad's old pickup. It's not careening down the highway at seventy-six miles per hour. Even in dreams my life is calmer than that. We're rolling in reverse through the night, Dad and I. My head is turned, looking behind. Dad stares ahead. The night is impossibly dark. The truck's feeble lights swallowed by dream darkness. There aren't even any shapes behind me, just a sense of something. Rocks, a stream, concrete walls, other cars, someone's cat or child. I push the brake pedal, first gently then to the floor. The truck still rolls. I hurt my leg pushing against the pedal. My head still turned backward, my eyes searching the nothingness, my heart screaming. Dad stares ahead, at peace with all he sees. I can't make that truck stop. I stand on the brakes, my mind spinning faster until I come awake, rolled onto my side, in dim morning light. The truck and Dad fade. I turn to look behind, out the bedroom window, and feel myself falling. There was never anything behind us, just an emptiness into which I've long been falling. Having made the trip, Dad could have told me that standing on the brakes against it means nothing, nothing at all.

Why The Maggot Hates Art & Artists

The low road

Marge Piercy

What can they do
to you? Whatever they want.
They can set you up, they can
bust you, they can break
your fingers, they can
burn your brain with electricity,
blur you with drugs till you
can't walk, can't remember, they can
take your child, wall up
your lover. They can do anything
you can't stop them
from doing. How can you stop
them? Alone, you can fight,
you can refuse, you can
take what revenge you can
but they roll over you.

Two people can keep each other
sane, can give support, conviction,
love, massage, hope, sex.
Three people are a delegation,
a committee, a wedge. With four
you can play bridge and start
an organization. With six
you can rent a whole house,
eat pie for dinner with no
seconds and hold a fund-raising party.
A dozen make a demonstration.
A hundred fill a hall.

A thousand have solidarity and your own newsletter;
ten thousand, power and your own paper;
a hundred thousand, your own media;
ten million, your own country.

It goes on one at a time,
it starts when you care
to act, it starts when you do
it again after they said No,
it starts when you say We
and know who you mean, and each
day you mean one more.


Thanks to The Writer's Almanac for this.