I'm Waiting

I am not the sort of person who lives with stories crowded in her head and characters shouting for attention. I do not. It is not like that inside me. The rooms are quiet, dust motes floating through sunlit air, and I walk them, sometimes bored, sometimes peaceful, and other times I walk an abandoned soot-choked city with no stars. But sometimes I am visited by an unexpected urge to write. I don’t know what about. I have to wait. My soul is looking for some story or image it wants to speak through and is disturbed by the expansive expectations of the first days of spring. Buds are unfolding, the air is softening, but the season is restless. When? it asks, over and over.

Some think that creating channels the divine. It’s the sort of thought you entertain after the fact, or when you are confronted with some extraordinary work of art and your heart gallops away in a fever of love and desire. Surely, surely, surely God has marked this writer or painter or musician, because he or she awakens a longing so strong it can’t be sated by drink or drugs or sex, a longing that goes on and on and feels like a penalty as much as a pleasure. When I create, it doesn’t feel divine. It is like finally finding out how those maddening pieces of the jigsaw puzzle fit together. The pleasure of discovering and resolving a pattern. Stories may never resolve, but the writing of them does.

And then, so soon after, the craving.

It was a jolly good time, it was

Day two of this MoBlo or whatever it's called and I'm already scrambling. Inspiration or copier toner hit me this afternoon and I suddenly thought: "I wonder if I can find that old house I lived in back in the Summer of '89" So I tried. I think that the image below is what I knew as Brokengall Cottage, Widbury Hill, Ware, Hertforshire.


I have a very poor memory. All sorts of things are jumbled up - the little tudor building overhanging High Street (or was that in Hertford?), the pub that served elderberry wine, the canal that ran past the maltings, carrying with it a very distinctive fermenting smell. Actually, I thought it smelled a lot like cocaine, which just goes to show that I've always been adept at merging the old and the new.

I lived in Brockengall Cottage with my girlfriend, a fellow who epitomized the term "bloke" and a possibly malnourished Scottish lass. Only the bloke had a car, so every morning I got up and walked to my workplace through, I kid you not, a barley field. For the life of me I can't remember the name of the place where I worked - some council office. I processed student transport applications. The other folks there were involved in other aspects of transportation. There was the young Irishman who answered the transport information line. I'm not sure why they put someone who had no idea where he was in charge of advising callers on the best route between Ware and Much Haddam or St. Albans or wherever. But he had a charming accent. Also in the office were two old gents who drove double decker buses in London during the Blitz. I should have listened more carefully to their stories. They spent a lot of time fielding frantic questions from the Irishman, because they had all the routes memorized. The old guys were terribly worried that I wasn't seeing enough of England. I was young and had different ideas about entertainment, i.e. sex had a higher priority than the Tower of London.

During lunch I went to the little canteen, which was, for some reason, vegetarian. They served spaghetti on toast, beans on toast, cheese on toast. Pretty much anything on toast. I usually got an apple, walnut and honey sandwich.

Funny that I don't remember much about getting back and forth from the cottage to work, except for the mornings it rained and the barley field turned to sludge. I don't remember the walk back at all. How odd.

I think I drank most of what I earned. That seemed to be what everyone did. A pound a pint. I used to get something called a Snakebite (is it still called that?), half lager and half cider. Sometimes I had lager and lime instead. Then we would stagger along High Street. How we got home I can't imagine. Must have been the bloke. Anyway, the British take that designated driver stuff seriously.

I have this reminder of those days, a poem I wrote after I returned to New York:

Brokengall Cottage

I hear rain. No, it’s the farmer burning
his field. Smoke drags
along the ground, snagging
like wool in the stubble.
The horse’s hooves explode
against the gate. Nothing happens.
The fence is sturdy.
He snorts and butts all morning.
Locked in their pens
the dogs yelp and stumble.

Night moths fly through open
windows and drown in glass of water.
In darkness I hold
the glass to the moonlight.
Half-awake I once swallowed a moth.
But it stayed down. It stayed put.

In the days of the plague
corpses from London were dumped in the marsh
between this town and the next.
A tangle of bones
braced against a weight of mud.
Above, the smooth slates
of water spread undisturbed.

I saw the Lady of Shallot pinioned
in hyper-reality, menaced by detail –
the jeweled flowers, the chiseled leaves,
her revelation somewhere to my right.
As always the point of focus
was outside my field of vision.

I think of her when I stand by the canal.
Underwater weeds splay
like a drowned woman’s hair.

New York uncoils in the dream, knives
and teeth tear at the wildflowers
in the hearth.
The floorboards creak
with an unknown weight.
The restless dogs nip and worry
something that squeals.
Outside the door I find a rabbit’s foot
and, further toward the road,
the deflated carcass.

Blah di blah

I guess there's some sort of bloggy challenge this month, to post every day. I've already missed the first of the month, but then it's typical for me to be late out of the gate. Actually, I'm stalled. Just sort of hanging out. I was working on writing two different things, and then I had one of those dreadful situations. I looked over them and they felt false, and not in a good way. And then I thought perhaps they were a bit too revealing, but also not in a good way. You know when you're cornered by someone who wants to tell you about their suppurating wound, you don't really relish their gift for vivid description.

So, really, there's partly a question of courage, because I'm avoiding looking at them, because they seem rather silly, and I have to carve out the bits that struck me as false without completely whitewashing everything. So that I look presentable.