The Dead

poetry by catherine
23 October 2001
12 comments

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I. The Quick

 
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The strangest thing

 
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is how it didn't touch me.

 
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I was on the subway the whole time

 

sprice: I trip without some punctuation at the end of this line, since there's punctuation on other lines. If there were no punctuation at any ends, I'd be parsing more intently throughout; here I had to stop to consider whether this line really led to the next grammatically.

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later I had to make the xerox guy,

 
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who has a heavy accent, repeat it three times.

 
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Airplanes downtown. Terrorism. Who

 
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could believe it? When I went outside

 
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the cloud of smoke was visible

 
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from halfway up the island. That night

 
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I walked the three blocks to the pub.

 
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My friends were safe. I was safe. I bought

 
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myself a beer and drank it, eyes attached

 
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to CNN behind the bar, watching the bodies fall

 
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in slow motion on repeat and when I was done

 
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some guy across the room

 
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had sent me a drink. In the dark and haze

 
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I couldn't even see what he looked like really

 
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but I already knew I wanted him to come and kiss me,

 

laura: the ending of this section saved it for me. I don't think you need most of the beginning; it seemed trite and already/overdone to me, the kind of things we've been hearing since Sept. 11. "As if tomorrow was something that happened to other people," is _your_ reaction, and an interesting one that I'd like to see explored more. The day that led up to it need only be referenced briefly; it's right there for all of us already.

samira: I would add to Laura's thought a bit. Eventually, god willing, it will not be right there for us, any more than Pearl HArbor was. But that does not change the fact the reference will be all that is needed. If you want to talk about the day, you might do it in images of emotion, but not in terms of what you were doing and hearing, mmore in terms of emotional images...

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kiss me like tomorrow is something that happens only

 
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to other people.

 
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II. Picture Post

 
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Hector Fernando, whose pictures

 
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have been hanging at the exit

 
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of the B train at 42nd Street for the past three weeks

 
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(a chubby, smiling guy, no clue how tall he is

 
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the poster doesn't give his vitals, just two shots

 
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redundantly identified, since after seeing the portrait

 
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there's no way we could miss Hector, moon-cheeked

 
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and melon-browed in the middle

 
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of the bottom photo, the one with the carnation in his jacket

 
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for the wedding of his brother or his friend)

 
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is, as far as I know, still missing.

 

laura: I got lost in this section first time through, and still find it very fog-like. I also don't care about Hector.

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III. Father Judge

 
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It turns out that the priest - the papers

 
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seldom mentioned this - was queer. Jimmy,

 
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one night at dinner twelve days later,

 
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takes a sip of Coke and says "Oh yes, Mike Judge,

 
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he buried half of gay New York."

 
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At the height of the epidemic, his address book

 
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like everyone else's too painful to open

 
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anymore, he would have felt

 
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like God's angel. Exodus doesn't say

 
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what that one thought, passing over some houses

 

sprice: these are some really powerful lines, a very ... (strong? stirring?) evocative metaphor.

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and through others

 
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what he had to live with when it was done

 
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Father Judge learned

 
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an affinity for death, gave the last blessing

 
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to God knows how many, watched

 
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the other half of gay New York flinch

 
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when he approached their boyfriends' beds

 
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The Reverend Mychal Judge was never

 
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going to get a Roman commendation

 
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for burying the queers, so let's be glad

 
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he died a hero, died just like he lived

 
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opening the gate to any wandering soul

 
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that happened to ask of him the way to home.

 

laura: this section I like a lot. great human interest.

sprice: I've got goosebumps. Well done.

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IV. Post-Traumatic Stress

 
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At eleven days and counting

 
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a stewardess hauling her bag through Times Square

 

patsy: This few lines spoke to me; I feel its important to emphasize the endurance of flight attendants in times like these. (A friend of mine works for United.) The image here is powerful.

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stops to look up, look around, making sure

 
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that everything is still here

 
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when she's seen it she puts her head back down

 
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and punches through the crowd

 
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We're looking up a lot these days, raking through the shreds

 
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of late-September cloud to see if the sky

 
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has fallen in, if the jet fuel

 
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accelerating once again above our heads has yet

 
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succeeded in bringing the whole thing down

 
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so far so good

 
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the homeless woman on my path to the subway

 
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from work is still here. She has the same name

 
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as my mother, and I've never given her anything

 
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bolting in guilt at the sight of her sign: "Hello, my name is...."

 
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yeah, Linda

 

sprice: why the line break here?

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is still here

 
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I know because I check for her

 
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twice every day; three days ago

 
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she moved around the corner

 
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until I saw her bent grey head

 
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I felt my heart clench in my chest

 
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as if somehow losing one more piece

 
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of the city

 
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could tip everything over the edge

 
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V. The Dead

 

patsy: After reading through this section, I felt that in some small way it referenced James Joyce's "The Dead" chapter in his "Dubliners" novel. The format of this poem also seems vaguely similar to the format of his book. If you wanted to go there, you could draw all kinds of poetic parallels to the current events and his overall theme of "Dubliners": loss, foreboding, and the everlasting.

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What you're never going to understand unless you live here

 
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anyway is that New York is a city of diminutives

 
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which subdivides and isolates to manageable

 
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amounts its staggered sprawl

 
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This is why afterwards

 
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every block has its own memorial

 
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miniature cities of wax skyscrapers

 
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we recreate

 
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with pillar candles

 
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the moonscapes of the dead, buried

 
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below Canal under towers

 
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of melted metal

 
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which cracked and bowed and cratered

 
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and finally collapsed. The trees

 
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down there are trimmed with crumpled papers

 
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it's an early and grey Christmas in Manhattan:

 
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snowy ash, and epiphany,

 
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and candles, and silence, and then song.

 

patsy: I like this stanza a lot. The dust generated from the fallen towers is a great image to draw meaning and metaphor from. My only suggestion here is to perhaps drop the "and" in the line: "and then song" only because it interrupts an otherwise smooth closing rhythm.

sprice: I'm going to disagree with Patsy on the "and". For me, the three ", and"s act as a retard for the piece... each phrase slows a little more than the previous, and without the last "and" the final phrase would go a bit quickly.

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