Breadcrumb #585

CHELSEA FONDEN

remember the view from the porch in the forest glade, 
the night like a test tube around you
sizzle & spark, moon wafting
the way you held hands and your breath 
when your co-workers won’t stop complaining about vacation homes 
and everybody’s not answering because they’re struggling, 
or they’re pouring out, fast 
as tea from your grandmother’s kettle— 
when the steam hit her skin she muttered hell’s bells 
and other things in Swedish you got the gist of.
you weren’t related, but you still say you’re Swedish 
and maybe you are
because no one knows who your grandfather’s father was, 
some man named Rodney

remember when you get bad news, 
maladies common as popsicle sticks—
the hope is 
we all vote to live. 
glossy photos of you praying as a child 
torn down the left third, what else 
isn’t covered by insurance, everyone’s turning up 
in the emergency room where you 
don’t look too closely at the walls, 
another type of plasma screen. 
you know a lot about Medicaid 
you leak out in little pieces — 
glasses are free but they make you choose from a selection 
in an ugly little briefcase
doctors brandish like a favor 
the sky bright enough to see without them 
and strangers kept your eyes for a minute instead of shoving—
remember the view

• • •

Breadcrumb #584

MAGGIE DAMKEN

Before we even get out of the car, the first thing I see are the empty vases cemented to either side of her headstone. Her neighbors are bright with pansies and peonies, sunflowers and calla lilies, and their dressings emphasize the barrenness of her marker. For a few moments Joe and I stand there in the heavy silence that always comes when we visit his mother, and then he says what I know isn’t my place to suggest: “We have to go get flowers.” 

    Mary Ellen, I’m asking you to forgive us for arriving without flowers. 

     At Aldi’s we almost give up, but we find two purple-yellow-blue bouquets waiting at the register, just as we’re about to call it quits. Back at the cemetery Joe breaks the wet, too-long stems with his bare hands to make them fit into the shallow vases. “You’re like He-Man,” I laugh, and then he laughs, wiping leaves on his jeans. He puts the bouquets into the vases; I fluff out the flowers, loosen them from the rubberband-tightness, then stand back and behold the brighter beflowered grave. I stand next to him, like I always do. I ask him if he wants to be alone, like I always do. Then I go back to the car, like I always do, and watch him miss her. 

Back at the cemetery Joe breaks the wet, too-long stems with his bare hands to make them fit into the shallow vases.

     “When you suffer a loss that early,” says Joe, “you don’t have painful memories but you do have painful questions.” At ten miles an hour, we wind through the cemetery toward its exit. “Because there’s a hole. And that’s mostly what I think of. Like I’m sorry we didn’t get to know each other. Sorry you aren’t here to see what’s going on. Sorry you got such a raw deal.” 

    My parents are both alive. I have always had them. I don’t have a mom-shaped hole. I put my hand on his knee as he pulls onto the road. 

    “And then I wonder if I’m talking to her or a patch of grass,” he says.

    “Well she isn’t there,” I say. The contradiction doesn’t sit right, now that we’ve dipped our toes into the realm of the solemn ephemeral, where personal belief reigns. “That’s the physical spot where you visit her, but she isn’t there.”

     “No,” he says, and struggles to articulate, “But I like to think ghosts keep tabs on their graves. Maybe. I don’t know.” 

    We ask so much of the dead. We give them so many apologies, so many explanations, even though they, like God, should be omniscient. Still we have to say our piece for ourselves; we’re alive, which means we can’t ascend into simply knowing. We have to work for it. Mary Ellen, I’m asking you, even though I don’t have to ask—I’m asking you so I know I’ve asked, I’m asking so I know I did what I am supposed to do—I’m asking you to do what is only natural for a ghost, a memory, a mother: be everywhere he needs you to be, exactly when he needs you to be, amen.

• • •

Breadcrumb #583

LAWRENCE BULLOCK II

I call her the rose that was thrust from concrete
Beauty that broke the ceiling of that which
Was meant to keep her entombed
Blood-soaked she is for she had to utilize 
Great effort to bloom

She told me that each plant
That has ever been given to her dies
A gift from each man she meant
Dying while in their sun-scorched pots
Exhausted she is as her scream focuses into other things

How many moons must pass by before the heart
Begins to wilt from the constant let downs
She broke through cement slabs to be here
Now she finds it difficult to water herself
I tell her…that is why those other flowers dry out

You are the plant that needs the substance
When a flower is this parched
It will seek out any source of moisture 
So it can have a fighting chance to continue
It only takes such little effort for a heart to dry out into a desert

Only so much pleasure
To be had before even the stimulation falters
Without water there is no recovery
Without the love for self-there is a decreasing chance of blooming next season
You can be surrounded by an entire forest
And still find out 
That even when the rest are looking healthy
You are still somehow starving
That is why you will find dead patches amongst a rich green

If you are not able to see
The beauty within your own stem
It will not take long
Before other plants including trees
Attempt to take the last bit of your ability to break through.

• • •

Breadcrumb #582

STEVE CARR

My white, linen shirt clings to my skin, glued there by sweat drained from by my body by the oppressive heat and humidity. Sitting on the front porch of the bungalow that stands alone on a plot of land carpeted with with common nut sledge, I swat away the large flies with a bamboo fan while sipping on tepid tea. The air is alive with the constant hum of insects and the chirping of the pied mynas whose nests fill the enormous banyan trees that encircle the village. Several young boys are  kicking a ball to one another on the dirt road that passes in front of the bungalow, but is an offshoot of the main road that cuts through the village. The boys play silently, the only noises they make being the impact of their bare feet against the ball, or an occasional whoop of excitement, uttered by accident; they have been told not to disturb the new missionary and his wife.  

The screen door opens and my wife, Leah, steps out of the bungalow onto the burlap welcome mat she bought in New Delhi before we caught the train that took us to the nearest village to this one, which is a hundred miles away. We came to this village by riding in a rickety, crowded bus, the only two white people aboard the bus. The dust blew in through the open windows covering our clothes with a thin layer of light brown powder and dirtying our faces. The word welcome is written in Hindi on the welcome mat.    

“It’ll be dark soon. Ananya is preparing dinner now,” Leah says as she goes to the porch railing, leans against it, her body limp, her limbs dangling in a way that resembles a wilting plant, and watches as one of the boys picks up the ball and runs down the road. He’s chased by the others, all disappearing beyond the banyan trees. She slaps at a flying insect from in front of her face and says, “We’ve been here a month and every day is the same.”

“I warned you that you might find it boring,” I tell her as I hold hold the cup of tea over the railing, and dump out the last of it. “Perhaps if you became more involved at the school . . .” 

Leah quickly turns, as if shot through by a jolt of electricity, her eyes lit with fire. “Nothing I know would be of any use to the children of this village,” she says with a mixture of venom and embarrassment. It’s her way of reminding me, again, that she only has a high school education. “If only you had told me the truth about where we were coming to!” she exclaims, her voice crackling with rage. As if escaping a sinking ship she rushes to the screen door, but there she abruptly stops as if reminded that in all of India there’s nowhere else for her to go, and gazes at me with the compassion fit for a man about to face a firing squad. “I’ll come get you when dinner is ready,” she says softly, and goes in.

                                                                      #

The dining room is aglow from the flames of the lanterns that set on tables in each corner in the room. Faded, worn, tapestries with traditional depictions of  the Hindu Gods Vishnu, Brahma, and Shiva hang on the walls. Their edges flutter, stirred by the breeze from the slowly rotating blades of the ceiling fan located above the table. On one wall there is a simple wooden cross. The window is closed, shutting out the invasion of insects that usually occurs every dusk. The loud, menacing growl of a tiger that roams the border of the village and has killed two of the villagers can’t be kept out; it’s a reminder that there are dangers that lurk about here unlike the dangers back in Minnesota.

Their edges flutter, stirred by the breeze from the slowly rotating blades of the ceiling fan located above the table.

Ananya pushes open the swinging door that separates the kitchen from the dining room and enters carrying a tray holding four bowls and a plate of naan. As she walks in she brings with her the scents of  saffron, garam masala, curry, and cinnamon. She’s wearing a bright yellow sari that wraps around her slender body in layers and drapes over her black hair. There’s a vermilion dot in the middle of her forehead; she’s a married woman. The silver bracelets on her wrists jingle as she places the tray on the table. Silently she scoops servings of rice, vegetable masala, and fish rubbed with spices on our plates, and puts slices of mango and naan on smaller dishes next to the plates.

“This looks delicious, Ananya,” I say as I inhale the spices wafting from the masala.

She nods and smiles wanly, but doesn’t look at me. Her eyes are the shape of almonds and her dark skin the texture of silk. In the month we’ve been here she has said less than a dozen words to me. We watch each other warily. Her glances are always furtive; my stares are direct. 

She turns her gaze to Leah and after a moment of searching the inscrutable expression on my wife’s face, she says, “I hope this is to your liking, Mahodaya.” She never calls my wife by her name, but instead uses the Hindi word for madam.

Leah blinks hard, as if suddenly awakened and stares down at the fish. “There wasn’t any chicken?” she asks.

“You asked that I cook fish, Mahodaya,” Ananya replies. barely able to mask the hurt in her tone.

Leah looks at Ananya, smiles warmly, and gently places her hand on Ananya’s arm. “Oh yes, forgive me Ananya, I forgot.”

“Tell me, Ananya. Doesn’t your husband mind that you cook for us every night?” I ask as I shovel a chunk of potato dripping with reddish-brown curry sauce into my mouth.

Ananya adjusts a bracelet on her wrist, averts her eyes from mine, and says, “My husband is working in New Delhi while I remain here to look after our parents.” She repositions the cloth that covers her hair. “Will there be anything else?” She’s looking at Leah when she asks this.

“Not for now,” Leah and I say in unison.

For the remainder of the meal Ananya remains in the kitchen. Leah is quiet throughout the meal, studying her plate as if it were a getaway map. When we finish eating, Leah helps Ananya clear the table. Before leaving the dining room I hear the two of them in the kitchen whispering and giggling like school girls. There’s a musicality to their merriment, like the warbling of song birds

                                                                     #

Seeing Leah through the mosquito netting around the bed is like looking at her through a gauzy mist. She’s sitting on the stool to the vanity dresser and staring at her reflection in the mirror as she takes long, slow strokes with the brush through her blonde hair. The bedroom has the scent of jasmine, the fragrance of the perfume she sprays on her wrists before coming to bed. 

“Ananya is very pretty, don’t you think?” I ask. 

“You’re just now noticing?” Leah replies. She places the brush on the dresser, stands and removes her robe. She’s wearing the pale blue nightgown she wore during our honeymoon the year before. Walking to her side of the bed she appears to float, like an apparition. She extinguishes the flame in the lantern by the bed and climbs in. I reach over to touch her, to caress her.

“Not tonight,” she says. 

I then notice in the ambient light two of Ananya’s bracelets on Leah’s wrist. “Did Ananya give those to you?” I say.

“Of course,” Leah says. “She wants me to feel less lonely.”

The cotton sheet that covers my body suddenly feels like a pile of rocks, pinning me to my place in the bed. 

                                                                    #  

The school is a large one room structure built of cinder blocks brought here from New Delhi. It’s unpainted and there is no glass in the four windows and no door. The thirty-one students share desks that have broken tops and wobbly seats. There’s a crack down the center of the blackboard. I teach the upper grades in English, while Mehul teaches the younger grades in Hindi. Mehul is a bachelor and lives alone in a small shack behind the school. He’s made it clear that he resents that I live in the finest house in the village that is paid for with foreign currency.

“Your brand of modern colonialism is no better than the old colonialism,” he told me angrily the first day we met.

Other than to discuss students, he rarely talks to me.

I’m at the blackboard and writing verbs when I hear shouts and screaming coming from the center of the village. The students rush to the windows and climb on one another to see what is happening. “Haathee,” they begin to yell with panicked excitement. I stand behind them and see villagers running toward the direction of the bungalow.

“What is it?” I say to Mehul who is standing in the doorway.

“Elephants are on their trail,” he says. “They are extremely dangerous.”

“Where’s the trail?”

“It runs alongside where you’re living.”

I push him aside and run out of the school and down the road, shoving aside the villagers who have clogged the road to get a glimpse of the elephants. They’ve seen wild elephants before of course, but their fear of and fascination with them is palpable; they gawk, but stand ready to run. I’ve only seen elephants in zoos. I stop fifty yards from the bungalow and see that Leah is standing in the yard with Ananya, not ten yards away from an enormous bull elephant and a smaller, albeit still large, cow. The elephants have stopped and are rocking back and forth, waving their trunks, and flapping their ears. The bull’s bellowing is deafening. There is no actual trail, but where they stand is the same path the elephants take whenever they enter the village. 

Then the bull charges at the women.

Helplessly I watch as Ananya pushes Leah aside and out of the path of the charging elephant, and shouts as she waves her arms. With all the ferocity of a runaway train the elephant knocks her to the ground and then tramples on her. Their rampage done, the two elephants run into the brush beneath the banyan trees and disappear from sight.    

I reach Leah as she begins to crawl to the broken body of Ananya. I take her in my arms and  rock her as she wails.

“She was in love with me,” Leah says, choking back a sob.

I want to respond, to explain that if Ananya had actually been in love with her, it was meaningless.

She looks into my eyes, possibly searching for my soul, and says, “I was in love with her too.”

• • •

Breadcrumb #581

TUCKER LIEBERMAN

Between swipes of the rolling lighthouse beam,
the grandmother lives in uncertain borders.
She smiles from an archaic marble balcony
with a sea-lapped railing, untraceably narrow.
She is an architect of bondage.
Her table is covered with leftovers.
The sages walk down the dunes, wishing, conspiring,
and, far down the sandy road,
the warriors out-gather, circling camp,
swaying with the hunt in the torchlight.
Your spirit is in close rapport with them,
with the leftovers fed to horses,
with the flotsam turned up by the lighthouse beam,
with the prey scared stiff by the torchlight.
Everything is public, and secret embarrassment is rare
in this patterned reactive universe,
between swipes of the rolling lighthouse beam.

• • •