The Dead |
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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 |
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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, |
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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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|
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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. |
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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 |
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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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|
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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. |
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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 |
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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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|
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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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|
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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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|
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yeah, Linda |
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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 |
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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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|
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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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|
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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. |
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Content © copyright 2001 by Catherine Osborne. All rights reserved.