“Palestine is Open for Business” by Tala Abu Rahmeh


I’m reading a book about Columbine.

The school nurse, then 33, hid in a cupboard in the library,

crawled against the measurements of her body

wrote a goodbye note on the skin of the door.

“I loved you more than anything. Take care of the dogs.”

I think of the time I scrambled for breath

clutching my mother’s frame as the tank

warmed its oil right outside my window.

Sometimes I wish it was all a big high school shooting,

one, monstrous mountain of tragedy

where you have the rest of your life to grieve.

Next Friday though, things will be different;

Ramallah, wiping itself of the residue of recent compassion,

is throwing itself a party.

For 30 bucks you get a free drink,

one mask to cover some of who you are,

and sit in the front row of a fashion show.

I see small murders in my dreams;

models peeling the front lobes of their hearts with acrylic nails,

jokers planting welcome signs to imaginary cities,

children bathing in the world’s largest hummus plate,

my mother begging an Israeli doctor for her life,

a girl, now 73, holding a key to her locker in Yaffa.

Welcome to our great estates.

Author Bio

Tala Abu Rahmeh’s identity issues began one night, at 3:00 am, in Adams Morgan, a party neighborhood of Washington DC, when she was being hit on (unknowingly) by an African-American guy. When she stared blankly (due to near intoxication and complete social inadequacy), he said “are you scared of me because I’m black?” to which she replied “I’m brown.” When she realized how unimpressive that sounded, she added “I’m ARAB.” That turned some heads (and not in a good way).

After getting an MFA in poetry, and remaining moderately confused about her identity, she returned to her hometown of Ramallah, Palestine, thinking she will be accepted with open arms, but…

Andreas Economakis

Cigarette with blue smoke on black background (flickr photo by vadiko)

“Is That You Lee?”

by Andreas Economakis

My grandma Houdie was a weird bird. I mean, we almost never saw her on account of her ill relations with my ma and the fact that she lived in faraway California, but when she did show up in Greece, man, she made a colorful impression. I hate to admit it, but I was kind of embarrassed of her when I was a kid. She was a wiry, chain-smoking, sharp-tongued woman with bony hands and painted hair, all energy and tension and cigarette smoke. She sure made heads turn whenever she entered the room. I wondered if all American grannies were as loud as Houdie. She was definitely an oddball grandma for a little Greek-American boy doing his best to fit in with his little normal Greek peers and their little normal Greek yiayias.

Houdie had the most insane make-up I have ever seen, some sort of psychedelic throwback to Pharaonic Egypt, deep purples and browns and blues caked under her high-lit eyes. She looked like a mummy on acid. What a figure she must have cut when, aged 80, she up and bought a convertible sports car and raced around the wealthy streets of Carmel, skeletal hand clutching her long cigarette outside the window. She was always a maverick, a real character, not giving a nickel about what people thought. My Uncle Ric called her a genuine flapper, and boy, she could sure bend her elbow in the speak-easies of her day. Though her big drinking problem came later in life (causing all sorts of grief to her kids), in her early years she found other outlets for her rebelliousness.

In her early twenties, around the time she was trying to make it as an actress in Hollywood’s silent movies, she made a trip to India with her parents. One day, while walking around some village outside of New Delhi, she came across an execution in the village’s dirt-caked main square. Crowds had gathered around a kneeled man with his hands tied to a stick behind his back. She pushed her way to the front of the crowd, her hands clutching her camera. The executioner raised his sword and swooshed at the condemned man’s neck. At the exact moment that the sword sliced through the man’s neck, sending his head tumbling to the ground, she snapped the photo. Frozen in grainy black and white, the photo shocked me to my very core. I’ll never forget the column of blood squirting upward from the man’s neck and the alert happy faces of the bystanders. I remember turning all goose-bumped toward my Uncle Warren, seeking some sort of explanation. He smiled and turned the page of the family photo album, saying that he had the same reaction to the photo when he first saw it as a kid. To this day Warren has his doubts about the authenticity of the photo, thinking she may possibly have purchased it and added it to the family album for effect. Effect. Yeah, I guess you could say that Houdie was different all right.

Houdie, or Hildreth as she was born, was a pretty woman when she was young, part of the reason she decided to become an actress. Though she gained some notoriety on local stages, she didn’t have much luck in film. She did get some bit parts in a few B-movies of the silent era before moving on, including a small role in Cecil B. DeMille’s “The Volga Boatman” (released in 1926), a film that was probably trying to ride on the profitable coattails of Eisenstien’s 1925 masterpiece “The Battleship Potemkin”.

While trying to make it in Hollywood she lived in the posh suburb of Pasadena, a place she frequently returned to for visits even later in her life. Always a lover of exotic animals, she decided one day to procure for herself a small Capuchin monkey. This species, as my Uncle Warren explains, looks a lot like a miniature gorilla. On the way back home in a taxi with her new little gorilla, she noticed that he was turning all blue and ill in his cage. Not missing a beat, Houdie pulled the poor little ape out and dangled him out of the window of the speeding car to cool him down. Luckily, the monkey (and the shocked taxi driver) survived the highway ordeal.

Houdie grew very attached to her little Capuchin friend. She bought him a big cage, which she kept in her bedroom. Every morning the monkey would wake up and beat his chest like his large macho cousins, howling. Houdie loved to see him do this and would rush to catch the spectacle. One morning she was in the shower when she heard the monkey start to beat his little chest. Head covered in a plastic bathing cap of the era, the kind with the fake plastic flowers on it, she raced all naked and dripping to the cage. She peeled the sheet off of the cage and gazed at the monkey with a wide grin on her face. Startled by the suddenness of the move, or perhaps by the sight of a grinning naked woman with plastic, dripping flowers on her head, the monkey widened his eyes and fell backwards clutching his little chest. He died of a heart attack on the spot.

Not long after the monkey’s remarkable passing, Houdie up and got herself a big colorful parrot, the kind you see hopping from tree to tree in the Amazon. She named him Burdie. I’m not sure if Burdie had been smuggled into the US by my renegade Uncle Lee. Lee, who now lives in Panama, was (and is?) a longhaired hippie who at one point or other in the 1970’s was featured in a Playboy or Penthouse article for having escaped from a Mexican prison (where he was doing time for smuggling some sort of contraband). Remarkably, Lee returned to the prison and helped a buddy of his break out.

Anyway, I remember the parrot vividly as a kid when I visited Carmel for the first time in the mid 1970’s. By that point Burdie must have been 40 or 50 years old. He was a stately bird trapped in an un-stately home with a couple of whacked out people. Houdie, heavy on the sauce then, used to spend hours and hours in her bed, drinking from a bottle that she kept hidden in a riding boot next to her nightstand. She smoked cigarette after cigarette and had a nasty, lung-wrenching cough. Lee, who was slowly descending into a lifelong escapist ennui, lived with Houdie then. It wasn’t long before the stately bird adopted some the crazy habits of his two crazy roommates, especially Houdie.

The house where Lee and Houdie lived had a very loud front door. Every time Houdie heard the door slam shut, she would yell out from her bed “Is that you Lee?” something which would automatically set off her smoker’s hack. Day in and day out Burdie heard this same routine. “Is that you Lee?! Hack, hack, hack!” It’s not surprising that after a while our little Amazonian friend adopted the same repertoire. Poor Lee. To this day, I kind of feel that my uncle was driven to Panama not by his partying wild ways, but by having to endure both his mother and her parrot screaming “Is that you Lee?! Hack, hack, hack…” every time he came and went.

Not long after Lee wigged out and moved down south (after a stint living under bridges in Carmel and avoiding people like the plague), Houdie passed away (or dissipated like cigarette smoke). Burdie came up for adoption. He made the rounds with family members, not one of whom could stand him for very long on account of his “Is that you Lee?!” routine, which he recited in perfect Houdiese every time he heard a door open or close. It drove my relatives crazy and they eventually gave him to a family friend, Reed. Reed, a stoic Vietnam War veteran turned Big Sur artist, seemed like the right man for the crazy bird. My relatives must have figured that Reed had a stronger temperament on account of all the blood and guts and shrapnel and Vietnam mayhem and whatnot.

It didn’t take long for the Zen-like Reed to blow a fuse with the nutty bird. He decided to send him to a pet psychiatrist. The shrink must have been good, for Burdie was soon cured of his need to mimic Houdie every time he heard the door. However, he became kind of sad and stopped talking all together (I remember having a similar reaction after an ex-girlfriend of mine dragged me to a relationship shrink), something which made Reed sad as well. Reed eventually gave Burdie away and now no one really knows what the parrot is up to.

We spend our lives being embarrassed about or trying to erase or avoid certain things from the past. Only when they are gone do we realize how much we miss them.

–Andreas Economakis

Author’s note: I’d like to thank my Uncle Warren for the Capuchin monkey tale (and for many other fascinating family stories that I wish I could have included here). I also would like to thank my mother and my now deceased Uncle Ric for the parrot story, which I pieced together from their recollections (a while back) and from my experiences when I first visited California in 1977. Memory can be a fickle thing sometimes, energy and psychology sticking their tendril-like fingers in the mix and playing alongside the facts and history itself. Finally, I would like to thank my entire family for being who they are. I’m proud of them, I’m mortified of them, I love them, I can’t stand them, but in the end I am whole because of them. We all think our own family is the weirdest. Only when you start talking to folks around you do you realize how bizarre all human beings are. I guess we’re all in the same boat together. Call it the human condition…

This piece is part of a collection of stories on blindness entitled: The Blindness of Life.

Copyright © 2010, Andreas Economakis. All rights reserved.

For more stories by Andreas Economakis click on the author’s name below.

SATURDAY POETRY SERIES PRESENTS: JUDITH NEWTON

PRESS TWICE FOR YES
by Judith Newton


Do you know me? Are you too warm? Shall I help you die?

“There’s none can die in the arms of those who are wishing them sore to stay on earth.”


In the end when you lay almost in a coma,
your belly concave as the flanks of living skeletons
in newsreels long ago,
your pointed hips worn through almost
in purple bed sores
as if your skin had turned to rotting clothes.
Your eyes showed strips of white
like blinds drawn down in a house where I once lived,
and I saw your mind withdraw,
as in a dream when I returned
and found the roof of my old room had fallen in.

And yet your hands were warm, and they were large hands still,
with long square fingers, hands to lay my life in–
now they lay in mine,
as if they were the life in you that still remained.
I held on to them, held on to you
straining not to hear the strangled rasping of your breath,
trying not to see how I was like that man
who kept his dying child from rest by “wishing” it,
by willing it to stay
and pulling it still closer to his breast.

Judith Newton lives in Kensington, CA. She is the author of several books of nonfiction and is completing a memoir: The Joys of Cooking: A Love Story. She is a food columnist for the iPinion Syndicate, and is completing a book of poetry entitled Poetry for the Immune Deficient.

Editor’s Note: Today’s poem is from the poetry-series-in-progress entitled Poetry for the Immune Deficient. The author created the series for everyone who has suffered loss and for everyone who lacks the immunity necessary to combat what life has to offer. The occasion for these poems was the death from AIDS of the poet’s ex-husband and best friend Dick Newton in 1986. The poems are about loss— how we choose to encounter it and how it comes to us in ways that we are not prepared for. They are also about the complexities of relationships and about poetry as a form of healing. The intention behind these poems seems fitting for September 11th, a day of healing in America.

Want to read more by and about Judith Newton?
iPinion

Laughter

The Unger family, circa 1951.

Laughter
By John Unger Zussman

This short essay is the first of three posts in tribute to my father, Myron “Mickey” Unger, who would have turned 85 last month. Next month, I’ll post an essay on life and parenthood, which he wrote sometime after this photo was taken. The following month, I’ll post my own reflection on a father’s legacy.

I also want to acknowledge my mother, Lois Zussman, and my adoptive father, Milton Zussman, who remain active in my life today. I am blessed with a heritage from three parents, not just two.

In the photo I am plopped in a stroller and I am laughing, even giggling, probably because my daddy is kneeling on my left, tickling my shoulder, and he is laughing too. It is the fifties and I am wearing the baby Penn sweatshirt I got from my uncle, who would have been in college then. I am exuberant like a one-year-old taking his first stroller ride, and my chubby fingers are squeezed around my mommy’s hand as she kneels on my right, and I trust her, and so I can giggle. She also is laughing, and buoyant, because her son is giggling and her husband delighted, the man who told her the night they met that he would marry her, and she wasn’t too sure about that, but she waited while he served in the Pacific, and now they are married and laughing and they have this marvelous family. My uncle, visiting from Philly, is snapping the picture, and for all I know he is laughing too, but he holds the camera steady.  Our laughter will last forever, preserved in living black and white more than fifty years later, and what could possibly go wrong?

Copyright © 2010, John Unger Zussman. All rights reserved.

Tiger Moth

[This story was originally published in The Chaffey Review in May of 2009.  It is reprinted here with minimal editorial changes.]

Tiger Moth

by Raul Clement

For a long time after the boy’s death, the father sat in the darkened rooms of the house and stared at his empty hands. They were strange birds. The mother made several delicate attempts to pull him back into their world: she bought tickets to plays, she arranged dinner with the couple down the street, she ironed his suits. Then one afternoon she found him in Derrick’s bedroom, pieces of a remote-operated model Tiger Moth spread before him. With a penknife he was chipping a wing from the battered body of the plane.

I thought I should rebuild it,” he said.

How did you get in?” she demanded.

In the yard shadows played on the bleached frame of the shed he’d begun last summer. A tarp serving as a doorway beat in the wind. He was self-employed, a woodworker retouching antiques, and for nearly a month he’d taken no clients.

Well?” she asked.

He squinted at her and then went back to his tapping, until the motor spilled into his palm. He cradled it, tracing a sloppy scar of glue. “It’s smaller than I would have guessed. Odd…such a little thing could fly.”

He had found the key, then. She remembered locking Derrick’s room the day before the viewing. He should be buried in something nice, the mortician had said. She’d laid out three suits on the bed, ironing them and choosing matching ties, before flinging them to the floor, and the blankets with them, the sheets, the mattress slip. She rested her cheek against the naked mattress, feeling the springs behind its cool drum-tight skin—there was a rust-orange stain at the foot of the bed. Australia, she thought absurdly, it looks like Australia.

At last she stood, wiped the mascara smudges from her cheeks, smoothed her dress. From the closet she took a navy-blue uniform with wings stitched across the shoulders. That Halloween Derrick had been a pilot, part of a year-long obsession that included radio flyers, books on Charles Lindbergh, the Bermuda Triangle. He should be buried in this, not the starchy church attire he’d always hated.

The father had finished breaking down the plane, and had the pieces spread on a square of cloth. With a thin brush, he dabbed the propeller with red paint. He put on a few black spots.

Ladybug, he thought. Derrick used to pull them apart. Maybe this one would put itself together again and fly away.

She held out her hand. “Give it to me.”

Is it so late already?” He began to shuffle from the room.

Where’s the key? How did you get in?”

He glared at her as if she were being willfully dense. “He opened it for me.”

She went to the mirror in the hallway and ran her finger over the dusty lip, encountering loose metal. The key was where she’d left it. She locked the room, and taking the key to the basement, hid it behind the boiler, inside a box stuffed with her grandmother’s china.

*

That night she awoke with a bladder full of the wine she’d had to help her sleep. As she stepped into the hallway, she noticed an alien glow from behind Derrick’s door. She tried the knob and the door swung open. There was a magazine fanned out on the bed, a record jacket on the floor—things not in themselves meaningful, but disturbing because she couldn’t remember how they got there.

She hurried to the basement and dragged the box into the light. She dug around for the key, and when she could not find it, she removed the china, dish by dish. She unwrapped and shook out the brittle newspaper. The pages fell apart, leaving the smudges of letters on her fingertips. She held her shaking hands up to her face, and then spit on them, began rubbing them furiously on her nightgown. Then she remembered herself and let her arms fall to her side, looking about quickly as if to make sure she hadn’t been seen.

In the bedroom she shook him awake. “I don’t know how you did it, but this can’t go on.”

He rolled away from the light, smothering his head with a pillow.

The next morning she found him on the back porch, turning the nearly assembled plane in his hands, noting the way it caught and twisted the light.

He was grinning, proud but sheepish. “It’s really going to fly this time.”

Stop blaming yourself,” she told him.

But they were talking about different things. They always would be. Because there it was, over his shoulder, the shed—skeletal beams swaying a little in the foundation. As long as it stood, she knew, it would mock even their modest attempts to move on.

*

When Derrick was eight years old, she enrolled him in Cub Scouts. They met Sunday afternoons in the basement of a block-shaped church—Derrick and a dozen boys his age. She’d had to bribe Derrick with the promise of a new bicycle if he attended the meetings for at least six months. Her hope was that some of the enthusiasm of the other boys would rub off on Derrick, but before the meetings he wouldn’t join them as they traded comic books and dashed through the sprinkler on the lawn. Instead he took a seat on the church steps, waiting to be let inside. Three hours later he would be in the same position, studying his shoelaces in the cricket-filled dusk.

One evening, after several months of meetings, he ran to her car where she idled on the curb. He thrust a paper through the window, some sort of newsletter. “Model plane contest. We’ve got to build our own planes and install our own engines and the one that flies the best wins. Fifty dollars. There’s also a prize for best design.”

A few days later, he sat hunched over the kitchen table, an elaborate spread of penciled forms and symbols before him—blueprints for the assembly of a de Havilland Tiger Moth. From the doorway, she and her husband watched. “You know, the other boys’ fathers will help them,” she told her son.

The other boys won’t learn anything,” Derrick said.

Two weeks later, everyone gathered in a gravel lot outside of town. The lot was surrounded by toothy columns of pines, and just beyond, the throbbing passage of the river. Birds sang in high branches. The boys fidgeted in their crinkly uniforms, pants rolled up to relieve some of the heat. The planes were lined up in the dirt at one end of the lot, and there was a narrow length of tape at the lot’s opposite end, where onion grass swallowed the gravel.

You boys ready?” asked the scout leader. “What was that? You didn’t sound ready to me.”

Yes, sir!” came the boys’ trilling voices, and then one boy’s belated, “Let’s do it!”

The boys took their positions in front of their planes and the scout leader blew the whistle. The parents watched, leaning against the sun-warmed hoods of their cars, as the planes climbed into the air. But one plane wasn’t rising at all, was just bouncing across the pebbly lot, running aground on plastic bags and rocks, wheels spinning desperately, at last breaking free. The other planes had already landed safely and now everyone was waiting, watching the Tiger Moth as it lifted briefly off the earth, came smacking back down. Just before it reached the finish line, the plane leapt as if stung, climbing ten or fifteen feet in the air, before plummeting into the wall of grass.

The boys ran forward, looking for the lost plane. They wandered the field in circles and when that didn’t work, they combed the area in orderly lines. The parents joined them. Derrick drifted back to his parent’s car, and climbed into the back seat, slumping out of sight. The sun was sinking behind the trees before they found the plane, still mostly intact save a wing, buried in an anthill a few yards further on. They carried the broken body back to the cars.

But Derrick was not in the car. So another search party was formed, this one equipped with flashlights and cell phones, with which the parents radioed each other. Hours later, the last smear of sunset draining from a sky thick with crows, they found him in the spidery branches of a tree at a bend in the river. He was out on a thin limb, over an archipelago of slick rocks, the river gushing below him. The branch creaked beneath his weight, as if it might snap at any moment. He refused to come down.

Let me up there,” his father said, removing his jacket. He scaled the trunk and made his way onto a nearby branch. “Derrick,” he said. “How about you come in a little, so we can talk?” He reached out. “Will you at least hear what I have to say?”

There was a murmur from below as Derrick scooted a little closer to his father, and then a bit more. His father leaned forward, grabbing another branch to brace himself. He spoke in a whisper. He didn’t want all of them listening in.

I had a dream the other night,” he said. “Do you want to hear?”

Derrick stared at his feet dangling in the air. The river shuffled by. Small furry creatures rustled in the underbrush.

Me and you,” he continued. “we’re in a plane, and you’re flying. We’re over the coast of a tropical island. The water’s so blue it’s clear and we can see huge cities of coral just below the surface. You’re wearing a pilot’s uniform, a real one. ‘Want to try?’ you ask. I take the controls and I feel the heart of the plane. It’s like something alive, purring, telling us everything’s going to be all right. Don’t you want something like that?”

On the ground, the mother strained to hear. There was a brief quiet where Derrick might have said, “I’m scared.” Then, the father was holding his hand, guiding him down the tree. As the other fathers slapped him on the back saying “Job well done” and other things masculine and appreciative, the mother felt a surge of shame, and deeper than that, anger at Derrick for embarrassing her, at her husband for not helping him, at herself for stepping aside. She hurried back to the car.

In the bathroom that night, she stood behind her husband, watching him reflected as he brushed his teeth. She wanted to make some small gesture of forgiveness. “What did you say up there?”

The same thing you would have.” But he turned away from the mirror and wouldn’t let her see his face.

*

That night she awoke again. From the hallway came warbling music, so small and hesitant she couldn’t be sure it wasn’t in her imagination. Her husband was not in their bed. She followed the music into the hall, but it neither grew louder nor softened. Outside Derrick’s room, she pressed her ear to the door—nothing but the creaking of the wood, the hum of the boiler through the skeleton of the house. She turned the knob, but it wouldn’t budge. She kicked the door, making it shudder.

What’s going on here?” she demanded. But there was nothing but the far-off tick of a clock. She slid down the wall, collapsing on the floor. Tick-tick. Soon it was all she could hear.

It had been a bright Saturday in late winter, a cautious warmth to the air. She woke late, to the twang of a hammer on wood. She padded to the kitchen. She poured herself a cup of coffee and watched steam curl from the brim. She held the mug in both hands, feeling its heat creep up her arms. The cat leapt from the table to brush against her leg before finding its place in the shifting sun, where it yawned and closed its eyes.

She took her coffee and muffin out to the porch to let the sun soak into her bare feet. She didn’t drink in those days and she enjoyed the mornings. The shed was coming along smoothly, she decided, rafters and columns stamping the shape of a future enclosure. Her husband straddled a joist, bearing down with a drill. Derrick—up early the way he never was on school days—ran circles through the shed, squeezing through gaps in the wall. At one point he picked up a hammer and scaled a ladder until he was level with his father. He held out the hammer, but her husband waved it off. It was nice to see Derrick this way again, she thought, after the disappointments of last summer.

Derrick reversed down the ladder, leaping off halfway to land neatly on his feet. He wandered about, running his finger along the edge of a saw, kicking loose screws. He picked up a nail and squatted, writing something in the dirt. Then he looked up and she waved at him. He returned the wave and she went inside to practice piano.

The father, who had noticed the mother there and taken comfort in it, drove another nail home, enjoying the smell of new wood and the warmth of the sun on his back. Spring was coming and then he could lose himself out here, make something real. He’d tried to show this to Derrick, but the boy had never understood.

Hey dad,” Derrick called. He was halfway up the ladder, leaning forward. “I’m going to measure your angles. Watch.”

Be careful.” He fished another nail from the pack, bent low over the hammer’s arc. The vibration scooted the ladder to one side.

She was practicing her trills when she heard the small, strangled cry. A moment later, the screen banged shut. She ran into the kitchen to find her husband mashing buttons on the phone. He was shirtless and sweating. He met her gaze with wild eyes, seeming to see right through her.

He just…” he said. “I didn’t mean….”

She rushed outside, knowing what she would find, but pulled by some hysterical compulsion to see it, to really see. The first thing she came across were his feet, splayed awkwardly in the red Converses she’d bought him for his last birthday. One shoelace was untied. She wanted to tie it, but then she took a step forward and saw his head, twisted and limp on his neck. His arms were beneath him. She pulled him to her and breathed into his mouth. She was still doing this when the ambulance arrived.

*

A branch battering a window made her jump. She didn’t know how long she’d slept, or if she’d slept at all. The wind howled through the rooms of the house. She tried Derrick’s door again and this time it swung open, almost without her touching it. She hesitated, then stepped inside.

The bed looked slept in, the sheets in disarray. She searched for some familiar shape there—a friendly face, a continent—but there was nothing. Just the empty mattress, begging for his small weight. She remembered his breath as he slept, soft and easy. She’d sometimes sneak in at night and stand in the doorway, trying to imagine his dreams. She could almost hear him now, but it was all too distant, too far away. And it grew further every day.

A crash came from downstairs. She ran down the steps and found the front door banging in its hinges. Her husband stood on the lawn, facing the street, a heavy, square box in his hands. Wind furrowed his hair, tossed leaves in a winding, erratic ballet. There was a shiver in the air. She touched his shoulder, hesitated. He was working the joystick of a remote control, pulling and tapping it with his thumb. A sheet of lightning stamped the sky and she could see the plane as it dived between the tall, dark trees. She wanted to say something, anything.

Weather’s changing,” he said without turning, voice flat, as if this were the simplest of facts.

Andreas Economakis

The Black Scorpion

by Andreas Economakis

The procession snaked through the village’s narrow streets. Up front, four men carried the flower-decorated icon of the Virgin Mary. The town folk followed, lit candles sheltered in cupped hands, religious songs competing with one another up and down the crowd. Easter Friday. Epitaphios. The Epitaph procession.

Earlier, my brothers and I had been jammed in Agios Dimitrios church, packed like rice kernels in vine leaves, holding our candles carefully in front of us, trying not to burn anyone. When the service ended we were ushered out of the church and pushed into line, the procession taking off for the village’s main church, Panagia Evangelistra. We were all eager to get there. A huge fireworks display was going to take place in front of the church. I loved watching the fireworks, especially the phosphorous ones you throw on the ground and step on, blue-green sparks scattering about busy feet in a shower of noise.

But that was all to come. First we had to snake through the village, past the scary fisherman’s house, up through the castle and down to the other church. The scary fisherman was this huge guy who always walked around alone and barefoot. People would move to the other side of the street or take another street altogether when they saw him. No one talked to him. He was scary. He had a very menacing look, kind of like the chubby shaved-head guy who blows his brains out in “Full Metal Jacket.” Village rumor had it that he was a pederast, a killer, a bad man.

One day my mom drove us into the village so she could shop. My bothers and I normally wandered around the small cobblestone streets and musty wharf together, playing and messing around while our mother took care of business. The village always seemed like a huge playground to us. For some reason, that day we all scattered, all three of us exploring different areas. When the hour was up I made my way back to the car by the port and found my mother and brothers and several villagers in a heated conversation. A small fishing boat hurriedly putt-putted away, leaving the harbor. Though far away I could tell it was the huge, evil fisherman. I approached the crowd. Evidently my mom had returned to the car in the knick of time. She saw the huge, evil fisherman lowering my brother into his already running fishing boat. She rushed over and pulled her child out. Before she could say anything, he motored away. Who knows what could have happened?

Anyway, the Easter procession hobbled along and then came to a sudden, grinding halt. People stopped singing and started muttering and asking why we stopped. I weaved my way to the front, to see what was going on. The procession had come to a stop directly in front of the evil fisherman’s house. A couple of meters in front of the icon was a large black scorpion, its glistening velvet black tail pointed upwards. The priests and folks at the front of the crowd had stalled, trying to figure out what to do with this evil omen. Finally a young man stepped forward and bravely crushed the scorpion under foot. A few people applauded and the procession started up again. I went back and rejoined my family. As we passed the evil fisherman’s house I noticed the curtains snap shut. He was inside, dark and glistening. Alone.

–Andreas Economakis

This piece is part of a collection of stories on blindness entitled: The Blindness of Life.

Copyright © 2010, Andreas Economakis. All rights reserved.

For more stories by Andreas Economakis click on the author’s name below.

SATURDAY POETRY SERIES PRESENTS: AARON ZEITLIN

POETRY
by Aaron Zeitlin

Translated by Jon Levitow (2009)

Go become yourself the words,
Yourself the essence.

– Angelus Silesius

Poems should be like Elijahs
entering the homes of wretched brothers.
I wait for poems that turn into poets,
I wait for poets that turn into poems.

I wait for unexpected wonder,
when poets become the words they write,
each poem fills with blood and shows its face
and approaches people – as a poet.
New breath for old hearts!
Make cold frogs jump!
Let dry stumps blossom!
Proclaim Sabbath throughout all the worlds!

Aaron Zeitlin (1898 – 1973) was the son of the noted Yiddish writer and thinker Hillel Zeitlin. After an invitation to New York by director Maurice Schwartz for the production of his play Esterke (“Esther”), the start of World War II on 1 September 1939 prevented his return to his family, all of whom were murdered in the Shoah. He settled in New York City where he worked as a journalist and a professor of Hebrew literature at the Jewish Theological Seminary of America. Zeitlin’s literary writings include bilingual (Hebrew and Yiddish) poems, narratives, dramas, essays, and criticism. Noteworthy is his contribution from the Warsaw period. He was a moving force in the inclusion of Yiddish literature and Yiddish writers as members of the World PEN Organization (late 1920s), whose branch in Warsaw he chaired in the 1930s. Tragically, German militarism destroyed a number of his unpublished manuscripts and works in progress, including five volumes of poetry ready for publication. (Annotated biography of Aaron Zeitlin courtesy of Novelguide.com, with edits.)

Editor’s Note:
Today’s post was inspired by a combination of outside sources. First, my father challenged me to determine the meaning of “zeesh punim,” a yiddish phrase. While contemplating the meaning of this phrase, As It Ought To Be posted a poem that inspired and moved me, that piece being On This Earth What Makes Life Worth Living by Palestinian Poet Mahmoud Darwish.

I wanted today’s post to be by a Yiddish poet. Yiddish is the language of my ancestors, a dying language that was nearly wiped out with the Holocaust. I also wanted today’s post to be a celebration of poetry and life, as Mahmoud Darwish’s poem is. What these two poets have in common is the ability to celebrate life and poetry through tragic events, to see the beauty in life even amidst so much death and tragedy. May their spirits come together through poetry to shift the energy of the middle east and bring about peace between men who would otherwise be brothers.

Want to read more by and about Aaron Zeitlin?
YiddishPoetry.org
VoicesEducation.org
Novelguide.com

Felipe Alfau 1902-1999

    Felipe Alfau was Spanish-American writer who spent most of his long life in New York City. While not a prolific writer, he was one who was far ahead of his time, employing authorial techniques that would later be “discovered” by Postmodernists such as John Barth, Donald Barthelme, Thomas Pynchon, and Robert Coover.

   Alfau was born in 1902 to a prominent political and literary family.  His father was a lawyer and colonial official in the Philippines, and his sister had penned a novel before her twentieth birthday. For part of his childhood his family resided in Guernica in the Basque region of Spain. When he was fourteen, his family moved to New York City. Alfau loved music and hoped to become a conductor. After college, he became a music reviewer for La Prensa. Several years later he began to write journalism in English and became a translator for the Morgan Bank. His first novel Locos: a Comedy of Gestures  was completed in 1928, but was not published until eight years later.

   Locos is metafictive collection of stories, which, taken together, tell the story of the Bejerano family and their associates. The most important characters are Don Gil Bejerano; his brother Don Laureano, a wealthy beggar; Gil’s  elder son Gaston who is also known as the pimp EL Cogote; his younger son Pepe; his daughter Carmen who is both the seductress Lunarito and the nun Sister Carmela; Garcia, a poet turned fingerprint expert; the sensible Doctor Jose de los Rios; and Juan Chinelato, a Chinese wrestler and adventurer turned butterfly wrangler and theatrical producer. This cast of characters are habitues of the Cafe de Los Locos in Toledo, though most of the action takes place in Madrid, with some detours through China and the Phillipines. The Characters apply to the narrator (named Felipe Alfau) because they wish to appear in the novel. The subsequent plot, in which these characters collide, define themselves in opposition to one another, and eventually take on names and traits in common and blend together, examines the fluid nature of personal identity. Locos received critical acclaim at the time of its publication but met with popular indifference and soon disappeared.

   In the years after he finished Locos, Alfau wrote poetry which he did not attempt to publish , and completed a second novel in 1948, which was rejected by several publishers. Then in 1987, Locos was republished, after Steven Moore, then an editor at Dalkey Archive Press, found the book at a barn sale in Massachussetts, read it and contacted Alfau after finding his name in the Manhattan phonebook. The reprint edition generated enough  favorable attention to lead Moore to ask Alfau if he had anything else. Alfau produced the manuscript of Chromos, which had sat in a drawer for 40 years. Upon its publication in 1990, Chromos would be nominated for a Natioanal book Award.

   Chromos revives some of the characters from Locos, including Garcia, Doctor de los Rios, and Felipe Alfau, but it takes place in New York City. One important new character is Don Pedro, called the Moor, who, along with the other characters, frequents the Spanish expatriate bar El Telescopio. Chromos uses its setting among the Spanish and Latin American ex-pat community to examine the collective identity by which the group constructs itself, in this case through the ironic label of “Americaniards.”  As in Locos, the structure is one of apparently unrelated narratives which obliquely comment on one another: the first concerning the Sandoval family’s gothically grotestque rise and fall and the other following the life of John Ramos, an expatriate in New York who has the astonishing ability to jump forward over long periods of time. Both of these narratives are interwoven with the present day stories of El Telescopio’s Americaniards.

  In 1992, Alfau finally published the poetry that he had written throughout his lifetime.  Even though he had written his novels in English, he had written his poems in Spanish because “Poetry is too close to the heart while prose is a mental activity.” This collection was a bi-lingual edition entitled  Sentimental Songs/La Poesia Cursi. This would be Alfau’s last publication and he would die seven years later at the age of 97.

UNREMEMBERED

The book of things that I have forgotten contains most of my life. But then, what would we do without forgetfulness? I feel like there is hardly room for everything I do recall.

Sven Birkerts, my sky blue trades

It began with a mental image: Mr. Vaszily standing with his sleeve rolled up, the inner part of his forearm exposed to view, blue numbers tattooed across the skin. The image was sharp and clear. It came to me out of nowhere, while I was walking down an aisle in a Publix Supermarket in Clearwater, Florida in the spring, 2005. Nothing I was doing at the time – no writing, no reading, no thinking – was anywhere near the Holocaust. I hadn’t touched the Holocaust since 1999, when I was in Jerusalem and had visited Yad Vashem, the Holocaust Memorial. My former father-in-law, an Auschwitz survivor, had been dead for years. And Mr. Vaszily? He had died in 1972, when I was living overseas. I had last seen him alive sometime in the 1960’s.

So what, you wonder? We all remember things. Sometimes they pop up unexpectedly.The problem was, for the years I had known him, he had never rolled up his sleeves in my presence.

I met Mr. Vaszily – I did not know his first name, John,  until many years later – when I was six or seven years old. He and his wife lived in a small house down the hill from ours. He was probably 70 when I met him and did not work. Mrs. Vaszily went to work each day while he stayed home, tending his garden as well as the rabbits, chickens and ducks that he raised in his backyard, selling them to the many Italians who lived in the neighborhood. When the weather was good I would see him walk down the street toward an overgrown field in the middle of the village where he would scythe the tall grass to be used as bedding for the rabbits.

He stood out because of his garb: shirt buttoned to the neck, a vest, a kind of suit-jacket, sturdy work pants and boots, a fedora. Sporting a carefully trimmed mustache, he was bald and wore that hat to protect himself from the sun. Later, I would see pictures of men like him, prosperous farmers from Central Europe, perhaps from Hungary where, we were told, he was from.

When he was scything that field, or working in his backyard, where I would often visit him, he would sometimes take off the jacket, maybe even the hat. But never did he roll up his sleeves in my presence.

There was nothing I could do about the “vision”, if you will, at the time it appeared. I was working in Florida for the semester, while the village where I had grown up, Croton-on-Hudson,  is north of New York City. I did call my mother, who had been a nurse for the doctor who had attended to the Vaszilys. She could not tell me anything.

I live not far from my childhood home. When I returned north I began to dig. With the help of some friends still in the village I was able to find out that he and his wife had been buried in the village cemetery. I found the gravestone, which is where I learned their first names: John and Elizabeth. He died in 1972, at 90. She died in 1984, at 89.

My first assumption was that he had ended up in a Nazi concentration camp during World War II and that they had come to this country after the war.  I knew he was Catholic:  he and his wife attended mass in the same church where I was an altar boy. I knew that the Hungarians had begun to cooperate with the German in dealing with the “Jewish question” only later in the war and I thought that perhaps he had been rounded up for helping the Jews. Or he had simply run afoul of the Germans or their Hungarian allies and ended up a prisoner. Or that he had been Jewish himself and later converted to Catholicism.

There was a problem with the theory that he had come to America after the war.  According to his obituary, and to the immigration records I was able to find, he had come to this country sometime around 1915 or 1916, had worked for the New York Central Railroad for many years as a car inspector and had retired not too many years before I first met him. Which left me holding feathers.

The Vaszilys had one daughter and I was able to find out that she had graduated from the local high school in the Thirties. She had married and had a son, Douglas, whom I would play with when he and his parents came up from New York City to visit the Vaszilys. Perhaps they could help me. But they had disappeared as well. More feathers.

I talked to as many people as I could in Croton, many of them old-timers who had worked on the railroad. None of them recalled the couple. One of them told me that at one time there had been a small Hungarian community in the village. Nothing remained of that.

I discovered that a friend’s mother had once held the deed on the Vaszily’s property, making me think that they had rented from her or her husband before purchasing the property. My friend questioned her about it; she recalled nothing.

A secretary at the same Catholic parish they had attended dug through her records, but informed me that while the church went back many years, some of the records had gone missing.

I sent out an SOS to friends who had grown up in the same neighborhood, asking for help. One of them was a woman who had lived perhaps a block from the Vaszilys and whose house looked out over the field where he scythed the grass. They, in turn, passed the message on to others. Nothing.

I even contacted Yad Vashem (the Israeli Holocaust memorial mentioned earlier), but they could not help me. Nor could they offer any suggestions.

If it weren’t for my mother,  who remembers them clearly and fondly, I would wonder whether I had made them up out of thin air. But I know that’s not the case. Mr. Vaszily had an air about him that I only later realized would be called gravitas. He was made of something very solid. And Mrs. Vaszily? She was his opposite, laughing where he was grave, embracing me whereas he would simply extend a hand and say hello. No less real, though.

Perhaps you are hoping at this point that something, someone appeared at the eleventh hour to solve the mystery. No.

Perhaps you are thinking that my vision was simply some neurons misfiring, crossed mental circuits. I don’t think so. As I said at the beginning, there was no reason for me to think about John Vaszily at all in 2005.

Or, perhaps it occurs to you, as it occurred to me, that he did have a tattoo, but that it was not what I thought it was. The problem with that theory is that I am confident that if he had had a tattoo – not the numbers – I would remember what the tattoo was.

Although I cannot prove it, I believe that John Vaszily’s arm was tattooed with numbers; that the likeliest explanation is that they were put there by the Nazis or their henchmen and that I, too young to know what they meant, had stored away the image against the day when the meaning would come clear. And that something in the spring of 2005, something I cannot reassemble, prompted the memory.

I have no one idea as to how John Vaszily got in the Nazis’ way. One possible explanation is that, during the Depression, he returned to his native country and was trapped there by the war. Another is that he returned to Hungary to rescue family members and was arrested and imprisoned in the process. There was never any reason for the Vaszilys to talk to me, a child, about this. And Mr. Vaszily’s habit of not exposing his forearms is consistent with the idea that he had something there that he did not want others outside his family to see.

John and Elizabeth Vaszily seem to be completely forgotten, the only record of their time on earth being a headstone in the Bethel Cemetery in Croton-on-Hudson, New York. Other than having the grass around it mowed by the cemetery caretakers, it is untended, while gravestones around it are replete with freshly picked or planted flowers. Later this month I will go down there to plant some bulbs – daffodils, most likely – and will try, as long as I live in the area, to see to it that the gravesite is tended. Perhaps I will even leave a note on the headstone, just in case someone wanders by who knew something about them, who remembers them at all.

On This Earth What Makes Life Worth Living

By Mahmoud Darwish

Translated by Karim Abuawad

On this earth what makes life worth living:

the hesitance of April

the scent of bread at dawn

an amulet made by a woman for men

Aeschylus’s works

the beginnings of love

moss on a stone

the mothers standing on the thinness of a flute

and the fear of invaders of memories.

On this earth what makes life worth living:

September’s end

a lady moving beyond her fortieth year without losing any of her grace

a sun clock in a prison

clouds imitating a flock of creatures

chants of a crowd for those meeting their end smiling

and the fear of tyrants of the songs.

On this earth what makes life worth living:

on this earth stands the mistress of the earth

mother of beginnings

mother of endings

it used to be known as Palestine

it became known as Palestine

my mistress:

I deserve, because you’re my mistress

I deserve life.

Mahmoud Darwish (1942-2008): is a Palestinian poet born in the village of al-Birweh, in Galilee. A few months before the declaration of the State of Israel, Darwish’s family was expelled to Lebanon. Upon their “illegal” return to Galilee in 1949, the family found their village razed, their property appropriated by the state. Darwish went into exile in 1970, returning to live in Ramallah, Palestine after the signing of the Oslo Accords in 1993.

He’s considered one of the most prominent poets writing in Arabic in the twentieth century. He made many contributions among which helping to popularize free-verse, a project championed by earlier poets to free modern Arabic poetry from the strict meter and rhyme that characterized the earlier traditional poetry.

Many of his poems have become lasting, and quite recognizable, songs, the most famous of which is the poem he wrote for Rita, the Jewish girl who was Darwish’s first love. The first line of the poem, which reads “There’s a rifle between Rita and me,” encapsulates this romantic encounter between a Palestinian living in Israel without citizenship and his lover who enlists in the Israeli army.

More recently, Darwish published the long poem Mural (2000), an extensive monologue where the poet talks to, and argues with, Death which has come to claim him several times before finally succeeding in 2008.

In June, 2010, the Council of Paris inaugurated “Mahmoud Darwish Square” in honor of Darwish and his artistic legacy. In the words of Paris mayor, Bertrand Delanoë, Darwish “is not just any poet [but] a Palestinian poet, a poet whose inspiration is born of his suffering in exile.”