Geese
When you grow up with neither the joy
nor the burden of being some specific man’s
child but instead your father
—faceless, nameless—but still in need
of being called something, thus father,
is an occasional
thought
and the memory of other occasional thoughts, not a man, not even a feeling really,
unless not knowing what to feel
and the memory of other occasional thoughts, not a man, not even a feeling really,
unless not knowing what to feel
can be counted as a feeling, just the
sudden event of him, not him the person, but
rather his absence and whatever it is
that brings it to your mind, say, a movie or a conversation with a friend whose
that brings it to your mind, say, a movie or a conversation with a friend whose
father just died
or all the old anger at your mother for never talking about the man, the huge chasm
her silence nurtured…so much you’ll never know
about her because she never gave you permission to ask about him. This occurs
to you as you sit looking
out your living room window at a flock of geese, thinking about your father,
although—see above—not really.
or all the old anger at your mother for never talking about the man, the huge chasm
her silence nurtured…so much you’ll never know
about her because she never gave you permission to ask about him. This occurs
to you as you sit looking
out your living room window at a flock of geese, thinking about your father,
although—see above—not really.
The geese arrived this morning. Is it
still true what you learned as a kid? Is it somehow
programmed into their brains,
this particular place to eat, shit and
make enough noise to wake you? Or was this simply
a convenient spot
to land, touchdown, figure out what next? And
when one of your neighbors buzzes someone
into the building and
the geese
all look up at once, why is that so
unnerving? Dozens of little heads turning towards
you suddenly, the dark lines
you suddenly, the dark lines
of their long necks slicing through the
air above their fat, awkward bodies. It’s one
of those rare moments
that reminds
you of how strange the world is, that makes you wonder what geese are…or trees,
you of how strange the world is, that makes you wonder what geese are…or trees,
the crab apples
staining the pavement,
the river in the distance running while the ground stands still. So much you take
for granted, this planet, its oddness,
its craziness, its constant revolution around a ball of fire for goodness sake, one
for granted, this planet, its oddness,
its craziness, its constant revolution around a ball of fire for goodness sake, one
of how many planets
in how many galaxies…infinite space brimming with hundreds of millions
of voices whispering,
Father, where are you? Mama, why won’t you talk to me? And then a question
in how many galaxies…infinite space brimming with hundreds of millions
of voices whispering,
Father, where are you? Mama, why won’t you talk to me? And then a question
that
ushers you back
to the present, Where do geese go when they die? Because there are dozens
of geese out there everyday,
to the present, Where do geese go when they die? Because there are dozens
of geese out there everyday,
year after year, yet you’ve never seen
a dead goose. Do other animals eat them, carry
them off to some secret place?
And why now are they suddenly turning in mass and running towards the river’s edge
where they all stop
And why now are they suddenly turning in mass and running towards the river’s edge
where they all stop
and flap their wings and make an
explosion of geese sounds? Should
you run, too?
Where?
I love the use of the second person in this poem. It is unnerving. And, as usual, I like your conversational tone in the poem, navigating thought, or rather helping the "you" to navigate.
ReplyDeleteThe line "although—see above—not really." made me smile. I appreciate the broken syntax and what it does to the earlier reference.
But once you get to the geese, the poem takes on new power and life. I wonder if you might let these 2 images do more of the work of the poem:
"Dozens of little heads turning towards
you suddenly, the dark lines
of their long necks slicing through the air above their fat, awkward bodies."
"now are they suddenly turning in mass and running towards the river’s edge
where they all stop
and flap their wings and make an explosion of geese sounds?"
They evoke a good deal of what the parts of the poem that surround them explain. As a reader I want to participate in the meaning making, in the thinking and imagining the poem into life. These images allow me to do that. Maybe you could consider taking away some of the road signs around these images -- not all of them, just a few -- and let these images bear more weight.
There is a collectiveness to the geese and their movement. I wonder how this impacts the central questions of the poem/speaker. The you and the father and the mother each feel very solitary, but the geese are a group. I wonder how these connect.
Also I just love this image:
"the crab apples staining the pavement"
Thanks for the morning poem.
Carrie