THE HELMET OF MAMBRINO

This story begins here, in the middle, if in fact it is a story at all, if in fact one can call the middle of something its beginning, if in fact I am not talking through my hat. Stories more often than not are chronological. A plot line threads its way through the weft, the background, over and under becoming part of the warp, the events that make up the narrative. Narratives are connected by characters as well, although characters come and go, as life will have it. Dialogue, too, provides threads that capture their conversations, their thoughts, their feelings. And description tints the weft to add a visual element to the piece. Stories, of course, are fictional; they may be true, but the truth is usually stretched quite thin with the telling. Essays are factual. That is the expectation, though many are not; for truth is not only malleable, but elusive as well. Error and mendacity often twist the truth so that the essay does not always say what is, but says, instead, what the writer wants you to believe or simply what the writer thinks is so. If poetics are applied to evoke mimesis and catharsis, an essay may become something more like a story and facts may become actual or figurative.

My friend, who was for thirty-five years an editor for the San Jose Mercury News, told me what I had here might be called a fictional essay. He scoffed when he said it, so nearly a sneer. There are such things these days, he said. All the lines are blurred. We were sitting on his porch, he and I, watching the river and drinking whisky.

Words on paper are prose or they’re poetry. No need to split hairs.

So he said.

His dog laid at his feet. A dusky brown with limpid brown eyes to match her heavy coat, the dog’s head was huge with a body to match. She looked, at first glance, quite intimidating; but subsequently, once she had determined your intent, she became quite friendly.

Frank had returned my first drafts littered with red and blue lines, the margins cluttered with notes and comments and many exclamation points. Once, in college, Oregon perhaps, or San Jose State, I sat beneath the withering gaze of a diminutive, grey haired woman, who perched on a straight backed chair and lambasted each one of the seven or eight students sitting apprehensively at a rectangular oak table for the many deficiencies  she had found in our initial essays. Composition 301 or somesuch class that I had taken as a lark and that had turned out to be purgatory at best.

Your sentences are too long. Diction is flabby. Say what you mean and be done with it. Frank, speaking frankly, tended to be irascible these days. He had said, Got the big C. Dead in six months. End of story. He poured whisky and we sat in silence listening to the river rush by below us, a spring freshet, his last apparently, boulders audibly rolling, that dull pronounced thud they have, woody debris carried along quickly, pillows of white water over large rocky obstructions, back eddies circling away from the main stream, a respite where broken limbs and cast off flotsam gathered.

I had been a slovenly young man both in my physical appearance and my intellectual proclivities. In retrospect, my grey haired hectoring tormentor who tyrannized the entire English department  and who became the bane of my existence, taught me all that was essential about putting words on paper, and like Frank’s dog, once she had determined your intent, became quite maternal.

“You are a Catholic boy,” she informed me during our first session together. She insisted on these ‘chats,’ as she called them, our one-on-one meetings, to provide access to each other’s intellect and emotions. “No progress comes when barriers are present.”

“I was,” I told her.

“There you are,” she said. “Change the tense of the verb, and the world turns upside down. And now you are what? agnostic? atheist?”

I hesitated.

Her glare, in that moment, stripped away all pretension.

“I don’t know,” I said.

“You are how old?”

“Nineteen.”

She lifted a delicate, translucent cup, sipped, and returned the cup to its dish.

Her office, a narrow rectangle, dominated by an oaken bookcase of such simplicity that it provoked immediate approbation, contained a worn maroon rug on the floor, a small trestle table for her desk, and two mandatory straight backed chairs. Two lamps provide a soft sufficient light. A smallish drawing that at first glance I took to be a heavyset man sitting in an armchair, turned out to be a portrait in brush and ink of a woman named Gertrude Stein, the sketch perched on the end wall of the room where one would expect a window. A cream colored paper, corners wrinkled, held by wooden push pins just below the drawing offered this sentiment: It’s up to brave hearts, sir, to be patient when things are going badly, as well as being happy when they’re going well. An improbable quote, it would seem, from Sancho Panza.

“Why are you here?”

Her question, direct, perplexing, felt like a blow. I could not hold her eyes.

“You must learn to think beyond the narrow confines of your skull, young man.”

My father had committed suicide; my mother had run off with the Fuller Brush man, a quip, a diffusion, not literally, and I had been adrift for a half dozen years awash in angst and uncertainty. I could not say these things to this woman, and, indeed, I did not. I said nothing. I stood, shook my head, and left her office.

“What’s her name?” Frank, as his illness progressed, spoke in truncated questions and declarative statements. From silence to perturbation, he spit out his queries and conditions.

I was grooming Stella, the comb extracting swathes of her coat in clumps of feathery browns and blacks, and the question coming as it seemed pulled from the air, or the grumble and splash of the river, unexpected and, seemingly out of context, begged an answer. What was whose name? Context eventually provided an answer, as we had been discussing, if that word is correct for the brief intermittent questions and answers we exchanged, my long past education.

“Bluebell Fulton you mean? The tartor of grammar, syntax, and diction?”

He turned his head away at a raven’s caw, poked a finger into the cold ashes of his pipe’s bowl, and then stared off across the river at the wooded slope beyond. Stella and I had walked to the swimming hole and back, and she had plunged in and swam circles, biting at the ripples she pushed out ahead of her. A good shaking and the warm rising sun dried her as we hiked the mile or so back to the cabin. I came most days ostensibly to walk Stella, but my intent of course, unmentioned and concealed, was to look after my recalcitrant old mentor despite his protests and apparent disgust.

“Wipe my ass for me.”

“If necessary.”

His daughter came three times a week, driving 200 miles round trip to do so, bringing soups and stews with onion and carrots and celery and mushrooms all chopped fine and bottled water which he ate and drank with difficulty and reluctance. She ignored his rebukes, swept the floors, washed dishes, dusted, kissed his cheek and left. I lived, at that time, just a few miles down river from Frank; and I timed my arrivals to coincide with Nadeen’s departures.

“How’s the head?” Frank’s query, not about the essay I was trying to write, but about an injury long past healing.

Months before, snow still covering the ground, I had fallen and hit my head while out with Stella.

“Good story, that,” he said. “Not front page though.”

The essay? I thought. Where’s he at?

 “Give it a 24 point hed, couple of columns.”

A bowl of tomato soup had skimmed over and his spoon and Saltine crackers sat untouched beside the bowl, the setting just as Nadeen had left it.

“Damn fool. Saved your ass. She did.” He slouched in his wheelchair and stroked Stella’s head. “Cracked his skull, he did.” He snorted to think of it, then said, “Whose story, the ass with the barber’s basin?” but  began to cough, the cough, now chronic, grated his throat, and he bent over clenched fists, rasping, choking gasps coming from the man until sobs broke the gradually diminished coughs and he spit into the small basin beside him.

Rising quickly I had brought a towel to his mouth, and encircled his shoulders with support, there being little else I could do. I had pushed the soup out of the reach of flailing arms. Stella had laid her head in his lap, her gentle whine, punctuating the raucous coughs.

He had paled, but managed to get his shoulders squared, sitting back in his chair.

“The jailbird, that Spaniard,” he said. “Rambling sentences longer than a dead man’s dream.”

Cervantes, he meant, whom he ridiculed but thought beyond reproach.

He still thought of me as I was when I wore a younger man’s clothes and had just begun learning a trade though twenty years had passed and I had three novels, a biography, and a collection of essays to my credit, a reputation of sorts, and enough sales to maintain a modest living which suited me. The concussion had not cracked my skull, fortunately; but Stella had saved my skin. The story remained unwritten though I had made several attempts all of which came to nothing. The perspective of thirty-five years finally brought out the words and phrases that had eluded me for so long.

Frank had begun to weaken and walking had become a burden, rising from a chair, lifting a foot up a step or two, climbing a hill, all efforts that taxed him beyond endurance, frustrating the man to distraction until he finally stopped trying. Stella became my charge, and I came daily to walk her regardless of weather.

The light snowfall, typical of the Cascades, had littered the hills with two or three inches of fairly dry snow. Overnight, clearing skies drew away any of the day’s warmth, and rime covered the rocks along the river. Instead of the waterhole, Stella and I had decided to take the fork that led across Old Maid Flats to the falls to see if they, too, had succumbed to falling temperatures and hardened to ice.

The shortcut across the flats wound its way through stately firs and massive rhododendrons; and, of course, was no shortcut at all, simply gave that illusion. By cutting the arc of the river trail which followed the ridge line with its many creek cuts and circuitous trail, one avoided the many ups and downs, and, as a bonus, had the mountain’s west side so prominent in the background.

When the story at last began to write itself—so it seemed, in my senescence, that once begun my stories and essays (how arbitrary the distinction would be if a distinction were to be made) literally wrote themselves— the necessary incidents and dialogues appeared as my fingers struck the keys and then in a trice the story was done.

Saska provoked the imagery. Smaller than Stella, Saska was that rare breed, a Sarplaninac, first bred in southern Yugoslavia of all places, and named for the Sar Mountains. She weighed something over 100 pounds and possessed enough strength to tow a plow through the lava field on which my house was built. For the past 14 or 15 years I had lived on a high broad saddle between the Big Island’s two massive volcanoes, Kilauea and Mauna Loa. Volcanic islands are not noted for their aquifers compounding the issue of water supplies. An abundance of rain provides a good source, but that necessitates a complicated storage and purification system, or so the government bureaucrats would have it. I had been preoccupied of late with the acidity of my water tank.  A phone call to the agency responsible for testing our water had me pacing my deck oblivious to time and the beauty of another day spiraling to a close, the sun drooped to the horizon, the colors diffused through the atmosphere in yellows and reds. It was well past Saska’s dinner time.

The creature barked once, which I ignored, rose from where she commonly laid in the shade of the umbrella plant, and came to my side, nudged, barked again, to which I said, No Saska, and the bureaucrat said indignantly, I beg your pardon, and I said … well, nevermind the ‘I said’ ‘he said’ and the rancor that quickly arose. The upshot was that he would review the test when time allowed, check that procedures had been properly followed, and call me in three or possibly four days’ time  with the results. As I turned to chastise my importunate beast, she took my wrist in her mouth ever so gently and commenced to drag me across the deck towards the kitchen and her dinner.

She weighed nearly as much as I did, I was 75 and somewhat frail, and resist as I might I was no match for the dog. She got her dinner. I got my story.

Stella had saved my life. To reach the fall’s trail across the flat one had to cross the Muddy Fork of the river. The Forest Service had erected a succession of bridges to accommodate the growing number of hikers, but each bridge failed to withstand the spring rains and snow melt that gave rise to floods that easily removed these bridges. Logs usually remained in place throughout the year to cross dry shod, and it was across one such that I tentatively made my way. Vertigo took hold halfway across, and I thought it prudent to straddle the log as best I could and scoot across, but could not bring myself to adopt such an undignified position. I tottered on until the inevitable happened. Off I went, a short fall, five or six feet, but into the icy cold stream with its rock strewn bottom. My shoulder struck in such a fashion that my clavicle snapped and my head in turn struck a rock hard enough to render me unconscious. I regained my senses, aware that I was being dragged up the bank and clear of the river by Stella who, once getting me clear, hovered over me whining and licking the wound on my forehead.`

We huddled together. I slowly became sensible, and ran various scenarios through my head to find a solution to this little contretemps. Clutching Stella with my good arm, her warmth and comforting presence revived me sufficiently to begin my evacuation. My belt, with some difficulty, was removed from its loops and used to strap my useless left arm to my side, teeth providing a grasp unavailable otherwise. I cinched the belt as tight as I could manage, pulling my shoulders back and aligning the cracked bones of my clavicle. My bandanna served as a sling. Leaning on Stella, grasping her collar, I stood, closing my eyes, breathing deeply against the initial dizziness, and began to follow our footsteps back to Frank’s cabin. 

Hypothermia proceeds ineluctably by stages. As one’s core temperature drops, shivering begins. This shivering is the body warning of impending doom. When shivering stops, insensibility follows. Consciousness, always a dodgy business, becomes impaired. Climbers beset with such a condition inevitably feel overheated, fooled as they are by insensible signs. They remove gloves and hoods and caps and parkas and freeze to death all the quicker. Death seems inevitable, yet many cases have been reported of this death held at bay and the victim brought back to life.

I shivered. I groaned with the pain of my broken bone. Plodding on, my feeble brain focused solely on staying upright and taking the next step as Stella pulled me along. We arrived. Frank was asleep in his chair, and I slumped as quietly as possible to the floor by the fire. Stella stretched and shook and laid beside me. The cell phone sat on the end table well out of my reach, but at hand for Frank. I would have to make my way some ten feet to retrieve the phone. That task seemed beyond my resources. Clutching Stella’s ruff, the fire in the wood stove burning brightly, my head throbbing, I concluded that I would simply sit and die where I sat, that I deserved no better fate, that intelligence was no match for the perfidy of one’s perceptions and subsequent conceptions. Couldn’t think my way out of a goddamn closet. The phone may just as well have been in Turkestan.

William James brought me to my senses. Or rather, thinking suddenly of the man’s thoughts on the subject of sense perception, entire paragraphs came to mind.

Thought alone can unlock the riddle of space, and that thought is an adorable but unfathomable mystery.

Thought alone unlocks perception, and conception is an unfathomable mystery.

Between normal perception and illusion we have seen that there is no break, the process being identically the same in both.

An engaging speaker, affable, knowledgeable, mellifluous, his voice at once both melodious and clear, a tenor, soft spoken, but easily heard.

Man lives in only one small room of the enormous house of his consciousness.

I gathered my knees beneath me, my consciousness focused completely on that movement, the precise position to hold my left arm, the support I needed from my right hand, and went on hand and knees slowly and carefully to the table. Sitting back on my heels, I breathed for a bit, just breathing in and breathing out. Reaching for the phone. Using my thumb to push each numeral. Dialing 9-1-1.

And waited.

Frank softly snored.

Stella rose up, stretched fore and aft, then went to her water bowl and drank.

This story began somewhere near its middle with Frank alive but not well and Stella realizing that her future was with me. If in fact it is a story at all. I seem to have called it an essay at one point.

“You shoulda had a hard hat. And wings,” snorted Frank, raising a fist up and then gently down on the arm of his chair. An exclamation point.

And so I am here back where I started, an old man with missing teeth, and soiled trousers, patched shirt, and a mind to match. Stories, of course, are fictional; they may be true, but the truth is usually stretched quite thin with the telling. Essays are factual. That is the expectation, though many are not; for truth is not only malleable, but elusive as well. Error and mendacity often twist the truth so that the essay does not always say what is, but says, instead, what the writer wants you to believe or simply what the writer thinks is so. If poetics are applied to evoke mimesis and catharsis, an essay may become something more like a story and facts may become actual or figurative.

Nothing but the facts here, ma’am. Mimesis there is, but catharsis is up to the reader.

Saska no doubt will outlive me.

Sadness resides in all relationships.

Frank cast upon the waters of his river; Stella as well.

All things come and go as life will have it.

Ineluctably.

Inevitably.

Gone.

Saska trotted out to the deck, staring down the drive, and barked.

WESTON NOW SITTING ON A PINE SHELF

a short story from CONVERSATIONS WITH A HYPOXIC DOG (A review is coming soon to BOOKS)

The clutter of the office made her uneasy. She wished to straighten and dust. The books were all in disarray. He had forbidden her to touch anything. This wasn’t the house, though live here he did. His life at the university. She rarely visited the place.

He had pushed books and papers aside to open the slender volume of black and white photographs. Simple it was; yet elegant. Just as the photographs were. He had decided at last to bring them hom

“They don’t say anything,” she said.

“Listen harder.”

“O cute. There’s no context here. Just pictures.”

“Photographs. Context all inclusive.”

“What? Like paintings?”

“Yes.”

“Abstracts, smear of paint and an onion skin. That sort of thing?”

“Yes.”

“They don’t say anything either. The nudes like the morgue on TV. They make me shiver.”

“Corpses?”

“Look at this one.”

They looked. The silence grew slowly palpable. She fidgeted at the buttons of her blouse. Her frazzled auburn hair framed a pale face, green eyes. An image of some prepubescent fat girl surreptitiously picking at her wedged underwear made him smile. He shifted his weight away from her. His hands found the pockets of his coat.

“Is it erotic? Do you think? Men see things different.”

She over bit her bottom lip and tilted her head towards him. Her hand touched his arm.

“She’s a little fat. Do I look like that? What do you think? Is she sexy?”

“Umm. If you want it to be.”

“That’s no answer.”

“Well, it’s not about sex. Not in the conventional sense.”

“Everything’s about sex. Or money. So nudes sell. Western makes money. That it?”

“Weston.”

“Whatever.”

“No.”

“No what?”

“It’s not about money.”

“I give up. What is it about?”

“Who’s on first.”

“What?”

“Nope. He’s on second.”

“Who’s on second?”

“Nope. Who’s on first.”

“Well, who is?”

“Exactly.”

He was laughing then and shaking his head. She turned to face him, and slapped him open handed on the shoulder.

“Aren’t we the superior one.”

“Come on, let’s get coffee. I’ll tell you a story about a dead squirrel.”

Past the window of Martinotti’s pedestrians passed looking in, the quick glance, looking away. He had waved to Jimmy as they entered and held up two fingers. They sat at a small square oak table near the front window amidst the clutter of the old delicatessen. The disarray provided ample distraction, and he always felt somehow invisible beside the wine crates and cheeses, the shelves of pasta, hanging garlic, odd groups of dishware, pots and pans, mishmash of tables, chairs and benches each with its newspaper, magazine or book, and the erratic hum and rumble of the heavy old coolers along the back wall.

“The place hasn’t changed much.” She had not been there since the summer. “Your classroom.” The woman sat and looked. He had taken the chair facing the window. “That girl was here with the others. What was her name? You told me once.”

“Celia,” he said.

“Celia. Odd name. I don’t like it much.”

Sunday morning. Gray skies. Drizzle. An old couple, each with salt and pepper hair, his in a pony tail, hers free down her back, sat at a round wooden table painted bright red. Their chairs were green. They sat together and sipped espresso from white demitasses. Animated conversation draped them with a confessional anonymity. He leaned in to her; he spoke; they laughed out loud together.

Envy turned him away from them. Many of the pedestrians walked past hooded and huddled. Young faces.  Many students in this district. Old buildings. There the Hotel Joyce. The rooms above the fish house. Rent by the hour, the day. Who would stay there longer? No one went to the Hotel Joyce for the view.

Jimmy arrived with their espresso. “How goes the war, my Professor?” he said, a hand deliberately placed on the man’s shoulder. A nod to the woman. “Mrs. Professor,” he said.

“No doubt we are overrun,” said the man.

“We are forced to live in our heads.”

The man nodding. “E il Patrone? How is your father, Jimmy?”

Jimmy put a hand to his ear and fingered the studded lobe. “Without Mama …” He shrugged.

“My condolences.”

Another touch of the shoulder. “Enjoy.”

The woman watched him walk away. She said, “How do you tolerate that queer?”

They sat in silence. She looked out the window. The old couple at the red table spoke now in Italian. The man had lit a cigar; a rich and redolent odor diffused. He then had suggested that the size of his cigar was not equal to the business proposed. The woman had murmured her response, and the old man had snorted his laughter.

Sipping the last of his coffee, he considered his wife.

Still turned away, she said, “So what has this Celia to do with a dead squirrel?”

“More coffee?”

“Tell me the story.”

“All right.”

They had come from the art museum. His student. His friend. A brilliant young woman. He was perhaps bewitched. Something in her left profile, an elegant line, and the delft blue of her eyes. Self-contained, yet mischievous. A boon companion never far from laughter. Yet her silences begged questions.

Teacher, student.

But student, teacher as well.

Of late, it seemed, both students.

And, of course, both teachers too.

From the museum that day they had come upon the Hotel Joyce. The allusion became in a moment the antidote for his illusions. He gave in gladly to tomfoolery.

Celia had said, “You wouldn’t dare.”

He had taken her by the hand and quickly through the door of the Hotel Joyce. The officious clerk looked on as bland as he was blank. Clean-shaven, younger than he should be, well spoken. Sitting on a stool behind a glass cage in a narrow, unkempt lobby.

“Good afternoon,” he said. “May I help you?”

Student leaps into hesitancy of Teacher’s sudden discomfiture.

Celia said, “My uncle and I need a room for the afternoon.”

Up the stairwell, co-conspirators, the laughter bursting from them. The key in the lock. After you, Gaston. But no, I insist. To a shabby disappointment. Smells dominated. Disinfectant. Mold. Cigarettes smoldering. The view of window and brick. Better to pull the shade. They sat somberly on the bed and inventoried the furnishings.

Threadbare carpet. Grayish. Frazzled. Stained. Clearly beyond redemption. Celia insisted on blood stained. Melodramatic, he replied. Frankie and Johnny, she said.

A nightstand thickly painted something brownish over greenish over sortawhitish. The color of sewage.

A lamp. The shade appeared to have a bite out of its lower end. They could not agree on this.

A chair. Against the far wall. But not so far in this small, narrow room. The chair painted to match the nightstand.

A painting, above the chair. Of flowers. Cut, arranged by chance in a vase of brilliant blue.

Off white walls. Water stained in that outside corner. Patched and not textured there on the hallway wall.

“Nice vase,” he said.

A shrug and tilt of head from her. Perhaps a smile.

They sat together on the bed and bounced to hear the springs creak and groan. They sat still.

“We’re not seeing what’s here,” Celia said.

“Not seeing a bathroom. Probably down the hall. European model.”

“No, listen. We’re making judgments. We’re abstracting the room.”

She sat to his right looking at the chair, the painting, the window. She studied the bare threads.

“Do you remember the squirrels,” she asked.

He smiled. “Oh yes,” he said.  Student takes teacher for a roller coaster ride, he thought.

“We were talking about love,” she said.

“We were on a run. We had broached a concept. I plead hypoxia.”

She hadn’t heard. “No, I had asked you about …”

“Medicating neuroses,” he said into her reluctance.

Her head nodded assent.

“Depression, for example,” he said.

She sat still.

He said to her, “A last resort, we agreed.”

“And you talked about simply waiting with the certain knowledge that things would change. Today it is raining. Tomorrow the sun shines. Yes? Something like?”

Springs squeaked, nearly a drunk’s hiccup, as she turned to him.

“Yes,” he said. “And then I boldly went on to suggest that love was an able antidote as well. Or could be. It requires mutuality.”

“‘Mutuality engenders beatification.’ Your phrase.”

Laughing. “Quiz on Tuesday,” he said.

“But we left love sort of … hanging?”

“Yes.”

“Who’s on first.”

“Yes. Perhaps that kind of ambiguity.”

“About love?”

“Yes.”

She looked past him out the window. “And then the two squirrels darted across the road in front of that van.”

He stood up and paced the room, across and back again. Standing at the window, through the geometry of the buildings a glint of sun from the distant river and just there the gentle arch of the bridge span.

“One ran quickly across,” she said. “The other …”

“Chasing la femme, his heart’s desire. Caught in the maelstrom. Froze and got tumbled end to end.”

“Yes,” she said. “But when the car passed, off again was our friend, the squirrel.”

He turned and grinned. “And as quickly as that, you tumbled my abstraction. You said …”

“‘That’s what love will get you.’” Her arms extended, smiling broadly; her hands turned elegantly up and open. “Ta da.”

Laughing then together. He took her hand and led her foot thumping down the stairwell to wave and grin stupidly at the officious clerk who, bless his soul, tipped a finger from his forehead. Perhaps he smiled.

She had been infectious.

Now the scrape of chairs. The old couple standing at their table. He helped her with the sleeve of her coat. She fixed his collar. A fellow wrapped in a tattered overcoat shuffled past the window. Einstein’s hair. Meaty Irish face.

“But …” She fiddled with her cup, turned the saucer. She centered the salt and pepper. Arranged a napkin. “You said dead squirrel. But the squirrel didn’t die.”

He watched the older couple through the door, watched as they passed before the window and then gone.

“That’s true.”

She waited.

He briefly smiled.

“You’re not saying anything.”

“Not much to say.”

“Well, professor, you are too obtuse today.” A coy smile.

He shrugged.

“You tell me that silly story and now expect me to understand these pictures.” She stared at him.

“Photographs.”

The woman blinked dramatically. Her lips met and then curled slightly in to a nip of teeth, her hands suddenly still.

“I’m sorry,” he said. “That was pedantic.” He put his hands on the table, drummed fingers lightly.

“Pedantic,” she mimicked.

“It’s like explaining a joke.”

“Try me.”

“Fuse the abstract with the concrete and a light illuminates the darkness. There’s more to a stone than hardness.”

“Hardness.”

“It’s what Hemingway did with his stories. It’s what Eliot did with his poetry. It’s what Weston did with his photographs. It’s what Celia had begun to do with hers.”

Her eyes narrowed. “That was her book.”

“Celia? Yes.”

“But it’s … it’s … that’s the one you gave to her.”

“Yes.”

“And she gave it back?”

“Yes.”

She sat back in her chair. Her head nodded slowly. “I remember now. She went off to … to …”

“Italy.”

Suddenly leaning in, she snapped, “You gave her that money.”

He looked back.

She turned away from him and looked out the window. Recrossed her legs.

The painted sign on the building’s back wall for The Hotel Joyce, the fish house below, faded and drab with time.

Angrily back, loudly, “Did you sleep with her too?”

He pushed his chair back abruptly and stood.

“No, don’t,” taking his arm. “I’m sorry. Don’t go.”

They sat in silence. He took their small cups to the counter at the back of the store. Jimmy ran both hands over his head flattening blond spikes.

“Another dose?” Jimmy asked.

“Yes.”

He moved slowly back through the cluttered room. The aroma of the cigar lingered. The faint scent of the woman. Coffee ever present. Dust motes in the window light.

He sat.

She looked to the window and back again. “Espresso,” she said. She looked at the man. “O why can’t you just be football and beer?”

Rain fell.

Tomorrow, sun.

A SQUAT PEN

Seamus Heaney (pronounce the name as you will, ‘Hay’nee or ‘Hee’nee, the poet will not object; no, but perhaps a smile, a shrug, everyone has their way, he might say, but does not), an Irishman born and raised on the family farm near Castledawson northwest of Belfast, Northern Ireland, in the spring of 1939 published his first book of poetry in 1966. Death Of A Naturalist proved an auspicious beginning for the man. His perceptive eye of both the rural landscape and the people working that land conjured up images that became exquisite linguistic phrasing and compelling shades of meaning announcing the arrival of a master.

Born a Catholic in a country dominated ruthlessly by Protestants, he earned a degree in English Literature from Queen’s University in Belfast and subsequently his license to teach. He taught at various Catholic schools, was introduced to the poetry of Peter Kavanaugh and never looked back. He clung to his life in Belfast until 1972. ‘The Troubles’ of 1971, the murders and bombings, the hate and invective finally moved him to a cottage south of Dublin.

Heaney always considered himself an Irishman, and it was the heavy thumb of the United Kingdom as much as the violence which moved him south. When told he was to be included in an anthology of British poets, he politely refused the offer; and later, after fame had elevated him sufficiently, he was offered the post of Britain’s poet laureate which he also turned down.

‘Digging’ is as good an introduction to Heaney’s work as one might want. The descriptives ‘provincial’ and ‘parochial’ are often bandied about in literary matters. The first is easiest thought of as ‘rural,’ and the latter as ‘urban.’ Denotations aside, provincial often carries a pejorative taint of uneducated and backwards while parochial is thought of as intellectual and modern.

Heaney, with his themes of the country and working people, might be labeled provincial; but the man was an intellectual and his poetry linguistically deft and thematically complex. He is often contrasted with Yeats who was the intellectual, who would not deem to mingle with the hoi-polloi. Heaney, the poet, never stopped being also a teacher. He met and mingled and translated perceptions into that rare creation, poetry that squeezes the heart and moves the soul.

Below is a link to Heaney reading from his early poem ‘Digging.’ Though iambic pentameter is generally used, the meter and rhyme provides only a subtle structure on which the theme of the poem is built through imagery and poetics.

In a later poem from Seeing Things (1991), Heaney delves into the relationships that brew when abstraction contends with phenomenon. He speaks of the house his father built and that house becomes a metaphor that aptly describes the body of work that the poet has created.

The house that he had planned

‘Plain, big, straight, ordinary, you know,’

A paradigm of rigour and correctness, Coleraine

Rebuke to fanciness and shrine to limit,

Stood firmer than ever for its own idea

Like a printed X-ray for the X-rayed body.

His work has a rare narrative quality. Selected Works, 1966 – 1987 reads like a truncated novel that yet maintains its coherency and thematic power. The same can be said of each of his separate books. The man was a storyteller who probed deeper both objectively and subjectively with his poetry than most stories allow. And also, in Seeing Things, extinction, that of others and his own, comes to be addressed.

When light breaks over me

The way it did on the road beyond

Where wind got saltier, the day more hurried

Out in mid-channel between the pointed poles

That day I’ll be in step with what escaped me.

A Conformity To Intelligence

2000 years ago, Marcus Aurelius wrote: Every instrument, tool, vessel, if it does that for which it is made, is well … In the things which are held together by nature there is within and there abides in them the power which made them … wherefore if thou dost live and act according to its will, everything in thee is in conformity to intelligence.

Whatever label one might choose for Webb Chiles, steadfast comes readily to mind . His life could be used as a case history of that virtue. Upon reflection, however, the more fitting adjective seems to be intelligent. To conceive, at a young age, the course of one’s life and embark resolutely on that course is the mark of an uncommon mind.

Chiles has made six circumnavigations, single handed for the most part, and written seven books about his exploits. These bald facts, though, don’t tell the story. Of his written works—all good reads—The Open Boat: Across The Pacific, and that book’s sequel, The Ocean Waits are the most compelling. To paraphrase William James, the books expose Chiles as a man intent upon ‘… tearing his conceptions from the continuum of felt experience.’

The books recount his attempt to sail around the world alone in an open boat. The boat chosen was an 18 foot Drascombe Lugger, named Chidiock Tichborne. A stout craft, she was pitch poled in the South Pacific after colliding with some object just below the surface, and was awash and a shambles when righted. He wrote: I just lay there, thinking, as do all wounded, how much had changed and how quickly, in the passing of a single wave. The sequel offers more of the same: from gales in the Indian Ocean to a jail cell in Saudi Arabia.

Intelligence guided by experience and a simple ability to endure earned his survival.

By his own reckoning, Webb Chiles has spent eight years of his life alone at sea. His preference, obviously, is for the open ocean. He resides on Skull Creek near the Atlantic, but it is a vexing business to reach the open sea from Skull Creek. Flukey river winds, miles of shoal water, and the torrent that is the Gulf Stream make leaving the land a tiresome business. Which is not to mention the frequent passage of large, notoriously indifferent vessels bound elsewhere.

Chiles is amazed to find himself 83 years old. He continues to sail. He continues to write. He continues to do his age in pushups. He continues to be the man he has become.

Countless magazine articles have featured Chiles, countless interviews. Three films have been made about his singular life. The Story Tellers, produced by Safe Harbor, may be the best of the three.

A link to the video is posted below. Watch the video; the man is a compelling story teller. His web log is ‘Self-Portrait In The Present Sea.’

The Story Tellers

The books of Webb Chiles are available at many vendors. Most are offered as either print books or ebooks. Some have become collectors items.