Why I Love Prison Stories

March 2, 2009 by Gemma

I drove a rural route through the woods,
late afternoon, and in the rear-view
the sun did time between the verticals
of black bar tree trunks – and I thought:

This is why I love prison stories
they are all exactly about me

Falsely accused, though maybe guilty as hell
about something else
but going down in a blaze of glory
and always always
in the solitary confinement
of a winter sunset
and when my car approaches the bridge
the red orb me is gone,
no color saturated reflection in the river
only pale vernix on gray water,
the ghost ripple of my escape.

Then flash back to the scene where,
though crammed into the metal box
a literal minute ago,
I am dragged out all filthy tatters, mottled skin
pinwheeling eyes and matted hair
to illustrate a cinematically punishing lapse of time.

On New Year’s Eve, I listened to the sculptor
frame his creative intention about
a ball of snow he carried in a cooler south
across the state line, the jailed in a box
crafted of wood and twigs.
Eventually the snow would melt -
total transformation essential to its release.

This is why I love prison stories
they are all exactly about me.

Predictably, the governor’s pardon
arrives that melodramatic moment too late,
my fellow inmates sell me out
for a pack of cigarettes.
Good behavior is irrelevant,
the air ducts never lead
to the laundry chute
and with a filed-off spoon handle
I scrape a tunnel into concrete block
while I catalog the warden’s secrets,
biding my time
drop by drop.

Other Uses

March 2, 2009 by Gemma

My form is dismally narrative
The similies  – too comparative
Ideas vague and unrelated
Ponderous and overstated.

One gerund puts him in a snit -
Two, violent apoplectic fit.
He fails to understand, to me,
Things happen more continually.

No joy in creativity
My professor hates my poetry.

Though I confess I’m not averse
To crafting a more lyric verse
I have no talent to distill
Fine insight from a twilit rill,

One metaphor I can’t sustain
From poem’s first line to last refrain
I’d add more, with varied uses
My trains all engines, no cabooses.

Though I’m not jealous, Euterpe,
My professor hates my poetry.

Whom I address is most unclear
Too wordy are my words, I fear.
Continuous lines like prose do read
Perhaps at novels I’d succeed.

My errors are irreversible
No knack for the impersonal
A penchant for hyperbole
And misuse of synecdoche.

Penultimate in tragedy -
My professor hates my poetry.

My Latin blood its roots preferred,
I shun the Anglo-saxon word.
Toss these pages to the hounds
I’m too cliche – way out of bounds!

Descriptive galloping stampede
An editor is what I need
Haughtily his words advise,
“Revise, revise, again, revise!”

Though I suspect he fancies me
My professor hates my poetry.

All Purpose Survival

January 12, 2009 by Gemma

From the damp, cob webbed, roach-carcassed
thrumming eternal neon twilight,
their metallic encasement gleamed
like the collective alien glow of dormant pods
awaiting a subsonic signal of eonically timed resuscitation.

A sleep-deprivation induced wanderlust
yielded this cache in the perfect oubliette,
the subbasement of my college dorm.
Walled behind boxes of used punch cards
and remnants of orgy deconstructed sofas,
the containers had been labeled, ten years earlier,
“Civil Defense All Purpose Survival Crackers, June 1962.”

I appropriated several boxes
in defiance of that particular grim future scenario
where Aesop’s ant snuggled down in his coffin shelter
then generated enough smug saliva
to masticate the sawdust textured,
dust and borax flavored wafers,
while grasshoppers like myself
racheted out a grim tune of resignation
to the suicidal exposure of an unimaginable
and ultimately inevitable
unsurvivable slow death nuclear winter.

(This was when “The Bang”
still seemed a more likely
exit scenario than “The Whimper”.
Now, I suppose, it’s a hung jury.)

Most of my friends who were beneficiaries
of these monolithic contraband totems
reassigned them as stools or 2×4 props,
an aesthetic variation on cinder block shelving.
But a gustatorily calloused few -

Like the guy who once romanced me
over to his place for dinner,
tenderly rendered “Martha My Dear”
on the squeaky nylon strings of his accoustic guitar,
rinsed green slime from a package of hot dogs
and stewed them in watered-down ketchup
on a hot plate for the main course -

Or the friend, already alarmingly thin and exophthalmic
from a hyperthyroid condition,
who sublet the greasiest corner of a garage
from the local biker club
after his parents kicked him out of the house
when he dropped out of college -

They actually innovated techniques to betray their palates
into the belief that survival crackers were edible.
This involved the crumbs of these crackers
stirred into more ketchup soup
and the contraband mucky contents
of food service grape jam packets
troweled over them, respectively.

I remember “duck and cover” rehearsal
in tight fetal posture under my metal school desk in 1962,
the nuns had piously instructed us
to place our hands over our heads
by miming the technique on their black veiled wimples.
A few months later they implored us
to kneel in front of those same desks
to pray for the soul of John F. Kennedy,
this time with our palms pressed together.

In 1962, I could no more imagine heaven than nuclear impact
much less worry about the possibility
of  survival past an expiration date of crackers -
the more familiar ones in their wax paper shrouds
were immediate victims of humidity
in our ineptly winterized shoreline cottage.

Today the grasshopper suspects that a knack for survival
may be irrelevant to expiration dates,
duck and cover rehearsals and hedged-cracker bets
that pantomime civil foresight.
The talent may have nothing to do
with that idealized “will to survive” imperative at all
but, rather, the adaptive improvisation
to rinse the mold off of foodstuffs,
to make an imaginary tent over an imaginary wimple,
and when winter rimes the field in frost,
and there IS only ketchup,
the grasshopper ladles out ketchup soup.

“Martha, my dear,don’t forget me.”

Ambition

January 9, 2009 by Gemma

If I wanted to measure the insignificant
sequential regularity of time in identical units
I would buy a watch, the old wind up kind,
and I would wear it ostentatiously
and press it to my ear
to confirm the whispered “snicker-snicks”,
then I would surreptitiously sneak glances
at the fat and skinny arrows
by swiveling my wrist
at irregular intervals.

If I wanted to know how much
of the earth’s pull
is required to fasten my feet
firmly to this planet
I would buy a scale, the old analog kind,
then I would watch the dial twitch
between density and levity,
teeter between giddy optimism
and caloric indulgence,
and then I’d strap on a jet pack
and triumph over gravity once and for all.

If I cared to navigate my course
reliably I’d map-quest
some ultimate programmable destination
like Heaven or Disney World
or Emotional Self-fulfillment,
but I haven’t quite worked out
how to designate my departure point
from this plane without
connotatively implying self-pity.
At least I’d have to come up with something
better than “Connecticut”.

If I were going to throw a party
first I would have to get rid of
all the chairs I already have
because they look like
they don’t want anybody to sit on them.
Then I would have to make a list
off all the expiration dates on my food
to have the party on time.

If I wanted to erect my own pyramid
I would buy some naughty lingerie
so that all my slaves
would be willing love slaves
but when they abandoned me,
realizing the photo was digitally enhanced,
I would be forced to haul
all those giant stone blocks
to whatever island is next to Easter Island
and carve a bunch of female heads,
so that they and their counterparts
could scowl sourly and dourly,
at each other across the channel
through all eternity
or at least until they eroded so badly
it wouldn’t matter.

First Person Singularity

November 16, 2008 by Gemma

Everything that happened to me
happened in the first person, 
so I was intimately familiar
with the vastness of space. 

There was a scribble
on the wall by my bed.
To me, it depicted a see-saw
unoccupied
balanced on a fulcrum
with a wiggly horizon
below only one seat.

When familiar maternal shrieks
shattered sleep’s escape
first I placed myself
on the left-hand seat, 
then pumped my legs up and down
eventually dismounted to experience
roller-coaster hills, model trail villages,
cotton candy trees, sunflower suns.

Then, on her worst nights,
back to the beginning 
this time teeter-tottering
on the right hand seat
until I slid off
into welcome void
rich, buoyant velvet black
uncluttered by astral matter. 

I was a mobius strip
tucked inside a klein bottle,
a one dimensional artifact
contained inside
two dimensional space
infinitely swallowing itself whole
safe from my mother,
womb without end.

“For a Year and a Day”

August 24, 2008 by Gemma

Things always end badly -
a firey car crash,
a stuttering cardio monitor,
lethal invective.

Premonition
is uselessly deficient in detail
to ward off
natural unintentional disaster or
to suggest remedy in
unnatural intentional intervention.

No matter,
the trick is to extend the middle,
explore the exposition exponentially.

Take the back roads.
Pull off at every scenic overlook
to hold hands,
take a nap,
eat a sandwich.

This would be a good time
to walk the dog
you liberated from the shelter
for just this purpose.
The one with eczema, halitosis,
and, crucially, a thimble-sized bladder.
You don’t mind,
it delays the destination.

The storm hurls its tantrum
against the jagged coast,
the lighthouse winks out.

But you are beyond the jet stream
somewhere
becalmed,
drifting uncharted waters

in a ramshackle
pea-green boat.