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Posts Tagged ‘grandmother’


 
The cantaloupe was golden 
beneath its raised veins, 
the globe of it heavy in my hands,
its musky perfume filling the hot 
summer air at the farmstand.
 
When I handed the woman my money, 
I was paying her not so much for this melon, 
but for the memory of other melons
we have shared when I moaned my delight,
the sweet orange flesh deliquescing 
in our eager mouths.  
 
This melon was no such melon. 
Though we waited and waited, 
when I sliced in and offered you a bite,
we both agreed the flesh was a bit too hard, 
the flavor sweet but a little flat. 
A fine-enough melon. But not a melon
for rhapsodizing or writing an ode.
 
I think of Grandma Betty, how 
in her later years it didn’t matter
what you served her, she would always declare, 
This is the best pie I ever had. 
This is the best tea I’ve ever had. 
This is the best. The best. 
 
This is not the best cantaloupe I have ever had, 
just a substandard stand in for ecstasy. Yet here I am 
writing an ode to this mediocre melon, learning again 
how my longing for something to be different from what it is
can destroy any joy found in what is here. 
Somehow, this fine-enough melon is bringing me to my knees 
at the altar of the moment, humbling me, inviting me to question 
how I choose to meet the world. 
It is, perhaps, after all, the best melon I have ever had. 

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“The airport smells like ammonia,” says Karen
as we sit and wait for our plane. It does. Sharp. 
Stinging. She’s off to Minnesota, I’m off to New York, 
 
and as we catch up about children and jobs, 
I take a limbic trip to my childhood home, and I’m nine
and my hair is wrapped tight around thin,
 
pink plastic curlers. We’re in the upstairs
bathroom with little flowers in the wallpaper,
and my grandmother is squirting 
 
something stinky and cold on my scalp,
dousing me in the terrible smell.
She tops me off with a white shower cap and
 
admonishes me to be patient. Though perhaps
I was still, I was not patient. Staring at myself
in the bathroom mirror, I wanted to be beautiful.
 
I wanted to be treated like a grown up. I wanted 
to please my grandmother. After processing, 
after neutralizing, after the curlers came out,
 
and after the final wash, I did not feel beautiful. 
Or grown up. But I did feel, at least for that moment, 
cared for by a woman who was seldom warm. 
 
Almost fifty years later, I recognize the perm 
for what it was, a four-hour hug. And there, 
next to gate 3A, I smell it so strong, her love.  

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The Arrangement


 
 
Because touch is one way we offer praise, 
this morning I touch my ears 
to the see-sawing song of birds 
in the tree beside me. I still myself
to focus on their song, and they stop 
singing, as if to tease. I touch my ears 
to the silence where the song is not. 
Touch the warm tones of wind chimes 
stirred by a breeze I barely feel. 
Touch the hum of the cars
and the growl of a motorcycle I’d rather 
shut out. I think of how my grandmother 
used grass, even weeds in her flower arrangements. 
She taught me you could make anything beautiful.
I try to stop slandering the traffic noise
and gather it into an audible bouquet complete
with birds, chimes, silence, my breath. 
How to make the unwelcome welcome? 
How to hold tension in ways that compliment? 
All morning, all day, I practice opening 
to what isn’t easy to love. I make a vase
of the moment. Add all the sound that’s here. 
So much I’d rather not to listen to. 
I think of my grandmother. I try to find 
new ways to hear.  

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Remembering Rose


 
 
I remember her waltzing across the living room
singing, Somewhere my love, dah dah dah, dah,
dah dah. She was dancing alone, as she often did,
but oh, could she waltz, small feet like wings, her thin
body gliding past tables and chairs, weaving, spinning,
her arms lifted up in the air around a loving partner
who had never been there. I don’t think
she knew the rest of the words, or at least
she didn’t sing them. Always Somewhere
my love, again and again, like a promise
she wanted to believe in. She danced
like that through my childhood. Perhaps
dancing itself was her love. I can see her now
box stepping, one, two, three, one two three,
each step a step closer to all she did not have.

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The way the eagles return to the same nests,
this is the way the mind sometimes returns
to the same memory—as if the mind wings across
all other branching neurons to ever arrive
at the same comfortable place. There are,
of course, many other places to land,
some of them perhaps more beautiful,
more sturdy. Still the mind returns to that
one moment. As tonight when my thoughts again
migrate to the summer evening when my grandmother
and I danced in our old white living room,
a waltz on the radio and her leading me in
the one, two, three, one, two three steps
that she loved. And her hair is white
and pinned up high. And her lips are red
and her nails are red and she smells like
cigarettes and Toujours Moi. There are
millions of other moments we shared,
so why do I always alight here first?
Perhaps for the thrill of her sharing her joy
which so often she did not share.
Tonight, as on that night, the long summer light
streams through the window, weaves into
the nest of memory as if to strengthen it the way
an eagle might weave in new sticks, new lichen,
new grass, so that the next time the mind
wants to arrive here, the memory will be waiting,
even softer, even more home than before.

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Red were the leaves
in that Illinois fall,
red was the blood
she did not bleed,
and brittle was the straw
in the hat she did not wear
as she did not walk
to the store. Instead
she sat on the small
metal chair in her room
and did not cry,
my grandmother all those
years ago, and she
thought of the baby
she would have
with the man who
she married but did
not love, and green
were her thoughts
as the child began to grow,
green as the garden
she did not sow.
She did not yet know
how he would learn
to spin all that
nothing she had
into gold.

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I want to go back in years
and find my grandmother Rose
when she is living in Illinois
with my grandfather,
a cruel and angry man.
I want to meet her
on a cold snowy day
when the world feels small
and she feels smaller,
and I want to serve her
a bowl of ripe mango
with a squeeze of lime.
I would love to see her face
when she tasted it—
the orange flesh
that sings of sunshine,
warmth, and the far away.
Would she love it
the way I do this morning,
astonished by the goodness
that exists in the world?
Would she thrill,
as I do, in the surprise
of being served?
As it is, I delight in sitting
on a deep red couch with my friend,
sighing as we slip the soft cubes
into our mouths,
making lists of people
we long to feed mango—
like Beethoven, like Etty Hillesum,
like my grandmother,
who likely never tasted
a mango, my grandmother,
who knew so little of kindness.
Over sixty years later,
I long to serve her mango
to make her feel seen,
cared for, special,
astonished by the sweetness
of the world.

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for Merry Stoll


I loved those Sundays
when I, a teenage girl,
would climb the stairs
to the church choir loft
where my grandmother and I
would sing hymns side by side.

God, I loved her voice,
rich with vibrato and conviction,
loved her wide warble—
not a pure note,
yet wholly in tune.

Of all the selves I have been,
I cherish that girl
who knew to the core
she was lucky
to sit beside such a woman.

She didn’t yet know
nothing lasts forever,
she only knew
how she loved those moments,
their voices weaving together,
their bodies leaning into each other
like two notes grateful to be sung.

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Bouquet

  for Shawnee
 
 
This morning, knowing you were coming,
I went to the garden and cut the largest sunflower
to put in a vase on the table.
It was the loveliest of all the garden’s flowers,
planted from seed four months ago.
 
When I was younger than you are now,
my grandmother gave me voluptuous roses
in a simple blue glass vase.
I felt so connected to her this morning
as I made a bouquet for you.
I understood something new of devotion.          
 
Unable to thank her, I thanked
the sunflower. Her love from three decades ago
pulsed through the stem like sunshine.
How did I not feel the full magnitude then?
I give all that love to you.
 
 
 
 

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Potica





Sitting in Colorado
I think of my parents sitting
in Illinois,
how tonight in different
kitchens together we savor
the Slovenian sweet bread
of my father’s childhood,
the sweet bread
his mother would make—
savor not just the taste
but the memory of the taste,
the paper thin crust,
the ground walnuts,
the honey.
Savor not just the loaf
but the memory of the hands
that once made the loaf,
the happiness as we ate it,
the communion in the joy.
Tonight, I break the bread
into tiny pieces, eat it slow,
imagine us at the same
loving table now
and years and years ago.
We are alone, not alone.
The bread tastes
like family, like home.



If you are unfamiliar with this Eastern European nutroll delicacy (pronounced puh-TEET-suh),  you can read more about it here.

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When I say Happy New Year,
I hear my grandmother’s voice
inside my voice, the way
she slapped the first syllable,
the way silence hung for a moment
before she finished the rest of the phrase.
HAP-py New Year!
Each time I say the words, she
is so alive in that moment—
the syllables themselves
wear her bright red nails,
her signature updo
and her rhinestone earrings.
HAP-py New Year!
I sing out again and again,
loving how she enters
each conversation this day.
There are small ways
to bring our beloveds back,
little rituals so strong they
defy the loss, so strong
that each time we do them
we become more and more
who we love. Her voice
becomes my voice and her
joy becomes my joy.
I don’t have to look in the mirror
to see she is here, her smile
my smile curving up from the inside.

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My grandmother asked me that night

to sleep with her in her bed.

Though I was thirty-something,

I knew little of loss. I remember

the great weight of her as she slipped

into the soft white sheets—

a mountain inside a woman’s body.

I wore a long flannel gown with tiny violets

and she a thin flannel robe, slightly pilled and well worn,

with tiny embroidered roses.

We hardly spoke. She did not cry.

Any night stitched with that much sorrow

will linger in the heart for a lifetime.

I did not hold her—nor did she seem

to wish to be held. And when I return

to that night in my mind, I don’t try

to rewrite it. She sleeps on her side of the bed.

I sleep where my grandfather used to sleep.

I listen for the eventual slow tide of her breath.

But I am not the same version of myself

who shared a bed with her then.

Now, when I lie down beside her,

I know something more of how vast

an emptiness can be. How it can feel as if

a whole garden has been ripped up by its roots.

How sometimes in the dark, though we know

there are stars, we simply can’t open our eyes.

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            for Merry

I loved to sit on that green and white swirled couch,

loved even more to sit on it with my grandmother.

Everything about her was soft. Her wrinkled hands,

her sagging face, her bosom-y body she was forever

trying to slim. Her voice was cloudlike. Her laughter,

fine gauze. And her eyes ever met me with silk-strong love.

Why do I always return to that one afternoon

when she let me sit beside her, reading her poem

after poem, as if she had no garden to tend, no meal

to make, no hymns to practice for Sunday’s service.

Forty years later, in my kitchen, I’m still with her on the couch,

hoping we’ll stay that way just a little longer.

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And usually, at some point

in the tree trimming, when the living room

is covered in twenty-year-old tissues

and my fingers are raw from the needles

and the rest of the family

has long since tired of the project,

around then, I start to wonder

what it’s really for, all this bustle

and embellishment and then,

like today, I’ll pick up an ornament—

say the one my grandmother made

from a metal cookie cutter trimmed

in blue ribbon and angel hair,

and inside it sleep two baby figurines,

a pink one for me, a blue for my brother—

and I am weeping,

remembering how I would stare at this ornament

as a child, how beautiful it was

dangling so high on the tree

where all the more delicate ornaments would go.

I was small then, but I knew

my grandmother made that ornament

with me in mind and I loved her for her thoughtfulness.

She is gone this year, and I marvel

at how present she is in this room

as I sing “Oh Little Town of Bethlehem”

with Aaron Neville and remember singing

carols with her in the church loft,

her soprano warbling and true.

And I climb the ladder to hang

the ornament high on the tree,

where the more delicate ornaments go.

And suddenly I see it is my son and daughter

sleeping in that ornament,

there where I thought it was my brother and me.

And I think of my mother’s hands

all those years she hung that ornament

reverently, and how the spruce needles

would have pricked her, too, and I

sing with Aaron about peace to men on earth,

and some of that peace slips into me,

so silently, so silently.

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for Merry Stoll

wahtola - 02

After I learn that she died,

I go to the garden, grateful

that there are petunias,

cosmos and snapdragons

to plant. Salvia, pansies, and

verbena that will drape its purple

kindness down the sides

of the planter. I don’t

put on my gloves. I let my hands

enter the soil and feel

how good the earth is.

This is how I best remember her,

with a trowel or a scissors in her hand,

ready to transplant, to trim,

to harvest the blooms

into a bouquet for the altar

or table. Flowers hung

in her garage to dry. Flowers

in her bathrooms, her dining room,

her kitchen. It came easy to her,

which stem to place where.

Which color, which ribbon,

which grass, which vase.

She left beauty all over the place.

Once she sat with me

on her green and white couch,

and let me read her poems,

a whole book of them.

We sat there for hours,

and she listened and laughed

at Shel Silverstein’s antics,

and as I read, I felt like a flower,

like something just at the edge

of bloom. Her attention

made me beautiful.

Today, the garden is just starting

to find itself after winter. I cannot help

but weep into the holes I have dug.

It is tender, this moment, and fragile

this life. I feel like making wild pledges—

to honor her legacy—to find

and share beauty everywhere I go.

I feel determined to keep my word.

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            for Merry

 

 

Though she could barely carry

a conversation, she could still sing,

so I would sit by her nursing home bed

and sing Moon River and her eyes

might not even open, but

her lips would start to move,

wider than a mile, I’m crossing

you in style someday.

Her voice was wobbly, perhaps,

but her notes were true,

and she’d smile as she sang.

Old dream maker, you

heart breaker, wherever you’re goin’,

I’m goin’ your way.

She’d been nowhere but

this bed for years,

but I could see behind her eyes

she was aiming toward some

imperceptible future,

a drifter, off to see the world

beyond this one.

And I would hold her hand

and she would squeeze it.

If she could hear the tears

in my voice, she didn’t say so.

We’d sung together since I was a girl,

show tunes in her kitchen

and hymns from the choir loft in the church.

Her soprano, a beacon of my childhood.

Now, in a room far from her,

I light a candle as she drifts away,

and sing as if she could hear me,

there’s such a lot of world to see,

my voice cloudy, as if any moment

it might start to rain and that

rainbow’s end might appear,

and for a moment, we could

look at it together before

she goes around the bend, alone.

 

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            recite this aloud, please, for Mimi, for Vivi, for me

 

 

 

Mama, she says,

can we waltz?

and we do,

we step one

two, three, one,

two three cross-

ing the room,

and again

I am five

and my grand-

ma and I

are alone

in the house

and my feet

are on hers

and we’re danc-

ing around

and she hums

with the ra-

dio, hums

with low light,

and we waltz,

and we waltz

there’s a blaze

in her eyes

as we one,

two three, oh

how I miss

her tonight.

 

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Last night while I was washing dishes,
I said to my daughter, “How do you like them apples?”
and she said, “What does that mean?”
which means she never knew you.
Funny how when I said it, I heard your voice,
not my own.
I told her, “Oh, that’s something my grandma
used to say. It just means, How do you like that?”

I didn’t cry then, thinking of how you never met,
but I did cry about it later. She wears your name,
just as I do, you know. Rose. There is sorrow and honor
in that one long-stemmed syllable.

I know you would love her.
She likes to dress up, even wears the shiny blue sparkling
clip on earrings I saved from you. Someday
perhaps, when she is a mother,
standing beside the kitchen sink,
her hands warm with soapy water,
she’ll be telling a story and finish it up with
“How do you like them apples?”

And if her child looks at her
in that curious way, she’ll reply,
“It’s just something my mother used to say.”

Love,
Rosemerry

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For millions of years, the river has surged
through the canyon. But in the ninety years
since my grandma was born, only once

did we find ourselves together on the water,
our feet dangling from the black rubber tubes,
the current pulling us through the ancient rock walls.

We did not notice the history around us, nor how
this day would become our history. We noticed
the chill, the white spray of the shallow rapid ahead,

the bump of the smooth river rocks on our bums,
the small gray dippers slipping beneath the surface.
How could we have known then that this

would be our last time, even though it was the first?
We were untethered, free floating, no thought
of the future, no thought of the past, curious only

about who floated faster and who laughed loudest.
We paddled with our hands and promised
not to splash each other, though we did anyway.

And we made up songs along the way.
It was that kind of day, the kind that seems
to wear in its folds the scent of forever.

Thirty years later, steeped in winter,
though forever is lost something returns—
a scrap of tune, a quickening of the breath,

my grandmother’s face still so full of life,
the black tube absorbing and giving back
the warmth of that old, old light.

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Unutterable

She slumps at the table. It is shiny,
and like everything else here, it looks new,
everything else except the bodies, gnarled
and sloppy, hunched in and frail.
I cry in an instant, when, from across the room,
I see her, her face sunken,
her eyes closed, as if she is dreaming
she is somewhere else, beyond this room
with its scent of cabbage and medicine.
I do not want her to see me cry, but I walk
toward her table as fast as I dare, coming
to stand behind her wheelchair and kissing her on the head.
I say her name, I say it soft as the kiss that lands
in her short white hair. I say it soft as if the syllables
will break, or perhaps as if I will break in the speaking
of them. I tell her my name, not sure she’ll remember it.
Please, don’t let her see me cry. She opens
her eyes and finds me, and though English
does not have an elative case, we translate
with our eyes. She says my name, with what?
Surprise? And her signature gratitude. I notice her hands,
swollen and blue. And I kiss her head. And I kiss
her lips. Perhaps words will come later. I kiss her again.

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